Major Organ and the Adding Machine is one of the stranger rock albums to come out of the Elephant 6 recording collective, a group of like-minded bands who all play throwback '60s psych-rock. With a cast of mystery musicians (the label won't reveal who plays on it) lead by Neutral Milk Hotel frontman Jeff Mangum, the album is a psychedelic journey of effects, fragments, and found sounds. The closest to this any band has come to this type of rampant experimentalism is Olivia Tremor Control's Black Foliage, a record that perfectly meshed those strange elements with inviting pop appeal. This album does no such thing, keeping listeners at a distance while bombarding them with sound effects. While Black Foliage used collage elements to connect fully formed songs, Major Organ just uses them as an end to themselves. There is no sense of satisfaction when the "real" songs do kick in — they are just more of the same jumbled mess of lo-fi production tricks. Mangum clearly wants to sound bizarre, a bent that allows for rampant originality, but unfortunately, not much in the way of truly great songs. Unlike Olivia Tremor Control's experiments, which manage to be astounding while maintaining a feeling of amateurish fun, Mangum's attempts are both far less successful and oddly forced — like trying to remake Fletch into a dramatic movie; a daunting task but one with little, if any payoff.
http://www.mediafire.com/?avpfhgy5kxr
Major Organ and the Adding Machine - s/t
(http://img242.imageshack.us/img242/7088/f63368n3u6ofm2.jpg)Quote from: AMGMajor Organ and the Adding Machine is one of the stranger rock albums to come out of the Elephant 6 recording collective, a group of like-minded bands who all play throwback '60s psych-rock. With a cast of mystery musicians (the label won't reveal who plays on it) lead by Neutral Milk Hotel frontman Jeff Mangum, the album is a psychedelic journey of effects, fragments, and found sounds. The closest to this any band has come to this type of rampant experimentalism is Olivia Tremor Control's Black Foliage, a record that perfectly meshed those strange elements with inviting pop appeal. This album does no such thing, keeping listeners at a distance while bombarding them with sound effects. While Black Foliage used collage elements to connect fully formed songs, Major Organ just uses them as an end to themselves. There is no sense of satisfaction when the "real" songs do kick in — they are just more of the same jumbled mess of lo-fi production tricks. Mangum clearly wants to sound bizarre, a bent that allows for rampant originality, but unfortunately, not much in the way of truly great songs. Unlike Olivia Tremor Control's experiments, which manage to be astounding while maintaining a feeling of amateurish fun, Mangum's attempts are both far less successful and oddly forced — like trying to remake Fletch into a dramatic movie; a daunting task but one with little, if any payoff.Code: [Select]http://www.mediaf!re.com/?avpfhgy5kxr
Bigelf - Closer To Doom
This cover is a total rip off of Pink Floyds Umma Gumma
That is a fantastic album cover. What kind of music do you make?
That is a fantastic album cover. What kind of music do you make?all just 1 or 2 bar clips in most cases. pitch shifted, stuttered, reversed, made warbly sounding. all the magnificent things computers can do these days.
dog
There was a time when accomplished musicians used the electronic frontier as a means to hone their already perfected craft. A means to compliment the music rather than dominate it. Few bands have achieved this successfully; ELO, The Cars, New Order, Tangerine Dream, Thomas Dolby, Radiohead and Air to name a few. Some have even managed to achieve success as fully electronic collectives, such as Depeche Mode, Art of Noise, Jean Michel Jarre, Kraftwerk, and more recently Underworld and The Chemical Brothers.
Unfortunately a large majority of electronic bands over sample and try to be too much like each other, or they conform to standard formulas to simulate commercial success. The problem of course being that commercial success does not guarantee staying power. The Depeche Modes and New Orders of electronic music have been around for more than 20 years and will probably be around for another 20 simply because they choose to ignore the formula. These are the bands that earn our respect.
So where does Ulrich Schnauss fit into all of this? Amazingly, still wet behind the ears in his early 20's, German born and bred Schnauss has managed to produce an album that sounds as if were produced by an older, more accomplished musician.
For lack of a better analgogy, imagine Brian Eno on steroids with a touch of Jarre and you have Schnauss's masterpiece "A Strangely Isolated Place". Eight tracks of ear candy bliss and creative sound scapes.
Opening with the soulful "Gone Forever", a multi layered sequence of Eno-esque synths and bass, Schnauss eases us on our engaging electronic musical journey.
"On My Own" is possibly the landmark track of the album and the most likely contender to expose Schnauss to an audience other than the underground electronic lover. If there was ever a soundtrack that conjured up visions of zooming about the galaxy in a spacecraft, this is it.
"Letter from home" hints of an Art of Noise influence only ever so slightly, but not enough to distract you from its own rightful elegance.
The remaining 5 tracks, Monday - Paracetamol, Clear Day, Blumenthal, In All the Wrong Places and Strangely Isolated Place are all unique in their simplistic beauty and purity.
After only a few listens to A Strangely Isolated Place it is clear Schnauss is nothing short of a musical genius, who will no doubt inspire present and future musicians to come.
http://www.mediaf!re.com/?y0vuzzcrmffhttp://www.mediafire.com/?ktbhphcnhkshttp://www.mediafire.com/?l8zp3vmnxvbhttp://www.mediafire.com/?zhtkhgzr6v6why is it private :(
You sir.Why thankyou.
Are pro.
*tips hat*
uni-businessExploiting free high speed internet is all part of university. They dont particularly care what you are downloading. i have a friend who sits around torrenting 3 gig of anime a day.
A handful of American universities are cracking down on that kind of stuff, though. Blocking some students from accessing networks usually, but at the most extreme, lawsuits have been filed and some have been fined quite a bit of money. My dad showed me an article in Rolling Stone about the whole thing. Fuckin' RIAA.
Major Organ and the Adding Machine - s/tCode: [Select]http://www.mediaf!re.com/?avpfhgy5kxr
agreed. be careful, my ex girlfriend brought her laptop to a unnamed boston college and when she hooked her computer up to the network, she was later brought through a lawsuit for illegally downloading music. some of which i don't even think was downloaded on the campus network. anyway, as far as i know, they track all that stuff through p2p sharing. monitoring what is being downloaded on every computer that is not p2p would be some sort of privacy violation wouldn't it? anyway, in the end, she paid about $5,000 for her lawyer, and i don't even want to tell you what the initial charges per song were. download safely.
http://www.mediaf!re.com/download.php?tt6c3llbrmoIt is not possible to listen to this EP without being brought in mind of The Dirty Three. Both trios hail from Melbourne, both blend stark, moody post-rock with jazz sensibilities and musicality, and The Dirty Three have long enjoyed the critical acclaim that Because Of Ghosts are only now starting to receive as they make a name for themselves in Victoria.
Your House is Built on a Frozen Lake is a twenty-five minute journey through melancholy and raw, noir introspection that aches as it carries you from track to track. The EP opens with a minute and a half of eerie harmonics and the random strings of a tortured guitar which emerges as the driving Upward! Forwards! before being stripped back again to the off-key guitar plucking of the wryly-titled There's Nowhere Else To Put Them, a track which features the sound of a man digging a hole. A Simple Dare surprises as a partially-obscured woman's voice cuts in and tells the tale of a childhood prank gone wrong over a much more solid guitar piece that really brings the melancholy home.
The album then seems to start again, breaking into a minute and a half of random guitar plucking that comes together into the very raw, under-produced I Always Thought But I Never Said. It's followed by the even more melancholic You Fool, a gorgeous, quiet rambling that includes the child-like tinkling of a glockenspiel and the faint, barely audible lilting of a man in the background, rising to a crescendo that delivers you into A Waltz for Berenice. This is for me the standout track on the album, with brilliant drumming and a perfectly imprecise guitar that is balanced and complemented by a sad, emotive cello.
Your House is Built on a Frozen Lake has two big strengths. Firstly it is a very free album, unconstrained, wandering from song to song, sometimes dawdling before arriving - it doesn't rush, and that makes this EP feel complete in a way that most EPs don't, a single story rather than a collection of pre-album songs, which makes it something you can listen to again and again.
Secondly, the musicality of the artists is undeniable. Each string is plucked at just the right moment, every sound is perfectly placed, and yet the EP sounds organic and natural rather than contrived - an appearance the light, atmospheric production enhances. Another similarity between Because of Ghosts and The Dirty Three is that both their drummers share an impeccable sense of timing and a very light touch, which is very important because a heavier drummer could easily overwhelm the delicate music here, while a tentative drummer could fade out, leaving the album without a proper grounding.
The precise instrumentation and the free, rambling attitude here combine to make Your House is Built on a Frozen Lake a much darker, and infinitely more emotional experience than the trio's previous releases, and it bodes well for the future. Having heard this EP, I am very much looking forward to what Because of Ghosts bring us this year.
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what are you, one of those "ONCE SENT FROM A GOLDEN HALL IS THE ONLY GOOD ALBUM" person?
I like it better than With Oden on Our Side, but to each their own.
Also that one you downloaded was an improper release, as the majority of the songs were 128k. This one's a proper scene rip.
Would it be possible to get a re-up of Rachel's?
Dude, it is Jason Lee. I guess it's wrong to assume the majority of music fans have seen the movie 'Almost Famous'.
oh i didn't even see the "director" part. woops.
also i bet a lot of music fans have not seen "almost famous". so yeah. you are wrong to assume that.
http://www.mediafire.com/?sharekey=bccef3fa14dc0f56d2db6fb9a8902bdaNo AMG on that one, guess it's not out yet.From God to Techno Animal to Ice, projects associated with Kevin Martin always evoke certain styles but rarely rely on them, instead using them as a jumping-off point for his sound experimentation. While Ice was nominally a hip-hop project, the tracks really sounded nothing like any rap music heard before it (though not after it; Def Jux may have ripped the script from Martin slightly). His debut on the Tigerbeat6 label associated with admirer Kid 606 is in similar fashion to his usual M.O. Yes, it's a dancehall project, but other than a few passing nods to the style, Pressure doesn't sound like a dancehall record. Though brutally powerful like the best dancehall records, it sacrifices much of the groove and replaces it with deep yet brittle drum programs; distorted, thudding basslines; and fragmentary shards of dub effects. Every track here has a vocalist, and Martin could hardly have chosen better -- the list of collaborators includes a raft of distinctive, contemporary artists, such as Toastie Tailor from New Flesh, Daddy Freddy, the Rootsman, and the inimitable Paul St. Hilaire (a Rhythm & Sound collaborator whose previous handle, not to be mentioned here, was the subject of a vicious cease-and-desist order). Three tracks featuring Roger Robinson are closer to dub poetry, though, and allow Martin even more latitude for his productions; the spine-tingling "Thief of Dreams" recalls a half-stepper Basic Channel production. For those who'd be more interested in dancehall if not for the many crude, formulaic productions, Pressure is the perfect meld of experimental and energetic.
http://www.mediafire.com/?sharekey=bccef3fa14dc0f56d2db6fb9a8902bda
Of course, choosing Missiles is more than a reactionary move; Dear Science is a splendid record, and certainly one that will gather more than its fair share of accolades in the upcoming weeks. It just so happens that The Dears have crafted a brilliant piece of modern, dark-pop infected indie rock. From the bare-soul rocking of “Berlin Heart” to the lilting, hypnotic gospel goodness of the eleven-minute closing track “Saviour”, The Dears have constructed a thoroughly evocative and erudite album.
http://www.mediafire.com/?sharekey=592f8beb33436e57d2db6fb9a8902bda
Any of them. Every time I find a link, it's dead no matter how recently it was put up. I hear Music for Egon Schiele is really good, but I'm willing to take anything I can get.Would it be possible to get a re-up of Rachel's?
Which of their albums? They get taken down ridiculously fast but I snagged Selenography.
Amon Amarth - Twilight of the Thunder God
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http://www.mediaf!re.com/?vjhjjq1m02chttp://www.mediafire.com/?0iwrbgmgd2hAny of them. Every time I find a link, it's dead no matter how recently it was put up. I hear Music for Egon Schiele is really good, but I'm willing to take anything I can get.Rachel's - Music for Egon Schiele
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http://www.rapidspread.com/file.jsp?id=lhuytcwbxwCynic ultra-awesome-demo-pack
I also have the Portal demo that was made after Focus, as well as the Focus re-issue with re-mixes of songs from Focus - if anybody is interested, that is...
Murder By Death - Like The Exorcist, But More BreakdancingCode: [Select]http://www.mediaf!re.com/?vjhjjq1m02c
Murder By Death - Who Will Survive, And What Will Be Left Of Them?Code: [Select]http://www.mediaf!re.com/?0iwrbgmgd2h
you heard the three new songs from the upcoming '08 album?
http://www.mediafire.com/download.php?eoqhaeqmqcnhttp://www.mediaf!re.com/download.php?cyaiig4gtgowww.mediaf!re.com/?dlnmzzxvpyvhttp://www.mediaf!re.com/?psxlfcdlowtCynic - Traced In AirCode: [Select]http://www.mediaf!re.com/?psxlfcdlowt
listen at full volume in a dark room for maximum effectiveness
Cynic - Traced In AirCode: [Select]http://www.mediaf!re.com/?psxlfcdlowt
listen at full volume in a dark room for maximum effectiveness
full album?
thought it was out in oct?
wasshappeniinnngggg!?!!?
http://www.mediafire.com/?wjgx29fpxvnThis album is an incredible sonic voyage taken on almost entirely vintage equipment through Neutral Milk Hotel alumni Julian Koster's demented mind. Clouds and Tornadoes is what you would get if you mixed the best elements of Neutral Milk Hotel, Daniel Johnston's old cassettes, and a Microphones album. In short, it's brilliant and beautiful, and it sounds timeless and unique. Download it.
http://www.mediafire.com/?mymmm2jm2dg
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Los Campesinos! - We Are Beautiful, We Are DoomedCode: [Select]http://www.mediaf!re.com/download.php?eoqhaeqmqcn
Be Happy.
http://www.mediaf!re.com/?0mdm01vkybz"Jubilee is an Alternative Rock/Indie Rock band from Los Angeles, California, which formed in 2007. The band consists of Aaron North (Nine Inch Nails, The Icarus Line) on guitar and vocals, Michael Shuman (Queens of the Stone Age, Wires On Fire) on bass and vocals, Evan Weiss (Wires on Fire) on guitar and backing vocals, and Robi Gonzalez on drums.
According to their press release written by Travis Keller, Jubilee's sound is "something like The Replacements, The Stone Roses, Neil Young, Blur, Jane's Addiction, Bob Dylan, Creedence Clearwater Revival, and The Verve, all sliced ‘n diced together quite nicely."
http://www.mediafire.com/?yjfn2mmxizqPt. 2: For Real (Single), Overboard & Down (EP), Sleep and Wake-up Songshttp://www.mediafire.com/?jynzwjtrtyywww.megaupload.com/en/?d=WSH8T2LXhttp://www.mediafire.com/?hf5zj4tywyvhttp://www.mediafire.com/?mknogdjnzer
http://www.mediaf!re.com/?sharekey=019a54d397183ae1d2db6fb9a8902bdaLSD and the Search For God- LSD and the Search for Godhttp://www.mediafire.com/?sharekey=019a54d397183ae1d2db6fb9a8902bdaNihilist Spasm Band- Live at the Western Front. Good old Canadian Noise. From My hometown too. Apparently, the Bad Seeds side project Grinderman injected some serious adrenaline into the equation, evidenced mightily on Dig!!! Lazarus Dig!!! This is the 14th album by Nick Cave and company. After the masterpiece that was Abattoir Blues/The Lyre of Orpheus in 2004, Cave and Warren Ellis scored a pair of films -- The Proposition and The Assassination of Jesse James by the Coward Robert Ford, and recorded the self-titled Grinderman album with other bandmembers Martyn Casey and Jim Sclavunos. Grinderman was a howling, raucous, rock & roll racket of a set that sweat humorous garage rock blues and raw shambolic guttersnipe stroll that spread its nasty cheer to the listener. The return of the full-on Bad Seeds octet builds on this energy and emerges with an album that is at once snarling, darkly humorous, decadently sexual, and, if you are a religious Christian person, seemingly blasphemous. An obvious example is the title track that opens the album. As always, Cave's lyrics are at the center. They are the focus whether he wants them to be or not, and they certainly are here. The track kicks off with a low-end, loose-limbed bass slog and snarling guitar swagger that simultaneously recall Link Wray and Johnny Thunders. Cave re-introduces the biblical character that Jesus raised from the dead as Larry. Larry gets resurrected in the 21st century. He is utterly lost as he rambles about, utterly disoriented and wondering why the hell he was woken from his dream sleep in the first place. (Think Martin Scorsese's Last Temptation of Christ set in the current day with its Lazarus stumbling around half blind and lost, one foot here, one in the next world.) Larry, who no longer has a sense of who or where he is, partakes of every greasy pleasure known -- sex, dope, violence -- and ends up in the joint, and eventually homeless before ending up back in his hole in the ground. Cave wryly explains at the end, "poor Larry." There are bullhorn sounds in the backdrop, sheer noise wafting in from the margins, and the band pumping itself up with every verse. Cave talks more than he sings here, he's reciting something that feels free form but it's rhythmically dead-on and very tightly focused.
Tracy Pew of the Birthday Party could have played the bass rumble that introduces "Today's Lesson." It's all popping riff, one line played over and over as the band brings out organs, acoustic and electric guitars, Ellis playing an electric mandolin, and Cave offering the tale of a young woman who wakes from a dream with a jawbone stuck inside the waistband of her jeans like a gun, who has been repeatedly violated in her sleep by the sandman; when she wakes up all hell breaks loose in the form of a "real good time tonite." She's ready to party, to get while the getting's good -- you are free to interpret whatever that might be.
Dig!!! Lazarus Dig!!! isn't all clamorous craziness, however. For starters, it's not as raw as Grinderman. Nick Launay reins it in while extending the textural and dimensional reach of the Bad Seeds wonderfully rootsy yet complex and swampy sound. There are many different kinds of songs here, like the creepy crawly "Night of the Lotus Eaters" that feels like Night of the Living Dead meets Hammer studios meets the Voodoo Gods of Haiti on 'ludes and cheap wine. It's dark, sinister, slimy, and addictive. "Albert Goes West" suggests the Dream Syndicate at their wildest with squalling guitars. When he says "The light upon the rainy streets/Offers Many Reflections/And I won't be held responsible/for my actions..." only to the same protagonist asks in a Concord bar "Do you wanna dance?/Do you wanna groove?" He means it. It's not as absurd as it sounds and in the context of his character, it's unhinged. When the band screams, crunches, and squeals out of the tuner in its music, they sweetly sing like drunken devilish doo wop boys meeting "Sha La La," right to the fade. Only Cave could get away with lines like "Our myomixtoid kids spraddle the streets/we've shunned them from the greasy grind/the poor things/They look so sad & old/As they mount us from behind...." and "I go guruing down the street/young people gather round my feet/as me things-but I don't know where to start." All the while the band chants "doop doop doop" behind him.
In "We Call Upon the Author," Cave has become a cross between the great 20th century poets of history and the outer edges of mental myths like Charles Olson and John Berryman who happen to play rock & roll. The latter of these writers is celebrated in the same tune for writing like "wet papier mache/and going out the "Heming-way." This occurs a mere line after he castigates the late Charles Bukowski for being a jerk. "Hold on to Yourself" brings the swirling cacophony the Bad Seeds can summon live with Ellis playing an electric viola along with a pulsing Farfisa organ and acoustic and electric guitars atop sparse drums. It's a sad love song that might have been a rock outtake from The Assassination of Jesse James, if Jesse were singing it in the current era: "I'm so far away from you/I'm pacing up and down my room/Does Jesus only love a man who loses?" The cinematic reach of the track is alternately heartbroken, lost, and furious. "Lie Down Here (And Be My Girl") is feverish, nightmarish, desperate, and as elegantly ruined and unrepentant as Nikolai in Tolstoy's Anna Karenina. Amid the soaring guitars, a backdrop of old rock & roll chorus lines, psychedelic fuzztone leads, and that propulsive bassline and popping snare, Cave's protagonist exhorts his beloved not to worry about the life pouring out of him, and just take in the moment as an eternal one, where all comes down and rises at once. Ellis' moaning Gypsy violin, electric mandolin, a spooky Mick Harvey piano, and a one-two rhythm section shuffle offer another dark and hopeless love song in "Jesus of the Moon," but its drama and punch are almost theatrical in scope. It's dead serious, no camp here; it's all passion, pathos, and an unwillingness to let go despite the fact of having already done so. The last line in the song is, "I say hello." One wonders to what? The abandoned lover? Oblivion? With "More News from Nowhere," the album closes uncharacteristically on what may seem at first to be a light moment. Musically and lyrically it walks the line between Bob Dylan's wry, bluesy, sprawling observations on 21st century life and the light, sarcastic celebration of decadence in Lou Reed's "Walk on the Wild Side."
What it all comes down to is that Dig!!! Lazarus Dig!!! is a Bad Seeds record that ups the ante once again. The elegance and poetry, the drama and tension of Cave's more poetic notions are balanced by his Sade-ian humor and social criticisms and his willingness to blend flesh and spirit as two sides of the same coin. Along with this comes a band's sound that is incredibly evolved and unself-conscious. It's an album where a fire breathing, rootsy, garage rock band creates a soundtrack to modern fun house life: where the stakes are high, the odds are hopelessly stacked, and there is little left to do but laugh at its dreadful irony.
http://www.mediafire.com/?gla2mnxgt0yBeck has always been known for his ever-changing moods -- particularly since they often arrived one after another on one album, sometimes within one song -- yet the shift between the neon glitz of Midnite Vultures and the lush, somber Sea Change is startling, and not just because it finds him in full-on singer/songwriter mode, abandoning all of the postmodern pranksterism of its predecessor. What's startling about Sea Change is how it brings everything that's run beneath the surface of Beck's music to the forefront, as if he's unafraid to not just reveal emotions, but to elliptically examine them in this wonderfully melancholy song cycle. If, on most albums prior to this, Beck's music was a sonic kaleidoscope -- each song shifting familiar and forgotten sounds into colorful, unpredictable combinations -- this discards genre-hopping in favor of focus, and the concentration pays off gloriously, resulting in not just his best album, but one of the greatest late-night, brokenhearted albums in pop. This, as many reviews and promotional interviews have noted, is indeed a breakup album, but it's not a bitter listen; it has a wearily beautiful sound, a comforting, consoling sadness. His words are often evocative, but not nearly as evocative as the music itself, which is rooted equally in country-rock (not alt-country), early-'70s singer/songwriterism, and baroque British psychedelia. With producer Nigel Godrich, Beck has created a warm, enveloping sound, with his acoustic guitar supported by grand string arrangements straight out of Paul Buckmaster, eerie harmonies, and gentle keyboards among other subtler touches that give this record a richness that unveils more with each listen. Surely, some may bemoan the absence of the careening, free-form experimentalism of Odelay, but Beck's gifts as a songwriter, singer, and musician have never been as brilliant as they are here. As Sea Change is playing, it feels as if Beck singing to you alone, revealing painful, intimate secrets that mirror your own. It's a genuine masterpiece in an era with too damn few of them.
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is that the s/t EP or a full length?
http://www.mediaf!re.com/download.php?xdto5kjjgnghttp://www.mediafire.com/download.php?2njn5yd3tdjNihilist Spasm Band- Live at the Western Front. Good old Canadian Noise. From My hometown too.
In the tradition of the Hal Willner-produced tributes to Thelonious Monk and Charles Mingus comes Willner's Closed on Account of Rabies: Tales of Edgar Allen Poe, a two-disc collection of musical and spoken-word interpretations of classic works including "The Raven," "The Tell-Tale Heart" and "The Conqueror Worm." Among the contributors are Iggy Pop, Marianne Faithfull, Ken Nordine and Jeff Buckley, as well as actors like Christopher Walken and Gabriel Byrne.
Alone - Marianne Faithfull (1:30)
The Raven - Christopher Walken (8:30)
The Tell-Tale Heart - Iggy Pop (14:26)
The Conqueror Worm - Ken Nordine (3:00)
The Black Cat - Diamanda Galas (36:58)
For Annie - Gavin Friday (5:21)
To Helen - Ed Sanders (2:29)
The Haunted Palace - Ed Sanders (5:42)
Ulalume - Jeff Buckley (6:13)
Berenice - Doctor John (27:42)
The City and the Sea - Debbie Harry ... (8:04)
Performed by: Debbie Harry, Jazz Passengers
Annabel Lee - Marianne Faithfull (2:24)
The Masque of the Red Death - Gabriel Byrne (18:13)
Raven [live Excerpt] - Abel Ferrara (1:57)
http://www.mediafire.com/?zy0wymxygz1Because, you know, we all secretly want to be sung to sleep by Christopher Walken and Iggy Pop.The Milk-Eyed Mender was a striking debut that set Joanna Newsom apart from her indie folk contemporaries. Its simplicity and depth, and the way it sounded timeless and fresh, made her a singular figure in that scene. On her second album, Ys (pronounced "ease"), she continues to move in a very different direction than her peers, and even a different one than what her audience might expect. The Milk-Eyed Mender's 12 gentle vignettes sounded like they were basking in sunlight; Ys is epic, restless, and demanding, made up of five dazzling, shape-shifting songs that range from seven to 16 minutes long. Newsom embarks on this adventure of an album with help from talents as diverse as engineer Steve Albini, arranger Van Dyke Parks, and producer Jim O'Rourke (who, come to think of it, is the perfect meeting point between Albini and Parks). Ys' boldly intricate sound plays like an embellished, illuminated, expanded version of Newsom's previous work. Parks' lavish, but never intrusive, orchestral arrangements sometimes make the album feel -- in the best possible way -- like a Broadway musical based on The Milk-Eyed Mender, particularly on the album closer, "Cosmia." Crucially, though, Ys isn't any less "real" than Newsom's other music just because it's more polished. The nature and craft imagery in her lyrics, the transporting sense of wonder and the one-of-a-kind voice of The Milk-Eyed Mender are here too, just in a much more refined and ambitious form: Ys is a gilt-edged, bone china teacup to Mender's earthenware mug.
Along with the beautifully filigreed arrangements and melodies, which mingle strings, jew's-harps, and spaghetti Western horns with Appalachian, Celtic, and even Asian influences, the album shows Newsom's development as a singer. She has more nuance and control, particularly over the keening edge of her voice, which is recorded so clearly that when it cracks, it tears the air like a tangible exclamation point. Ys' daring, plentiful wordplay makes it even more of a rarity: an extremely musically accomplished album with lyrics to match. On "Only Skin" alone, Newsom goes from rhyming "fishin' poles" with "swimmin' holes" to "heartbroken, inchoate." These songs are so full of words and plot twists that sometimes it feels more like you're reading them instead of listening to them, and indeed, actually reading the lyrics in the book-like liner notes reveals that Ys has a library's worth of children's stories, myths, romances, and of course, fairy tales woven into its words. As the album unfolds, it seems like Newsom can't get more ambitious (and more importantly, pull it off), but with each song, she does. Two of the best moments: the darkly whimsical fable "Monkey & Bear," a forest romp that boasts some of the album's best storytelling and some of Parks' liveliest arrangements, and "Sawdust & Diamonds," which is surreally sensual and coltish, with surprisingly direct lyrics: "From the top of the flight/Of the wide, white stairs/For the rest of my life/Do you wait for me there?" Ys isn't exactly a reinvention of Newsom's music, but it's so impressive that it's like a reintroduction to what makes her talent so special. Its breathtaking scope makes it a sometimes bewildering embarrassment of riches, or as one of "The Monkey and the Bear"'s lyrics puts it, "a table ceaselessly being set." Yes, Ys is a demanding listen, but it's also a rewarding and inspiring one. Letting it unfold and absorbing more each time you hear it is a delight.
http://www.mediafire.com/?bjnmiy0tjyySomething to sooth your soul after the Poe trauma.
