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[gospel]

Marnie Stern - This Is It and I Am It and You Are It and So Is That and He Is It And She Is It And...

    * Noise-Rock
    * Indie Rock
    * Experimental Rock

* * * Fixed * * *

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

Marnie Stern's sophomore album on Kill Rock Stars is cursed with a 30-word title that begins This Is It.... She blames an Alan Watts essay but punters can blame her -- until they hear it, that is. While her debut, In Advance of the Broken Arm, was filled with her now wildly celebrated guitar pyrotechnics inside a sprawling yet inarguably hooky pop song setting, this set goes off in a different direction entirely. Stern is accompanied here by the same crew that worked on her debut: über drummer Zach Hill and bassist and engineer John Reed Thompson. Musically, this set feels like the more rocked-up twin album to Hill's brilliant and crazy Astrological Straits (also released in 2008 on Ipecac). Tempos veer and careen everywhere, from thrash to stop-and-start near-proggish excess to no wave constructions of indefinable origin. The rather interior emotional scope of In Advance of the Broken Arm is thrown to the wind as surreal, fractured lyrical constructs are set to match this ambitious mental hybrid brand of guitar rock. "Transformer," with its extreme metallic hammer-on repetitive riffing, carries an amelodic framework for her caterwauling voice with some stretched dynamics. Her guitar heroine-ism is still unchallenged here, and it matches the speedy powerhouse forcefulness of Hill's drumming. The back-and-forth twin-neck counterpoint in "Shea Stadium" ambles between proggish anthem and rock & roll arena finale. With the tempo changing nearly constantly, Stern's high-pitched voice, offering something unmistakably artful (à la Yoko Ono but multi-tracked), becomes a blur, whirling by with her piercing strings and Hill's jazzed-up (as in Billy Cobham's) kit work as the only things to hold on to. Believe it that this is not tape manipulated music, as it sounds very close to the thrilling musical acrobatics of Stern's live performances. All of this said, there isn't a pretentious note on This Is It...; Stern may be ambitious but her songs are grounded in humor, extrapolated hooks, and fragmented pop formulas. If the guitars didn't have such a metallic ring (check "Steely"), one would swear this was some mutant long-lost post-punk record that was channeling Christian Vander's Magma! The closest thing to rock "normalcy" on this slab occurs on the album's final two tracks, "Roads? Where We're Going We Don't Need Roads" and "The Devil Is in the Details." In these songs, big over-amped riffs (played on a vintage Gibson SG Custom) come roaring out of the box. She hangs almost conventional verses and choruses onto her piledriver axe work, and almost shouts in glee through the cacophony. Admittedly, This Is It... takes a bit of work to get through the first time, but it gets easier, resulting in a compulsive, even obsessive desire to it play again and again, ultimately leading to the assertion that "there is nothing else on the planet remotely like this!"

I'm not sure what is going on here, but it's like a glorious car accident.

[spoon_of_grimbo]

Well, this is my first contribution to the Mediaf!re thread, so here's some quality underrated British rock for yis all.

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http://www.mediaf!re.com/download.php?fjziqd2lzzb
In this rar-file I've included:

"Fishing For Luckies" by The Wildhearts (1996)

Following the modest chart success in the UK of their 1993 debut, "Earth Vs. The Wildhearts," the band planned to record a double-album as the follow up.  However their record label EastWest vetoed this idea, and the band ended up releasing 13 of the proposed double-album's tracks as their second full-length, "P.H.U.Q." in 1995, some of the tracks having been recorded as a three-piece after the departure of second guitarist CJ.  However, just before that release, the band formed their own independent label, Round Records, and released a fanclub-only EP called "Fishing for Luckies," consisting of some of the more eccentric tracks that didn't make it onto "P.H.U.Q."  A year later, "Fishing for Luckies" was revamped (two tracks which had gone on to be released as a double-A-side single, and a couple of rougher tracks were all removed, and replaced with eight new tracks recorded with new guitarist Jef Streatfield, to make it a full-length) and released to the public.  This is the version I've included here.
Surprisingly it flows rather well for such a weirdly-thrown-together release.  Personally it's my favourite Wildhearts album, and it combines full throttle riff-led rock ("Inglorious"), shorter punkier blasts ("In Like Flynn" and "Moodswings and Roundabouts"), a couple of 9+ minute epics (most notably fan favourite "Sky Babies" at over 11minutes!), and the usual rough-edged pop rock the band is known for, all of it catchy as fuck.  I'm pretty sure this album's out of print now, so there's no download guilt here (not that regular posters on this thread would have any!  )!

AND

"Being Good Is Okay But Being Bad Is Better EP" by Eureka Machines (2008)

This isn't a proper EP, just the name I gave it in my Media Library (it consists of the tracks from two CDRs they were selling at recent gigs supporting Ginger of the aforementioned Wildhearts).  Amazingly good quality for home demos, it's fairly lightweight but incredibly catchy and quite witty pop-rock with loads of vocal harmonies.  They've got a new album out called "Do or Die" which I've not gotten around to checking out yet, but if this is any indication, it should be pretty good!


Sorry that was a bit longwinded, hope you enjoy it.  I think I've stuck to the thread rules with this post, let me know if I've fucked up somewhere!

[rosary]

My first contribution! I love these chaps, and saw them open for Blonde Redhead. Such great energy. Shoegaze and dream-pop with subtle Brazilian overtones. Pure sex.

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http://www.mediaf!re.com/?2bzwtzrzzl2
School of Seven Bells - Alpinisms

As sources of inspiration go, you could hardly do better than the School of Seven Bells. Formed (or not; its existence is still a matter of debate) in the 1980s, the School was a kind of occult pickpocket academy, an institution that prized both cooperation and magic, the idea of "seven minds working as one," and, obviously, stealing.