Code: [Select]http://www.mediaf!re.com/?sharekey=019a54d397183ae1d2db6fb9a8902bdaLSD and the Search For God- LSD and the Search for God
gotta say, i'm pretty disapointed with that cd. i downloaded it a couple days ago and haven't even listened to the entire thing yet because it was just so uninteresting.
Sticking Fingers Into Sockets, however, was fucking brilliant and i still play that on a regular basis.
Joanna Newsom - Ys
http://www.mediaf!re.com/?vfbo7bvkg56Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's "The Way We Were"), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again.
http://www.mediaf!re.com/?zfw217mjx0nEven when it seemed they were tearing apart from in-group miscommunication and a welter of baffling solo albums, the Wu-Tang Clan came together again like Voltron for another excellent full-length. Expanding on the strengths of their third album, The W, Iron Flag focuses squarely on the Wu's immense twin strengths: bringing together some of the best rappers in the business, and relying on the best production confederacy in hip-hop (led by RZA) to build raw, hard-hitting productions. Nothing brings a group together better than invasion from outside, and even though the flag they're raising on the cover is their own, Wu-Tang respond to the terrorist attacks of 9/11 with guns blazing -- Ghostface Killah puts it simply, "Together we stand, divided we fall/Mr. Bush sit down, I'm in charge of the war!" The production is rough and ruddy, much more East Coast than their last two full-lengths (both of which were recorded in Los Angeles). Original East Coast head Flavor Flav even makes an appearance on "Soul Power (Black Jungle)," though he doesn't even attempt to trade rhymes with the heaviest crew in hip-hop. (Instead, RZA indulges him by running the tape on an extended reminiscence with Flav and Method Man talking about growing up on Long Island.) The single "Uzi (Pinky Ring)," "In the Hood," and "Ya'll Been Warned" are all excellent tracks with excellent raps and, though the vaguely familiar horn samples driving most of them sure weren't tough to record, RZA deserves a lot of credit for keeping the production simple. Even while most rappers have turned R&B overnight, Wu-Tang are really the only ones left in the hardcore game who sound like they're in it for more than money or prestige.
gotta say, i'm pretty disapointed with that cd. i downloaded it a couple days ago and haven't even listened to the entire thing yet because it was just so uninteresting.
Sticking Fingers Into Sockets, however, was fucking brilliant and i still play that on a regular basis.
gotta say, i'm pretty disapointed with that cd. i downloaded it a couple days ago and haven't even listened to the entire thing yet because it was just so uninteresting.
Sticking Fingers Into Sockets, however, was fucking brilliant and i still play that on a regular basis.
I downloaded We are Beautiful, We are Doomed, and I like it a lot. So if Sticking Fingers into Sockets is thought to be even better, I'd love to hear it. Could I request this please?
http://www.mediafire.com/?sharekey=a7fea7e0ec8d036ed2db6fb9a8902bda
http://www.mediafire.com/?sharekey=2f989e09b88a14b4ab1eab3e9fa335ca8d556a053c813b84http://www.mediafire.com/?sharekey=2f989e09b88a14b4ab1eab3e9fa335caf594c12ca4d5c5f0http://www.megaupload.com/?d=JMUSKFCN (sorry about the Megaupload, I'll change it to mediaf!re if anyone objects)http://www.mediaf!re.com/?ztygymdcygvhttp://www.mediafire.com/?aymmmt2jgem
Released on CD by Dischord in 1991, this digital version of End on End covers the complete recorded output of the legendary Rites of Spring: their self-titled LP, the All Through a Life EP, and one extra song. One of the first bands to be labeled emocore, Rites of Spring would seem to transcend all labels as their music cuts right through to the heart of universal human experience. Emotional? Yes -- check out the bitter memorial relived on "For Want Of," the pulse pounding moment-grab that is "Drink Deep," or the devoted searches for honesty and meaning explored on "End on End," "Theme," and really just about every track on the disc. Hardcore? Yes -- emerging from the D.C. scene, the music is pure focused energy, not a single note wasted. The band at times is fast and furious, at other times lush and evocative though always with a sense of drive and melody. Rites of Spring hint at some of the territory vocalist/guitarist Guy Picciotto and drummer Brendan Canty would later survey with Fugazi, but this band is much more than just a stepping stone. End on End, quite simply, is a testament to the rich possibilities of sincerity in music.
http://www.mediaf!re.com/?zvomib2ydttThe Jesus Lizard's second album followed in the vein of the first with little immediate variation: loud, excellently produced by Steve Albini, plenty of space in the recording to emphasize the sheer force of McNeilly's drums and Sims' bass, and more besides. The little-remarked-upon ability of the rhythm section to kick out some ass-shaking jams spikes up such great numbers as "Nub," which almost predicts Rocket From the Crypt down to the gang-shout vocals, and the slower but no-less-compelling grind of "Rodeo in Joliet" (also one of the band's most inspired titles). Denison's guitar playing seemed a touch more focused at points here, the results almost suggesting such post-punk groove monsters as Gang of Four and even the Pop Group. There's a more evident melodic lead role for his work as well, as the just plain great riff that fires up "Mouth Breather" and his near-countryish twang on "Karpis" makes perfectly clear. Yow, meanwhile, steps ever more into his own persona, his lyrics now downright comprehensible and his singing levels a touch less doom- (and bass) heavy, if no less aggrieved. The staggered vocal overdubs on "Monkey Trick" are a standout, especially when Denison suddenly serves up another one of his surprisingly sweet passages as a bed. Other treats on the album include the opening "Here Comes Dudley" -- in context one of the more non-welcoming greetings around -- and the Morricone-tinged freakout of "Lady Shoes," assuming Morricone scored movies about doctors dealing with some freaky female patients. The whole album seems like a party in hell, not to mention demonstrative proof that there's still plenty of fun to be had with a basic rock lineup; it's all in the matter of how it's handled.
http://www.mediaf!re.com/?d0vn3ykmgmgThe enigmatic Beta Band wandered out from the northern hills of Scotland with a satchel of kooky costumes and barnyard grooves. Sometimes wearing crazy costumes, they craft folk-influenced, psychedelic funk music, which has the immediate American reference point of Beck (if only for the fact that they dress like cowboys and astronauts, and blend acoustic roots with deep-bass jams). But to lump the Beta Band in with the dismal crop of those Silverlake "fusion" groups that cut-and-paste hip-hop with unplugged pop and pop culture samples would be extremely hasty and unfair.
The Beta Band are a far cry from pop music structures and radio cliches. A few songs from The Three EPs collection bear more resemblance to recent Primal Scream, albeit a more sylvan, lackadaisical Primal Scream. But really, the only pigeonholes you can mention in regards to the Beta Band would be holes pecked by actual pigeons in their country-cabin studio. This is a band that can chant in Gregorian echoes over toy-piano loops, DJ Shadow-style drumbeats, and guitar wash on "Dr Baker" without somehow sounding "artsy".
"I Know" builds a lazy guitar melody over a spurs-and-pocket-change jangle and a turtle-speed bassline that sounds so low-tuned that the strings could wobble off the neck. This flows smoothly into "B+A", a subtle desert guitar and drumloop haze that climaxes with splashing cymbals and handclaps. These two tracks best demonstrate the buzz-generation power of the Beta Band. Unlike most electronic and rock artists that incorporate dance elements with harsh editing, the Beta Band take their time and let the songs slowly develop in quiet movements. Nothing is clenched or forced, or would ever work on a dancefloor.
Much of this has to do with the general air of bathtub-and-hall-closet-cropped narcotic influence that seeps from every swirling piano note and turntable-scratched tweet. Perhaps it's the effect of the morning Highland air that one can imagine drifting in frozen puffs from the mouths of the Beta Band with every breathy vocal, as they compose their songs in the ol' woodshed over a mug of tea. But a moment comes on The Three EPs when the realization strikes you that there may be some greater power at work. It happens during the sprawling centerpiece, "Monolith", a haunted orgy of stream-of-consciousness psychedelia. The entire "song" sounds composed by ghosts. Mid-east market ambience mixes with bongos and birds while guitar-notes drip from the heavens.
Don't be fooled that this album was issued by Astralwerks or that it boasts lots of turntable action. It's closer to the Beatles' "Revolution #9" than Bentley Rhythm Ace. If at times seeming too experimental, the Beta Band make up for whatever misfires with the raw fact that at least they're doing something different and exhilarating in this age of banality and been-there-done-that. They represent the thinning of the line between rural and urban in our age of connectivity. Throw 'em on at dawn and watch the sheep come in as you check your e-mail.
http://www.mediaf!re.com/?zmjzwmnmqhm
gotta say, i'm pretty disapointed with that cd. i downloaded it a couple days ago and haven't even listened to the entire thing yet because it was just so uninteresting.
Sticking Fingers Into Sockets, however, was fucking brilliant and i still play that on a regular basis.
I downloaded We are Beautiful, We are Doomed, and I like it a lot. So if Sticking Fingers into Sockets is thought to be even better, I'd love to hear it. Could I request this please?
Los Campesinos! - Sticking Fingers Into Sockets
(http://static.rateyourmusic.com/album_images/876909.jpg)Code: [Select]http://www.mediaf!re.com/?sharekey=a7fea7e0ec8d036ed2db6fb9a8902bda
Wait, did Los Campesinos! release 2 records this year?
Rules:It's rapidshare, but I figured some people might be interested. Perhaps...
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.
http://rapidshare.com/files/147185069/oasis.tar
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.
On May 21st 2005 Black Violin, two classically trained musicians took home the title ‘2005 Apollo Legends’ which catapulted them to international fame. These two gentlemen, Kev Marcus and Wil B along with their DJ TK have created the ultimate synergy between classical and Hip-Hop music, and with it an incredible opportunity to reach young children. Since their triumph at the Apollo, Black Violin has toured with Linkin Park’s lead singer Mike Shinoda throughout the country and abroad, performed at the NFL Kick off party with ‘Diddy’, performed at the Billboard Awards with Alicia Keys, been featured on Paris Hilton, Jessica Simpson, Lil Kim, and Brooke Hogan’s albums, and has been giving an Award by the Brooklyn Center for Performing Arts for their Outstanding Contributions to Middle & High School Performing Arts Students. Kev Marcus, and Wil b, both graduates of Dillard Performing Arts High School, used their musical talents to earn full scholarships to college. Now Black Violin wants to make sure that America’s young people get the same exposure to the arts, and therefore the same opportunity that they did.
http://www.mediafire.com/download.php?j32qzynycid
http://www.mediaf!re.com/?nmwqarls9de
Okay so I need to break the rules, sorry guys.
Does anyone have the Alan Sparhawk solo album?
Hello happy music people. I would like to share with you a band that is awesome. This band is called Black Violin.
(http://i37.tinypic.com/2iay8g6.jpg)
For those who wish to see just how awesome this is before downloading, click (http://www.last.fm/music/Black+Violin/Black+Violin).QuoteOn May 21st 2005 Black Violin, two classically trained musicians took home the title ‘2005 Apollo Legends’ which catapulted them to international fame. These two gentlemen, Kev Marcus and Wil B along with their DJ TK have created the ultimate synergy between classical and Hip-Hop music, and with it an incredible opportunity to reach young children. Since their triumph at the Apollo, Black Violin has toured with Linkin Park’s lead singer Mike Shinoda throughout the country and abroad, performed at the NFL Kick off party with ‘Diddy’, performed at the Billboard Awards with Alicia Keys, been featured on Paris Hilton, Jessica Simpson, Lil Kim, and Brooke Hogan’s albums, and has been giving an Award by the Brooklyn Center for Performing Arts for their Outstanding Contributions to Middle & High School Performing Arts Students. Kev Marcus, and Wil b, both graduates of Dillard Performing Arts High School, used their musical talents to earn full scholarships to college. Now Black Violin wants to make sure that America’s young people get the same exposure to the arts, and therefore the same opportunity that they did.
Besides all that silly name-dropping, they have several awesome tracks that blend modern-sounding hip-hop with classical strings. I cannot describe it better than that because I do not really listen to hip-hop or classical strings, sorry. Some of their stuff still sounds a little too "top 40" for my taste but it's fairly listenable.Code: [Select]http://www.mediaf!re.com/download.php?j32qzynycid
Okay so I need to break the rules, sorry guys.
Does anyone have the Alan Sparhawk solo album?
Yes. I'm uploading now, sirrah.
http://www.mediafire.com/?myzutfgeayaAlan Sparhawk - Solo Guitar
http://www.mediaf!re.com/?nylwmczwdnlFabriclive 7 (John Peel) Part 2http://www.mediaf!re.com/?cmyzt3ommz3http://www.mediafire.com/?dt1dzrfoeemFabriclive 1 (James Lavelle) Part 2http://www.mediafire.com/?2ozvwymjejz
It's rapidshare, but I figured some people might be interested. Perhaps...
Oasis - Dig Out Your Soul
Oh Jesus ear-splitting Christ. Thank you so much for the Boards of Canada live stuff. I'm having to read a lot of shit at the moment before Uni starts in October, and music like this really helps. On that note, would anybody like Demos, A Few Old Tunes, Hi Scores, Peel Session, Twoism and the Unreleased Tracks Vinyl (all rareish stuff by BoC) I would be more than happy to oblige. Also, I'm thinking of putting My Bloody Valentine's discography. Anyone interested? xI'm interested in these Demos you speak of, thanks.
Do you know where I can get all the fabric's and fabriclives. I'd give you my sister for such information.
:mrgreen:
http://www.rapidfind.org/upload/showthread.php?p=227329i know its rapidshare but its still a solid collection, with proper album art and song and artist info. big fan of fabriclive 29 by cut copy.http://www.rapidfind.org/upload/showthread.php?t=61967
http://www.mediafire.com/?znawzc4kdmg
I'll mediaf!re it, it'll be up in a few hours. I'd do it from here, but I'm at work <_>It's rapidshare, but I figured some people might be interested. Perhaps...
Oasis - Dig Out Your Soul
This is down already :-(
Black Violin.This... Isn't bad... Wow, I'm actually liking this... And I'm not one to listen to anything with a "Hip-Hop" label on it...
http://www.mediafire.com/download.php?njazhdwnmh3
oh yay new deerhoof - offend maggieCode: [Select]http://www.mediaf!re.com/?znawzc4kdmg
oh yay new deerhoof - offend maggieCode: [Select]http://www.mediaf!re.com/?znawzc4kdmg
Uggggh I dunno if I should download it or wait a month uuugh.
oh yay new deerhoof - offend maggieCode: [Select]http://www.mediaf!re.com/?znawzc4kdmg
oh yay new deerhoof - offend maggieCode: [Select]http://www.mediaf!re.com/?znawzc4kdmg
Uggggh I dunno if I should download it or wait a month uuugh.
you can't be serious.
oh yay new deerhoof - offend maggieCode: [Select]http://www.mediaf!re.com/?znawzc4kdmg
http://www.mediafire.com/?y1jo1mtdnbd
http://www.mediafire.com/download.php?n2qnvjzqjnd
http://www.med!afire.com/?53jyyuioyxkA re-up of the new oasis on mediaf!reCode: [Select]http://www.mediaf!re.com/download.php?njazhdwnmh3
It's just another kind of .zip file. If windows doesn't open it, just go download 7-zip.
It's just another kind of .zip file. If windows doesn't open it, just go download 7-zip.
i have a mac, is it one of those downloads that i anxiously wait for it to finish, and then find out its for windows only? haha
http://www.mediaf!re.com/?be1zmmjqtwmhttp://www.mediaf!re.com/?t4wwf4o4gguhttp://www.mediaf!re.com/?xnylzw4zc3thttp://www.mediafire.com/?sen900dcf44
http://www.mediafire.com/?dhmlzjymyqwSince opening its doors in 1999, London's Fabric nightclub proved that there was a U.K. audience (and a big one) looking for something other than the mainstream trance that was populating the clubs at the time. But rather than trying to peg down what that something might be, which in turn would just create another trendy glut over time, the wise programmers at Fabric decided to open the club up to an impossibly wide variety of music, from techno and tech-house to garage and even old-school hip-hop. This installment of the club's mixed-CD series covers the final element with a flare that seems extremely unlikely coming from a British DJ. Deadly Avenger lays forth a non-stop mega-mix of party jams stretching as far back as the Jackson 5 and reaching up to underground hip-hop revivalist Nextmen. But in fairness, Deadly Avenger should share the headline with French producer DJ LBR, whose three sampledelic bootlegs found on this disc bring Snoop Dogg and Prince into the mix. Purists might not take a liking to what might seem like "cheating" instead of true turntable skills, but if you don't hold such things sacred, then it would be hard to do better than this disc for an old-school celebration that doesn't rely on the obvious classics to rock the house.Fabriclive 04 (Deadly Avenger)
http://www.mediafire.com/?mjyi20erjjtWhat greets the eye on the track listing of Howie B's contribution to the Fabriclive series is less impressive than what greets the ear once the disc is heard, which is a testament to the man's mixing skills. In a mix of funky breaks and big beat, Howie B gives these tracks -- most of which have a cinematic flair to them -- plenty of breathing room and adds elements taken from other sources on top (some spoken word from Lydia Lunch, the crazy screams from Ennio Morricone's main title for Navaho Joe, etc.). Excepting the low-slung dub of Prince Far I's "Foundation Stepper" and the paranoid drum'n'bass of Blame's "Music Takes You," the track selections date from two years of the mix's release year and hit a peak with Howie B's own jittery, sped-up remix of Garbage's sexed-up "Cherry Lips (Go Baby Go)." As creative as this mix is, there's no denying that it lacks the musical depth and diversity of B's Another Late Night.Fabriclive 05 (Howie B)
http://www.mediafire.com/?wmmeezi5gzthttp://www.mediafire.com/?wjmk2mwzvywFabriclive 06 (Grooverider) Part 2http://www.mediafire.com/?ztg2b3tkj4d
http://www.mediaf!re.com/download.php?3mzjjnzizqzhttp://www.mediaf!re.com/?yznz5yjylj1http://www.mediaf!re.com/?vkmyy0vde0iCarl Ruggles was an American composer, little known, and hardly ever recorded or performed. He wrote in a discordant style, atonal but not serial, and I have to say his orchestral works can get overbearingly portentous. Angels and Sun-Treader are his best-known works, but I have most affection for the hymn setting, Exaltation, which was written in memory of his wife. He completed only ten mature works, spending much time polishing them to his liking; and he was a prolific painter.Hello happy music people. I would like to share with you a band that is awesome. This band is called Black Violin.No offense, but this is absolutely terrible. At least the couple tracks I tried to listen to on last.fm.
For those who wish to see just how awesome this is before downloading, click (http://www.last.fm/music/Black+Violin/Black+Violin).
If you can't tell, I really love Okkervil River
http://www.mediaf!re.com/download.php?mhmzokntfwwhttp://www.mediafire.com/?g3ljstxnxylBlackmore's Night is a Renaissance-inspired folk rock band led by Ritchie Blackmore (electric guitar and acoustic guitar) and Candice Night (lyricist and lead vocals).
The origins of the band lie in 1990 when Candice Night was working at a local New York rock music radio station. She first encountered Ritchie Blackmore, then with Deep Purple, at a football game in which he was playing. The two became romantically involved and discovered that they shared a passionate interest in the Renaissance.
After leaving Deep Purple in 1993 and recording the album Stranger in Us All in 1995, on which Night contributed backing vocals and some of the lyrics, Blackmore became interested in the idea of bringing Renaissance music to a contemporary audience. Night's personality and singing ability made her the natural choice as "frontwoman." In 1997 the pair were ready to launch the band, the name being a pun of their own names, and which would consist of themselves plus session musicians.
http://www.mediafire.com/?jmmvyylwyvw
http://www.mediaf!re.com/?l8zvyfhcejv
Hello happy music people. I would like to share with you a band that is awesome. This band is called Black Violin.
(http://i37.tinypic.com/2iay8g6.jpg)Code: [Select]http://www.mediaf!re.com/download.php?j32qzynycid
http://www.mediafire.com/download.php?kkewzmjzawmLed by Chris vanderLaan, a former member of Calgary melodic punk band the Buzzing Bees, Vancouver-based quartet Animal Names feature the sort of melodic but melancholy harmonies and mid-tempo, guitar-based rock songs that can only come from kids raised on Braid or the Get Up Kids. But, as demonstrated on their debut album, Ballet Bones, that’s far from a bad thing. Opener “Something and the Infinite Gladness” builds a slow navel gazer from vanderLaan’s matter-of-fact singing and playful guitar. Elsewhere, as on “Grinder Deluxxx,” the album kicks up the pace for some summery sing-alongs. “Plastic Castles,” the album’s centrepiece ballad, is a quiet acoustic track in the vein of Kind of Like Spitting. If you grew up with all-ages shows and early Smallman Records, you’ll find Animal Names’ fantastic debut especially exciting.
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.
Frantic and all over you from the moment the first song kicks in, Appreciation Night is a schizophrenic journey into the already diametric minds of the Bound Stems. The album slips back and forth between a variety of styles, tempos, peaks, and valleys as if the Stems stuck their hands, blindly, into a cocktail of meds and designed a record based on the emotional ups and downs they experienced. It’s a rollercoaster, not only from one song to the next, but also from one movement to another, trapped within the confines of the same song.
Drummer and co-producer Evan Sult has said that he walked around Chicago during the making of Appreciation Night, recording the sounds of the city’s inhabitants. Like the band’s hometown, these songs are laced with labyrinths of conflicting characters and sounds. Guitarist/vocalist Bobby Gallivan’s lyrics often extend beyond the first person, shifting into numerous narratives and expositions, representing an extended family, a community, or even a region. We move through neighborhood avenues, the interiors and exteriors of homes and relationships; the presence of other speakers and singers in the mix diffuses Gallivan’s singular “voice,” which is sometimes a shared lead with multi-instrumentalist, Janie Porche, and at other times is the whole band chanting its way to a song’s climax. Field recordings, too, pop up in the nooks of the album, during songs and in between them, thickening the impression of place and presenting the notion that this album -- its songs and characters -- exists in a tangible world with tangible human noise and not just inside the studio thrashes of guitars and drums. This place is familiar, or at least that’s the intent.
Introductory track“Appreciation Night” is a collage. In less than thirty seconds we hear an old-timey honky-tonk piano and horns, an airport (or train? or bus station?) terminal voice welcoming us to Chicago, an airplane landing (or taking off?), another voice welcoming us to a show, an audience in a bar (or a school house? or a town hall?) counting down: one-two-three-four, the band, all the while, in the background, warming up their instruments before descending into the opening licks of “Andover.” “School kids with their families and, like hell, their mothers try to be on time / Bless this earth, my soul the universe, it’s often big enough to leave me out, ” Gallivan sings, guiding us into the fray of neighborhood imagery with Porche’s voice echoing him in the background. The opening lines establish Gallivan’s tendency to reveal both a personal narrative and grand snap shots of the city streets, his lyrics working as short story, memoir, and document. He continues, “I was born into a dream, she woke me up at dawn, now my suitcase is gone / Morning symphony, my neighbor cried, the neighborhood is used up / We kicked them out.”
Several songs on Appreciation Night work like “Andover,” that is, a series of geographical images and personal reflections (often relationship-driven) are conjured up by the words, and then, following some interesting musical transitions, a repeated phrase, lyrically or musically, emerges in tandem with the theme to help ground us when we come back to a song and unfold its meaning inside repeated listens. On “Andover,” the band peaks with Gallivan’s insistent, chanted lyric: "We’re headstrong, we’re headstrong, we’re headstrong, it’s our fault, it’s our fault, it’s our fault." This is a slogan that foreshadows the album’s scope, somewhere between forced dichotomy and natural diversity.
Elements of Modest Mouse and Wolf Parade surface in the Bound Stems, in Gallivan’s jerky vocal delivery, the pairing of shouting with sung vocals, and the band’s love for anthemic musical passages. With endless levels of layers in each track, the Bound Stems are more claustrophobic than their influences, even more so than the layered trip that is The Moon and Antarctica (2000), and their songs are deceptively “prog,” often defying verse-chorus traditions and simple time signatures. In fact, the stop-start versatility of the rhythm section is on-point. Sult and bassist, Dan Radzicki, are able to turn angular stomps into post-rock grooves (or vice-versa) at the drop of a hat. They rarely stay in one place for long and their slippery nature is crucial in shaping the face of the record. Gallivan and guitarist, Dan Fleury, are keen on playing catchy single note lines as songs build and kicking in with full-on chords for their most passionate sections. They milk that climax.
“Excellent News Colonel,” the most intriguing song on the album, begins with the sounds of Porche talking to the engineer in the studio. As Gallivan and Fleury interlock a pair of dreamy guitar lines, the drums roll in and Porche sings, “I’ve fallen for someone in New York / It’s something that I hadn’t expected / But I think that it’s so much better for us both… / I still hope you find the time to write.” The music slides into a different place, becoming darker for Gallivan’s vocals, “I’d like to talk and convince you to come to Chicago because you’re welcome here love… / We’ve seen the rise and fall of a family, in just two blocks it’s been too much talking.” The music changes again, moving into an uplifting romp. With a bouncy drum track and hand claps behind them, Gallivan and Porche share the lead, uniting until the song’s close.
The mini-song soundscapes, stitched in between the more traditional songs and filled with various voices, help build the communal atmosphere of the record. “Pulling On Pigtails” is an entrancing forty-second groove built on a loop of a Porche vocal sample. On “Fire, Burglary, Flood,” a man talks of selling life insurance as a post-rock instrumental lingers beneath his dialogue. “Book of Baby Names,” another track of dialogue layered over an instrumental, blurs the line between reality and fiction: it sounds like this could be any given man off the streets of Chicago reading from his diary or book of poetry, but the performance-like delivery hints that the Bound Stems are recording this “true scenario” in the studio, having written the story themselves, from scratch.
With the constant presence of field recordings and dubiously manufactured scenarios, Appreciation Night judges “reality” in the simplest of terms. Sult’s tape recording, take-it-to-the-streets approach recalls the classic silent film, Dziga Vertov’s 1929 Man With A Movie Camera, in which a Russian filmmaker wanders Russian cities capturing the stories, the lives, deaths, repetition, and cycles, of the quotidian. More accurately, the film gives the feeling of a man wandering the streets when, in truth, the production involved concise planning, visual trickery, and highly conscious editing. Like the film, this music captures some honesty of living in a city through hidden architecture. The music and the stories imbedded in the lyrics feel quite real -- "these are our lives, this is our city" -- but the final product has been so carefully constructed and edited that one can’t help but question the truth in the “real” aspects of the album.
At forty-seven minutes and fifteen songs, the sonic complexity of Appreciation Night makes it a demanding listen; the very nature of these shape-shifting tunes requires sharp ears. The first time I heard it, I was washing the dishes in the kitchen and it sounded like noise in my living room. It grew on me as I typed on my laptop in the coffee shop. Now it succeeds pretty much anywhere, as a whole or in pieces, as confusion or as razor-sharp moments of lucidity. Sult remarks, “We tried to get as weird as we could get without being alienating.” Appreciation Night is certainly not alienating. With its full palette of great riffs, compelling lyrics, short but catchy grooves, and various field sounds that may or may not reflect a basically understood reality, the record is heavy, but impressively intriguing and accessible, and as such, well worth our time
http://www.mediafire.com/?4mkuzxgndkmSince their inception, Chicago's Bound Stems have shown that they have the ability to write great guitar pop, but they've always wanted to do more, to add layers of complexity and tension to their catchy songs. The band's first full-length, Appreciation Night, mined a lot of charm from the clutter, though its few more linear songs stood taller than the rest. Follow-up The Family Afloat is more earnestly committed to making pop out of these tricky, occasionally incongruent parts. It's in the same carefully-cultivated messiness of their debut, but it seems to strike a better balance: The production shines, the transitions are more careful and the interludes more purposeful, the vocals are fuller and more confident, the hooks swing harder, and there's even a distinct theme. The opening track makes a trip to San Francisco sound better than Disney World, but the rest of the songs come to terms with putting down roots.