Keeping in mind the "seven minds working as one," it seems as though stealing was only half the point. The same is true for School of Seven Bells, a band of the same name, comprised of Benjamin Curtis (former guitarist for the Secret Machines) and identical twins Claudia and Alejandra Deheza (of the now-defunct On! Air! Library!). Curtis and the Dehezas pilfer sounds and ideas with exceptional skill, and throughout Alpinisms, their full-length debut, their prize catches - the stark, wintry guitar tunings of late-period Sonic Youth ("White Elephant Coat"), the Loveless groans and swoons of guitar noise ("Face to Face on High Places," "Connjur") - are displayed proudly. But what makes Alpinisms so exceptional, so beautiful, is the way those sounds are mixed with so much more.

The band has an embarrassment of riches at its disposal. Both of the Deheza twins have haunting, expressive voices that, in harmony, can make even exhalations sound heavenly. Many of their songs have the steady phrasing of incantations, and their vocals add a mystical dimension to already otherworldly music. Album-opener "Iamundernodisguise," for example, has a melody that evokes vocal music from the Rennaissance, and the Dehezas' quasi-chanting on "White Elephant Coat" is hypnotizing. Even though they're manipulated sometimes (an autotuner warps their voices on "Chain"), it is the twins' voices, their presence, that acts as a gateway into the rest of the music.

This is crucial, because the band's music offers different kinds of pleasures. Dream-pop fans will be taken by the cool openness of "My Cabal," which was produced by the Cocteau Twins' Robin Guthrie, as well as the way the guitars vibrate up and down in the mix of "Half Asleep;" electronic pop fans will admire the lushness of "Wired For Light," or the prickling processing added to the violin and the dry, scraping sound of the drums on "Face to Face on High Places." It would be tough to say that School of Seven Bells's music falls into one particular category, but every song feels full and rich, whether it's crowded or not.

There are a few gambles on Alpinisms that don't pan out (the lugubrious "For Kalaja Mari" is one, as is the cluttered, oddly unsettled "Sempiternal/Amaranth"), but these seem insignificant when weighed against the rest. Alpinisms is polished, ambitious, and beautiful, blessed with a fluidity and focus almost never found in a debut, a superb album that proves influences are only half the point for any great band.

[Scandanavian War Machine]

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

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

right here. not sure if all the links are still active but if you go to sordo they should have most of it anyway.

[pwhodges]

Cherwell Singers - Parisian Fireworks

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http://www.mediaf!re.com/?zru3vgtzz1o
This is a concert of church music, mostly involving a very raucous French-style organ (Exeter College chapel, Oxford).  I recorded it because the choir is the one I sing in (I sing the intonations opening some movements).  The original recording was made using Ambisonic surround technology, and in that form a couple of these tracks have been used in demonstrations of Ambisonic surround at AES conferences.

[1]..[5] Widor - Mass for two choirs and two organs
[6] Dupré - Laudate
[7] Langlais - Invocation pour un jour saint (organ solo)
[8]..[11] Duruflé - Four motets (choir alone)
[12]..[16] Langlais - Messe solonnelle

[gospel]

Marnie Stern - This Is It and I Am It and You Are It and So Is That and He Is It And She Is It And...

this is giving me an error.

Reuploaded. Fixed

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

[Tom]

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

Where should I start with these guys?

[Dimmukane]

EVERYWHERE.  Seriously, it's all good.  Put it this way: every single song of theirs has a 5-star rating in my iTunes.  But if you need to pick, go with Falling Through A Field or Dandelion Gum. 

[Scandanavian War Machine]

ohmanohgosh you are in for a treat because BMSR is pretty much the best.

my friends think i'm crazy but honestly, if i absolutely had to choose only one band to listen to for the rest of my life...well, i might just pick BMSR. it's like pure happiness distilled into audio format.

[michaelicious]

Faraquet - Anthology 1997-98

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http://www.mediafire.com/?jiqcnqwgnem
Bonus upload!

Medications - All Your Favourite People All in One Place

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http://www.mediafire.com/?lrtjh0jqriy
Devin & Chad from Faraquet's other band! Okay great.

[Melodic]

Do Make Say Think - You, You're A History In Rust

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http://www.mediaf!re.com/?mqnwzkekgmz
Also available in Apple Lossless if you're so inclined.

[kraemandrummer]

Do Make Say Think - You, You're A History In Rust

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http://www.mediaf!re.com/?mqnwzkekgmz
Also available in Apple Lossless if you're so inclined.

Thank you! I had a version of this but the mp3s were screwed. I saw this band when they came to my town. Fucking amazing!!!!!! And it was a free show too!!!!

[sean]

Oh shit Michael I forgot that Faraquet anthology existed! Thanks! I think I'll have to order that too.

[michaelicious]

You're welcome. I forgot about it too, until today. I was browsing through the Dischord site and stumbled upon it. It's pretty solid.

[valley_parade]

I'm From Barcelona - Who Killed Harry Houdini?

I'm from Barcelona's first album was called Let Me Introduce My Friends; the follow-up could be titled Let Me Introduce My Melancholy Friends. If the debut was giddy, innocent, and lighter than air, Who Killed Harry Houdini? is glum, confused, and troubled. Instead of songs about stamp collecting and the joys of making music, you get "Music Almost Killed Me" and "Ophelia," which has the telling lyric "He didn't believe in anything/He didn't believe in joy." Instead of cheerful songs about oversleeping and chicken pox, heavy stuff like death and ghosts and tears dominate the lyrics. The band's leader, Emanuel Lundgren, has either had some rough times since the first album or is a very good actor, as the songs reflect a tortured soul. All throughout the record there's an overcast and moody feel that even the poppiest, peppiest song, "Paper Planes," can't break through (and it doesn't help that the song is about the dehumanizing effects of city living). Just knowing that the album isn't the pure blast of sunshine that the debut was might be enough to turn off the group's fans in dispirited droves. Hopefully that won't happen, because it turns out that the band does melancholy quite well, using dynamics and pacing to keep things from getting too gloomy and giving the most depressed songs the liveliest backing -- the rocked-out "Houdini" or the hooky-as-anything-on-the-first-album "Mingus," for example. And there is some hope among the teardrops and sighs, like "Mingus"' rallying cry "In my heart still a kid" or a song about the power of music to free you from your troubles for a while ("Headphones"). It helps too that Lundgren's producing and arranging skills have grown; the production is clearer and the arrangements show a lighter touch. He doesn't call in the vocal choruses on every song, and instead picks their spots carefully. The instrumentation is also more restrained; there are large stretches of sparseness within the songs, fitting the somber mood of the lyrics perfectly. It's still a unique sound when the whole band gets together and makes a lovely racket (as on "Rufus" or the very Phil Spector-ish "Andy"), but the gimmick of the huge band can't hide the fact that there is some real stuff going on behind the scenes. All the emotion and soulful melancholy on display is a shock, and it may take a few spins to get past the feeling that the band is just too different from the happy-go-lucky souls who made Let Me Introduce My Friends, that they are now too gloomy to be enjoyed any longer. But if you give Who Killed Harry Houdini? a serious listen and can get past the initial surprise and mild disappointment, the quiet beauty of the songs, the tender performances, and the beaten down but not broken soul of Emanuel Lundgren are enough to break your heart.

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http://www.mediaf!re.com/?2iyejzey0jc
That Jay Reatard album has some pretty ratty-ass guitar tones. Nice.

[Rubin]

So...
Haven't contributed anything for a while. Mostly 'cause I don't know what to add. I get most my new music from in here anyway...

But here's something.

These are danish guys. Sort of gypsy polkatronica. Almost an electronic, dancey version of Gogol Bordello. Ver ver cool.
The few lyrics they have are in danish, but don't let that hinder you!

So here, with out further ado:

Analogik: Søens Folk (title means "people of the seas", sort of sailors in a broad definitions)

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http://www.mediafire.com/?zowwujumnwy
Enjoy good people!

[Scandanavian War Machine]

that's the second or third time that album has been uploaded.

and by that i mean "if you haven't listened to it yet, you need to do it right now because it' fucking awesome!"

seriously. get it.

[Scandanavian War Machine]

and now something none of you have ever heard before!
eclectic little electronic album, this. it covers several different genres throughout and i'm not much of a writer so i can't say much about it but it's got chiptunes, mellow pop, harsh noises, hip-hop, and probably some other stuff too. he's a friend of mine and he encourages the free distribution of music so check him out if you like electronic music.



Tyrannasaurus Flex - Lurking in the Lurk Zone


(there's no official artwork for this but this is from his Myspace so it'll do, i guess.)

Part 1:

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http://www.mediafire.com/?jn5netmxztzPart 2:

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http://www.mediafire.com/?zn2ntbwwmyz

[timmykillah]

In the Woods... - Omnio

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http://www.mediafire.com/?3zrnzzmnwmn
the first song alone is worth getting this, and yes it could be considered black metal but its alot more

From AMG (4.5/5)
Following their blast of black metal-inspired Heart of the Ages, In the Woods came up with this devastatingly beautiful marriage of prog metal, gothic texture, epic scope, and amazingly intricate, deeply moving songwriting for a tour de force that stands as one of European metal's classic recordings. Leaving the screaming vocals to the ashes of black metal's first wave, Omnio instead concentrates on creating long (there are only five tracks here), gorgeously woven narratives with emotions such as grief, sorrow, reverence, mysticism, paganism, and Norse lore. With slowly unfolding schemata, In the Woods manages to accomplish the darker side of what Marillion did in the early days: creating mood, atmosphere, and drama with stunningly clear male and female vocals, wailing guitars, and a string quartet just atop the drum kit. Featuring once and future members of Emperor, Anathema, and Katatonia, the band's shape-shifting tunes sound, at times, like pure poetry colored by the beautiful brutality of heavy rock and metal. Singing tunes out of this cycle for review is pointless since Omnio is all of a piece, one that is deeply affecting, and full of spaces and mystery. One complete listen is enough to leave one literally speechless, exhausted, and fully of awe and delight. Omnio is a classic of the genre and has remained deeply influential since its initial release in 1997. Candlelight's sonic template on the reissue is nothing short of gorgeous, and its package is nearly identical to the original Misanthropy release -- in fact, it may be nicer -- and includes complete lyrics and graphics.

[Fishboy]

This is just a little EP put out by a little Adelaide band called Birth Glow, they're all kinds of awesome, I think some of you may enjoy them. I'm pretty sure they broke up a little while ago, so I thought I would upload this so that hopefully it won't be forgotten.

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http://www.mediaf!re.com/?k4xmm4yeziz
I'll post some more stuff later on, as I have used this thread excessively.

[valley_parade]

The Album Leaf - Green Tour EP

This was originally only sold on the 2007 tour, though according to the website, it's available on iTunes now.

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

[TheFuriousWombat]

Damn the Marnie Stern album is down again. Any chance of a re-up?

[Rubin]

that's the second or third time that album has been uploaded.

and by that i mean "if you haven't listened to it yet, you need to do it right now because it' fucking awesome!"

seriously. get it.