That opener, "Taking Tips From the Gallery Gang", puts Bobby Gallivan's voice right up front, with ephemeral layers of guitar fading in and out underneath. It has a typically unpredictable arrangement, but with a newfound anchor. "Happens to Us All Otherwise," meanwhile, might be the group's catchiest and most direct pop song yet, bursting with jangling guitars and innocent, pleading vocals. "Passing Bell" and "Palace Flophouse and Grill" return to the lurching, unpredictable rhythms of their previous album and EP, but Gallivan and singer Janie Porche are far less tentative vocalists and can better carry the song. (Porche only gets a bewildering, borderline angsty solo spot on "Palace"; she steps up when needed on Family Afloat, but mostly avoids the spotlight.)
In a catalogue where mood is as important as songwriting, the placid piano track "Clear Water & Concrete" has some of their prettiest and most compelling textures yet. (It's also a welcome shift to a more meditative tone, as the band hardly takes a breath to let their hooks land at this point.) "Cloak of Blue Sky" has the city imagery Bound Stems often trade in and more of the affable shuffle that seems to be their rhythmic comfort zone. "Winston" is an even better shift in tone, with acoustic strums, a few banjo plucks, and atmospheric keyboards that are beautiful, affecting, and put together with impossible care.
Closing track "Sugar City Magic" begins with a staccato guitar line that's more in line with the pensive math-rock that the band toyed with in their earlier, pre-Flameshovel days, though it soon shifts perspectives by handing off the baton on vocals to get a more layered view on the family in the lyrics. For all their ambition, there are still moments on Family Afloat that feel forced-- more "Look what we can do!" instead of simply, "Look what we do well." Yet Bound Stems have the rarefied ability to make that mess sound gorgeous, as if all were in its right place even when it's held together by chewing gum in some spots.
http://www.mediafire.com/?ttqwdwkoqtySongwriters who are lucky enough to come up with 10 great melodies in their lifetime must hate Robert Pollard, the 38-year-old former fourth-grade teacher who, like the porno actor Ron Jeremy, does effortlessly what the rest of his brethren pursue to the point of frustration. Guided by the same voices that spurred strings of magical notes from the Mersey Beat poets of the '60s as well as the staccato insurgence of punk in the 70s, the prolific Pollard and his band have been tossing out colorful hooks since 1986 with the frequency and precision of fly-fishermen.
Under the Bushes is GBV's 24th fresh-from-the-basement release. The band has endured the low-fi tag because its records sound like they're being played on a turntable with a fuzz-covered needle. But more important than the raw sound quality is the accessibility and spontaneity that four-track recording affords GBV. Stunning tracks like "Cut-Out Witch," "Underwater Explosions" and "Bright Paper Were-wolves" sound as if they were recorded while the passion was still flowing and scribbled notebook paper was still lying on the floor of the rehearsal space. The band has actually graduated to a 24-track studio, but Pollard's voice still clings like a shy child, and Tobin Sprout still sounds like he strings his guitar with screen-door wire.
With lyrics that sound cut and pasted from a book by the Brothers Grimm, Pollard's two-minute tunes aren't fragments so much as full compositions that say plenty in a short period of time. On "Big Boring Wedding," he sings, "Pass the word: The chicks are back," in a '70s art-rock voice that brings to mind Pink Floyd and the Who's Quadrophenia, and the song perfectly conveys the vapidness of the scene that Pollard is surveying. On "Look at Them," the choppy power riffs and Pollard's flushed, vein-bulging delivery can't conceal a melody so strong you can lean against it.
Under the Bushes searches for something new in the pop-rock ruins and finds that the quest is the thing. "I can't tell you anything you don't already know," Pollard sings above a gorgeous acoustic guitar on "Acorns and Orioles." But one hopes he'll keep trying.
http://www.mediafire.com/?modydwzydmmLate in Bee Thousand, Guided by Voices singer/songwriter Robert Pollard provides a skeleton key to his remarkable music. "I am a pharmacist, prescriptions I will fill you," he sings, "potions, pills and medicines to ease your painful lives." It's no empty boast – the stately little hymn "I Am a Scientist" and the 19 other sublime songs on this album possess just such restorative powers.
GBV's seven previous albums (released in limited editions on minuscule indies) were brilliant, but Bee Thousand is a tour de force by a good old-fashioned American basement genius. A rotating group of thirtysomethings based in Dayton, Ohio, Guided by Voices mine familiar territory: classic English pop rockers like the Who, the Kinks and the Beatles, albeit filtered through latter-day Beatlemaniacs like Cheap Trick and Robyn Hitchcock, as well as lo-fi avatars like Daniel Johnston and Pavement.
The group is clearly guided by those voices, but the band name also goes a long way toward identifying the surely ethereal source of their inspiration as well as underscoring the way Pollard's vocals drive the moving, indelible melodies. An irresistible English folk drone weaves throughout the record, as in the jingle-jangle mournfulness of "Queen of Cans and Jars," singer and guitarist Tobin Sprout's exquisite "Ester's Day" (co-written with Pollard) and the uncannily long-lined melody of "Smothered in Hugs."
Recorded on a four-track machine, Bee Thousand sounds like a favorite bootleg or a beloved old LP whose worn grooves now reveal only a blurry jumble. Amp hum, sniffling musicians and creaking chairs all inhabit the mix, but the homespun production only underlines the strength of the songs – lo-fi or not, there's no denying an astonishing rush of guitar-pop glory like "Tractor Rape Chain."
As with Big Star, the beauty of GBV's music cocoons – and so triumphs over – its own root sadness, like an oyster building a pearl around an irritating grain of sand. In the jubilant climax of "Echos Myron," Pollard's voice radiates a downright heroic melancholy as he sings, "And we're finally here/And, shit, yeah, it's cool," and then can't help but add "or something like that."
Even if the lyrics sometimes read like mad-libs ("I met a nondairy creamer explicitly laid out like a fruitcake," Pollard sings on "Hot Freaks"), they always play to Pollard's strong point, which is precisely where rock itself excels – combining music and words to produce a distinctly third impression that's complex, unnameable and yet startlingly vivid. But the real miracle of Bee Thousand is that it not only celebrates the power of rock music, it also embodies it. "I am a lost soul/I shoot myself with rock & roll," Pollard sings on "I Am a Scientist," "but nothing else can set me free."
http://www.mediafire.com/?fmldjd1m3mzIf You Were Always’ 2007 debut EP, Since You’ve Been Gone, was like a gentle breeze in the falling leaves surrounding autumn’s trees, then their sophomore effort, Ghost Lanes is almost – almost! - like a summer storm with some gusts of rain going left-right instead of straight down. Ghost Lanes offers the same slowcore meets mellow indie as its predecessor except this time the band sounds louder, more comfortable, and much more confident on these five tracks. Earlier, singer/guitarist Cam Houser sounded sad, vulnerable, and afraid; now he sounds a little less sad, a little madder, and a lot less intimidated by whomever and whatever broke his heart.
On Ghost Lanes’ opener, “All The Books I Read”, the band sound energized (for another type of band, this song might be the “slow song”; for You Were Always, it’s a rolling opening tune complete with Cam having a brief guitar moment) with Aubri Hughes keys sounding like a Cars outtake – only slower. It’s a great teaser of what might be lurking in their inner most rock and roll hearts.
These moments of almost rocking pop up throughout the EP; on “Running Red Lights” and the closer “Clockwork”, Topher Hyink once again drums with a little more force and purpose and Houser’s guitar work becomes a little more determined. In particular, “Running Red Lights” might qualify as the most unabashedly rocking song in the group’s catalog and it’s a gem completely with a snaking synth line that reels the audience in.
For fans of the band’s softer debut, fear not: it’s there throughout. The second track of Ghost Lanes, “Wine Out Of Coffee Cups”, features more beautiful harmonizing between Houser and Hughes, Hyink’s subdued drumming, and Tim Faehnle’s pulsing basslines. The difference is that this time, instead of just rolling over and playing quiet, the guitars build, Hyink hits the skins a bit harder, and Cam – minus Aubri for a moment – sounds like he might want to scream. Just hope he doesn’t scream too loudly, because it’ll ruin the impeccable late night beauty that he and his band continue to craft and polish.
http://www.mediafire.com/?mzyljyzwcznBound Stems (http://www.myspace.com/boundstems) - Appreciation Nightyussssss
Bound Stems (http://www.myspace.com/boundstems) - The Family Afloat
While Tio Bitar saw Gustav Ejstes relinquishing some of Dungen's instrumental duties to other musicians, specifically guitarist Reine Fiske, 4 is the closest he's come to employing a full-time band. The Swedish frontman confines himself to the piano and microphone this time around, only taking occasional stabs at flute and violin, while bassist Mattias Gustavsson and drummer Johan Holmegard join Fiske in creating Dungen's sonic stew. As before, the band brews up a mix of psychedelic rock, free jazz, and other vintage genres associated with mind-expansion and counterculture ideals. The folk influence that peppered earlier releases isn't as prominent here, however, having been replaced by a newfound emphasis on piano. The instrument lends new, softer textures to several songs, especially when combined with washes of woodwinds and strings. "Marleras Finest," in particular, mixes piano-fueled jazz with vintage elevator music, sounding like something that would've piped through the speakers of a 1960s dentist's office after a laughing gas leak. Elsewhere, the bandmates turn their amplifier knobs to the breaking point while pummeling through a series of improvised psych-rock freakouts. "Samtidigt 1" is a freewheeling guitar showcase taken from a jam session -- it fades in and fades out, seemingly stretching on for hours on either side of the recorded snippet -- while "Samtidigt 2" reprises the same approach several tracks later. Holmegard peppers his percussion with Mitch Mitchell-styled fills, and Fiske fills every inch of space with slashes and stabs of crunchy, distorted guitar, aptly earning his keep as the band's second-in-command. There are well-crafted songs here, too: "Mina Damer Och Fasaner" begins like a Brill Building ballad before settling into a bass-boosted groove, and "Det Tar Tid" finds room to showcase Ejstes' talent for stacked vocal harmonies. In short, 4 offers a cross-section of the band's catalogue, mixing the structure-based songs of Tio Bitar with the instrumental workouts of albums like Ta Det Lugnt. Ejstes' fiddle playing is certainly missed, but that's a minor complaint from an otherwise top-notch effort.
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http://www.mediaf!re.com/?b9cpcqydvoahttp://www.mediaf!re.com/?udyg1aallzyGenghis Tron will completely reprogram the way you think about heavy music. Board Up The House, their second full length album, is the closest I’ve heard any band get to achieving a successful and original fusion of technical metal and electronic music.
Sure, plenty of other bands have mixed the two, but not with the degree of craft and care used here. Genghis Tron are not just another iteration of the industrial formula, where [sampled percussion] plus [distorted guitars] plus [vitriolic anger] equals [protest]. Nor is Board Up The House some second-rate attempt to breathe new life into extreme metal by sprinkling it with some novelty extras.
Board Up The House is a synergy – it is greater than the sum of its parts.
The principle difference is that Genghis Tron have obviously taken the time to fully explore the potentials and limitations of the instruments they use. In the same way that guitar music was advanced by experiment and innovation, Board Up The House is the sound of a band finding the far edges of themselves and then pushing hard against the walls.
The result is a staggeringly fresh sounding album where intricate riffs stolen from death metal are played by synth patches, and synth riffs are played by guitars. The pace varies from frantic grindcore road-drill snare attacks to stark minimal pulses of electronic kick drum, by way of robotic military tattoos and glitchy Escher loops of sound.
Genghis Tron can turn about on a sixpence, with full-bore thrash dropping into a nearly ambient segue for two brief bars before exploding back into action. There’s a yin-yang of intensity and understatement pulling back and forth, producing dynamic tension that other bands would kill for, force and space perfectly balanced.
Board Up The House has a bleak atmosphere, despite the rich furnishings. Song titles like “Things Don’t Look Good” and “Colony Collapse” seem fitting in these times of environmental decline, and “I Won’t Come Back Alive” has the epic yet tragic tone of a suicide note from innocence.
The closing song on Board Up The House is the astonishing ten minute dirge of “Relief”, sounding like nothing less than a funeral hymn for the death of an entire planet, a lament for a promising species that overreached itself in ignorance. It’s doom-laden, full of an almost smothering weight – the hand of fate resting heavy on the shoulders of history.
I could write pages and pages about Board Up The House if I let myself – there’s just so much to talk about. But talk is cheap, and time is short. You’ll just have to take my word for it that Genghis Tron have produced what could well be one of the most important and groundbreaking albums of the decade. Board Up The House is a masterpiece, and a must-hear for any fan of heavy music.
http://www.mediaf!re.com/download.php?ruqljc3ygbd
Ah! That Genghis Tron album has made me happier than I have been for a while.Glad you enjoyed it. I'll try and get some of their rarer stuff up here tomorrow.
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http://www.mediafire.com/?ygfojuhe1wzBlue Pine's approach is similar to that taken by The Pogues, The Bad Seeds, and Vancouver's own Jerk With A Bomb. But these comparisons don't come close to suggesting the strangeness of this album (which isn't even lessened by the appearance of Carolyn Mark's familiar voice on two tracks). Perhaps a better parallel to draw would be with The Fall - insofar as this record's otherworldliness is a function of its abrasive vocals and jarring guitar strang.
Or maybe I should just mention that they have a song called "Fur Harness or Let No Beast be Shackled Lest Doom Fall on All of Us" and leave it at that.
Carey Mercer and Mike Rak now play in another Global Symphonic related group, Frog Eyes.
http://www.mediafire.com/?1zcfjijmmczhttp://www.mediafire.com/?t2wvt2mzyymhttp://www.mediafire.com/?y4gjt0yz2fzWhy is this valedictorian crying? For the classmates he's leaving behind? For that van full of kids who drove drunk into the storm ditch after prom? No, if the speaker is Carey Mercer, who fronts Victoria, B.C.'s Frog Eyes, he's bawling because he's supposed to be an adult now and what's more a man, but there are no men around, only military blowhards, craven merchants, and drunken dads.
Frog Eyes have been a band more namechecked than listened to, thanks to now-and-then keyboardist Spencer Krug's other groups (Wolf Parade, Sunset Rubdown), and Mercer's collaboration last year with Krug and Dan Bejar of Destroyer under the guise of Swan Lake. While Mercer shares his friends' elliptical and bombastic rhetoric, he's at once more of an orator and more of a synesthesist, working with smears and splatters more than melodies, and bringing his own fixations.
Tears of the Valedictorian is Frog Eyes' first substantial advance since 2003's The Golden River, which was a fanciful songcycle on a backdrop of ecological anxiety. The Folded Palm (2004) approximated the frenzy of their shows, but at the expense of the songs. The intervening mini-albums were pleasant small-scale studies. Valedictorian again mobilizes the band's full palette-- Mercer's wife Melanie Campbell's stomping drums and flat stutter cymbals, Krug's keyboards switching from crosshatch shadows to radiant showers, Michael Rak's grounding bass, Mercer's and McCloud Zicmuse's light-seeking insect guitars and, always, Mercer's gibbering, his croon, his grumbles, his yodeling yip.
Mercer stands in the lineage of rock frontman as half-carnival-barker, half-gnostic-preacher that Greil Marcus describes as the "crank prophet," from Screamin' Jay Hawkins through Arthur Lee of Love, Captain Beefheart, David Thomas of Pere Ubu, Tom Waits, and the Pixies' Frank Black. But Frog Eyes' sound owes more to early Roxy Music-- music that filtered out blues in favor of high modernism-- as well as advertising jingles and John Philip Sousa. In keeping with Victoria's Brit-dominated demographics, it also recalls English music hall, though the hall is on a riverboat and the river on fire.
Mercer's preoccupation here seems to be masculinity, as it often has been in rock, the music of boys coming of age. But unlike Mick Jagger or Bruce Springsteen (whose trace, as so often these days, shows up here in some surprising runs of piano fills and exhortations), Mercer is stalking the heath of manhood's ruination. He turns over artifacts of Romanticism like an anthropologist on a dig, sketching out the landscape and puzzling over how these dick-swinging ancients survived. His yowls are the cry of somebody waking up from history with a hangover-- "he was what the Poor call the Maimed," he sings-- as its dreams disperse over the horizon of legibility.
I don't mean to make Mercer sound like a nostalgist. His voice is nothing if not urgently present, struggling to pull his warring selves into some workable here and now. He invokes patriarchs just to dispose of them, from the "Roman ambassador" who is "torn apart by plaster and reassembled after" in the opener, "Idle Songs," to the "druken and besotted father figure" who's pushed out to sea on an ice floe in "Evil Energy, the Ill Twin of..." They stand between Mercer and a longed-for future in which the masculine spirit somehow gets sane and whole. Meanwhile, touchingly, that bad dad out on the ice "trembles and he trembles and he puts his heart on tremble."
Mercer breaks from the crank-prophet line in that he wants to defeat his solipsism, to hack his way out of the thicket of male ghosts and build relationships-- with nature, lovers, family, his band and the listener. This album is peppered with references to himself as singer, from the epic second track "Caravan Breakers, They Prey on the Weak and the Old" ("I bet you are sick of hearing songs about the trail") to the entrancing near-closer "Bushels", which assures "there's a colony in song" and ends on the simple statement, "I was a singer and I sang in your home." In between comes "The Policy Merchant, the Silver Bay", an acoustic, falsetto-sung ballad in which he teases, "Mercer is a merchant, a policy merchant/ He calls himself urgent!/ He gathers all of the urchins up in their tearaways/ He gathers them into his palm and then he sings 'Another Day.'"
These wry acknowledgments feel especially gracious from a singer who is so under siege by sound and by the unending, unpredictable demands of all the voices of past and future birthing and dying in his gullet. But that's what Frog Eyes achieves here, not just in the songwriting but in the band's new dynamic range and precision-- for the first time, there's space in their hermetic universe for the rest of us. It's graduation day.
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For Andrew Fleming,You are now my imaginary gay lover.
[insert all that stuff i posted 'cause i'm such a sick motherfucker]
http://www.mediaf!re.com/?koglao2nnm1What it says on the tin (no info on performers).Very much in the vein of Fennesz and others carrying the torch of guitar experimentation from Kevin Shields, Belong's debut record isn't a series of recordings made to be played piece by piece at random intervals. October Language is very much an album designed to be listened to from start to finish; slowly evolving and unraveling one sheet of distorted guitar textures over another until there's simply no room left to cram in much more. But what sets Belong apart from the rest of their classmates in the school of Shields is their attention to detail. Distinct but melodic passages swell up from out of nowhere and then gradually fade into the static and whirls of feedback and sound; small fragments that appear early on in the lineup make returns later on (with close and active listening). And while fans can pine away and wait for that next My Bloody Valentine release (if there ever is one), there are thankfully instances like October Language that make the prolonged wait immensely more enjoyable.
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And flamenco != middle eastern. Those are two completely different styles of music. Why did you even try to make that comparison? Or did you even try?
Also, at the Why? show I picked up some CD-Rs they had. First one I got is a live compilation of stuff from the current tour, recorded a little more than a month ago.
Why? - Almost Live @ Eli's Live RoomCode: [Select]http://www.mediaf!re.com/?fcb2iwuknkn
Also the demos for what would become Alopecia
Why? - Alopecia DemosCode: [Select]http://www.mediaf!re.com/?y2y3nuuanm3
The Radio Dept. is an indie pop band from Lund, Sweden. (...) The Radio Dept. are related to such genres as Dream pop, Indie pop, Shoegaze and Twee Pop, with reviews comparing them to Pet Shop Boys, My Bloody Valentine and the Cocteau Twins.
http://www.mediaf!re.com/?i1xgommm5wghttp://www.mediaf!re.com/?1d9etz9fv4sQuote from: WikipediaThe Radio Dept. is an indie pop band from Sweden
http://www.mediafire.com/download.php?0mjnnzdjnmkLove's Forever Changes made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc's themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love's first two albums, and they make occasional appearances here on tunes like "A House Is Not a Motel" and "Live and Let Live," but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies. The punky edge of Love's early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, the lovely melodies and inspired arrangements can't disguise an air of malaise that permeates the sessions. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt "A House Is Not a Motel," the street scenes of "Maybe the People Would Be the Times or Between Clark and Hillsdale" reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of "The Red Telephone," romance becomes cynicism in "Bummer in the Summer," the promise of the psychedelic experience decays into hard drug abuse in "Live and Let Live," and even gentle numbers like "Andmoreagain" and "Old Man" sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love's masterpiece and an album of enduring beauty, but it's also one of the few major works of its era that saw the dark clouds looming on the cultural horizon, and the result was music that was as prescient as it was compelling.
I got you in 30-60 minutes depending on how fast my connection is tonight
The Radio Dept. (http://www.myspace.com/officialradiodept)
OK, first I'd like to say that I'm really bad at describing bands objectively, placing them in genres and explaining their sound in general, but you can at least have my personal opinion about The Radio Dept.: They are fucking amazing, and you should all listen to this incredible, incredible band.
http://www.mediafire.com/?woxzdj19g52
http://www.mediaf!re.com/?f2k9jt23yvlyeah angels of light! if there was more i wouldn't be bummed :wink:
Sure thing, enjoy it! It's a great album.
What documentary are you talking about?
Bound Stems (http://www.myspace.com/boundstems) - Appreciation Night
Bound Stems (http://www.myspace.com/boundstems) - The Family Afloat
These links were taken done. Would someone please, please re-post? Thank you!
PS: Thanks for the Otis Redding live. Awesome. I'll post some studio albums this weekend.
From the only review I could find on the internets:
The Devil Makes Three is a trio from San Francisco who plays music in a style that is largely influenced by folk but draws additional color and rhythm from 20’s and 30’s blues and bluegrass as well as drawing from a punk ethos. What does this mean? If you like the Violent Femmes first record or bands like 16 Horsepower, The Squirrel Nut Zippers, and possibly The Gun Club this band is for you. The headstones of death, drinking and disappointment carved with vocals, acoustic guitars, and stand-up bass.
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http://www.mediafire.com/download.php?ryzw3ytuwgy
everyone download that The Devil Makes Three album because they are pretty much a fantastic band in every way.
http://www.mediafire.com/?dgmmhmmhxyoShugo Tokumaru is not (as many reviewers have assessed) the Japanese Sufjan Stevens. He may share some of Stevens' fascination with found instruments and eccentric acoustic arrangements, but that's where the similarities end. Tokumaru, in general, seems to go much deeper into his own musical world -- playing with sounds more and taking ideas much further. If comparisons must be made, it would better describe Tokumaru's trajectory to align him with the likes of a less predictable pop experimenter like Lindsey Buckingham. Like Buckingham, Tokumaru's songs can sound deceptively simple on the surface, but closer listening reveals a very sophisticated musician at work. Anyone can layer instruments on top of one another (and, with the advent of digital home recording, often to a ludicrous level), but it takes a real talent to sort out how they should fit together. This is where Tokumaru shines, especially on his album Exit -- a home-recorded affair that flirts with indulgence but rarely succumbs to it. That's an important point because a song like Exit's opener, "Parachute" -- with its multi-layered fingerpicked guitar propulsion and more melody lines than you could shake a stick at -- could have been just a predictable lo-fi mélange had someone else been at the helm. In Tokumaru's hands, indulgence is tempered with taste and taste is augmented by confident individuality and competent musicianship. That individuality and musical prowess are evident enough -- as Tokumaru is clearly at ease on a number of different instruments -- but all of that would amount to beans if you couldn't put it together just as expertly. In the arrangement department, Tokumaru displays both skill and mischievousness. He has a Brian Wilson-like penchant for playing instruments off of each other to achieve a greater result (just listen to the Pet Sounds playfulness of "La La Radio") and is fearless in his use of dissonance (check the gradually twisted interplay between the recorders and melodicas on "Clocca"). Ambitious as some of that may seem, Exit never feels like a show-off record -- just a thoughtfully put-together one.
8.0
It's nearly autumn in the States. The leaves are turning, the air has cooled right to the point where you don't notice it, people are looking to settle into an easy, neutral gear. It's also the perfect time for the U.S. debut of Shugo Tokumaru's Exit, the first of his records to get a proper American release. Fans of Tokumaru's previous LPs, 2004's Night Piece and 2006's L.S.T., will find no surprises on his latest-- he's still gently mining 1960s pop from around the globe and capturing it with a soft production and a sense of humor. Tokumaru builds each of his 10 tracks around a perfectly constructed melody. With an affection for folk and acoustic and found instruments-- he reportedly has over 100 music makers in his bedroom, not counting toys-- he makes eclectic choices in the arrangements, but he never distracts you into inventorying them.
Wooden flutes, accordions, tinkling percussion, and brisk acoustic guitars all come together on Tokumaru's bedroom Mac. Clanging percussion and a melodica chase each other through "Green Rain" or during the frenzy of "Future Umbrella"-- featuring more western and eastern fretted instruments than this reviewer can identify-- which comes off as a light whimsy. And the album's near-rocker, "Clocca", taps psychedelia with backward guitar samples, a disoriented harmonium, and baffled flutes.
Woven through it all is Tokumaru's easy tenor. It's too laid back to be evocative, but isn't merely soothing, either; maybe the best way to peg it is that evokes a feeling of being soothed. He plays humble in interviews, but on record he comes off as effortless, even cool. And it takes a special kind of cool to borrow so many familiar and loaded styles without looking like you're merely dabbling.
There are enough instrumental interludes and understated melodies here to make the record a grower, and it eases into the sunset for much of its back half. Album-closer "Wedding" has as fine a melody as any of them, but there's a palpable sense that Tokumaru's perfectly content as a warm-up act for the crickets. And after three albums of such pleasurable, well-crafted music, it's churlish to wonder if Tokumaru will budge from this routine-- if he'll push into new directions, or keep making even-keel pop that's ever-more perfect and ever-more effortlessly sews up its influences. At this rate, the most nostalgic thing about listening to a Tokumaru record in the future might be the memories they bring back of his earlier ones.
http://www.mediafire.com/?z2nih3z2jjwThe main figure behind the Week That Was is former Field Music member Peter Brewis. With help from a wide range of musicians including David Brewis and Andrew Moore (making the album a mini-Field Music reunion of sorts), the self-titled debut is a lush and lovely slice of modern pop. The group's sound is no great departure from that of Field Music; it's just as arty, angular, and unfailingly melodic throughout. The main difference is that it's more arranged and complex thanks to the variety of players and instruments. Peter Brewis also seems to have more affinity for prog rock when he's in charge -- check the interlocking marimbas on "It's All Gone Quiet" or the majestic horn/piano arrangements on "Yesterday's Paper." It's less the prog rock of Yes than it is the new wave prog of XTC (though "Scratch the Surface" sounds uncannily like post-Gabriel Genesis). The art never gets too over-indulgent and it never gets in the way of the songs. Which would be hard to do anyway because the melodies are so strong and the hooks are so large. Songs like the bouncy "The Airport Line" and the thunderous and jumpy album opener "Learn to Learn" are as good as anything Field Music ever did. They are filled with brains and musical prowess but also lots of emotion and soul, possibly more than Field Music as a group felt comfortable showing in their songs. A prime example can be found in the naked sentiment and sweeping strings of "Come Home." You can probably chalk that up to having one person running the show and can be glad that Brewis has a steady hand on the helm; never letting that pesky emotion thing get out of control. When Field Music packed it in, fans were left with the melancholy feeling that comes with losing a great band before they had a chance to fully blossom. Now with the Week That Was and David Brewis' School of Language project, there are two excellent bands where there used to be just one.
everyone download that The Devil Makes Three album because they are pretty much a fantastic band in every way.
I'm in.