Hmmm wierd how I never even noticed that...

[KvP]

Squarepusher - Just A Souvenir
(no art that I can find, and no AMG quote either)
Pretty excellent computer-y jazz funk

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http://www.mediafire.com/?unnnkjdmete
Aaaaaaand more Fabriclive, by request.


Fabriclive 08 - Plump DJs

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http://www.mediafire.com/?y0jdmimvmgn

Fabriclive 09 - Jacques Lu Cont

Jacques Lu Cont, the production wizard behind Les Rythmes Digitales, also spins a mean set of stylish Euro-house when he wants to, the evidence coming on his volume in the mix series overseen by London's most crucial indie club, Fabric. Lu Cont salutes the club's focus on music both clever and hooky (and danceable), drawing tracks from a few usual culprits (Röyksopp, Crazy Penis, Mirwais, Gus Gus) as well as quite a few '80s nuggets that sound perfect in context. From Tom Tom Club's "Wordy Rappinghood" to Devo's "Snowball" to the Steve Miller Band's "Abracadabra" to Pixies' "Gouge Away," Lu Cont throws caution to the wind and, if he errs on the side of camp more often than not ("Sweet Dreams" is a tough one to pull off these days), it certainly doesn't hurt the ear-candy flair of his mix. Two of the best oldies are the Chicago jacking classic "House Nation" (which hasn't lost a whit of its appeal since release) and the closer, Eno's "Here Come the Warm Jets."

(part 1)

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http://www.mediafire.com/?gn3mn1w01jz(part 2)

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http://www.mediafire.com/?djtznotm2zq

Fabriclive 10 - Fabio

As his Creative Source label has remained synonymous with style since the rolling heights of Carlito's "Heaven" was released in 1996, so Fabio's position as one of the leading DJs within drum'n'bass has remained one of few constants in an otherwise fluid movement. Having played a significant part in influential club nights Speed, Tempo, and Swerve, he left the critics floundering by resolutely remaining with what he describes as liquid funk throughout the genre's five-year dalliance with tougher, more mechanical sounds. This tenacity eventually paid off, with the main thrust of the music softening as the sounds of house and techno returned through the efforts of Doc Scott, Marcus Intallex, J Majik, and their contemporaries -- so much so that, despite its mellow leanings, this 15-track anthology succeeds in capturing the spirit of the whole genre perhaps more than the abundance of platinum-plated selections vying for attention in the record stores, with Total Science, Photek, and Influx Datum the toffees to Danny C., High Contrast, and Calibre's soft centers.

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http://www.mediafire.com/?yjmuwqzkyi5
And jumping ahead to

Fabriclive 40 - Noisia
(40 was originally going to be Justice, but apparently their mix was too short for the Fabric people. Also, they are punk-ass bitches.)

Genre designations are pretty much useless in the world of jungle and drum'n'bass these days, when every subcategory seems to splinter into a dozen new ones within weeks of its first emergence in a British or European club. The corner of the market staked out by Noisia (a Dutch trio consisting of Nik Roos, Martijn van Sonderen, and Thijs de Vlieger) is a sort of jump-up/glitchcore/hardstep/jungle hybrid, with plenty of doom-laden samples, angry-robot basslines, and techy breakbeats dripping off the edges. Noisia's contribution to the Fabriclive series is a generous set of 29 tracks, most of them original singles previously issued on the band's own Vision and Division labels, others taken from the catalogs of Ninja Tune, Virus, and other well-respected imprints and featuring such cutting-edge artists as Spor (whose creepily brilliant "Claret's March" is one of the strangest and most fascinating tracks on the collection) and Misanthrop (whose "Viperfish" comes on with a thrillingly frantic intensity). Even Moby makes an appearance -- the word on the street is that when he heard Noisia's remix of his "Alice," it nearly convinced him to become a drum'n'bass DJ. Noisia's particular genius is the ability to take incredibly dense material and pack it tighter, spin it faster, and crank the gain up higher without ever creating a feeling of anger or claustrophobia. Very highly recommended.

(part 1)

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http://www.mediafire.com/?jmjgym202cz(part 2)

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http://www.mediafire.com/?txzgudyojzm
enjoy!

[lauraelise204]

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

Anathallo - Engine Glow (2008)

RE-UP!!!!! PLEASE!!

[medicatesleep]

AC/DC - Black Ice (2008)

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

If you've heard one post-Bon Scott AC/DC album, you've heard 'em all.

[onewheelwizzard]

Isn't that the one that's sold at Wal-mart only?  I'm tempted to download it just to say I stole it.

[MobyDickhole]

So...
Haven't contributed anything for a while. Mostly 'cause I don't know what to add. I get most my new music from in here anyway...

But here's something.

These are danish guys. Sort of gypsy polkatronica. Almost an electronic, dancey version of Gogol Bordello. Ver ver cool.
The few lyrics they have are in danish, but don't let that hinder you!

So here, with out further ado:

Analogik: Søens Folk (title means "people of the seas", sort of sailors in a broad definitions)

Code: [Select]

http://www.mediaf!re.com/?zowwujumnwy
Enjoy good people!

Thank You. This might be the coolest thing I've found on here.
and that is saying something.

This album is AMAZING.

[KvP]

Going back, and also forwards.


Fabriclive 11 - Bent

Given the sense of humor that has run through Simon Mills and Neil Tolliday's productions as Bent, it's practically a given that their DJ sets will carry a similarly playful sense. That notion holds true on their contribution to the Fabriclive series, which combines left-field house with old-school disco, R&B, and hip-hop. Since a significant sector of house music has been taking inspiration -- and in some cases, borrowing sounds -- from the late '70s and early '80s during the early 2000s, there really isn't that much range in the selections here, despite the fact that the time span between the oldest and most recent tracks is 25 years. That doesn't necessarily take away from the level of quality; in fact, it's one of the best, most enjoyable Fabriclive mixes to date. Mills and Tolliday aren't the most skilled DJs, but they do know how to piece a set together. After opening with Giorgio Moroder's electro-disco classic "From Here to Eternity," the duo slides in the first of three tracks from Morgan Geist's Environ label, with Metro Area's equally delirious and heartstring-tugging "Caught Up" leading the procession. The Kelley Polar Quartet's "Hammer/Anvil" and Geist's "24K" are also placed within the first half, which is linked through the latter half by Whodini's Thomas Dolby-produced "Magic Wand." From there, the selections are just as smart and imaginative. Annie's "The Greatest Hit," a slinky production in the mold of the Mary Jane Girls and Teena Marie (with a Madonna sample), along with one of Bent's own tracks, lead up to a strong closing. By the time Jean Carn's "Was That All It Was" and Steve Arrington's joyous "Dancin' in the Key of Life" begin to wind down the set, you'll no doubt feel wound up, primed for more.

(Part 1)

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http://www.mediafire.com/?ykaitfklxnr(Part 2)

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

Fabriclive 12 - Bugz in the Attic

Broken beat's detractors -- and there are many, whether they are truly familiar with it or not at all -- view the style as offering a cross between the worst of two worlds: the regressive smugness of acid jazz and the credibility-starved indulgences of "musical" drum'n'bass. You can't really blame them; after all, a small percentage of broken beat happens to fall dead in the middle of those two poles, and it should also be noted that the underground, alias-happy, somewhat faceless nature of the West London-centered scene makes it almost as outsider-friendly as early-'90s Detroit techno. So here's one of the highest-profile broken beat releases yet, provided by the best ambassadors imaginable. They deliver: Fabriclive.12 makes for the most accessible and emblematic release from the scene yet. While largely groove-based, broken beat thrives on complexities -- polyrhythms, clipped beats, uncommon time signatures; many tracks are liable to make you regret the fact that you're not octopedal, though you're rarely made to feel as if you're being challenged to stay on the dancefloor. From a DJ's perspective, stringing together an all-broken beat set is notoriously tricky. Though extended blends are virtually impossible, Bugz in the Attic provides a cunningly sequenced mix and makes the segues as natural and as easy as a stroll through the park. Upbeat and joyous throughout, the crew offsets all the established favorites (Seiji's tongue and leg-twisting "Loose Lips," 4hero's remix of Focus' Fonda Rae-ripping "Having Your Fun," Bugz' own remix of Vikter Duplaix's "Looking for Love") with newer goods (DKD's stunning "Future Rage," Afronaught's unsurprisingly dizzying remix of Alison David's "Dreams," Troubleman's dub-funk hybrid "Strike Hard"), making the whole thing appeal to newcomers and insiders alike. The fact that the Neptunes remix of Daft Punk's "Harder Better Faster Stronger" can slip into the scheme only further demonstrates the contemporary and forward-looking qualities of the tracks surrounding it. This set also presents a convincing case for broken beat's lack of stuffiness and abundance of nuance.

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

Fabriclive 13 - J Majik

Few drum'n'bass figures get the opportunity to release two widely distributed mix albums within two years, and few drum'n'bass fans would've picked anyone other than J Majik for the honors. Originally a producer first and DJ second, Majik used jungle's dark days (circa 1999-2001) to hone his turntable skills, and emerged as something more than before -- not just a Metalheadz auteur, but a true drum'n'bass renaissance man: label owner, producer, DJ, tastemaker. Fabriclive.13, his first volume in the London super (-respected) club Fabric's live mix series, is a tour de force in post-millennial jungle, reconciling the darker end of techstep (DJ Hazard, Ram Trilogy, Total Science) to the diva-led flair of acoustic-heavy Brazilian drum'n'bass (yes, there is a DJ Marky production here, but also two of Majik's own Infrared tracks clearly illustrating that the young Spratling knows how to change with the times). Majik always keeps a finger on the decks, barely letting a record spin for two minutes before replacing it, but sticking with the elements he likes to create a smooth mix of superb dance music.

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http://www.mediafire.com/?2nwtw2rmz0m

Fabriclive 41 - Simian Mobile Disco

Simian Mobile Disco are one of the few dance groups with little high-level DJing experience, which marks their edition in the Fabric series as one that comes with a few question marks. Would they have anything to say, or any new tracks to foist upon listeners always eager for the next high? Would they play it safe and loft a few of their influences from the days of acid house? Would they even play dance music? (Well, no Fabric mix has been completely dance-free -- especially not a live edition -- so there's little to worry about there.) Fabriclive.41 does display a few of Simian's roots, it does shoe-horn a few surprises, and it airs more than a few up-to-the-minute tracks from labels above-ground as well as underground. Much like their debut LP, Fabriclive.41 is paced perfectly, picking up and winding down several times, like a good dance set should. The first peak comes with Discodeine's excellent "Joystick," and after a few minutes of wind-down, Metro Area's past classic "Miura" picks things up again. Highlights of the second half include the tongue-in-cheek acid of Deadmau5's "The Reward Is Cheese."

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[spoon_of_grimbo]

Howards Alias - "The Answer Is Never"

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http://www.mediaf!re.com/download.php?wmyrjngt0dgHowards Alias started as a ska-punk band, but by their second album "The Answer Is Never," they were playing an intriguing and almost unclassifyable hybrid of punk rock, indie, emo, prog-rock.  Very catchy, intricate, and intelligent, and featuring the emotion-drenched vocals of Matt Reynolds.  "The Answer Is Never" is something of an epic album, with a huge variety of sounds, song structures, and a lyrical approach that espouses the importance of being yourself.  In particular, the three-tier masterpiece that ends the album ("The Drop," "The Awakening" and "The End") is worth the asking price alone.  And talking of price, this can be obtained pretty cheaply from Household Name Records' website - and please do buy it if you like it, as the band recently broke up, citing huge financial difficulty.