Comprised of four long tracks spread across two LPs, the release captures Sunn O)))'s performance at the Dømkirke cathedral, erected sometime around 1150. For the gig, Sunn's Stephen O'Malley and Greg Anderson were joined by onetime Earth member Steve Moore on the church pipe organ, Jazkamer's Lasse Marhaug on electronics, and Mayhem's Attila Csihar on totally freaking you the fuck out.
Speaking of all things ancient, Southern Lord plans to offer Dømkirke on vinyl and vinyl only, insisting there will be no CD or digital release. Folks can choose one of three versions of the limited edition offering: black vinyl (5,000 copies), transparent blue vinyl (1,000 copies), or clear vinyl with black streaks...OF DOOM!! (900 copies).
http://www.mediafire.com/?jmdlynmlgyjhttp://www.mediaf!re.com/?dtva4eg3mymhttp://www.mediaf!re.com/?jymwdmoyzdmhttp://www.mediaf!re.com/?zjt0euekjmjhttp://www.mediaf!re.com/?y1mzrwnwgzghttp://www.mediaf!re.com/?jayewyzjeykhttp://www.mediaf!re.com/?owwxmnzwy0nQuoteRules:
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.
Sunn O))) - DømkirkeThanks!
http://www.mediafire.com/?kjjgjzqjyyoCape of Hate is the second EP by cybergrind band Genghis Tron. Only 150 were made, and they were sold at the band's spring tour supporting their first EP, Cloak of Love. It contains various remixes and demos of the tracks from Cloak of Love.
http://www.mediafire.com/?uhrjzumtvmmTriple Black Diamond is a limited-edition experimental EP that was available at Genghis Tron shows during their July 2007 tour. It was limited to 444 copies. Following the tour, there were a small amount of additional copies available from the Crucial Blast website.
The "Untitled Demo (Spring '07)" was later named "Colony Collapse".
Sunn O))) - DømkirkeThanks!
Did you read the last rule?
What the hell is with everyone reposting the rules?
http://www.mediaf!re.com/download.php?jymhzmjm0ntGenghis Tron - Board Up The House Remixes Volume 1Thank you! I've been looking for a digital copy of this as my vinyl arrived a few days ago, quite a nice EP.
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Steve Moore, Justin Broadrick, Rob Crow, and Eluvium
Edit: That was also valley_parade! Much man-love to you!
http://www.mediafire.com/?sharekey=6394a1033af779e0d5a101cf914073b416e3445ff751b8a9Wilderness - (K)no(w)here (2008) 320kbpsCode: [Select]http://www.mediafire.com/?05aowlrm2np
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One of the most influential soul singers of the 1960s, Otis Redding exemplified to many listeners the power of Southern "deep soul" -- hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. He was also the most consistent exponent of the Stax sound, cutting his records at the Memphis label/studios that did much to update R&B into modern soul. His death at the age of 26 was tragic not just because he seemed on the verge of breaking through to a wide pop audience (which he would indeed do with his posthumous number one single "[Sittin' On] The Dock of the Bay"). It was also unfortunate because, as "Dock of the Bay" demonstrated, he was also at a point of artistic breakthrough in terms of the expression and sophistication of his songwriting and singing....Redding perished in a plane crash in Wisconsin on December 10, 1967, in an accident that also took the lives of four members from his backup band, the Bar-Kays.
http://www.mediaf!re.com/?eg225zdnmemhttp://www.mediaf!re.com/?zmez0arykmghttp://www.mediaf!re.com/?zuwnzdewnc5http://www.mediaf!re.com/?nthngjvoyyjhttp://www.mediaf!re.com/?l2numgzjwjzhttp://www.mediaf!re.com/?zttojtwnidjhttp://www.mediafire.com/download.php?0zu1zitznwlre: otis redding......otis and carla are set to private?
http://www.mediafire.com/download.php?mg0q0k0ny2tFabriclive.24, the first widely released mix album from dance music's most innovative tastemaker of the new millennium, was expected to be a storehouse for reams of hot new productions (or, at least, new to most listeners). Instead, Diplo chose to compile the greatest hits of electro as a salute to his youthful fondness for Miami bass, and sprinkle a few of the Brazilian baile funk tracks that has made his reputation to readers as widely varied as URB and The New Yorker. The appeal of this disc lies squarely with the latter audience; although Diplo's mix makes these tracks sound as great as they ever have, dance fans aren't going to be highly interested in a mix whose first third includes the familiar classics "Clear" by Cybotron, "Don't Go" by Yazoo, "When I Hear Music" by Debbie Deb, "Don't Stop the Rock" by Freestyle, and "Al-Naayfish (The Soul)" by Hashim. Near the halfway point, Diplo finally starts digging deep in his crate to play a few rarely heard Brazilian tracks -- all from the Link label except for one of his own productions, a party bass track recorded with Pantera os Danadihnos. Aside from the familiar track selection, Diplo is magnificent in the mix, continually showing why he's one of the most popular party DJs around. Whether it's dropping a few indie rock tracks near the end of the mix, or slotting Southern rap tracks into the mix (from Killer Mike and Ludacris) without a pause, Diplo does an amazing job of making the familiar sound refreshing.
http://www.mediafire.com/?ewdyy5jgd3jThere's a lot to be said for the Rare Groove movement, and for the way that DJs working in that tradition are able to unearth brilliant and neglected soul and funk singles from the old school and give them new life in a modern club context. But there's always the danger that adepts of the genre will lapse into a Rarer-and-Groovier-Than-Thou mentality, indulging in one-upmanship and greedily hoarding their sources rather than sharing them. The Glimmers, a Belgian duo who have been working together in something very like a Rare Groove mode since the mid-'80s, show no such tendencies -- the mix they've put together for the Fabriclive series is a joyful and generous collection of classic cuts in a variety of styles, some of them remixed and others simply beat-matched into a seamless, non-stop program. Of the disc's 21 cuts, more than half are excellent and no more than four could reasonably be characterized as filler, yet even those are far from boring. At the top end of the spectrum are the Glimmers' own remix of Roxy Music's "Same Old Scene," followed closely by LCD Soundsystem's gleefully sloppy "Disco Infiltrator" (which sounds strangely like a cross between Talking Heads and the Fall) and a wonderful roots reggae turn from the obscure Black Slate. Slightly less compelling are Freeez's "I.O.U. (I.Dub.U)" and Pop Dell'Arte's repetitious "No Way Back," but even these are nicely danceable.Part 1
http://www.mediafire.com/?jkgudeltyogPart 2http://www.mediafire.com/?tgjtmwmjuj2"These are the songs they always play," says the uncredited voice at the beginning, and that says it pretty well. As an evocation of the three- or four-person Spank Rock's party-hard aesthetic, Fabriclive.33 can hardly be topped. But the kind of mix date that may sound incredible on the dancefloor is going to come with a few caveats when it's studded with innumerable songs that have already enjoyed a long shelf life before Spank Rock first put them on the decks, songs like Yello's "Bostich," "The Dominatrix Sleeps Tonight" by Dominatrix, Kurtis Blow's "The Breaks," Yes' "Owner of a Lonely Heart," Mylo's "Drop the Pressure," the Contours' "Do You Love Me," and the Romantics' "Talking in Your Sleep" (to name seven). The occasional raps by Amanda Blank and Naeem Juwan make things a little better than the sum of their parts, but Spank Rock sounded much more original on their debut album than they do here.
http://www.mediafire.com/?n3yzmjwwyuyWhen Marcus Intalex observes that "the direction drum'n'bass has gone has put us out on a limb," he's not kidding. Over the past ten years the genre has gotten steadily darker, harder, and more minimal, to the point that it's set to disintegrate altogether. And if Intalex is known as something of a curmudgeon for his no-compromises musical attitude, well, the music's so much the better for it -- and there's no trace of attitude or self-righteousness to be heard on his contribution to the Fabriclive series of DJ mix albums. His love of old-school breaks -- richly manifest on the opening track, Calibre's "Over Reaction" -- doesn't prevent him from incorporating darker, edgier material as well, such as Lynx's "Global Enemies" and Jonny L's acidically sharp "Come Here." But the common denominator throughout most of this program is an elegant loveliness that is often quite subtle -- if you don't listen carefully, you may well miss the harmonic beauty hovering just beneath the roiling beats of "Smash V.I.P." by Amaning vs. Dubwiser, or the similarly understated juxtaposition of pretty and hard on Duo Infernale's "Feeling Blue." The brooding orchestral chords and bassline on Soulmatic's "Self Belief" become too repetitive after a while, and the jazzy "Synesthesia (Theory Remix)" by Deadly Habit doesn't quite leap out of the speakers the way one might like. But overall, this mix is a solid winner. Highly recommended.
http://www.mediafire.com/?knrjzvkrabzBy the end of 2007, it seemed as if the British dubstep scene had flowered fully and was probably ready to go to seed -- its fertile mix of dub reggae studio tricks, foreboding jungle basslines, weird cut-up samples, and clashy electro sounds had expanded about as much as it could without falling apart. But this excellent mix program by Caspa & Rusko shows that the genre still has some stretch left in it. From the eerie funk of Caspa's "Born to Do It" to the straight-up but slightly twisted roots reggae of Uncle Sam's "Round the Way Girls [Tes La Rok Remix]," and from the creepy dubstep rockers instrumental "Well 'Ard" to the cool reggae instrumental "Jahova," the program maintains a fairly consistent flavor without ever sounding samey or tedious. That's not to say that every track is a winner -- Rusko's "Hammertime" is queasy and weird without being very enjoyable, and "2 N A Q" (another Rusko contribution) is harsh and abrasive without being especially interesting. But that's two out of 29 tracks, a winning average by any measure. And when ConQuest finishes out the program with the lushly beautiful rockers anthem "Forever," every little lapse is forgiven. Very highly recommended.
http://www.mediafire.com/?zmemmm2nzeyA DJ who is both a great selector and a skilled cutter and scratcher is a rare and wonderful thing; one whose tastes are Catholic enough to include both current club figures and obscure old-school gems is a thing of wonder. DJ Craze has made a name for himself not only as a scratch DJ and a club DJ, but also as a drum'n'bass producer; however, on his contribution to the Fabriclive series he sticks to breaks and hip-hop flavors, creating a Miami-tinged fusion that incorporates sounds from Bangers & Cash, Chromeo, and Kid Sister as well as downright paleolithic entries from the likes of Miami Jam Crew and even (get this) Earth, Wind & Fire. The first two-thirds of the program are lighthearted party fare: the crazy funk of Tuff Crew's "My Part of Town" (punctuated by Craze's truly wicked turntablism), the complex and propulsive beat of Bangers & Cash's "Loose," and the brilliant "Set It Off" by N.O.R.E.. Towards the end things turn a bit darker, in particular with Deekline & Wizard's downright creepy "Keep It Pushin'." Throughout the program, Craze is careful to give the ladies plenty of rapping room, and that gives the album a particularly colorful feel. Very nice.
http://www.mediafire.com/?lejzzhtwmewA DJ with both a twisted sense of humor and an equally twisted sense of funk is a rare find, and if you haven't already found Duncan Beiny (aka DJ Yoda), then let this be your introduction to a DJ who basically believes that everything is hip-hop, if it's delivered with the proper attitude and in a sufficiently funky context. That explains the wildly catholic range of the live set he delivered for this series: a set that includes entries by Ice Cube ("Jackin' for Beats"), Run-D.M.C. ("It's Tricky"), Violent Femmes ("Blister in the Sun," on which turntable scratches double the intro's snare-drum accents), Adam F ("Circles") and even Minnie Riperton ("Lovin' You," which you didn't think could actually be made funky, did you?). His intention isn't ironic -- "If I love a song, I'll play it," he says. But there's a delicious element of whimsy to this set, one that imports elements of "Blister in the Sun" into the intro to Handsome Boy Modeling School's "Holy Calamity" and includes the Hot 8 Brass Band's instrumental version of "Sexual Healing" and winds up with a brilliant slice of vintage calypso courtesy of the legendary Lord Kitchener. Even the occasional misstep (like DJ Class' idiotic "Tear Da Club Up") works as a crooked thread in this richly varied musical tapestry. Highly recommended.
http://www.mediafire.com/?yu02mnyojzyAs per repeated requests:
Bound Stems - The Family Afloat
http://www.mediafire.com/?sharekey=8703b36bd7be4f1ed2db6fb9a8902bda
OK, I know this forum is only for underground bands, but I think you will all appreciate this.
Also, here's a guy who does IDM. His name is Jackson.
Jackson and His Computer Band - Smash
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http://www.mediafire.com/?czz1ya0dyuyTime for KvP's Fuckin HUGE Dubstep EP Grab Bag! Yes!I'm interested in the Skream and iTAL tEK. I suppose it's trial & error now.
I've got a whole mess of random Dubstep EPs. Some are okay, some are pretty great! You won't know until you get them, that's what makes it exciting. You've got artists like Caspa, Ital Tek, Virgo, Skream, whatever.
Here, try this:Code: [Select]http://www.mediaf!re.com/?ybo0juazz3z
Hey jerks, guess what?
Parts & Labor - Receivers
Here, try this:Code: [Select]http://www.mediaf!re.com/?ybo0juazz3z
I didn't download because the file size is too small to be music. Thanks for trying, btw.
Smash.rar (1.34 KB)
http://www.mediafire.com/?jj424rznu5z
Hey jerks, guess what?thank you sir!
Parts & Labor - Receivers
IMAGE
Boom.Code: [Select]http://www.mediaf!re.com/?czz1ya0dyuy
http://www.mediafire.com/?ynkvwv2mzlmhttp://www.mediafire.com/?mamwhyczgyzCode: [Select]http://www.mediaf!re.com/?sharekey=019a54d397183ae1d2db6fb9a8902bdaLSD and the Search For God- LSD and the Search for God
Do you like blowjobs y/n?
'Cause I'm pretty willing to provide at this moment.
You'll find that the tone of this forum is often silly and overtly sexual. I was merely saying thanks a lot.
QuoteRules:
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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.
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100 pages! I don't really have anything else to say but woohoo!
Buttload of Silkworm. (http://www.mediaf!re.com/silkworm)
http://www.mediaf!re.com/?keminqwpyxwSilkworm has released You Are Dignified, a collection of covers by contemporaries such as Pavement and Bedhead. Although entirely acoustic, the EP is not always a pretty strumfest, as evidenced by the opening track, a performance of Shellac’s “Prayer to God”. The song is a fierce, creepy request to God to take the lives of a wayward girlfriend and her lover, material that is perhaps not well-suited to the campfire treatment. Remarkably, though, in Silkworm’s hands, the song’s bitter anger is scraped away to reveal the wounded pathos lurking beneath lyrics like “fuckin’ kill him / I don’t care if it hurts”.
Silkworm are clearly having fun here; there’s a looseness to the proceedings that speaks of first-takes and improvisation. That said, the songs are intricately arranged, and there is a delicate care given to the material. This is clearly well-loved music, and what You Are Dignified accomplishes, in part, is to remind the listener of just how damn good these bands can be. This is especially true of Pavement’s “And Then…”, which Pavement later transformed into “The Hexx”. Stripped-down to its essential parts, “And Then…” becomes less of a gothic stadium rock tune and morphs into arch folk-pop, complete with vocal trade-offs among all three Silkworm members. Bedhead’s “Lepidoptera”, a solemn, delicate interweaving of guitar, becomes looser and more blues-like in Silkworm’s hands. The change is particularly evident in the vocals. Bedhead’s Matt Kadane often sings in a restrained whisper, whereas Silkworm’s Tim Midgett sings with a gravelly baritone that pushes itself to the front. In its acoustic form, “Lepidoptera” has a much greater emotional heft, and very nearly bests the original.
Like much of Silkworm’s recent work, the material on You Are Dignified benefits from a studied understatement, a sense of restraint and minimalism. Thus, while every song contains mandolin, it is used sparingly, with a knowing sense of where it might have the most impact. Silkworm never plays a note more than it has to, and this EP pushes that aesthetic to its logical end. Moments of silence are allowed to properly stretch out, and if a vocal needs space, everything else settles down or drops out entirely.
But what is most notable is Silkworm’s ability to own the material. The songs here have their own life, and exist apart from their original performances. In part, this is due to canny song selection. This is most apparent with the cover of Robbie Fulks’ “Let’s Kill Saturday Night”. Silkworm have often mined small-town ennui for their subject matter, and Fulks’ song is concerned with similar notions. A well-observed piece of working-class melancholy, “Saturday Night” gets to the heart of the desperation that lurks beneath drunken merriment, detailing an inebriated night on the town. Like John Cougar Mellancamp without the cheese, it’s an honest and blackly funny account of dead-end America. Both deeply sad and warmly human, it’s a truly great song.
Silkworm have betrayed their love of covers before, most infamously at their “Crust Brothers” show with Stephen Malkmus a few years ago. That performance saw them breathe new life into Basement Tapes songs, as well as the Rolling Stones’ “Bitch” and “Heard It Through the Grapevine”. On Lifestyle, Silkworm covered the Faces’ “Ooh La La”, investing the Rod Stewart tearjerker with a newfound gravity. Like all good bands, Silkworm aren’t merely showing off their record collection when they do covers. They’re absorbing a different sensibility, putting themselves in someone else’s head and learning a new musical language. This engagement with other people’s songs has, in part, kept Silkworm from repeating itself, allowing the band to explore new ways of making music. It also affords the band a certain freedom from expectation that translates into an immensely enjoyable record.
http://www.mediaf!re.com/?mynkhvznub0Stuff about Silkworm.
A whole lotta Silkworm. (http://www.mediaf!re.com/silkworm)
Why do I hearing it referred to as SKWM? I mean, the name is Silkworm, that isn't a very long name.
Based on the "FMLN" insignia. I think Joel thought up the idea. All the "Chain/Our Secret" singles were silkscreened from the same screen we used to make the first 50 or so shirts. I don't know what happened to the screen and I don't wanna know, because if I knew, I'd probably feel obligated to screen a bunch more shirts by hand, and it's a pain in the ass, let me tell you.
The Kilimanjaro Darkjazz Ensemble- The Kilimanjaro Darkjazz EnsembleThank you!Code: [Select]http://www.mediaf!re.com/?mamwhyczgyz
If you don't like this there is something wrong with you
If today that is the sum of your worldly concerns, consider yourself truly blessed.
http://www.mediaf!re.com/?inlnmm2gjiaWell! Where to start? FIRST, this leaked today. And go ahead and click! Why not? But the next part is tricky because I don't want it to sound like a gimmick. I received both an e-mail (thanks Marah) and a facebook message (thanks Grant) letting me know that the record had found an internet home. I will admit - I was pretty excited by the news. I'm past ready for everyone to hear the thing. But! I also have to be honest. What you've been excitedly listening to is "Engine Glow." The first version of the final thing, masterfully mixed by Neil Strauch of Engine Studios. At least if you have your copy of the cd from the link above... well, first! We were planning on leaking it anyways. Matt and I talked about this tonight and we both agreed - Neil is too smart and too talented for his version of things not to have seen the light of day. We were thinking of it as a Christmas present. So consider this an early Christmas? And secondly - fortunately or unfortunately - what you have isn't the cd that will be coming out on Anticon.
Same tracks, different sound.
I promise promise promise we didn't plan it like this. And I'll also say, I fully expect the real "Canopy Glow" to leak between now and November 18th. That's how these things work, right? And when it does, I hope you listen to it! And that you pass it on to your friends. And hopefully you like it and they like it and you all decide to come see us between now and next spring. That's a fair deal, right?
I'd write more but I am sleepy. And not playfully sleepy but the "my eyes keep closing and reopening as I type this and it feels like college when I was writing papers at four in the morning except it is only eleven at night and I feel OLD" incoherent sleepy. Hopefully it doesn't show up in this post? Maybe I'll make an edit or two during my lunch break.
Goodnight all!
Silkworm - You Are Dignified (All really awesome covers, not original material)Code: [Select]http://www.mediaf!re.com/?keminqwpyxw
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The Sea and Cake - Nassau
The Go-Betweens - 16 Lovers Lane
No review but take my word: It's good. Their only album. Also if you didn't know The Crust Brothers is as Ptommydski already said "SKWM + Stephen Malkmus of Pavement"
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The Go-Betweens - 16 Lovers Lane
(http://image.allmusic.com/00/amg/cov200/drf900/f993/f99381swzqs.jpg)Code: [Select]http://www.mediaf!re.com/download.php?o34oy2n0kem
http://www.mediaf!re.com/?inizjvxjzlySavane, the great African guitarist and bluesman Ali Farka Touré's final solo studio album, was recorded in his native Mali toward the end of his life, when the artist knew his days were numbered. He spent his last years in his home village of Niafunké, concentrating on farming and family matters, jamming with local musicians of an evening. This impassioned, roots-drenched, mostly acoustic valedictory finds the Maestro's stalking rhythms and high-noon-at-the-crossroads, dusty desert-to-delta vocals in no less than life-summing form. "Soya" (track 5) seems to stand still in a million directions, while "Hanana Soko" (track 9) features a searing njarka fiddle spinning delirious circles around its throaty accompanying percussion. Pee Wee Ellis (sax) and Little George Sueref (harmonica) each manage to make strong impressions while adhering to the groove at hand. Afel Boucoum, a talented younger musician who has been mentioned as Touré's most likely successor (as if such a thing were possible!), graces "Njarou," the last tune. The other players are also at the top of their game, as fluttering ngoni (a West African spike lute) riffs weave in and out and airy female vocals float like a breeze off the river Niger. There are reports that Touré senior sat in on his son's upcoming album and scads of archival material will undoubtedly materialize. But his unsentimental, voluptuously masculine, spirit-guided magic is captured at its best, for all time, in this magnificent farewell. --Christina Roden
http://www.mediaf!re.com/?z1a2t4mmn2lBad Brains were a beautiful mess of a band, a crew of black D.C.-area hardcore fanatics with Rastafarian leanings and an astounding gift for taut, aggressive, snarling blasts of punk. Banned in D.C. spans their Eighties work: Early tracks such as "Pay to Cum," "I" and "Banned in D.C." display a band in unrestrained fury -- quick, sinister guitar lines, unhinged drumming, lyrics just this side of comprehensible. Even when the group veered toward metal, on later songs such as "Re-Ignition," it never gave in to indulgence, never once aimed to be pretty.
http://www.mediaf!re.com/download.php?0n2lyj0zotrOla Podrida is a cohesive, confident album full of folky, quiet guitars and thoughtful lyrics that coalesce into complete songs. But what sets the group apart from similar acts like Iron & Wine and Paul Duncan is its cinematic flair: Wingo treats his words like images, so that the music acts like a soundtrack that gently reinforces their meaning and impact. These songs are like short films-- action sequences (the fiery "Cindy"), montages (the humorous "Photo Booth"), denouements (the stark closer "Eastbound")-- but the band's spartan sound never makes that idea too obvious. Ola Podrida, which began with Wingo as its sole member but has grown to a full lineup, make the most of only a handful of instruments: Acoustic guitars pluck ruminative melodies while synths softly suggest atmosphere. Singing with an open twang that sounds both observant and expressive, Wingo performs most songs by himself, even playing piano on "Eastbound". Appropriately, Wingo's lyrics emphasize the visual, and his songs are full of off-hand concrete imagery, such as these lines from "Day at the Beach": "I played in the waves like a five-year old, timing my jumps with the rolling tide". However, the songs are most effective when he leaves certain specifics to the listener's imagination. In the middle of the plaintive "Run Off the Road", in which a woman gauges her life's course through the changes in her old home, he sings, "When you showed up at the farm, visions of the summer flying past you/ The foxes had torn up the mother and her pups, and the well was full of flies." The violence occurs off-screen, but its aftermath lingers in this southern gothic quatrain, feeding the song's meaning and mystery. All is not so bleak. "Photo Booth", about lovers slowly growing apart, repeats a playful refrain: "Dog's asleep out in the yard, cat's up on the roof/ We're out drinking at the bar, down each other's pants in the photo booth." Wingo's characters-- all of the lovers, friends, acquaintances, passers-by who inhabit these songs-- hover teasingly between real and fictional, suggesting typical songwriterly confessionalism but slyly undermining those expectations. For this reason, "Jordanna" is one of the album's many triumphs, showcasing not only Wingo's shapeshifting songwriting (in which verses bleed into choruses with such fluidity that it's often difficult to distinguish the two) but also his descriptive powers. The song is an ode to a powerful performer, and the words and music give listeners front-row seats: "You drink from your flask and ask if anyone here has a favorite," he sings, then adds, "I don't care what you play, just do it in your old fashioned way." Wingo sounds like he wants to believe in the power of music to set the world to rights, and on "Jordanna" he comes away with what seems at first like cold comfort, but reveals a musical generosity that's almost like a mission statement: "I don't know if there's any point to it all, but I sure like hearing your voice."
http://www.mediaf!re.com/download.php?rjdvmyy1mu0http://www.mediaf!re.com/download.php?zmnmqyyiw1iThis band has never even tried to simulate stage power in the studio except on its raw debut, which makes side one, with its first-ever recordings of two key live covers and the first version of the classic "Substitute" available here on LP, doubly valuable. But side two extrapolates the uncool-at-any-length "Magic Bus" and the bish-bash climax of "My Generation," which has to be seen to be believed. I much prefer the raw debut. B
http://www.mediaf!re.com/download.php?dymdtrm2y14The digital-only After the Balls Drop is the live recording of that raucous night/morning, which surely saw most in attendance end up on the tiles at some point. The set was heaving with tracks from 2007's Let's Stay Friends, the band's first full-length since 2001, and was peppered with old favorites, and they wrapped up with some very choice covers. From the opening pulses of "The Equestrian," the superb lead-off track, the boys set the tone for a show that even on record proves Les Savy Fav to be one of the best live bands around. From Tim Harrington yelping "Oh, I love this one!" before they played "The Lowest Bitter," to wishing a happy birthday to the new year and then kicking into a ripping version of "The Year Before the Year 2000," these recording shows the band as all-around goofballs with wicked art-punk chops. Harrington even does a decent Glenn Danzig for a moment on their sing-along cover of the Misfits' "Astro Zombies." The muddy production detracts a bit from how incredibly energetic and sparkling Les Savy Fav was that night. As a whole the set list is full of songs that begged to be done live, and the covers -- the Pixies' "Debaser" and Love's "Everybody's Gotta Live," in particular -- are worth wading through the dead zones of crowd noise in some of the tracks. This is a live recording that stays true to the night.
http://www.mediaf!re.com/download.php?yfmmyemjjzhAlthough the sensibility did show up on most of their studio recordings, Built to Spill were long renowned for their ability to stretch out in concert, where the balance between two of their most dominant influences -- noisy, electric Neil Young and noisy, angular Pavement-esque pop -- tilted decidedly toward the former's extended jams. In fact, Live's defining performance is a 20-minute cover of Young's "Cortez the Killer," on which Doug Martsch's vocal and guitar work bear an amazingly accurate similarity to Young, almost to the point of flat-out imitation. Yet somehow, the performance doesn't feel derivative -- it seems more like Martsch is staking out long-coveted territory and one-upping his way into something very much his own, making the expanded length of the already epic song absolutely necessary. It's a powerful, majestic performance that makes the preceding songs seem like a perfect buildup, and it also has the effect of dwarfing the extremely good performances that follow it. The exception, of course, is another 20-minute jam that closes the album, this time the Built to Spill original "Broken Chairs," which essentially underlines the point made with "Cortez." As for the nonepic songs, there are five other well-chosen Built to Spill originals, plus terrific versions of the Halo Benders' "Virginia Reel Around the Fountain" (actually a Martsch side project) and Love as Laughter's "Singing Sores Make Perfect Swords." What's more, the sound quality is excellent, even crystalline (for a concert recording). It's as definitive a concert document of the band as you're likely to get, and it's close to being essential listening even for fans who aren't keen on live albums.