Also, if anyone's interested, I've uploaded a track called "Flightless" that I made for a compositional project last year.  I was trying to do something in the vein of post metal, but using synthesisers only (and a tiny bit of guitar, albeit heavily processed).  The concept is that of a bird - its final flight, being shot, falling to the ground, and rotting on the forest floor.  It's not brilliantly mastered, but with the volume up just a little bit more than usual, it should sound fine.  I'd love to hear people's opinions on it, good or bad.

Smithy - "Flightless"

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

[Töys]

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.

Subtle - exitingARM (2008)

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http://www.mediafire.com/?utdm1mflgfz
Subtle - For Hero: For Fool (2006)

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http://www.mediafire.com/?bjziqm2zktx
Subtle - A New White (2004)

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

[timmykillah]

Howards Alias - "The Answer Is Never"

can you put this on mp3 its in wma

[valley_parade]

Frakkur - Songs for the Little Boy

This is Jonsi Birgisson's (Sigur Ros) electronic project.

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http://www.mediafire.com/?r3ynnutkkqo

[spoon_of_grimbo]

Howards Alias - "The Answer Is Never"

can you put this on mp3 its in wma

yeah sure....

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http://www.mediaf!re.com/download.php?4tkeyiej4ti
enjoy!

[Tom]

I recently found, via a link on cokemachineglow, an experimental hip-hop artists called Decomposure. Decomposure (Caleb Mueller) hails from St. Jacobs, CA and has constructed a near seamless 51 minutes of hip-hop and pop for his 4 album and it is unbelievably awesome. He's currently givving out for free here, I urge you all to check it out.

[Albatron]

Been a while since I uploaded anything, so here's this

Van She - V

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http://www.mediaf!re.com/?ly4piomn2z2
electropop kinda like Cut Copy, really good stuff.
If you liked their ep that was posted a while ago you'll like this.

[exomni]

Pop rock kinda like Cut Copy, really good stuff.
If you liked their ep that was posted a while ago you'll like this.

Hopefully it sounds more electropop than rock.

Their EP was tinged by way to much mediocre 90's sounding rock, and not enough 80's New Wave.

Definitely hope for more Cut Copy sound on the LP.

[Albatron]

fixed,

I disagree about the sound, I like the EP. The LP is a little different though, still good.

[valley_parade]

Requesting a re-up of Pink by Boris and Time out by Dave Brubeck.

Hey, I think those were both mine. The hotel wireless is a little slow right now, but the Internet isn't showing up to hang out for about 5 hours anyway. Plus here's the Andrew Kenny (AmAnSet) and Ben Gibbard (Death Cab) split from a few years back.

Boris - Pink

On first listen to Boris' Pink (domestically issued on Southern Lord), longtime fans of the Japanese heavy metal trio would be pressed to say that they crafted it for American audiences. This is significant to be sure. On the opening track, "Farewell," one can hear so many un-Boris-like traits -- a bit of Ride and My Bloody Valentine here, a bit of Isis (who were influenced by Boris!) there, a trace of Sigur Rós, Nadja, and Jesu, too -- that one wonders if this is a send-up spoof that's proof that they can do it better. Even if that's so, it's only a part of this glorious slab of din and rock-is-power's puzzle. Takeshi (bass, vocals), Wata (guitar), and Atsuo (drums, vocals), have not followed in the footsteps of their younger countrymen Mono in crafting dramatics and dynamics, as evidenced by the title track which follows. If anything, this is raucous, riffing speed metal married to the garage rock trash aesthetic of Guitar Wolf. Here is where Atsuo's rim shots match in triple-time the low-string, down-tuned, freakzoid riffing of Wata's and the pure squalling throb of Takeshi's bass wail. Fuzzed out, ripped and torn and shredded riffs and propeller kit work take Boris to an entirely new level of "heavy." The rootsy metallic thrash of the band outdoes anything they've done before -- "Woman on the Screen" sounds like Iggy Pop fronting the MC5 of Kick Out the Jams in the Sunn 0))) era -- all in two-minutes-and-thirty-eight seconds. Speaking of Sunn 0))), "Blackout," a crawling, plodding, menacing scree of distorted bass and bluesy high-string electric guitar, is a track reminiscent of their earlier records, like Absolutego from 1996 -- and may have influenced their American counterparts. "Pseudo-Bread" is in-the-red in everything: distortion, speed, high-rocktane metal. The 18-plus-minute "Just Abandoned My-Self" employs everything used in the album to the moment. Beginning as a pure thrash metal burner, it begins its exploration of texture, noise, and sonic murder at a slower tempo in six-and-a-half minutes. It's like Acid Mothers Temple only more focused, and slower to evolve. Wata's guitar playing feels incidental to Takeshi's propulsive bass crunch and drone, which becomes pure controlled noise abstraction at about 122 minutes, and takes it out until only the sound of microtonal feedback remains, blasting everything into silence. Pink is easily the most cohesive, adventurous, and straight-ahead rocking recording of their 12-year career. If indeed the set was consciously made with Americanski audiences in mind, good; then more power to them. Boris are the kings who have set the metal bar very high on Pink. It's an album to be reckoned with.