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Though Coil's John Balance and Peter Christopherson were inspired by the acid house revolution of the late '80s, their drug-inspired "dance" album isn't quite as indebted to the style as the contemporary work of Psychic TV. The influence comes through mostly in the deranged effects and vaguely surreal air, though several tracks do increase the rhythmic wattage. For the most part, the duo retained the gothic synth pop of Horse Rotorvator, but with a special emphasis on stuttered cut-and-paste sections rather than organic instruments and environmental sublimation.
http://www.mediaf!re.com/?cnujhit31xoFrom the opening pairing of "Are You Shivering?" and the gorgeously titled "Red Birds Will Fly Out of the East and Destroy Paris in a Night," it's apparent that Coil was making a return during 1999 that would prove to be as influential on the post-industrial scene as its 1984 debut, Scatology. The group never really went away in the ensuing period, of course, but had maintained a cult status underground for the better part of the '90s. The duo consistently produced stunning albums, but the recordings were often in scarce limited editions that usually reached only hardcore fans. The Musick to Play in the Dark CD and LP were available through mail order only, and featured the core duo of Peter Christopherson and John Balance joined by collaborator Thighpaulsandra. The CD is the first full-length album Coil released on its own Chalice label as a subscription only release. Later in 2000, the album was thankfully re-pressed by Word Serpent, assuring wider availability. The album is a masterpiece of the caliber of the classic '80s trilogy Scatology, Horse Rotovator, and Loves Secret Domain, which gave Coil the highest stature in the post-industrial music scene as one of the most inventive, original, and courageous groups of the genre. Musick to Play in the Dark is an utterly mesmerizing work, and is nothing short of brilliant. The album's scope takes in the music of the '90s, the bleak digital processing and glitch music (Oval, Coh, and Nurse With Wound all spring to mind), but here these often sterile sounds are married to a human warmth that is inimitable Coil -- a sound that carries through the group's career as one of the most distinctive in the post-industrial canon. Along with the essential Coil '80s recordings, Musick to Play in the Dark cannot be recommended highly enough. It represents a chapter in British music that goes beyond the term industrial and into untapped realms of experimentation that place Coil, along with Current 93 and Nurse With Wound, among the '90s British groups more deserving of attention than their obscurity may ever permit.
http://www.mediaf!re.com/?emv1s1d4dfy (Part 1)
http://www.mediaf!re.com/?cxkm99o3mxn (Part 2)Blue Afternoon was Tim Buckley's first self-produced record and his debut for Herb Cohen and Frank Zappa's Straight label. Buckley's first two albums were very much of their time and place, with their psychedelically tinged folk-rock compositions; naïve, romantic lyrical content; and moments of earnest protest. The introduction of acoustic bass and vibes into the arrangements on Happy Sad signaled a change in direction, however, and Blue Afternoon displayed similar jazz tendencies, using the same group of musicians plus drummer Jimmy Madison. Several tracks on Blue Afternoon are songs Buckley had intended to record on earlier albums but had not completed. The brooding "Chase the Blues Away" and the lighter, more upbeat "Happy Time," for instance, are numbers he had worked on in the summer of 1968 for possible inclusion on Happy Sad. (Demos can be heard on Rhino's Works in Progress album.) Here, as he did on Happy Sad, Buckley takes the folk song as his starting point and expands it, drawing on jazz influences to create new dynamics and to emphasize atmosphere and mood. This approach can be best appreciated on the mournful "The River," as simple acoustic guitar, cymbals, and vibes build a fluid, ebbing, and flowing arrangement around Buckley's beautiful, melancholy vocals. The period between 1968 and 1970 was an intensely creative one for Tim Buckley. Remarkably, during the same four weeks in which he recorded Blue Afternoon, he also recorded its follow-up, Lorca, and material for Starsailor. It's not surprising, then, that Blue Afternoon hints at Buckley's subsequent musical direction. While not in the experimental, avant-garde vein of the more challenging material on those next two albums, "The Train" foregrounds Lee Underwood's quietly intense, jazzy guitar and Buckley's vocal prowess, prefiguring the feeling of tracks like Lorca's "Nobody Walkin'" and Starsailor's "Monterey."
http://www.mediaf!re.com/?0bsjh80zuuwIn 2000, Dischord records signed two unique new bands that both embodied the sound of their forefathers while pushing the boundaries of Dischord-style rock to new arenas. Q and Not U, formed from ex-members of Elusive, John Davis, Harris Klahr and Chris Richards, were the more straightforward and enigmatic of the two (Faraquet being only slightly on the more technical end). Their full-length debut, No Kill No Beep Beep, proved their ability to write complex yet catchy rock songs with quite a bit of repeat value. Through extensive touring, they began to cement a die-hard fan base with their live shows characterized by wild and upbeat good times for all. In early 2002, bassist Matt Borlik left the band for artistic reasons. They continued without him as a three-piece and released the slightly more offbeat single "On Play Patterns" later that year. Q and Not U didn't waste much time; tour dates planned for North America, Europe and Japan coincided the band's third Ian MacKaye-produced full-length, Different Damage into early 2003. Power appeared in fall 2004.
http://www.mediaf!re.com/?6hxtmxmadonWhen Michael Gira's Young God label issued Devendra Banhart's glorious home-recorded debut, Oh Me Oh My, on an unsuspecting world, its gorgeous yet sparse primitivism, complete outsider lyric sensibilities, and infectious melodies grabbed hold of listeners all over the world. It offered them a bona fide fissure between popular and underground American culture. Banhart's aesthetic is no pose; his iconoclastic songwriting could not be farther away from officially sanctioned "alternative" music. However, given the unanticipated coverage and success of the album (by modest indie standards, folks, not those dictated by the biz), a quandary was presented in how to follow it up. Should his new songs -- and there were many -- be recorded in exactly the same way to preserve the notion of "authenticity?" Or should he not be penalized by having to adhere to the same economic realities, and be nurtured as the developing artist he is? Wisely, Gira and Banhart saw through the smokescreen what a word like "authentic" implies. Banhart's songs are the authentic outsider article even if he were to record them in Barry White's studio, so why punish for the sake of a media construct? Gira and Banhart chose a simple but very effective recording studio in engineer Lynn Bridges' house on the Georgia/Alabama border as their location, getting down 57 songs(!) and choosing 32 for two different albums from the treasure trove. Rejoicing in the Hands is the first of these albums -- another will be issued in the fall of 2004. Simply stated, it is a stunner, form start to finish. Banhart's Muse may be furiously active, but she is tender all the same. The sonic ambience on this disc is breathtaking. Gira and Banhart brought the master tapes back to Brooklyn for some minimal and tasteful overdubbing -- a guitar track here, a cello or trumpet there, a piano ghosting through the mix in another place, some spare drumming, hand percussion or vibes somewhere else. Over it all, though, is Banhart's reedy tenor and edgy, angular guitar playing with its hypnotic insistence carrying the tunes from deep in the interior of his image and sound world to the fore, where listeners can encounter and engage with them. Elements of blues, ragtime, Appalachian rural styles, country music, European and Celtic folk songs: all weave in and out of one another in a seamless yet crackling whole, each of them serving their role in articulating Banhart's sublimely prismatic, loopy vision. Singling out tracks or quoting from his words would amount to nothing more than sacrilege. This music is simply rendered, to be sure, but unspeakably profound and mercurial; it's funny, warm, heartbreaking, and evocative of another place and time. There are glimpses here of Greil Marcus' "old weird America," the all-but-visible inner terrain that informed certain spiritual, social, and aesthetic elements in our culture. Banhart's music is utterly unselfconscious and poetic. Rejoicing in the Hands is a whole -- each song an inseparable part of an offering for listeners to be, quite literally, enchanted and even awed by.
http://www.mediaf!re.com/?63zbtoqjes2Cripple Crow marks a departure for Devendra Banhart. It's obvious from the faux Sgt. Pepper-meets-Incredible String Band freak scene cover photo that something is afoot. The disc is Banhart's first foray from Michael Gira's Young God label, and it's more adventurous than anything he's done before. This is not to imply that the set is a slick, over-produced affair, but it is a significant change. The instrumental, stylistic, and textural range on this 23-song set is considerably wider than it's been in the past. Working with Noah Georgeson and Thom Monahan, a backing band of friends known as "the Hairy Fairies", Banhart's crafted something expansive, colorful, and perhaps even accessible to a wider array of listeners. There are layered vocals and choruses of backing singers, as well as piano and flutes on the gorgeous "I Heard Somebody Say," while the electric guitar and drums fuelling "Long Haired Child," with its reverb-drenched backing vocals, is primitive, percussive, and dark. There is also the 21st century psychedelic jug band stomp of the second single, "I Feel Just Like a Child," that crosses the nursery rhyme melodics of Mississippi John Hurt with the naughty boy swagger of Marc Bolan. There are also five songs in Spanish, Banhart's native tongue, in a style that's a cross between flamenco and son. The title cut, "Cripple Crow," is one of the most haunting anti-war songs around. In it, Banhart places a new generation in the firing line, and urges them to resist not with violence, but with pacifistic refusal. A lone acoustic guitar, hand drums, a backing chorus, and a lilting, muted flute all sift in with one another to weave a song that feels more like a prayer. The lone cover here, of Simon Diaz's "Luna de Margaerita," drips with the rawest kind of emotion. Ultimately, Cripple Crow is a roughly stitched tapestry; it is rich, varied, wild, irreverent, simple, and utterly joyous to listen to.
http://www.mediaf!re.com/?3jtu9dis35wElectronic Meditation is Tangerine Dream's debut album. It features the Tangerine Dream lineup of Edgar Froese, Conrad Schnitzler, and Klaus Schulze (his only album with Tangerine Dream). This CD, while very strong in many ways, has some serious flaws. It is about as far from e-music as it gets but still shows promise at the same time. Wildly experimental timbres, passages, and textures dominate this sound world. It is definitely a rock & roll effort and decidedly avant-garde. And at the same time it is very accessible. It is hard to dislike this CD. It is very similar to the music of Pink Floyd and Amon Düühl of the same era.
http://www.mediaf!re.com/download.php?5wh74eohwmzA drone-fueled, almost entirely instrumental duo in the tradition started by the Velvet Underground and perfected by the likes of Spacemen 3 and Acid Mothers Temple, with just a hint of doom metal heaviness for spice, Growing formed in Olympia, Washington in 2001. Guitarist Joe Denardo, bassist Kevin Doria and drummer Zack Carlson released several self-distributed cassettes before making their vinyl debut with the 7" EP Dry Drunk On Woman (later reissued on CD-r). The small Michigan indie Animal Disguise reissued two of those self-released cassettes, Fear of Life/Death and Five Patterns, on a single tape in 2002, along with a double cassette called Above/Below Sea Level, consisting of two cassettes meant to be played simultaneously a la the Flaming Lips' Zaireeka. The following year, Kranky Records released Growing's first CD, The Sky's Run Into the Sea, after which Denardo and Doria relocated to Brooklyn and Carlson left the band. Continuing as a duo and expanding their use of effects and loops to fill their now drummerless sound, Growing released 2004's The Soul of the Rainbow and the Harmony of Light on Kranky before moving to the Troubleman Unlimited label for 2005's His Return and 2006's Color Wheel. Following a lengthy series of archival live releases that returned to the band's cassette-only roots, Growing returned to the studio for 2007's Vision Swim. Shifting to the new label The Social Registry later that year, Growing released a vinyl single as part of the label's ongoing Social Club series in early 2008, followed by the atypically brief four-song EP Lateral.
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LOTS OF SKWM
Not exactly. It was never there!(http://www.randomculture.com/photos/uncategorized/khaaan_2.JPG)
I'll upload Fiirewater now, that is if you really really want it.
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http://www.mediaf!re.com/download.php?z2i5timzmje"B-but where are my extras? My rare and unreleased tracks, demos, B-sides, live performances, videos, and valuable ephemera?" I hear your cries, and I feel your pain. If you need consolation, however, try putting on the Inches DVD-- you know, the one you watched half of once?-- to reaffirm your devotion. 3/5, Les Savy Fav's debut album, has been reissued for the oldest and dullest of reasons: It up and went out of print.
The new art is a clever facsimile of the original vinyl that actually came packaged inside three shower caps (which was actually a terrible idea if you ever planned to listen to it). Your legacy is not at the forefront of your mind when you're wrapping your first record in bath gear, and listening back to 3/5 only makes this clearer. "Teen Anthem" is not quite as advertised, and the band's original two-guitar setup made a noise that was convincing, if not so discernible from the other noise of the time. "Cut It Out" shows singer Tim Harrington's ability for turning nearly any innocuous couplet into a come-on or a manifesto (I'd long misheard a lyric from "Pluto" as, "Every song's a sex commercial." If only that were true: I couldn't be more concise than that.) Despite Harrington-brand non sequiturs, "J'Taime" is the album's real anthem, though nearly any lyric would sound that way over that track's cutting sobriety. In between, there's a non-stop saturation of jagged guitars that often lags without the dynamics of the band's later work. The record's lost none of its bite or charm-- and I've always appreciated of the vicious rhythms of "Cut It Out" or "Scouts Honor"-- but it's still a long way from the confidence in their songs and in the studio exhibited on Go Forth, or the bold Inches compilation.
I get all moist in the face reading the list of comrades in the "Chorus" section of the faithfully reprinted liner notes-- the Make-Up, Brainiac, Trans Am-- but the Fav were still playing catch-up at this point, not quite redefining their influences like they would from the Emor EP onward. While LSF managed to cram more then enough mania, muscle, sexual frustration, and French-speaking people into their record to instantly assert themselves as a cut above the rest, 3/5 is outshined by each of the band's subsequent releases. It's a shame that a merely great record gets dusted by a band that improved with every step, but there you have it. There's just a little more punk here than personality, the twin-guitar crunch overcrowding Harrington's delivery and the band's more distinctive corners. A pre-DFA James Murphy recorded the album, but the reissue sounds as unvarnished as it ever did. 3/5 does its best to capture the raucousness of their live show, but Les Savy Fav records only got really interesting once they realized they didn't have to. 3/5 is a document of the undocumentable; coming up short was just inevitable.
Tim Harrington's behavior at shows has become so consistently unpredictable that all fans must trade anecdotes and all reviewers feel inclined to include their favorites. But back then, they were playing to small audiences, and those audiences weren't into moving. I've always thought Harrington's extremism was nothing but inclusive in spirit, but would that reckless shtick have developed if most backs weren't turned? Would Les Savy Fav have pushed themselves so hard in concert if digital pictures and smoke-blowing live reports were showing up on a dozen blogs the following day? And would they have pushed themselves in the studio in the same way, or rested on their laurels, as they have now that everyone knows about which curly hairs your face might get rubbed in if you're too close to the front of a Savy Fav show?
Pitchfork writer "Chip" Chanko wasn't misled in his enthusiasm when this was originally handed an 8.2. However, I knock it back a few tenths for how it measures up to the rest of the catalog now, and maybe a couple more for a lack of extras-- an oversight that's hard to complain about considering this was seriously out of print. Don't get me wrong: Every savvy Fan should own this, should have "J'Taime" and "Blackouts" mentally marked for their own internal best-of comps, and should know just what 1970s omni-hit they're quoting in the beginning of "Cut It Out". These details are so essential that you can take them for granted, just assuming the record's on your hard drive and moving on. Some extras would have been rad, yeah, but there's no need to see the naked baby pics when these guys, now full-grown, are still wearing tin foil hats and putting cucumbers in their Speedos. This record-- a sweet souvenir from the last word-of-mouth band-- is just sweetly awkward enough as it is.
- Jason Crock, August 2, 2006
http://www.mediafire.com/?dkt2jtmty2iCoincidently only 3/5ths of the oricinal line-up remain in the band's present day line-up.http://www.mediafire.com/?dz1navdtmzzhttp://www.mediafire.com/?agzxjdz3egt
Liars collection of b-sides ans non album tracks consisting of
http://www.mediaf!re.com/?ogz2izmzedd The Swans- White Light from the mouth of infinityStoner sludge stalwarts Bongzilla keep on chugging (or should that be "smoking"?) with 2005's typically self-explanatory Amerijuanican -- their fourth full album of original material, but, amazingly, their 12th release overall in less than a decade's activity, if you count EPs, split singles, and the like. Not bad for a bunch of unapologetic reefer-heads, don't you think? -- who says herb abuse stunts productivity? And that's but one of the widely held misconceptions about stoner rock dispelled here by the Madison, WI, quartet; the other being that sonic evolution within the style is an impossible goal. Sure enough, although the opening title track and ensuing favorites like "Cutdown" (at times near silent, at others exploding into distortion) and "Champagne & Reefer" (a Muddy Waters cover ground up into an Eyehategod pipe) still qualify as textbook Bongzilla acid-groove-grinds, ever-distinguished by Mike Makela strangulated rasp, the majority of these songs surprise and astound in both their brevity and abounding energy. Firmly rooted in Black Sabbath's doom legacy they may be, but prime samples like the driving "Kash Under Glass," the circular-riffed "Tri-Pack Master," and the amusingly named "Weedy Woman," don't just endlessly pound along, they actually rock! And since previous efforts often left the impression that riffs were being hammered to death for lack of other options in the band's stash box, here the newfound sense of economy contributes to what is arguably the most satisfying, and certainly most immediate, Bongzilla album yet. It may not offer as many extended head-nodding opportunities for the band's hardcore followers (though these are handed an olive branch via the 12-minute colossus "Stonesphere," complete with bubbling-bong sound effects!), but it does welcome "newbies" like never before, and should therefore help to expand the band's appeal.
http://www.mediafire.com/?exwnmtzyz1whttp://www.mediafire.com/?uytwj2il4mnhttp://www.mediafire.com/?mymyomrmzdmhttp://www.mediafire.com/?jiumzmzmthwhttp://www.mediafire.com/?mtfwjm0hgi4http://www.mediafire.com/?etdlzowo4duhttp://www.mediafire.com/?3m02zzqjjnnhttp://www.mediafire.com/?hwvhz4fymn5http://www.mediafire.com/?j2mhottaozhhttp://www.mediafire.com/?iyajimwnkzm
After taking forever to complete, Joey Cape's solo album is wrapped up.
The Lagwagon front man's acoustic solo album, Bridge is finally in the can. Cape had been sporadically working on the album while juggling other projects, and was forced to re-record large portions after his un-backed-up hard drive crashed. His foot dragging was also due to thinking too hard about the finished product and second-guessing himself.
"It is my first attempt at making a solo record, something I am totally unfamiliar with. I know this, I will never make a record this way again," he wrote on his MySpace blog. "From now on, no second guessing or obsessing. Ultimately, I am proud of this record. I made something I like and it's time to move on. I hope most of you will appreciate it."
http://www.mediaf!re.com/?yhimqkltgzt
http://www.mediaf!re.com/?rfmzqtvyuyghttp://www.mediafire.com/?hmdz4izgnq3
General Lee, on the other hand, shares a lot in common with Agalloch, such as it is REALLY FUCKING GOOD.Code: [Select]http://www.mediaf!re.com/?3m02zzqjjnn
http://www.mediaf!re.com/?5ndem2mygvfNo amg yet. The press release: "Copeland returns on October 14th with "You Are My Sunshine", a brand new record delicately crafted by a production wonderteam: Aaron Sprinkle, Aaron Marsh, and mixer Michael Brauer (Coldplay, John Mayer, My Morning Jacket). With an eleven track offering of lush soundscapes, driving guitars and brilliant lyrics Copeland has never been more prolific, heartfelt, or sonically dynamic. Teaming up with Tooth & Nail Records on the release, a special edition will also be available complete with an 11 song filmtrack, documentary about the band and other unique footage all packaged within a deluxe box. With three critically acclaimed records under their belts and an army of adoring fans impatiently awaiting the next installment, the timing could not be more perfect for a grand open-armed reception of "You Are My Sunshine". "http://www.mediaf!re.com/?5dds3zmqtf1Copeland's Dressed Up & In Line is neither fish nor fowl, neither a new album nor the stopgap collection of rarities and outtakes it at first appears to be. Originally announced as a two-CD set but scaled back to a single disc just prior to release, Dressed Up & In Line gathers 15 songs from the length of the earnest Florida emo kids' career, from their first EP to outtakes from the previous year's Eat, Sleep, Repeat. Several are acoustic versions of fan favorites like "You Love to Sing" and "Careful Now." Two others are needless covers of Soundgarden's "Black Hole Sun" and the Police's "Every Breath You Take," the former adding nothing to the unimpeachable original, and the latter bad enough that it somehow makes even the original song sound worse than it used to. The others are DJ remixes, B-sides, and outtakes. What's unusual about this album is that rather than merely gathering the odds and ends onto a CD-R and calling that the master, singer Aaron Marsh and cohorts went back and remixed and selectively re-recorded most of the songs; according to Marsh's long, chatty liner notes, some were basically thrown out and redone anew. The results have an admirable sonic consistency, at least -- a casual fan might not even recognize at first that this was a compilation and not a new album -- but the uneven quality of the songs themselves makes Dressed Up & In Line more of a curiosity for the devoted than a truly necessary release.
http://www.mediaf!re.com/download.php?mnwnjnyq3zdEat, Sleep, Repeat is the third full-length from Florida-based Copeland, and it's their most accomplished record yet. The band continue in the vein of soft and introspective indie rock, as is their specialty, but there is a definite sense of the music being fuller on this album than ever before. And this is a very good thing. Copeland still rely on hushes of piano, light percussion, and gentle strumming to craft each graceful track, but subtle touches, like the added horns on the lovely "Love Affair" and the strings on "I'm a Sucker for a Kind Word," noticeably enhance Eat, Sleep, Repeat's overall effect. Copeland aren't afraid to try out different elements, and their confidence is more than welcome. But despite the elegance and restraint they use to make their point, they're just sometimes so relaxed and unassuming in their approach that songs can easily blur into one long, yawn-inducing track upon initial listens. Don't give up -- multiple spins move the record past the blurred, so-soft-it's-boring feeling, and the clouds part to illuminate how truly inviting and pleasant a band Copeland really is. Aaron Marsh's feathery voice has always been borderline effeminate, but he really stands strong on this record, and it's hard to imagine anyone else making a song like the wonderful "When You Thought You'd Never Stand Out" sound so great, especially paired up with the backing female vocals. Elsewhere, the straightforward pop of "Control Freak" stands out as a much more aggressive track for the band (relatively speaking), its anxious piano notes propelling an apprehensive Marsh along, which makes up for cuts like "I'm Safer in an Airplane" that don't really seem to go anywhere at all. With Eat, Sleep, Repeat, Copeland has made a record that doesn't immediately demand attention, but rather one that steadily opens up to the delight of listeners. Anyone in the market for an album for simply sitting back and lounging around, this will put a contented smile on your face in no time at all.
http://www.mediaf!re.com/?1l3q3hedl91The line between "angelic" and "wimpy" is a pretty subjective one. The Militia Group calls Aaron Marsh's vocals "angelic" and "breathy" -- others might hear lightweight and wimpy. But there's no denying the beauty his throat generates when he's at his best, and he's at his best more often than not on Copeland's sophomore effort. In Motion is a surprisingly varied album, offering everything from the muscular emo attack of "No One Really Wins" to the waltz-time accordion-and-falsetto strangeness of "Kite." Although the band's configuration is the standard rock & roll lineup of two guitars, bass, and drums, the vocals are layered so elegantly that the band often sounds much bigger (notice in particular the very nicely arranged "Sleep" and "Love Is a Fast Song"); from time to time the band also brings in woodwinds and strings, which offer a highly effective counterpoint to the slabs of big guitar that generally dominate the sonic landscape. As an added surprise, the package includes a bonus disc that offers four acoustic versions of two songs each from In Motion and Beneath Medicine Tree. Strongly recommended.
http://www.mediaf!re.com/download.php?njj5gqzmj3nNo amg for this one. It's their least polished release, but also one of the best loved by fans. Has some of their best songs to be sure.http://www.mediaf!re.com/?lhzlnmmntdohttp://www.mediaf!re.com/?ed4q3knrun3
Antony and the Johnsons - I Fell in Love With a Dead Boy EP
http://www.mediaf!re.com/download.php?nj3jqw5ntij
And lastly, BLACK MOTH SUPER RAINBOW.... all their stuff's been put up here already.
I have a feeling that Copeland isn't a cool band to listen to, but man, screw that. Their new album is great.
A couple of these are not my links, so if they don't work let me know and I'll up them myself.
http://www.mediafire.com/?nmyhtxiidtmMarnie 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!"
http://www.mediaf!re.com/download.php?fjziqd2lzzbhttp://www.mediaf!re.com/?2bzwtzrzzl2As 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.
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.
http://www.mediaf!re.com/?zru3vgtzz1oReuploaded. Fixed :)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...
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this is giving me an error.
http://www.mediafire.com/?nmyhtxiidtm
And lastly, BLACK MOTH SUPER RAINBOW.... all their stuff's been put up here already.
http://www.mediafire.com/?jiqcnqwgnemhttp://www.mediafire.com/?lrtjh0jqriyhttp://www.mediaf!re.com/?mqnwzkekgmzDo Make Say Think - You, You're A History In Rust
(http://img518.imageshack.us/img518/2886/historyinrustfm6.jpg)Code: [Select]http://www.mediaf!re.com/?mqnwzkekgmz
Also available in Apple Lossless if you're so inclined.
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.
http://www.mediaf!re.com/?2iyejzey0jchttp://www.mediafire.com/?zowwujumnwyhttp://www.mediafire.com/?jn5netmxztzPart 2:http://www.mediafire.com/?zn2ntbwwmyzhttp://www.mediafire.com/?3zrnzzmnwmnFrom 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.
http://www.mediaf!re.com/?k4xmm4yezizhttp://www.mediafire.com/?yzyyzmmjmmq
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.
http://www.mediafire.com/?unnnkjdmetehttp://www.mediafire.com/?y0jdmimvmgnJacques 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)
http://www.mediafire.com/?gn3mn1w01jz(part 2)http://www.mediafire.com/?djtznotm2zqAs 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.
http://www.mediafire.com/?yjmuwqzkyi5Genre 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)
http://www.mediafire.com/?jmjgym202cz(part 2)http://www.mediafire.com/?txzgudyojzmBeen 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)
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http://www.mediaf!re.com/download.php?ykdojxlyzyjSo...
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)
(http://www.soundvenue.com/upload/anmeldelse/2006-10/analogik_13102006_top.jpg)Code: [Select]http://www.mediaf!re.com/?zowwujumnwy
Enjoy good people!
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)
http://www.mediafire.com/?ykaitfklxnr(Part 2)http://www.mediafire.com/?izzjwymhtzmBroken 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.
http://www.mediafire.com/?ztzvjmyinntFew 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.
http://www.mediafire.com/?2nwtw2rmz0mSimian 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."
http://www.mediafire.com/?gh5atziiibu
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.http://www.mediaf!re.com/download.php?mmcmrmmyzlj
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http://www.mediafire.com/?utdm1mflgfzhttp://www.mediafire.com/?bjziqm2zktxhttp://www.mediafire.com/?ojjdkmlnifh
Howards Alias - "The Answer Is Never"
http://www.mediafire.com/?r3ynnutkkqo
Howards Alias - "The Answer Is Never"
can you put this on mp3 its in wma
http://www.mediaf!re.com/download.php?4tkeyiej4tihttp://www.mediaf!re.com/?ly4piomn2z2Pop rock kinda like Cut Copy, really good stuff.Hopefully it sounds more electropop than rock.
If you liked their ep that was posted a while ago you'll like this.
Requesting a re-up of Pink by Boris and Time out by Dave Brubeck.
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.
http://www.mediafire.com/?n4jklxmnoihhttp://www.mediafire.com/?zkt5wjaznmz
http://www.mediafire.com/?gonimydtdmnHey guys, look what I found!
http://www.mediaf!re.com/download.php?o2tgmj3inyaHey guys, look what I found!thankyou!
http://www.mediaf!re.com/?nzmjihhwrdn(disc 2)http://www.mediaf!re.com/?wmj3mwmtnzvhttp://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.
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.
http://www.mediafire.com/?zntdhygm0jjFew 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
http://www.mediafire.com/?kozzyuruzzqLondon'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)
http://www.mediafire.com/?qbnjoyzdtjf(part 2)http://www.mediafire.com/?4jjjodlmgyjhttp://www.mediafire.com/?mm1mn3dhzi3American 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)
http://www.mediafire.com/?enzdw2ggygy(part 2)http://www.mediafire.com/?m0tnnyjjnkyhttp://www.mediafire.com/?yzvttdrj01yhttp://www.mediafire.com/?yniggyqurjq
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.
http://www.mediaf!re.com/download.php?z1kmgjtwwtihttp://www.mediafire.com/download.php?yd1uttzqggmhttp://www.mediafire.com/download.php?lmzyg02j1zihttp://www.mediafire.com/?zymze2idini
http://www.mediaf!re.com/?ygwnyyjm3zjGlass and Ashes - "Glass and Ashes"WOW
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http://www.mediaf!re.com/?ta0mmyzznlnthe track Waltz of King Karl is beyond amazingEvery time Ulver announces a new album, I hold my breath just slightly, hoping that they'll return some of the metal genre to their driving electronic experimentations that have made up all of their albums since Metamorphosis - but since the group continues to get work scoring films, and is taking their sweet time on the string remake of Nattens Madrigal, this seems ever less likely. Thankfully, with music as well-crafted as the sixteen short tracks found on the Svidd Neger soundtrack album (a soundtrack to a Norwegian film that professes to be an exegesis of human violence), I can almost appreciate Ulver's reasons for abandoning metal after their daring Themes From William Blake's The Marriage of Heaven and Hell. Electronic without ever becoming as obnoxious as most techno, these tracks are carefully structured, each sample placed in such a way as to never overpower another, with memorable, if brief, compositions throughout. Rock Massif pt.1 is an unfortunately short orchestral loop conducted by an unhinged drumkit - that it flows immediately out of Wildcat, a melancholy piece that escalates slowly, makes it all the more memorable, especially as it flows right into its second part, a revision on the first melody with a filtered, almost trip-hop beat reminiscent of the like-minded breakdown on Arcturus' Nightmare Heaven. The music as a whole has an ethereal quality, with sparse piano and string loops handling most of the melody and a distinct flow that keeps the album moving for most of its brief 30+ minutes. The only thing really close to a song on the album would be Wheel of Conclusion, a brilliantly structured piece throughout its 6 minutes that alternates upbeat and slower sections to great effect. A soundclip from the film, apparently, of a woman screaming is absolutely chilling when laid down on top of a piano and guitar tune that is backed by creeping synthesizers in Wildcat, while that very tune's earlier presence on Comedown is equally mournful, and effective. Waltz of King Karl almost seems out of place, with an almost darkly comedic tone compared to the rest of the album, although one can imagine it's use in the film more clearly as a result.
Glass and Ashes - "Glass and Ashes"WOW
(http://img80.imageshack.us/img80/4559/glassandasheswi2.jpg)Code: [Select]http://www.mediaf!re.com/download.php?o2tgmj3inya
http://www.mediaf!re.com/?sharekey=84d96fc7c2526339ab1eab3e9fa335ca7b9e89cb4201e08ahttp://www.mediaf!re.com/?ccwcgwb0ejnhttp://www.divshare.com/download/3741189-e5chttp://www.mediaf!re.com/?0keltjwneeyIf you don't know what this is, you need to re-do your childhood.
Japanese psych band
http://www.mediafire.com/?nnmhzyjizdkhttp://www.mediafire.com/?lh35gknmgmn
http://www.mediaf!re.com/?f7dbydymben
Hey dicks, listen to bedhead.
Here's two Bedhead EPs for you dicks. I think someone uploaded them a long time ago, maybe.
I know it's not even Halloween yet, but I figured in the spirit of fall and the coming winter, I'd post this:
Vince Guaraldi Trio - A Charlie Brown Christmas
(http://devilishduck.com/wp-content/uploads/2007/12/250px-music_album_record_a_charlie_brown_christmas.jpg)Code: [Select]http://www.mediaf!re.com/?0keltjwneey
If you don't know what this is, you need to re-do your childhood.
Japanese psych band
Color me interested.
Hey dicks, listen to bedhead.Code: [Select]http://www.mediaf!re.com/?sharekey=84d96fc7c2526339ab1eab3e9fa335ca7b9e89cb4201e08a
http://www.mediaf!re.com/?nnmhzyjizdkThis one didn't work at all.
http://www.mediafire.com/download.php?22tvbzfwlzcSan Francisco's the Pleased used to be called the Please, and in 2002 they issued One Piece from the Middle. The double EP was produced and released by the band, but after much praise from XFM Radio in London and countless indie publications, the Pleased opted to redesign and remaster One Piece from the Middle. Don't Make Things is their second chance in making a good impression. Reworked songs like "One Horse," "Another Disaster," and "No Style" highlight the band's ambition to get it right -- but don't be so quick to confuse it with confidence. The honesty surrounding "Don't Make Things" is layered with Noah Georgeson and Rich Good's nervy, sometimes elastic and angular guitar work. Vocally, Georgeson isn't as miserable as Morrissey, but offers a slight twitch to his Ian McCulloch-like brood. Such anxiety is natural when going for the perfect hook. They're on their way to crafting a divine post-punk-inspired sound that's sonically rich to stand apart from the pack of New York City bands. From the dark piano melody of "Never Come Home" to the Echo & the Bunnymen aesthetic of "We Are the Doctor," Don't Make Things captures the Pleased's modern art-pop sound. They might not be as cocksure as Interpol and the like; however, the Pleased succeed in making a fashionable sound all their own with Don't Make Things. ~ MacKenzie Wilson, All Music Guide
http://www.mediafire.com/?zwenxjmrmmkPaavoharju's second release for Fonal finds Lauri and Olli Ainala, the brothers who make up the core duo, and company again exploring their zest for moody, textured compositions that are part sound-installation, part soundtrack, with an emphasis on generally shorter, sometimes fractured compositions. Often Laulu Laakson Kukista seems like it could just as easily be on the Friendly Noise label from Sweden, as there's a similar sense of technology being used for purposes both elegantly artistic and immediate; if songs like the ebb-and-flow of the opening "Pimeankarkelo" and the drowned-piano fragment "Alania" aren't going to set radios on fire, they are immediately appealing . The merry shuffle and kick of "Kevatrumpu," which sounds like one of the Blade Runner soundtrack's vocal numbers given a murky dance floor setting, and the sweeping "Uskallan," possessing the feeling of a dramatic 1960s film ballad fed through a static-plagued PA -- but in intentional and very attractive fashion -- are two of the more forthright numbers, sounding like snippets from some grand production sensed only in bits. Other songs like the sea-shanty-goes-Jacques Brel "Italialaisella Laivalla" and the more openly indie-pop "Tytto Tanssii," with its guitar lope and synth-horn break floating over a softly rumbling cloud of melancholic, echoing textures, further add to the understated but enjoyable variety of a fine album.
Japanese psych band
Color me interested.
Les Razilles Denudes are essential listening. Fer'Realz.
http://www.mediaf!re.com/download.php?aze4sxsgbhfhttp://www.mediafire.com/download.php?kdsyoy2xvuyhttp://www.mediaf!re.com/download.php?xjmiyeyyzvihttp://www.mediaf!re.com/download.php?njhohgdsv2mhttp://www.mediaf!re.com/download.php?zyjkghzd0mthttp://www.mediaf!re.com/download.php?dfm9rdmld60http://www.mediaf!re.com/download.php?zvvknyo55my
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.
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http://www.med!afire.com/?duoiammemyhhttp://www.mediafire.com/?cnimiandm4mIt’s been nearly five years since Sebastien Grainger and Jesse Keeler broke through with Death From Above 1979’s cult smash, You’re a Woman, I’m a Machine, and two years since the raucous Canadian duo called it quits. Taking a step back from the remix and electronic work he’s done in the interim, Grainger embraces rootsy, anthemic rock in a big way on his first solo album.
Despite the title and the fact that he’s touring with a full band, this record is all Grainger, for better or worse. It’s choppy, hit-and-miss, self-indulgent, and self-consciously cool, but also catchy, diverse, determined, and fiercely energetic. Grainger loves to graft dirty guitars and dirtier singing to a thick, dance-y rhythm section and let things explode all over the place from there, whether he’s nodding to Prince with funk and falsetto on the concert-recorded “I’m All Rage” or blowing off steam with the curt, throttling “Niagara.”
His ragged voice can resemble Spoon’s Britt Daniel, though he typically howls into a distorted mic to make it even more ragged. He aims for arena-rock expansiveness on “(I Am Like A) River,” and even his songs nodding to U2, Springsteen, and the Stones retain traces of DFA 1979 while packing infectious amounts of tambourine. Sometimes it comes together well, as on “American Names”—the title track of a digital EP preceding this album—and other times not so much, as on the closer “Renegade Silence,” culled from his bedroom project the Rhythm Method (har har).
Grainger’s range should come as no surprise to anyone who’s followed his collaborations over the years, from hardcore punks Fucked Up to Canadian rapper K-Os to the young U.K. brats Does It Offend You, Yeah? And this debut is similarly restless. Trouble is, it winds up feeling more like a rushed odds-and-sods collection than a proper platter.
http://www.mediafire.com/?0sg9lb5jyqdNeil Young - Dead Man OSTman, I wish Johnny Depp would stop ruining people's poetry.Code: [Select]http://www.mediaf!re.com/download.php?dfm9rdmld60
Johnny Depp reads William Blake while Neil Young shreds.
http://www.mediafire.com/?xttymmbgmqiCities vs. Submarines was recorded in the kitchen of Xiu Xiu frontman Jamie Stewart...using drum boxes, synths, and noise pedals with sentiments recreated in lyrical form.It reminds me of early Xiu Xiu quite a lot, though not as dark.
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Boris with Merzbow - "Walrus/Groon"
Music From The TV Series Curb Your Enthusiasm
http://www.mediaf!re.com/?lbyihzjdzjmhttp://www.mediaf!re.com/?dyune2cvkiw
http://www.mediaf!re.com/?jnmjygyyhtmThe first fully-formed English opera. Purcell had a way with setting the English language that was never matched until Britten in the 20th century. This performance was put on by an opera group that I helped form and run about twenty years ago. http://www.mediafire.com/?lyzzcaiimoxhttp://www.med!afire.com/?stbw0y4cyw2
(http://)
Destroyer - Streethawk: A SeductionCode: [Select]http://www.mediaf!re.com/?dyune2cvkiw
http://www.mediafire.com/?mm5m2jzdtytZooey Deschanel & M.Ward make pretty music!
She and Him - Volume One
(http://stereogum.com/img/pe-she_and_him-volume_one.jpg)Code: [Select]http://www.mediaf!re.com/?f7dbydymben
Darker My Love - s/tCode: [Select]http://www.mediaf!re.com/download.php?zyjkghzd0mt
Loved the EP, mixed feelings about the album however. Try it out for yourself though, Sebastien Graingers solo album:
Sebastien Grainger and the Mountains - American Names
My Morning Jacket - Evil UrgesCode: [Select]http://www.med!afire.com/?stbw0y4cyw2
http://www.mediafire.com/?n2z5vttnkqzPortastatic's Bright Ideas might just be their best record yet. Seeing as how the track record of Mac McCaughan's group is scattered with nothing but low-key gem after gem, that is high praise. It is the first full album he has released since his main band, Superchunk, went into the clichéd realm of indefinite hiatus, and while only Mac knows if any of these songs could have ended up as Superchunk songs, if they had the record they appeared on would have been hailed as a triumphant return to form. (Not that they really ever slumped anywhere except in the eyes of the indie press.) Those are really side issues though because all that really matters here is how wonderful Bright Ideas is. Broken into equal parts introspective and beautiful ballads and jumping rockers, the record is at once lively as heck and full of poetic insight. It feels like the product of a teenage heart and an adult (with kids) mind. As usual the music (as played by a core group of fellow Superchunker Jim Wilbur on bass and Matthew McCaughan on drums) is tighter than Tim Duncan on the free throw line during the NBA finals. McCaughan's vocals are pushed to the point of breaking, though he is able to apply the brakes now and then, and his lyrics are intimate, always interesting, and often hilarious. Basically everything you've come to expect from a McCaughan product but with some slight improvements. Songs like "Little Fern" and "I Wanna Know Girls" are more tender than anything McCaughan has issued while up-tempo rockers like "Through With People" and "The Soft Rewind" are as peppy and catchy as anything the Chunk ever did. Head and shoulders above everything is the awesome "Truckstop Cassettes," an elegiac tale of a love-struck and life-changing road trip set to a calmly rolling rhythm caressed by a melancholy violin, acoustic guitars and bass, cheap keyboards, and Mac's sweet-as-cherry-pie vocals. When his best songs are rounded up, it will be right up near the front with the likes of "Driveway to Driveway," "My Noise," and "Hello Hawk." The simple fact that Mac continues to release solid albums after so many years of writing and recording is impressive. That he is still releasing records as sparkling, emotionally involving, and memorable as Bright Ideas is nothing short of miraculous.
(http://img504.imageshack.us/img504/8350/musiccatalog5ca5caim202fe9.jpg)This is missing track 2 :cry:
Fabriclive 17 - AimQuote from: AllmusicLondon'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)Code: [Select]http://www.mediaf!re.com/?qbnjoyzdtjf(part 2)Code: [Select]http://www.mediaf!re.com/?4jjjodlmgyj
Boris has taken its musical split personality to the logical extreme on Dronevil: Final, where the two discs are meant to be played simultaneously. One disc, "Disc Evil," contains three songs averaging 20 minutes in length, and the other, "Disc Drone," contains three feedback accompaniments. This multiple-source approach worked to fabulous effect on the Flaming Lips' four-disc Zaireeka in 1997; call this Boris' Zaireeka-lite. The three songs are minimal in arrangement, not to mention molasses-slow in tempo, to allow the second disc's soundscapes to fill in the empty spaces. It would be pointless to offer point-by-point descriptions of each slowly developing piece due to their length and open-endedness; suffice it to say they are exercises in patience, meditative despite the crushing volume and screeching distortion, almost zen-like. For example, the first track is Disc Evil's "Red," which is meant to be played simultaneously with Disc Drone's "Loose" (the other two tracks sync "Evil Wave Form" with "Giddiness Throne" and "The Evilone Which Sobs" with "Interference Demon"), takes nine minutes for a second sound, a feedback peel, to augment an aimless guitar figure, and only at the 13-minute mark does an actual riff emerge along with a simple drum pace. And it must be mentioned that exact syncing of the two discs is completely unnecessary -- themes unfold so slowly that it all blends together regardless of playback, and assures that no two listenings are ever exactly alike. This album has an overall feel more akin to Boris' earlier work of repetitive psychedelic droneworks, and nowhere on this album will you find the wailing Stoogian garage rave-ups found on more recent material.
http://www.mediafire.com/file/myntkn1qmmn/Dronevil -Final- 1.zip
http://www.mediafire.com/file/imgmyg3zngc/Dronevil -Final- 2.zip
http://www.mediafire.com/file/ylyj2ymjn2u/Dronevil -Final- 3.zip
http://www.mediafire.com/file/jhzwjjywnet/Dronevil -Final- 4.ziphttp://www.mediaf!re.com/download.php?fmmkw0mgmn3Deerhunter wants to stay put. To be locked in windowless rooms. To never age. To sleep. To be dead. In a way, it's ironic that the Atlanta band gets tagged as punk, even when it's attached to prefixes like "psych," "ambient," or "art": Punk music agitates for upheaval, but Deerhunter seeks only stasis. "I had a dream no longer to be free," goes "Agoraphobia," and the line summarizes Microcastle: Deerhunter's latest is a complete fantasy, a shimmering depiction of what it's like to wish fervently for calm, but know it's not coming.This is really, really good.
The harsh, ambient darkness of 2007's Cryptograms is mostly absent on Microcastle, replaced by blazing gold and orange hues, warmly whirring guitar solos, pepped-up drumming, pop hooks, and gauzy echoes of Motown and krautrock. The bolder sound signals that Deerhunter is now less concerned with the scarring effects of loss, conflict, and the passage of time, and more concerned with the ways to escape those things—even if that escape is fleeting. On "Little Kids," a group of drunken youths symbolically reject aging by lighting an old man on fire. But as the flames rise, so does the sumptuous shoegaze squall and Bradford Cox's soft insistence that those kids will "get older still." Freedom from hurt: Deerhunter realizes it's impossible, but Microcastle shows it's a beautiful idea all the same.
A.V. Club Rating: A-
http://www.mediaf!re.com/?hezjuzkiunihttp://www.mediaf!re.com/?hingnmzjywcTrack #2 from Fabriclive.17 - http://www.mediaf!re.com/?kimmwjgjwdwBtw, has anyone heard the LP version? Obviously there are two fewer tracks, but are the songs that are there much different?
Btw, has anyone heard the LP version? Obviously there are two fewer tracks, but are the songs that are there much different?
http://www.mediaf!re.com/?nzmb2mwktmjAll things considered, Tim was an easy transition to the majors for the Replacements, at least as far as the making of the album goes: things went wrong after the release, as the band botched big showcases like its Saturday Night Live spot, leading up to the dismissal of Bob Stinson at the conclusion of the Tim tour. The dust hadn't settled when the 'Mats headed down to Memphis to record Pleased to Meet Me with producer Jim Dickinson at Ardent Studios — or to phrase it in Alex Chilton-speak, to record with Big Star's 3rd producer at the studio where all three Big Star albums were made. All this fanboy worship perhaps naturally led to a full-blown mash note to Paul Westerberg's idol, who also turned up to play a couple of licks on a finally finished "Can't Hardly Wait," which initially was attempted with Chilton as a producer before Tim, but Pleased to Meet Me didn't resemble either the crystalline pop of #1 Record or the narcissistic black hole of 3rd. Dickinson gave the Replacements a full-blooded, muscular production, cranking up guitars, hauling out an upright bass for Tommy Stinson, and bringing in horns — even strings — to flesh out Westerberg's songs. This was the Replacements as professionals and, ever the contrarians, they strained against it — albeit only sporadically and underneath the surface — with Westerberg's outsider stance calcifying into the invigorating bitterness of "I.O.U." and "I Don't Know." These two proto-slacker anti-anthems — quite the inverse of the call to arms of "Bastards of Young" and "Left of the Dial" — are the only times the group's self-sabotage surfaces here, as the bandmembers pretty much give themselves over to Dickinson's studio savvy, leading to the ominous pulse of "The Ledge" and the brilliant, shining power pop of "Never Mind," "Alex Chilton," and "Valentine," along with such left-field twists as the mock jazz of "Nightclub Jitters."
This kind of colorful, almost cinematic production — even the greasy rocker "Shooting Dirty Pool" is enhanced by the sound of breaking glass — was unheard of on a Replacements record and it all came to a head on "Can't Hardly Wait," which was glossed over with swelling strings and the Memphis Horns. All these fancy accoutrements would seem like the antithesis of the Replacements' spirit, but Dickinson's grand production merely blows the 'Mats up to epic scale, leaving their essence intact: Westerberg even gets a lovely fragile acoustic moment in "Skyway" and there are down-and-dirty rockers like "Shooting Dirty Pool" and "Red Red Wine" that feel like throwaways, but are necessary to the spirit of the record. The Replacements never sounded better with a bigger production than they did on Pleased to Meet Me, so it's hard not to see it as the one that got away, the record that should have been the breakthrough, especially in the year when fellow American underground rockers R.E.M. leaped into the Top Ten (but, it's also true that "The Ledge" may not have been the best single choice, as songs about suicides don't often provide entry into the Top 40). Then again, the Replacements don't make sense as a success story, so the failure of the gleaming, glistening Pleased to Meet Me winds up making its polish kind of heart-rending. As it turns out, this was the last time they could still shoot for the stars and seem like their scrappy selves and, in many ways, it was the last true Replacements album.
http://www.mediaf!re.com/?rknytjwmn4jHow ironic that after years fronting the hugely influential but desperately overlooked Hüsker Dü, Bob Mould's first project with new band Sugar, 1992's Copper Blue, would become the most commercially successful project of his career. Of course, it was released just as the seeds sown by his former band were bearing bountiful fruits in the post-Nirvana alternative nation, which provided ample explanation for its phenomenal success. But Sugar were well deserving of their success, regardless of time and place. A more aggressive, contemporary guitar attack aside, stunning power punk masterpieces like "The Act We Act," "The Slim," and "Fortune Teller" bear all of the vintage Mould musical traits: tell-tale lyrics, great hooks, and snappy melodies. It's all underpinned by that unexplainable, chilling tension between innocent beauty and dark melancholy that fans came to expect from Mould, and topped by his somewhat nasal, almost timid vocal harmonies. Other highlights include the '60s-style "If I Can't Change Your Mind," the loud, beautiful guitars of "Man on the Moon" and "Helpless," and the tongue-in-cheek Pixies tribute "A Good Idea."
http://www.mediaf!re.com/?tinwailjjmj
new eagles of death metal
Yes, its a bit more quiet, but good nonethelessnew eagles of death metal
Yes! Thank you! Has anyone her listened to it yet?
The Pax Cecilia - "Blessed are the Bonds" (2007)
Also, Buck 65 had a little 12-song concert with the Nova Scotia Symphony Orchestra. It's streaming up on the CBC website (where Buck hosts a radio show now, yay!) but I'm searching around for a good rip. It's pretty great stuff. I'll up it when I get it.
http://www.mediafire.com/?lznzmo5lykthttp://www.mediafire.com/?tmryzl2mmmzhttp://www.mediafire.com/?uzjqz2qv1gdhttp://www.mediaf!re.com/?ftg22ve2ztdhttp://www.med!afire.com/?ml9x1mzmuspOwen is Mike Kinsella, who is associated with such Chicago indie rock phenoms as American Football, Cap'n Jazz, and Joan of Arc. On his own, he creates dreamy, new-millennium bedroom folk dotted with all kinds of modernistic and ancient traces, such as loops, cello, piano, and sparse percussion. Kinsella is the sole auteur here, whipping up an album that sometimes leans toward such ruminative, creative songwriters as Mark Kozelek and Elliott Smith. Kinsella's pretty dirges don't come off as lo-fi, though; in fact, there is a surprising depth of layered textures here, in which acoustic guitar and other ephemera provide an expansive bed for Kinsella's often homely yet pleasing hush of a voice. The instrumentation in "One of These Days" has a bucolic richness, fleshed out with spare piano plunkings and cello, while the excellent "Sad Waltzes of Pietro Crespi" pins nimble acoustic guitar runs against Kinsella's plaintive musings on love. At Home with Owen has a contemplative, Sunday morning feel to it; it is a strong effort in which themes of yearning and wishful thinking pass dreamily across lovely musical textures, like rain on a windshield.
Steve Reich - Drumming
Edit: If anyone has stuff from any other minimalist composers, feel free to upload! I only have stuff by Reich.
Michael sometimes I love you.
This is one of those times.
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http://www.mediaf!re.com/download.php?e2z1mbcdtjjhttp://www.mediafire.com/?jzdtdwnztezhttp://www.mediafire.com/?znfn01wimmyhttp://www.med!afire.com/?vd01tleljgyThe Hopeful and the Unafraid is Jason Anderson's third solo album since the dissolution of his indie pop act Wolf Colonel. The previous New England and The Wreath found Anderson reverting to the Elliott Smith-style singer/songwriter vibe of his earliest days, but The Hopeful and the Unafraid is something entirely different. Kicking off with the nearly eight-minute epic "El Paso," this album is aimed unapologetically at the new Bruce Springsteen vibe that sounds like what the Arcade Fire, Marah, and the Hold Steady have been flirting with, but in a far more overt way. They're mostly forgotten now, but in the wake of Springsteen's breakthrough success with 1975's Born to Run, a whole school of blue-collar singer/songwriters emerged, mostly from the industrial northeast, who were aiming for a similar blend of Bob Dylan and Roy Orbison: play The Hopeful and the Unafraid back to back with any late-'70s album by the likes of Robert Ellis Orrall, Steve Forbert, John Cougar Mellencamp, Southside Johnny & the Asbury Jukes or Elliott Murphy, and this defiantly retro collection of pop/rock tunes won't sound a bit out of place. From the honking saxophone that powers the bouncy title track, through the grandiose piano runs coloring "July 4, 2004," "The Half of It," and "Colonial Homes," and from the powerhouse FM-radio swagger of "Watch Your Step" to the teenage desperation of the novelistic, detail-stuffed "The Post Office," Anderson has written an entire album's worth of shameless, unabashed Bruce Springsteen homages/rip-offs. If nothing else, it's a moderately fascinating exercise in Rutles-ization, and there's no doubt that much of the album rocks quite hard in a refreshingly non-ironic way.
http://www.med!afire.com/?mksmwt1maxe
Boris with Choukoku no Niwa - More Echoes, Touching Air Landscape
(http://upload.wikimedia.org/wikipedia/en/8/8d/Ath-2365.jpg)Code: [Select]http://www.mediaf!re.com/download.php?e2z1mbcdtjj
(John, that Deerhunter album is fantastic)
http://www.mediaf!re.com/?1dntwkhzo4eHeadlights' second album Some Racing, Some Stopping is a whole bunch of fun. The group builds on the promise of their first album and consolidates their strengths into a peppy, pretty and satisfying romp through ten songs that will have fans of light and breezy indie pop smiling like crazy. The album is split between up-tempo tracks perfect for indie night at your local teen club, happy go lucky songs with glockenspiels, and sweeter than sugar ballads that might nudge your heartstrings but never tug too hard. All delivered with a huge cheery cherry on top in the form of Erin Fein's feather light and lovely vocals (though Tristian Wright's aren't bad but they are more workmanlike where hers are heavenly). Almost every song sounds like it could lead off a mixtape aimed at warming the heart of someone special; there is a giddy joy that permeates the record from start to finish. When the drums kick in and are joined by a chorus of bells on "Get Yer Head Around It" or when the doo wop harmonies of "So Much for the Afternoon" take flight, you'll be walking on air. Even the sad songs like the title track manage to be lighter than air thanks to the incredibly rich and layered production and the band's sense of restraint and ease. There are a lot of bands playing indie pop in 2008, but very few do it as well as Headlights do on Some Racing, Some Stopping.
http://www.mediaf!re.com/?g3kjmo2yjzm9/10. I've begun to lose all faith in people who proclaim that there's nothing happening musically these days. So far this year, I've completely fallen in love with CS Nielsen, Aerial, Immanu El, the new Shout Out Louds, amongst numerous other releases - and this is limiting myself to Scandinavian bands. Seabear are now firmly in the running for the best effort of 2007 with their wonderful "The ghost that carried us away". Just as many were wondering if Sigur Rós would be the defining watermark of Icelandic music for the foreseeable future, especially given the lukewarm reception to Benni Hemm Hemm's most recent work, Seabear powerfully demonstrate that there is life outside of Sigur Rós and Björk, and that Icelanders have just as much control over warm, acoustic numbers just as powerfully as arctic, sweeping efforts. "I sing I swim" is by far the best number on the record, and amongst the best songs I've heard this year. "Lost watch" displays that Seabear's talents aren't merely limited to the warm and present, but also to detached and ambling explorations. Overall, "The ghost that carried us away" is more than ample evidence that the contemporary music scene is far from stagnant or inadequate, and that Icelanders don't need to play electric guitars with bows or have a voice as powerful as an avalanche to create exceptional pieces of music. It's an exceptional album, and worth parting yourself from a few dollars to own.
- Lars Garvey Laing-Peterson
http://www.mediaf!re.com/?njb2wljjmazI heard this record weaving out of a record store PA system and was mesmerized. It's been a long time since I've heard a true contemporary vocal duet of equal partners. Gillian Welch and David Rawlings come close, but Welch is obviously the center in their partnership. Eastmountainsouth, on the other hand, practises close harmony and shared lead singing in the tradition of The Everly Brothers, Simon & Garfunkel, and my favourite vocal partnership, Gram Parsons and Emmylou Harris. And they do it well, while writing great songs with organic arrangements that are spare but never undernourished.