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http://www.mediafire.com/?n4jklxmnoih
Ben Gibbard & Andrew Kenny - HOME: The Post-Parlo Records Split CD Series: Volume 5


For lack of review, a tracklisting! 1-4 Gibbard, 5-8 Kenny.
1. You Remind Me of Home
2. Carolina
3. Farmer Chords
4. Choir Vandals (AmAnSet cover)
5. Hometown Fantasy
6. Secrets of the Heart
7. Church Mouse in the Church House
8. Line of Best Fit (DCfC cover)

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http://www.mediafire.com/?zkt5wjaznmz

[michaelicious]

Hey guys, look what I found!

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http://www.mediafire.com/?gonimydtdmn
It doesn't come out till sometime next month. Shhhh!

[Daft pun]

Hey guys, look what I found!

Awesome

[Metope]

Oh man, I used to love this thread. Now I love it even more.

[michaelicious]

 

[exomni]

Thanks a ton for the FabricLive, I was missing most of those. Any others you feel so inclined to upload would be most welcome.

[spoon_of_grimbo]

after the "top 10 of 2008" thread inspired me to figure out what my top ten so far would actually be, i figured i'd go ahead and upload my current #1 album of the year (and unless something pretty fucking spectacular comes along, i can't see it being threatened...), Glass and Ashes' self-titled second (and if the sad rumours are true, last) record.

Glass and Ashes - "Glass and Ashes"

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http://www.mediaf!re.com/download.php?o2tgmj3inya
Imagine Drive Like Jehu and Motorhead having a knife fight in the aftermath of a nuclear explosion and you're somewhere close to what this album sounds like.  At it's heart, it's an intense punk-n-roll album, but the band throw in a few mathy twists and harness the eeriness and atmosphere that post-metal bands such as Isis and Cult of Luna are known for.  I've actually done a full review of it (here: http://www.sputnikmusic.com/album.php?albumid=30219) if anyone's interested.

[gardenhead_]

Hey guys, look what I found!

thankyou!

[KvP]

More Fabriclive on the way, but first a couple of other things.

First, a Planet Mu compilation - It's from 2001, so it predates Planet Mu's emergence as a prominent dubstep label. Most of the stuff here is breakbeat / acid. You won't find any big names outside of Venetian Snares, but it's got some good tracks nonetheless.

The Cosmic Forces of Mu
(disc 1)

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http://www.mediaf!re.com/?nzmjihhwrdn(disc 2)

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http://www.mediaf!re.com/?wmj3mwmtnzv
Aaaaand here's another one, an album I can't quite figure out how to feel about.

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http://www.mediaf!re.com/?wamn5qjnnymThis is a band called Ours, and I was sort of into them when I was in high school. Apparently there was some connection between this band and Jeff Buckley at some point in the past, and Ours' early records are very, very reminiscent of Buckley. But I'm getting ahead of myself. Basically, this is... it's gothy (fuck, look at that album cover). And it's overbearing. And the title of the record is "Mercy (Dancing for the Death of an Imaginary Enemy)", which is a pretty awful title. But the shameless kid in me really digs it. They conjured up the formless, terrible being known as "Rick Rubin" to produce this album, and you can definitely hear it. The title track has the same sort of feel to it that De-Loused in the Comatorium had, which I guess is a bad or a good thing, depending on how you look at it. But mostly I'd describe it as a more theatrical, less metal-y A Perfect Circle. The singer has a... baritone singing voice, I guess, but he's never far from a wail and a falsetto. If any of that appeals to you, it's there if you're curious.

[KvP]

Continuing.

Fabriclive 14 - DJ Spinbad

DJ Spinbad collects a wide selection of dancefloor fillers. Every track is recognized as a classic and will be familiar to hip-hop fans. The golden age is well represented with each of its major players supplying a track. None of these tracks are rare mixes or hard to come by, but they flow together nicely and make for a good party album. Spinbad doesn't overdo his presence on the album. His scratching doesn't upset the flow and is subtler than you'd expect. The emphasis seems to be on quality of the original tracks and the cohesiveness of the entire album. Spinbad flexes his muscle on Run-D.M.C.'s "Peter Piper" and creates the most memorable track on the album. The fat kick drum with Spinbad's manipulation of classic Run-D.M.C. samples is a no-brainer. It sounds good and solidly reworks some well-worn territory. The album seems to complete the lazy hip-hop collector's party crate. The 45 King's "The 900 Number," Grandmaster Flash's "White Lines," and the Sugarhill Gang's " "Rappers Delight" are all classic 12" singles that may not be as accessible to casual hip-hop fans but are perfectly blended here. They're all in one place, mixed well, and do not have the stiffness of old-school rap compilations. Spinbad brings together tracks that are already well respected but rarely appear all in one place and mixed with such style. The value of DJ Spinbad's Fabriclive. 14 is in its flow and style. With the lavish packaging, it's literally a party in a can.

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http://www.mediafire.com/?zntdhygm0jj