Kat Maslich's is a classic folk voice, warm and resonant, and Peter Adams' counter melodies are always beautiful. They are like a reversal of the roles of Parsons/Harris, with Maslich taking a little more of the spotlight, but the emphasis being on dual leads. "Hard Times" is a great take on the folk standard, beautiful in its simplicity, never becoming repetitive like so many modern folk songs. The vibrant rhythms of "You Dance" shows that this duo can do folk-rock as well as anybody else; "So Are You to Me" shows Maslich stripping her voice bare with only a piano as accompaniment; the beautiful and haunting "The Ballad of Young Alban and Amandy" sounds a little like an old English ballad, the kind that Kate Rusby specializes in; and "Rain Come Down"'s tinkling piano and guitar weave a mystical soundscape that is sheer magic with Maslich and Adams' voices. The production, by Adams and Mitchell Froom, is a winner, showing none of the electronica tendencies and dressiness that had marred Froom's work with Suzanne Vega. Good judgment here to rely on organic instrumentation and a warm, analog-like sound that allows the voices and songs to breathe and come alive.
http://www.mediaf!re.com/?ym4zzwmnzdtNote: if you are an epileptic or sensitive to flashing lights, you may want to avoid going to his myspace page. Serious.
Note: if you are an epileptic or sensitive to flashing lights, you may want to avoid going to his myspace page. Serious.
have you been to armand van heldens myspace (http://www.myspace.com/armandvanhelden) lately?
I got something in the mail today, it's Tom Gabel's (of Against Me! fame) new solo E.P., Heart Burns.Code: [Select]http://www.mediaf!re.com/?znfn01wimmy
I think it's pretty good. My favorite song is "Anna is a Stool Pigeon", which guest stars Chuck Ragan on harmonica and backing vocals.
I got something in the mail today, it's Tom Gabel's (of Against Me! fame) new solo E.P., Heart Burns.Code: [Select]http://www.mediaf!re.com/?znfn01wimmy
I think it's pretty good. My favorite song is "Anna is a Stool Pigeon", which guest stars Chuck Ragan on harmonica and backing vocals.
Fuck yeah, been looking for this o/
(edit) Fuck yeah it doesn't work.
http://www.mediafire.com/?g0ijimmj53r
http://www.mediafire.com/?nyewmt95t2zhttp://www.mediaf!re.com/?4badkcuqaxcDanger - 9/14/2007 EP
Same here, and I was so excited to get that album, one of the singles was killer
Danger - 9/14/2007 EP
NOTICE: No servers are currently available with the requested data on them. Please try again in a moment
mediaf!re has been telling me this since last night :(
http://www.mediaf!re.com/?omnre4m0mz2
http://www.mediaf!re.com/download.php?yhid5lymuwyIn John Darnielle's voice, everything is urgent. He trembles through quiet moments like he's straining for warmth in winter, and rattles through loud ones like a revving engine. His voice isn't just the center of the Mountain Goats, it's their essence. This is a liability as often as it is an asset: Of the people I know who hate his music, the first explanations are always that "the singing is annoying" and "I don't care about the words." His scenarios are suffused with confusion and dread. His best characters' tragic flaw is benign faith in ventures doomed to spectacular failure. But he uses songs to order and explicate messes, not mimic them. In his music, meth-heads and abused teenagers-- types not known for their lucidity-- speak in complete sentences. And they come through Darnielle's tough, reedy, persistent voice. Trying to define his songs as happy or sad is irrelevant, because intensity-- real, immolating intensity-- is neither. But Darnielle has given his voice a rest in the past few years. And in the absence of urgency, is space to reflect. Songs like The Sunset Tree's "Song for Dennis Brown" or "Love, Love, Love", Get Lonely's "In Corolla", or Heretic Pride's "Marduk T-Shirt Incident" sound different than anything he's ever done before, and sometimes, better. I think some fans hear this as a weakness-- Darnielle's exemplary moments carry the same grace and power to his fans as a well-set blastbeat does to the metalhead. Two new EPs-- Satanic Messiah, limited to 666 vinyl copies and offered as a pay-what-you-will release here, and Black Pear Tree-- present Darnielle in ways we've never heard him before: With distinct, independent supporting actors (the pointillistic, vivid guitar work of Kaki King); and solo, with piano. And their best moments are the clearest articulations of the progress he's made as a performer-- someone who no longer needs to mime hysteria to show he really means it. Satanic Messiah, the piano-heavy set, has a pious, meditative quality to it. The ease of his performances disconnects them from the violence of his lyrics. But it also reinforces them-- moments that Darnielle might've throttled in the past take on sanctity and earthiness; by taking a calm hand to a volatile situation, Darnielle bronzes the moment. Two songs, "Satanic Messiah" and "Sarcofago Live", assume the vantage point of a fan seeing a band. The first is one of the best in his catalog: Direct in vocabulary and elliptical in narrative, with a sentiment that shifts its weight from anthem to depth charge. He compares a rock star to a prophet, and delivers the moment with a quiet dignity reserved for church. Even as an obvious proponent of music's power-- his onstage quaking is a wrench in the mind-body duality argument-- this is a gamble. But when Darnielle extends the same tenderness to disenfranchised Ethiopians murdering tax collectors in "Gojam Province 1968", he renews a commitment he's made for almost 20 years: Not giving a voice to the voiceless, exactly, but articulating the experience of people too possessed to know what to say.
One of the new Mountain Goats EPs
Satanic Messiah EP
http://www.mediaf!re.com/?then4tyonmxPassage opens with three tracks written by each musician, in which Marty Frank (Abelcain) presents his http://www.mediafire.com/?m1nghhttihchttp://www.mediafire.com/?m4mwdytyonohttp://www.mediaf!re.com/?bjgjj1tq5ythttp://www.mediaf!re.com/download.php?n2zrnmzkmgdHot Snakes - Suicide Invoicehttp://www.mediaf!re.com/download.php?mhtjeznzzw5Trial - Are These Our Lives?http://www.mediaf!re.com/download.php?mi4fjgyuqhqCulture - Lion Rock
http://www.mediaf!re.com/download.php?g1zzmgywyokhttp://www.mediaf!re.com/download.php?m34coy4ddlt
I'm not sure if anybody wants this, but I liked it and thought what the heck!
God Is an Astronaut - God Is an AstronautCode: [Select]http://www.mediaf!re.com/download.php?g1zzmgywyokCode: [Select]http://www.mediaf!re.com/download.php?m34coy4ddlt
http://www.mediafire.com/?dmo2jmfwbdy(disc 1 part 2)http://www.mediafire.com/?2mhtz2i2tejhttp://www.mediafire.com/?w2tk3yndnky
God Is an Astronaut - God Is an Astronaut
God Is an Astronaut - God Is an Astronaut
THIS. God Is An Astronaut are fucking amazing.
FUCKKKKKKKKKKKKKKKKKKK... my ears just came
http://www.mediafire.com/?qmxmwxzjdiuhttp://www.mediafire.com/?zqh2hz2ak3v
The Grails fifth full-length picks up right where Burning Off Impurities left off and goes even further. Their instrumental land of improvised grooves, trance-like drones, Eastern modes and melodies, psychedelic textures, and above all, their very forward moving post-rock music, is unlike Pelican's or Mogwai's; it doesn't resemble Isis' or Godspeed You Black Emperor!'s. The Grails' brand of guitar-centric instrumental music is not given to simply building crescendos. Instead, it is interested in exploring the outer reaches of groove, space, and texture. It seems to be focused on how much they can pack into a given tune to make things like space and time disintegrate in the mind of the listener. Here, 32 minutes can seem like hours, or they can go by in what feels like a heartbeat. Take Refuge in Clean Living contains five tracks, four of which are originals. The lone cover -- an unrecognizable version of the Ventures' "11th Hour" -- is cut three, and is the album's hinge piece on both CD and vinyl (it divides side one and side two). "Stoned at the Taj" is a brilliant opening track. It begins with some spacy telegraphic radio sounds, a big, bad dirty bassline (fuzztone on stun), and a pulse; these build with strummed, fingerpicked electric guitars playing different melodies, and a blues lick or two unhurriedly upping the tension, and then, as the body of the repetitive melody becomes more pronounced, the drums thunder in, waves of organ, a Turkish saz, feedback, wah-wah pedals, and harpsichords all layered on top of one another, just washing over the listener in a pure stoned groove. As the track develops, sounds and instruments coming out from in back of that monster thump and weave it into near silence with just a couple of keyboard lines holding a drone chord to keep the focus. The nocturnal psychedelia moves toward an Eastern mode but it never loses its center. The guitars, more delicate than before, are perhaps even more mysterious and menacing. When it breaks open a second time, it's an entirely different setting for the bass, playing a new line and creating a different groove that just naturally evolves in both tempo and dynamic. The speed and intensity are logical extensions of the groove itself. This is one of those tracks that you can play a thousand times and still not hear everything in it.
http://www.mediaf!re.com/?nzmin3z4xdyJay Reatard had another busy year in 2008. His new deal with Matador led him to release 7" singles throughout the first two-thirds of the year. Matador Singles '08 collects all of them and adds a bonus track. If you've been following Jay for a while you sort of know what to expect from the songs, and that's lo-fi blasts of a unique concoction made up of raw garage rock and jittery post-punk, topped with sharp hooks and Reatard's yowling vocals. You can also expect to find him a further step away from the nearly uncontrolled wildness of previous records and projects with a more measured and often, dare it be said, mature approach. Amazingly, many of the songs feature acoustic guitars and a relaxed vocal delivery; the "No Time"/"You Were Sleeping" single even sounds like a sleepy but lovely update on the Buddy Holly sound. Other tracks, like the opening "See Saw" or "Painted Shut," show the Go-Betweens influence that was made clear by the cover of that group's "Don't Let Him Come Back" on a previous single, and you can't get much more mature than that. The restraint shown on most of the songs doesn't mean that the level of excitement has diminished or that the record doesn't jump out of the speakers and slap you around a bit like previous Reatard projects. Thanks to his electric vocals, enthusiastic guitar work, and the raucous rhythms provided by the other two dudes in the band (though it's not clear if they played on the singles or if it was all Jay), there's enough rock & roll energy here to power a small town. Take "Always Wanting More" or "Hiding Hole" out for a spin if you're worried that Reatard is too grown up and has left his wild side behind. What makes the collection, and the direction Reatard seems to be heading, so good is that he is growing musically without leaving behind the fierce intensity and savage power that got him where he is. It's a difficult balancing act to manage but he makes it look pretty simple. Now if only he would do something about those album covers.....
http://www.mediaf!re.com/?imtuqyw3zw5http://www.mediafire.com/?kgrrt3vgzzoDeerhunter covers "Oh, It's Such a Shame", Jay covers "Flourescent Gray". The Deerhunter track is so, so, so good. I couldn't believe it when I stumbled over it.The Grails have embraced open-ended, free grooving, psychedelic rock, open-toned Eastern modalism, assault-worthy hard rock, spooky dub, and even folk music in this heady, stoned out brew. The basic quartet of Emil Amos, Alex Hall, William Slater, and Zak Riles are still intact; they've augmented this set -- in places -- with Kate O'Brien Clarke on violin, vibist Jordan Hudson, Randall Dunn on analogue synths, and even Erik Nugent on flute. Alan Bishop makes a guest appearance as a vocalist on "Predestination Blues." While playing is one end of the spiritually tripped-out Grails' aesthetic, the other is post-production, with intricate dynamic touches, textural embellishments, dramatic flair, space, silence, and even ambience as one track segues seemingly endlessly into another -- this is becoming a real trademark in the way they record.
The title track opens the record with the sound of a far off scream that can mistakenly, at first, be taken for wind blowing through an open window. It is quickly followed by thudding tom-toms, waves of muted feedback, and guitars and violins worthy of Black Sabbath's fuzzed-out bass heaviness and the flanged out space guitar in the instrumental bridge of Robin Trower's "Too Rolling Stoned." It's all overblown, slow, and menacing. It's followed by the wailing power of an Eastern European violin with bass thudding, power-amped guitar riffage and wailing snares and cymbals in "Reincarnation Blues." There are dynamic stops and starts, making the listener yearn for that heaviness to continue. And it does, with slide guitars, electric saz's, and all manner of synthed out wonkiness. But then it changes again in the relative bliss of "Natural Man," where acoustic guitars, washed out synths, reverb, and what sounds like a cembalom (but is probably piano strings being plucked), enters in slow 4/4 before being adorned with minor-key flourishes by a strummed acoustic guitar and the pillowy beauty of a sonically treated flute, vibes, melodica, and tape delays. Taken together, these three cuts have already traveled immeasurable distances musically; they stretch the notions of time and space into pure drift. The astonishing thing is that only 12 minutes have transpired. The remaining four tracks are similarly ambitious and seamless: the incantory acid dub effects on "Immediate Mate," the beautiful speaker blowout in "Predestination Blues," the pure experimental soundscape ocean that is "X-Contaminations," culminating in the glorious and majestic psychedelia of "Acid Rain" (reminiscent in scope of "Echoes" on Pink Floyd's Meddle). The end of the album feels like the nadir of a particularly vivid dream that encompasses both true darkness and ecstatic light. The Grails have once more pushed their own sonic terrain, where all that is familiar to them is woven into a gorgeously textured fabric with all that could be envisioned by them at this point in time, with the listener as the true beneficiary.
http://www.mediafire.com/?nwmzzwayin2
http://www.mediaf!re.com/?mkyeynvlg0kParts & 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.
http://www.mediafire.com/?ejhynnyjmzj
Moar Grails?
Grails - Doomsdayers HolidayQuote from: AllmusicThe Grails have embraced open-ended, free grooving, psychedelic rock, open-toned Eastern modalism, assault-worthy hard rock, spooky dub, and even folk music in this heady, stoned out brew. The basic quartet of Emil Amos, Alex Hall, William Slater, and Zak Riles are still intact; they've augmented this set -- in places -- with Kate O'Brien Clarke on violin, vibist Jordan Hudson, Randall Dunn on analogue synths, and even Erik Nugent on flute. Alan Bishop makes a guest appearance as a vocalist on "Predestination Blues." While playing is one end of the spiritually tripped-out Grails' aesthetic, the other is post-production, with intricate dynamic touches, textural embellishments, dramatic flair, space, silence, and even ambience as one track segues seemingly endlessly into another -- this is becoming a real trademark in the way they record.
The title track opens the record with the sound of a far off scream that can mistakenly, at first, be taken for wind blowing through an open window. It is quickly followed by thudding tom-toms, waves of muted feedback, and guitars and violins worthy of Black Sabbath's fuzzed-out bass heaviness and the flanged out space guitar in the instrumental bridge of Robin Trower's "Too Rolling Stoned." It's all overblown, slow, and menacing. It's followed by the wailing power of an Eastern European violin with bass thudding, power-amped guitar riffage and wailing snares and cymbals in "Reincarnation Blues." There are dynamic stops and starts, making the listener yearn for that heaviness to continue. And it does, with slide guitars, electric saz's, and all manner of synthed out wonkiness. But then it changes again in the relative bliss of "Natural Man," where acoustic guitars, washed out synths, reverb, and what sounds like a cembalom (but is probably piano strings being plucked), enters in slow 4/4 before being adorned with minor-key flourishes by a strummed acoustic guitar and the pillowy beauty of a sonically treated flute, vibes, melodica, and tape delays. Taken together, these three cuts have already traveled immeasurable distances musically; they stretch the notions of time and space into pure drift. The astonishing thing is that only 12 minutes have transpired. The remaining four tracks are similarly ambitious and seamless: the incantory acid dub effects on "Immediate Mate," the beautiful speaker blowout in "Predestination Blues," the pure experimental soundscape ocean that is "X-Contaminations," culminating in the glorious and majestic psychedelia of "Acid Rain" (reminiscent in scope of "Echoes" on Pink Floyd's Meddle). The end of the album feels like the nadir of a particularly vivid dream that encompasses both true darkness and ecstatic light. The Grails have once more pushed their own sonic terrain, where all that is familiar to them is woven into a gorgeously textured fabric with all that could be envisioned by them at this point in time, with the listener as the true beneficiary.Code: [Select]http://www.mediaf!re.com/?nwmzzwayin2
http://www.mediaf!re.com/?j0jm3mymoznhttp://www.mediafire.com/?5zjuzlmngow
http://www.mediaf!re.com/?xchogmydiyj
http://www.mediaf!re.com/?1mywudzyztfMentioned a couple times on the forum but doesn't appear to be anywhere in this thread is Diablo Swing Orchestra's album The Butcher's Ballroom. Perhaps this is because everyone already has it, but I leech way too much music from this thread, and this is one of the few things I can give back. DSO is an avant-garde metal from Sweden, according to Wikipedia's classification.
Diablo Swing Orchestra - The Butcher's BallroomCode: [Select]http://www.mediaf!re.com/?m1nghhttihc
http://www.mediafire.com/?mdwzdzrmzmd
Lately I feel a little shaky. It rains too much and the coffee's too strong and the sirens are too loud, too often. People aren't as pretty as they used to seem, and on top of that they're gradually electing the entire cast of the movie Predator to significant governorships. Minnesota, California: I think I saw Carl Weathers in Central Park yesterday with a stack of leaflets. When late November rolls around and someone asks what I'm thankful for, I might just give up and say Ellen Allien's Berlinette, which has made the past six or seven months a lot nicer.
That's the kind of love she inspires. Another Pitchforker came back from Berlin a few months ago, having seen her DJ at a party for her label, Bpitch Control, and said faux-hawked German boys had been lined up around the deck to bring her drinks. Thom Yorke's been going around talking about how great the label is, the cheat: yes, yet another cadre of ultra-fine German electronics. And earlier this year she released Berlinette, which is "serious," and "pop," and beautiful, and which I've had more success recommending to people than anything in years. It's a record that German techno enthusiasts and Björk fans can agree on; it tweaks and thumps and then pulls gorgeous ghostly pop out of it; it's big and solid and lovely.
How so? The truth is that it's just enchanting, in a way that has to do with something much more than the sonic inventiveness and precision engineering that I'll have to settle for discussing here. It's rare for artists to manage what Allien does-- to take the tweaky cutting edges of techno and IDM and electro and draw from them pop music evocative enough to entrance even people who are usually turned off by electronics and "repetitive beats." It's even rarer for an artist to manage that with anything like Berlinette's sense of mood and personality, which mostly transcends the mechanics of the sound. But Allien manages all of this, in about eleven different ways.
Just try one track: "Trashscapes". Her beats are like tiny hypercomplicated machines, with lots of pistons and articulated limbs; "Trashscapes" kicks in with a stiff, daunting one, one that pounds and then hangs in the air for a second before flipping over and starting again. Then come bursts of gnarled guitar, processed into a grim, extra-terrestrial chug-- the same way Allien's vocals are always processed into what feel like departure announcements from a spaceport on Mercury. At first we can't hear her: just micro-second clips and stutters popping over the mech-beat. Then she's singing and it feels heavy but it hasn't quite gelled into sense: "Wo is where/ What is when/ Why we are here." But when the guitars speed into an evil blur she comes out all steely-eyed with the record's mantra: "The past is a lighttrain to unknown trashscapes."
That's what she does, on the face of it: She blurs the line between "real" sounds and "fake" ones, weaving processed patches of voice and guitar directly into the laptopped complexity of her rhythms; on "Abstract Pictures" it's the clang of a sequencer that rings out clear and natural. On "Push" she indulges in the half-crazy tweakery of some of her labelmates, toying with stompy synth blurts and calling, "Push/ Push/ Kick your ass." When she goes pop it's not by watering down the beats and crooning seductively or anything like that; it's just by gathering her steady tech throb up into gorgeous sweeps of melody. "Sehnsucht", one of the record's other standouts, has a compositional swell that's like the best days of Orbital, another act that always had the same ghostly, personal sheen Allien conjures: the beat here is her second-best machine (see "Wish"), and the vocal is just another micro-processed blip, a half-syllable "Ah." It stutters in and takes its shape, and by the time the song draws up, roaring, there's no lyric that could be more right than the electronically pitched melody of those half-syllables.
But all that's only technical. If it were just that, Berlinette would be an outstanding record, but not so outstanding as this. No, Berlinette has something extra-- the sort of mood and magic that makes you want to bring Allien as many drinks as she'll let you buy her. It's in the hyper-pretty, otherworldly electro-funk of "Secret", in the almost Cure-like cerebral throb of "Open", and even in the embarrassingly bald, maybe even naïve lyric of "Wish", which, like any good moment of vulnerability, makes you like Allien that much more. "Need a planet without cars and wars/ I wish it could be true," she sings-- an almost strange thing to hear on a record full of alien machines.
So that's the thrill: realizing all over again just how evocative and gorgeous the stiff clatter of technology can be. You sit calmly listening, drifting off to somewhere else, and then you notice that the little people dancing inside your head could almost be jacking their limbs off to certain points, or that the sounds of power tools are peeking out between the sounds of androids singing arias. Oh, maybe it's not that amazing: It's just a record, after all, and one of plenty of great ones released this year. But I've spent half the year with it, and it only gets better, and I can't wait to hear how it sounds in a few months, when the Predator itself announces a dark-horse independent bid for the presidency.
- Nitsuh Abebe, November 11, 2003
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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.
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http://www.mediaf!re.com/?2z2gfdnzlt2You've probably never heard the like... I suggest that you skip the sketches, unless you understand Norwegian and know about computers; then maybe skip the rest - but there's some quite decent jazz piano.
http://www.mediafire.com/?2t2nulqw40thttp://www.mediafire.com/?jzwdymzokko
http://www.mediaf!re.com/download.php?lzie1fnwmjn
The beauty behind Dan Abrams' Shuttle358 project has always been its ability to put a warmer face on a music often labeled as synthetic and cold. With Chessa, he not only successfully accomplishes his mission but takes it into territories where so many artists attempt to go but end up falling short. From the opening swells of "Ash," it's more than apparent that Abrams has all but shrugged off the academic notions behind microsound and gone for the heartstrings with warm synth washes and implied rhythms courtesy of chords entangled in one another, frantically trying to fade in and out of each other's paths. "Chessa" is an exercise in granulation and sifting through digital processed guitar strums that wouldn't feel out of place on a Thinkbox compilation. The glacial-paced calmness that is exhibited throughout the duration of Chessa reaches an apex in "Logical," which is far too short for potentially blissful ideas to come to their fruition. These are songs that are painstakingly gorgeous in their rendering, ones that call for microscopic, painstaking detail and an infinite amount of patience just to get the balance right. It's without reservation that this mission is accomplished.
http://www.mediafire.com/?m25ukmnmjj2
DeVotchKa - How It EndsCode: [Select]http://www.med!afire.com/?zlrbbllmezm
It's more like Talulah Gosh and Cub, I would say.Dear Lord, it's not like either. Sleater Kinney transcends its genre as an amazing band of its own. Cub grabs an amazingly unique hook and personally. Vivian Girls is shit, and not in a good way. It's at the very end of the bottom of its genre, barely surviving by leeching the life out of good musicians who keep people interested in that stuff. And the band members themselves aren't the brightest bulbs in the basket, btw.
Re-up please?
http://www.mediaf!re.com/download.php?vdmgrwzow2ihttp://www.mediaf!re.com/download.php?oxocrwno3enMike D's Country Album
Country Mike's Greatest Hits
picture:
http://photos1.blogger.com/blogger/2977/1109/200/cover%20me.1.jpg
album:
http://rapidshare.com/files/24243868/cbmike_reupped.rar.html
Much thanks.
Re-up please?
Sure,Code: [Select]http://www.mediaf!re.com/download.php?vdmgrwzow2i
(different username, same person. I reregistered because I lost my password and stuff.)
Well spotted! When mediaf!re said it had copied the links to the clipboard, it lied. I've corrected them now.
http://www.mediafire.com/?ygjqfmwku1zDirtbike 1, part 2http://www.mediafire.com/?zzfk2mzmwmwDirtbike 2http://www.mediafire.com/?wmm5mdeyynlDirtbike 3http://www.mediafire.com/?uhyfzjvzduzhttp://www.mediafire.com/?ogyye15qmw4
http://www.mediafire.com/?izwnzzla2oihell yes
http://www.mediaf!re.com/?1fo5zny1tgiHadouken! are a grindie/dance punk band based in Leeds, West Yorkshire. The band formed after James Smith and Daniel "Pilau" Rice met at Leeds University. It was here they began their own record label, Surface Noise Records.[2] After forming the label, Smith began writing and demoing the first Hadouken! tracks. In February 2007, Hadouken! self-released a two song limited edition vinyl, a double-a side of "That Boy That Girl" and "Tuning In." The former gained popularity after the video made it to number one in MTV Two's NME Chart.[3]
After releasing their 12-track EP mixtape, Not Here to Please You on November 12, 2007, the band returned to the studio to complete their debut album, Music for an Accelerated Culture. The album featured nine new songs as well as previous singles "Liquid Lives" and "That Boy That Girl." The band are currently on tour in the UK.
Hadouken! are a grindie/dance punk
http://www.mediaf!re.com/?xntrww3vmydhttp://www.mediaf!re.com/?rjzggkzxnjm
http://www.mediafire.com/?mzktzzqhjeoThe Esther Caulfield Orchestra of Dayton, Ohio is the alias of Ohio singer/songwriter Michael Perkins. After releasing a folk concept album under another name in 2005, Perkins made a drastic change in musical direction and adopted a new moniker in order to better suit the broad range of influences and trans-genre exploration reflected in his music. The Orchestra can be expected to produce wordy, and often lengthy, melodic compositions centered around a highly descriptive and pedantic lyrical style. The Orchestra’s first album, “Good Morning, Whiskey Breakfast”, is a leap in the direction of what can be described as “Post-Country”. It utilizes the traditional instrumentation of Country & Western music while managing to consistently maintain a steady Psychedelic texture, invoking the ghosts of Gram Parsons and Syd Barrett.
I got excited because I thought this band was gonna sound like Lee Hazlewood based on the description. They don't, but I am not disappointed at all. This album is pretty brilliant so far.
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.
http://www.mediafire.com/?t4wylznqkwhhttp://www.mediafire.com/?oydmiabzrdm
Future of the Left - Last Night I Saved Her From VampiresFuture of the Left... I am now happy.
Live album woooo! This is almost worth getting just for the witty banter between songs (which includes Falco's hatred of Tool, Jaffa Cakes, and a complete inability to tie shoes)Code: [Select]http://www.mediaf!re.com/?xchogmydiyj
http://www.mediafire.com/?jzgzkmiywn0http://www.mediaf!re.com/?t0nvjmtzzyzcalifone-Heron King Blueshttp://www.mediafire.com/?1vwqim3h0fjAnd El Guincho's New Thinghttp://www.mediaf!re.com/?0jgyjzyzeztBlack Dice-Creature Comforts total psychedelic weirdnesshttp://www.mediaf!re.com/?ci4dujyay1los mutantes-s/thttp://www.mediaf!re.com/?l1tyzl2njoaand...p:ano-brigadoon. my girlfriend loves ithttp://www.mediaf!re.com/?onmw2wj3gjm
And El Guincho's New Thing
Coconot-Cosa AstralCode: [Select]http://www.mediaf!re.com/?0jgyjzyzezt
http://www.mediaf!re.com/?h5fzygyhmozAmazon.com
This dizzyingly diverse melting pot of sounds is a perfect primer on tropicalia--and then some. Tropicalia arose in the late 1960s as a genre informed by rock, bossa nova, soul, and underground rhythms, all mashed together to create an electrifying new movement in Brazilian music. The artists assembled here--Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Ze, Gal Costa—-are all an integral part of the tropicalia scene. Each, however, makes their own potent artistic statement. Enthusiastic vocals, inspired chants, inventive loops, and hushed arrangements collide throughout this expanse collection. You're never quite sure what you'll hear from track to track. Gal Costa's "Vou Recomecar" is a delight, playing like a foreign counterpart to Dusty Springfield's blue-eyed soul sparkle. The genius, however, is that every moment on Tropicalia sounds both classic and modern at the same time. Most everything here is as urgent and electric as anything you'll hear on contemporary radio. --Joey Guerra
Tropicalia in the late 1960s revolutionized Brazilian music mixing Psychedelic Rock, avant-garde musique concrete (tape loops, sound experiments), Samba, Funk and Soul into a truly unique combination.This is the first album to bring together all the artists involved in Tropicalia, Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Ze, Gal Costa and more. Os Mutantes, the sophisticated musical anarchists from Sao Paulo not only became the musical template for Beck, they were also discovered by Kurt Cobain on tour in Brazil who tried (and failed) to get them to support Nirvana. CD comes complete with the customary extensive 40 page booklet that is full of exclusive photos. Soul Jazz. 2006.