Fabriclive 16 - Adam Freeland

Few artists can claim to represent whole genres of electronic music, what with records being released at a breakneck pace by anyone with a home computer and sound card. Yet when the phrase nu-skool breaks comes into conversation, all heads turn to Adam Freeland. Perhaps Freeland's domination of the sound has part to do with his early instigation of the style that melded the warping bass of jungle with crafty techno bleeps, all while slowing down the breakbeat to a manageable tempo. Or perhaps it's because so few artist have really gotten over to the general public, which might actually be a result of Freeland's and a few other's (Rennie Pilgrem, Meat Katie, and Tayo) dominance. It's a chicken-or-the-egg debate. But the fact is, out of the 16 cuts on Freeland's mix for Fabric, exactly half feature the involvement of Freeland himself and Evil 9, perhaps the most active artists on Freeland's Marine Parade label. Although, while the roster might seem limited, the variety of tunes is anything but. Opening with the fizzing indie rock of Black Rebel Motorcycle Club might be stretching the boundaries just for the sake of stretching them, but Freeland and Evil 9's own work covers a variety of sounds, from the shocking 4/4 Kompakt-esque atmosphere of "Hired Goons" and "F-Groove" to the slower groove of "Burn the Clock," the only traditional nu-skool sound comes from PFN's "Flow" and the incredibly brief "Xylophone" by Precision Cuts. The rest of the time, Freeland grabs from multiple bins, including the classic bleep sound of LFO, to his own attempt at his ancestral drum'n'bass, "Mindkiller." Such diversity is presumably something to strive for, although the mixing suffers as a result, usually segueing from one track to the next and missing out on the magical "third record" that can occur when a skilled DJ is on his game. It's made more frustrating by the fact that Freeland most likely could have blended several of these transitions if only he had applied himself. So while Freeland proves himself an excellent selector of tracks everyone should appreciate, he failed to go the extra mile to make this mix a stunne

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

Fabriclive 17 - Aim

London's Fabric nightclub continues to set the standard that all clubs should follow, while also earning the dubious honor of being the biggest song licenser in the underground thanks to their monthly mix CDs. Yet after 34 releases, split between the club's jungle and hip-hop-heavy Friday nights, and their more techno and house-friendly Saturday nights, there's hardly a bunk one in the mix -- a big reason being that the three-room, all-night venue seems to be able to host an infinite number of top jocks, which means finding the next selector is as easy as a flip through the Rolodex. Representing the Fabric Friday nights, Andy Turner culls together a selection of downtempo and hip-hop records, mixed with a smart helping of folk and experimental cuts that allegedly represent the DJ's third-room relaxation selections. Yet it is a doubtful that even a club as musically open-minded as Fabric could tolerate folkster James Yorkston, or the '60s original twee-popsters the Byrds, but perhaps early in the night, before getting to the serious party jams, like A Tribe Called Quest's almighty "Award Tour," and a tasty '70s AOR sample riding beneath Ice Cube's "It Was a Good Day." Of course, if CDs actually mimicked live sets, they'd probably get stale, but this wide-open selection demands repeat listens for its diversity alone.

(part 1)

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http://www.mediafire.com/?qbnjoyzdtjf(part 2)

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


Fabriclive 18 - Andy C and DJ Hype

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http://www.mediafire.com/?mm1mn3dhzi3

Fabriclive 19 - Freestylers

American breaks fans may not recognize all of the artists featured on this celebrated duo's contribution to the Fabriclive mix series, but they'll get acclimated soon enough. Recording under the name SCAM, the Freestylers themselves contribute two of the album's highlight tracks, the ska-inflected "Killer" and a nice reworking of Johnny Osbourne's "Buddy Bye" titled "Put Up Your Hands." But most of the program finds them cutting and scratching over the work of other members of Britain's breakbeat scene, including Phuture Assassins (whose "Forever" draws heavily on a vintage Twinkle Brothers track), Azzido da Bass (whose "Dooms Night" is presented here in a brilliant Timo Maas remix), and the Breakfastaz (whose "Kick It" provides a forum for some virtuosic scratching by the Freestylers). While everything here has a generally hip-hop sort of feel, there's a pervasive reggae undertone to many of these tracks; sometimes reggae of the old-school variety and sometimes the secondhand type, like the big chunks of Elvis Costello's "Watching the Detectives" that undergird the Breakfastaz' "Spit It Out." The result is a rich and heady mixture of beats and moods and a program that works equally well for dancing or just listening. Highly recommended.

(part 1)

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http://www.mediafire.com/?enzdw2ggygy(part 2)

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http://www.mediafire.com/?m0tnnyjjnky

Fabriclive 20 - Joe Ransom

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http://www.mediafire.com/?yzvttdrj01y

Fabriclive 21 - Meat Katie

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

[Mystere]

I've only posted once before, but I realized I've been holding out on you. If you like it, they have a free mp3 blog (just google detholz mp3 blog).

Detholz! - Cast Out Devils

While the eclectic nature of their songs prevent a definitive categorization, they are frequently listed as an alternative rock or a New Wave outfit, and Devo is often cited as an influence...The band was formed at Wheaton College, an evangelical Christian college, which later expelled the band members in 1996, according to the band's official bio...In February 2005, the band was handpicked by Jeff Tweedy of Chicago band Wilco to open for them on a U.S. tour. He tapped them to open for them again in November 2006, in Madison and Chicago.

(Detholz!'s) aggressively busy new-wave rock is full of original ideas, and I doubt they'll run out of new ones anytime soon. It's tempting to chalk up their weirdness to their Bible-school roots, but as far as I can tell that history only serves to make it more plausible when they detour into a screwed-up approximation of a revival meeting--their dorkalicious energy reads more like a combo of caffeine buzz and record-collector's high.

Detholz! sound like a very pissed-off Devo - with their amps turned all the way up -battling Mothra to the death.... Soundgarden meets Mars Attacks! with pounding guitars and haunting, charged vocals.

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http://www.mediaf!re.com/download.php?z1kmgjtwwti
edit: fixed a quote

[kifsteve]

My first contribution

New Red Snapper

Red Snapper - Pale Blue Dot

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http://www.mediafire.com/download.php?yd1uttzqggm

The Presets - Apocalypso

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http://www.mediafire.com/download.php?lmzyg02j1zi

Cut Copy - In Ghost Colours, probably already been uploaded somewhere here but couldn't find a post with it when i searched so here it is:

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http://www.mediafire.com/?zymze2idini