Here's a compilation CD with a ton of great Tropicalismo jams on it.
http://www.mediafire.com/?dmjjmmgyzno
califone-Heron King BluesCode: [Select]http://www.mediaf!re.com/?1vwqim3h0fjfixed. sorry
I have a request. Does anyone have anything by Slagsmålsklubben?
Os Mutantes rock.
Here's a compilation CD with a ton of great Tropicalismo jams on it.
Soul Jazz Records Presents Tropicália: A Brazilian Revolution in SoundCode: [Select]http://www.mediaf!re.com/?h5fzygyhmoz
Enjoy!
http://www.mediafire.com/?wtejlwkdnzz
Trevor Wishart - The Vox Cycle (performed by Electric Phoenix)Code: [Select]http://www.mediaf!re.com/?nygyrmzirwqQuoteThe Vox pieces are amplified vocal quartets with or without tape accompaniment. The tape sounds are both musical accompaniment and an environment in which the vocalisation takes place. These sonic landscapes are not 'photographic' but landscapes of myth relating to our experience of the world. These sounds are organised musically, to complement the voices.
Os Mutantes rock.
Here's a compilation CD with a ton of great Tropicalismo jams on it.
Soul Jazz Records Presents Tropicália: A Brazilian Revolution in SoundCode: [Select]http://www.mediaf!re.com/?h5fzygyhmoz
Enjoy!
Bozz
Mike D's Country Album
Country Mike's Greatest Hits
picture:
http://photos1.blogger.com/blogger/2977/1109/200/cover%20me.1.jpg
album:
http://rapidshare.com/files/24243868/cbmike_reupped.rar.html
http://www.mediafire.com/download.php?mktk4hydjiwhttp://www.mediafire.com/?gt1oa1a3lt5n 2006 avant hip-hop group Subtle, led by the ever-enigmatic Doseone, issued Wishingbone, a collection of remixes and remakes of song off their 2004 album, A New White. In 2006 Subtle also released the fantastic For Hero: For Fool, an abstract piece that tells the tale of Hour Hero Yes, a kind of middle-class Everyman looking for answers, direction, and perhaps salvation in our very postmodern world. And like A New White, this record was followed up by its own set of revisions, the "limited-edition mini album" Yell & Ice. Not so much remixes as re-imaginings, the nine songs on Yell & Ice play with the same generally esoteric (at least in absolute comprehension) themes found on the full-length, but twist and pull them around, bringing in outside vocalists (Chris Adams of Bracken, Tunde Adebimpe of TV on the Radio, Markus Acher from the Notwist, Yoni Wolf of Why?, and Dan Boeckner of Wolf Parade) to add, amend, and contribute their own views as Doseone harmonizes whiningly in the background. "I have found the bloody key that lets the loud out," Acher repeats on "The Pit Within Pits," while Adebimpe repeats the question "Did you dig through instead unflinching?" as the dark, empty percussion of "Deathful" draws out to a unnerving close. It's beat-heavy, mechanized, industrial-inspired stuff, full of coughing synths and stuttering programming -- so much so that even the beatboxing of "Sinking Pinks" sounds inhuman. Yell & Ice is otherworldly, a catholic yet cryptic, intelligent, and enlightening album demanding that the listener not only pay attention, but dance, too.
http://www.mediafire.com/?wrmundutevo
I wouldn't worry about it too much...it seems like the forum software is having issues with Jon/Jon felt like being confusing as hell for Iron Week.
http://www.mediafire.com/?yztyniwzdzzAn early contender (along with Augie March) for this year’s J Award, Gotye’ll probably be passed over the same way In Case We Die was last year, since we’ve learned so far that populism beats objective quality. Nevertheless, Like Drawing Blood is an important album, not only for its music (which grooves and croons its way into your heart) but for the encouraging fact that it’s at least a contender, and that this fiercely singular Australian musician could really get somewhere based upon the strength of his music.
Gotye (they’re pronouncing it like “Gautier” on the radio) is Wally De Backer, a musician from Melbourne making some of the most joyfully expansive electronic pop tunes around. He’s got some small measure of attention from the blogs recently, possibly because Australia’s doyen of indie music radio, Triple J, has posted free MP3s of his tracks numerous times. You can still download three of his songs from Gotye’s website, and you should definitely check these out. For a solitary, independent artist—De Backer has no manager; up until recently he distributed his CDs personally, and Like Drawing Blood‘s insert tells us, the album was recorded in “bedrooms around Melbourne”—his sound is remarkably smooth. To give a general idea, think countless samples (from old soul recordings to a bizarre but likeable lecture from a composer about his compositional process) as well as live instruments incorporated into a, well yes, distinctive sound. It’s really a summer sound, sunny and funky, a perfect accompaniment for walking down to the beach, feeling the sand between your toes and the sun in your hair.
In reality, what listening to Gotye’s music really makes you realize is just how much technology has raised the bar. Now, even one person with a hard drive can make electronic pop music that sounds as smooth and well-engineered as a seasoned producer’s. Like Drawing Blood plays as a remarkably consistent, high quality electronic mix album, with thoughtful song/song transitions and a sustained, easily established mood. That’s not bad for a sophomore effort. Gotye’s first, Boardface, made much less of an impact, though we heard “Out Here in the Cold” on Australian radio a few times when it was released in 2004. On the new album, Gotye mixes a heady dose of Avalanches-style happy electronica with the soul influences of Hot Chip, and the smooth vocals of Postal Service.
“A Distinctive Sound” is the most Avalanches of the Avalanches-sounding moments, especially given the group’s recent work with that Wolfmother song, given “Distinctive Sound“‘s little diatribe on metal. Though you suspect Avalanches would have done more than establish the groove and play the sample, Gotye’s track ups the sample ante at the end; and just hearing that guy rip out “yeah… A minor to F, just like the heavy metal guys use” is a perfect moment. “Learnalilgivinanlovin” is worth mentioning for the title alone, but it’s an album highlight—all soul with no pretension, all positivity. And even recognizing “it’s been done before / C’mon do it again” doesn’t diminish the fun, celebrates influences instead. Isn’t that the way it should be? Elsewhere, as on the excellent “Heart’s a Mess”, the sound of the groove alone predominates: all you have to do is listen to the opening bendy-bass line, give yourself over to the smooth groove and you won’t care that it’s two minutes too long, you’ll just revel in the ache and cool step at the breaking point, as De Backer wails the words of the title in a voice that defines anguish.
“Heart’s a Mess” brings up the only serious criticism the album bears—that despite the high quality production, all Gotye really needs is an editor. A number of the songs here are a few minutes too long, just repeating the main theme over once or twice too often. Don’t get me wrong, the walking bassline on “Thanks for Your Time” is great, but we could have done without the minute-long interlude illustrating the song’s point (frustration at being put on hold in a customer service telephone call). At least it’s something we can all relate to. There’s another redeeming feature—that Gotye has a trick of withholding the refrain, or at least the phrase that gives a song its title, until near the end of a song, conferring on each song the welcome release of a new idea.
Despite this (only occasional) flaw, there are a bunch of great songs on Like Drawing Blood that, each time you hear them, bring a smile to your face. With only a little editing, Gotye has the potential to be a Hot Chip, one of those electronic-pop maestros making soul and electronica entirely his own. Even as is, even with its rickety edges and once-too-often repeats, I’ll take his moody, evocative pop tunes any day. Even if it’s not the Australian album of the year, Like Drawing Blood hums with life, and is a welcome addition to the summer rotation. I have a feeling it may just prove to be great all year round, too.
wrong code for the Gotye albuim
:(
please fix
http://www.mediaf!re.com/?yztyniwzdzzhttp://www.mediafire.com/?wjduawx1ndrThat Goyte is pretty great, so much so it may crack my top ten. Thanks much.
Oh, whoops. Guess I should check that stuff beforehand.That Goyte is pretty great, so much so it may crack my top ten. Thanks much.
Top 10 of all time? FYI it came out in '06 :)
http://www.mediaf!re.com/?sharekey=c1f86b19e23bf5d3d2db6fb9a8902bdaA universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound. Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno's growing virtuosity at handling the recording studio as an instrument in itself (à la Brian Wilson). There are a few pop songs scattered here and there ("St. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consists of deliberately paced instrumentals that, while often closer to ambient music than pop, are both melodic and rhythmic; many, like "Sky Saw," "In Dark Trees," and "Little Fishes," are highly imagistic, like paintings done in sound that actually resemble their titles. Lyrics are infrequent, but when they do pop up, they follow the free-associative style of albums past; this time, though, the humor seems less bizarre than gently whimsical and addled, fitting perfectly into the dreamlike mood of the rest of the album. Most of Another Green World is like experiencing a soothing, dream-filled slumber while awake, and even if some of the pieces have dark or threatening qualities, the moments of unease are temporary, like a passing nightmare whose feeling lingers briefly upon waking but whose content is forgotten. Unlike some of his later, full-fledged ambient work, Eno's gift for melodicism and tight focus here keep the entirety of the album in the forefront of the listener's consciousness, making it the perfect introduction to his achievements even for those who find ambient music difficult to enjoy.
http://www.mediafire.com/?nyzzgjz2nylBefore and After Science is really a study of "studio composition" whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Despite the album's pop format, the sound is unique and strays far from the mainstream. Eno also experiments with his lyrics, choosing a sound-over-sense approach. When mixed with the music, these lyrics create a new sense or meaning, or the feeling of meaning, a concept inspired by abstract sound poet Kurt Schwitters (epitomized on the track "Kurt's Rejoinder," on which you actually hear samples from Schwitters' "Ursonate"). Before and After Science opens with two bouncy, upbeat cuts: "No One Receiving," featuring the offbeat rhythm machine of Percy Jones and Phil Collins (Eno regulars during this period), and "Backwater." Jones' analog delay bass dominates on the following "Kurt's Rejoinder," and he and Collins return on the mysterious instrumental "Energy Fools the Magician." The last five tracks (the entire second side of the album format) display a serenity unlike anything in the pop music field. These compositions take on an occasional pastoral quality, pensive and atmospheric. Cluster joins Eno on the mood-evoking "By This River," but the album's apex is the final cut, "Spider and I." With its misty emotional intensity, the song seems at once sad yet hopeful. The music on Before and After Science at times resembles Another Green World ("No One Receiving") and Here Come the Warm Jets ("King's Lead Hat") and ranks alongside both as the most essential Eno material.
http://www.mediafire.com/?umxg0xk2zmm
That Goyte is pretty great, so much so it may crack my top ten. Thanks much.
Top 10 of all time? FYI it came out in '06 :)
http://www.mediafire.com/?mozommmzizwhttp://www.mediafire.com/?1yzyxuiqywy
Would someone please post something kick ass? I got enough electro pop, post rock, and indie folk to last me a year DJing the local American Eagle Outfitters.
http://www.mediaf!re.com/download.php?tnmux5eqimzWould someone please post something kick ass?Liars-Drums Not Dead
http://www.mediaf!re.com/?wdhyokmAlso, for animal collective fans, there is a fucking amazing rip of a new track off of MPP floating around out there. Brothersport. I had to change pants
rocket from the crypt stuff
Would someone please post something kick ass? I got enough electro pop, post rock, and indie folk to last me a year DJing the local American Eagle Outfitters.How do you feel about Reggaeton?
Love,
MedicateSleep
At the outset, Double Night Time might be met with some degree of slight, partially greed-related aggravation. Morgan Geist's first true solo album since 1997's lost classic The Driving Memoirs, nearly half of it is made from previously released material, and its featured vocalist is Jeremy Greenspan, whose Junior Boys -- more so than ever here -- are stylistic peers. It could be speculated that, several years removed from peaking in notoriety with the Metro Area full-length, Geist wanted to make a Junior Boys album, yet the seed for this set was more likely planted with "Ghost Trains." A darkly shimmering track Geist produced for Erlend Øye's Unrest album, that song predated the JBs' debut, indicating Geist's shift from Metro Area's modern post-disco/pre-house to winsome electronic pop with vocals. Five years later, he finally explores the form to its full album-length extent. Ultimately a modest and compulsively listenable set of nocturnal electronic lullabies, Double Night Time's use of two- and seven-year-old tracks is not unwarranted. Opener "Detroit" cleverly incorporates the zapping/prickling glow of 2001's "24K," while Greenspan, barely above a whisper, sets the album's tone by romanticizing night drives to a vibrant motor city clubbing scene. Both sides of the 2006 "Most of All" 12" are tucked in the middle, like an old XTC reissue, but they slip snugly into the album's fabric; in fact, the reprised A-side is as representative of Geist's approach as anything else he has released, fitting several ideas into a direct and compact piece that could be heard as glum just as easily as giddy, and not without evidence of twisted humor. "Lullaby," from the same Environ 12" as "24K," is Kraftwerk's "Numbers" made florid (with surprisingly congruent trumpet), where Geist is at his most emotionally sweet. The new tracks are equally insidious and moving, with "The Shore" coming on like a more active version of "Ghost Trains" and "Ruthless City" a roguishly charming heartbreak ballad: "When I woke up the next day, bleeding on the sidewalk/It was then I knew, without a doubt/I had finally found a mate."
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QuoteRules:
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*snip*Lots of Brian Eno*snip*Hot damn, you're my new best friend.
http://www.mediaf!re.com/file/jco1zdfwje9/Live%20from%20the%20Boardwalk.ziphttp://www.mediaf!re.com/file/anttult0zymhttp://www.mediaf!re.com/file/zcamxmnxgtj/Live%20from%20the%20Silverlake%20Lounge.ziphttp://www.mediaf!re.com/file/m9xzgwwznmi/Live%20at%20Atlas%20Clothing.ziphttp://www.mediaf!re.com/file/3mpz8xzfxym/Live%20from%20Dance%20Unlimited.ziphttp://www.mediafire.com/?ymimywadk2e
I've already got the RFTC discog along w/ Hot Snakes, Pitchfork, Drive Like Jehu and The Nightmarchers.
Nice try though... what else ya got?
http://www.mediafire.com/?neuz0ldt2jmThe RFTC is great but winrar tells me that 'ball lightning' from 'Scream, Dracula, Scream!' won't unzip so i'm left without it when i play the album.
http://www.mediaf!re.com/download.php?jkje2cmmm2m
http://www.mediafire.com/?gvogtimozgyJune of 44- Tropics and Meridianshttp://www.mediafire.com/?vitcujymmw0*snip*Tera Melos lots*snip*Guys, get these. Now.
Many moons ago, I uploaded their debut, Untitled, but I think it's gone now. That's pretty great. A little more drawn out, bursting with energy, but I think Drugs to the Dear Youth is much tighter and maybe a bit more accessible. I haven't heard much of their new album, but I wasn't crazy about what I heard. I think they added vocals into the mix, which really dumbed down their sound and, I feel, made it kind of boring.http://forums.questionablecontent.net/index.php/topic,19792.msg651187/topicseen.html#msg651187
The RFTC is great but winrar tells me that 'ball lightning' from 'Scream, Dracula, Scream!' won't unzip so i'm left without it when i play the album.
oh sorry man. you really don't wanna be missing that one either, it's one of the best on the album IMO.
here ya go:Code: [Select]http://www.mediaf!re.com/download.php?jkje2cmmm2m
What do you get if you cross the Balkan folk of Beirut and Hawk and a Hacksaw with the 80s disco reverie of the Junior Boys? Well, Alaska in Winter managed to find out when they rectruited a certain Zach Condon and Heather Trost from Beirut to play on his record, which does exactly what it claims to - soundtracks a dance party in the Balkans. Sort of anyway, this is similarly hook-laden and just as strangley alluring as Beirut's 'Gulag Orkester' but then those 80s drum machine beats and wobbly basslines cut in and you almost forget what it is you're listening to. I've got to say it's a brave move from Brandon Bethancourt (for he is Alaska in Winter) and not the most obvious one to say the very least, these tracks occasionally sound like they've been beamed from another world - the piano/violin and crunk combination of 'Balkan Lowrider Anthem' for instance. it sounds like it's going to be a comedy record I know, but trust me it really is anything but. If you really need proof then flip straight to the album's final track (which features Mr. Condon on vocals) 'Close your Eyes - We Are Blind' which is as gorgeous a piece of guitar-less indie pop as you're likely to hear this year. Beirut fans looking for more to fuel their hunger should look this way...
http://www.mediaf!re.com/?dtmwkjy0mm5“….far-flung variety of forms into chilly, beat-oriented, downtempo hymns: amorous Balkan strings, the melismatic vocal tapestries of classical Arabian music (often so gently vocoder-kissed as to sound more spectral than robotic), icily splintered piano loops (which are actually played live), skittering hip-hop percussion (ditto), and soaringly simple indie pop melodies obscured in an atmospheric haze.”
http://www.mediaf!re.com/?j5hhmqjnjza
AMG:
Appearing in America after an initial Japanese release, and with a revamped track listing and song titles to boot ("Bocabola" is called that here only because somebody somewhere was worried about what a certain soft drink company might think of the original title), Pop Tatari definitely holds the crown as being one of the strangest things to surface under a major label's auspices. Even the Butthole Surfers' major label debut that year looked straightforward in comparison. Starting off with "Noise Ramones," which consists solely of various high-pitched tones like those of the Emergency Broadcast System, Tatari contains some nearly conventional bits. Yet even the semi-lounge smoothness of "Nice B-O-R-E Guy Boyoyo Touch" collapses just enough, while elsewhere the screaming lunacy of fullthrottle Boremania rampages unchecked. Songs shudder to stops, launch into roaring mania and deathstomp rattle, and crunch more quickly and unexpectedly than those of just about anybody else -- no real change there, then! Add dashes of heavy funk mania ("Bo Go" would do early Funkadelic proud) along with whatever logic operates inside the band members' skulls, and the result is more cockeyed genius. Yamatsuka Eye rants above the whole mess like a man possessed, trading off with other band members in ways that practically redefine call and response. Singling out all the highlights would take forever, but "Bore Now Bore" feels like a mid-'60s frug played by berserk aliens, with some random electronics to boot, while a cover of the old Peggy Lee standard "Fever," retitled "Heeba," keeps the central riff but abandons just about everything else; the lyrics sound like they're slurred through cotton and various thrashy instrumental breaks. Concluding with the multigenre purée of "Cory & the Mandara Suicide Pyramid Action or Gas Satori," Tatari kicks out the jams eight different ways at once.
Part 1: http://www.med!afire.com/?zymtyvzikin
Part 2: http://www.med!afire.com/?xzxyuzz5gwz(http://www.boomkat.com/media/stock_images/VF007_Cover.jpg)AMG:
It can still be said that they're the Boredoms, but it can also be said that they're not simply content to totally repeat themselves, established as the band's general formula is. The crowned princes and princesses of "wackoaggro," here the Boredoms start to let more of their prog-rock fascination creep in, often doing so to brilliant effect. "Acid Police," not merely a great opener but also one of the group's best songs, period, offers an a cappella call and response between Eye and his main vocal cohort, which eventually turns into a pounding, roiling epic stomp, drawing as much from Kraut-rock trance as metal, and fading out on an even more aggressive drumming note. The title track, is simply dreamy -- a brief but serene number working in odd synth sounds and various percussion noises. Other ghosts of early Faust and both Amon Düül collectives show up more than once (perhaps most hilariously on "B for Boredoms," which starts as a heavily distorted "Gimme a B!" call-and-response chant before turning into a mini-Metallica epic as voiced by helium-loaded chipmunks). As a result, even the more typically Boredoms numbers sound just a bit more weirdly intricate. Arguably things are a little tighter and more focused all around (even the trumpet playing sounds almost smooth at times), and those who appreciated the go-everywhere-at-once feeling of many previous releases might find the relative straightforwardness in songs like "Mama Brain" (at least up until the end) a bit disappointing. The soundscrapes of "Action Synthesizer Hero," though, which feature singing counterbalanced against pure white noise before launching into another series of instantaneous time signature switches and loudness followed by quiet, make it clear that the Boredoms merely know how to work ever more ways than before.
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Right now, bloggers are freaking out about the new project from former members of The Arcade Fire and The Unicorns, but personally, I’m much more intrigued by the new LP from Canadian super group, Contrived. As far as Canadian music goes, a band comprised of past and current members of both Wintersleep and Holy Fuck is about as topical (and as Nova Scotian) as it gets, but Contrived is more than just an outlet for the talented musicians.
blank, blank, blank is the third Contrived record, and the comfort level and trust the quintet has developed over the years helps make it their most enjoyable record yet. Mixing infectious melody and sludgy haze, like the band does on the opening single (Not a Goodbye), you almost want to start talking about bands like Dinosaur Jr., but they quickly change directions and move towards a more DC sound (Angels Rioting Against the Nothing). With all the surging guitars and textures they play with, the straight ahead drumming provides the stability needed to keep the song moving forward and the end result is one of the most inspired tracks I’ve heard lately.
Over the course of 8 songs and 35 incredibly diverse minutes, the band manages to meld melodic sludge and classic rock into the inspired indie anthems and sonic explorations you’d expect from their other projects. They can hit you with a political post hardcore jam (The War to Settle the Score) or soften the blow as they add angelic vocals and spacey, dreamlike textures (Keepsake and Celebrate). Keepsake builds and builds, but instead of succumbing to melodramatic excesses, the band simply lets the song come to life until it courses through your veins.
In the end though, the most interesting things about this record (and the band in general I suppose) is the simple fact that their success makes it almost impossible to tour or even support this release. Contrived took the time and effort to release this material because they believe in it. They aren’t trying to write songs that sell and start a musical career, and the result means they can launch into a huge guitar frenzy for the last two-minutes of Firing Squad or a soaring anthem like Attention (Black Ops) without worrying what people will think.
Complete musical freedom is a rare thing, and Contrived certainly takes full advantage of their unique position to deliver a record that stacks up nicely against the songs you already know and love.
http://www.mediaf!re.com/?ezdtjzlf502Attempting to compile a list of good side-project albums by drummers of successful bands is a task that will have you stumped almost from the beginning. It appears that Strokes drummer Fabrizio Moretti has done the impossible, though, with Little Joy, the band he formed in 2008 with Rodrigo Amarante of the Brazilian band Los Hermanos and Los Angeles singer/songwriter Binki Shapiro. Fab doesn't do the singing, but he wrote (or co-wrote) all the songs and provides a good portion of musical backing for Amarante and Shapiro's restrained vocals. Not only is the result not the embarrassment that some more uncharitable people may have anticipated, but Little Joy is a good — sometime very good — album. A laid-back and easy to digest album with no grand statements to absorb or deeper meanings to dig for, it's made up of simple songs recorded simply and sung sweetly. The variety of influences on display (like midtempo Memphis soul, lovers rock, bossa nova, early-'70s singer/songwriters, and sunshiny pop) gives you an idea of the mood the record conjures. The pieces are mixed and matched smoothly and with an ease and peaceful grace, making the record a joy to listen to. The hooky songs with summery grooves (the sweetly romantic "Brand New Start," "No One's Better Sake") and the semi-rockers (the kinda Stroke-y "Keep Me in Mind") are the first to grab you, but the quiet acoustic songs are just as nice. The gentle touch they display on "Unattainable" and "Don't Watch Me Dancing" is far from what you'd expect from the drummer of the Strokes, but it works perfectly for the trio. It's unlikely that this will become Moretti's full-time gig anytime soon, but he's using his downtime to the fullest with Little Joy.
http://www.mediaf!re.com/?2oddkmtzkwgThe Miniature Tigers’ debut full-length mines the same whimsical, slightly silly pop territory as their earlier White Magic and Black Magic EPs. With song titles that read like they could be episodes of The Venture Bros. ("Cannibal Queen”, “Dino Damage”, “Hot Venom”, “Last Night’s Fake Blood"), the band is clearly not overly serious. But singer Charlie Brand’s high, wistful vocals keep the songs from becoming too comedic, despite the goofy subject matter. The band’s biggest strength is knowing how to write catchy pop hooks. Tell it to the Volcano is filled with the tunes that lodge instantly in your brain and have you singing along before the songs are even finished. And with 11 tracks coming in at just under 30 minutes, the album wraps up before all those hooks start to wear out their welcome. This is fun stuff.
http://www.mediaf!re.com/?gmnztjz3yznA combination of the words "Zaire" and "Eureka," Zaireeka is a term coined by Flaming Lips frontman Wayne Coyne symbolizing the fusion of anarchy and genius. It's a perfect title; Zaireeka is the culmination of the Lips' helter-skelter brilliance. Pushing the concept of interactive listening into new realms of possibility, the work extends Coyne's infamous "parking lot experiments" into not merely one album, but four separate discs that can be played separately or in groups of two, three, and four with multiple stereos. (Properly synchronized multi-disc playback requires more than one person — it's literally a party album.) Between combining the discs and toying with volume, balance, fidelity, etc., the options are truly limitless. No two multi-disc performances can be repeated, thanks to the space-time continuum and discrepancies from one CD player to another. Musically as well as conceptually, the Lips are defiantly experimental throughout Zaireeka; individually, each disc sounds more like free jazz than pop, although Coyne's diamond-sharp melodic sensibilities prevail even during the most chaotic moments. With each additional disc, the music's force and ingenuity reveals itself: "Riding to Work in the Year 2025 (Your Invisible Now)" is an epic orchestral noise suite, "Thirty-Five Thousand Feet of Despair" is a multi-narrative plane-crash drama remarkably evocative in its depiction of fear and chaos, and "How Will We Know? (Futuristic Crashendos)" features such extreme high and low frequencies that it can lead to disorientation, confusion, or nausea (the track is not recommended to be played while operating a motor vehicle or in the presence of infants). Logistical nightmares aside, Zaireeka is a dense, difficult work, recommended only for the hardiest Flaming Lips fetishists; however, they're in for the musical experience of a lifetime.
http://www.mediaf!re.com/?2wnjmkmvjwy
My reviews are often filled with snarky references regarding the milquetoast music of modern folk and pop artists, especially those lamewads who are actually able to get their boring, repetitive three-chord ditties onto mainstream radio stations. Yes, I fully realize that corporate labels and radio stations are all about the cash – their job is to put out a music-related product whose primary goal is to maximize the profit margin. I get it; I really do, but I am continually confounded by what they consider to be “good.” If a station wants to play good music in order to attract listeners so that they can attract advertising dollars, shouldn’t they want to locate singers and bands from any and all available strata in order to create and market that great product?
Consider the case of Dark Captain Light Captain and their release Miracle Kicker. The album is a font of glistening guitar plucking, hushed harmonizing vocals, and brisk brushed drumming over a bed of lushly layered keyboard swells. The entire effort swims in a deep ocean of melancholy, but retains a lightness, a buoyancy in the atmosphere that prevents the band and the listener from drowning. What strikes me the most with this record is its pacing and tempos, in that, though the vocals and strings call you, like sensual sirens, to crash and founder upon their beautiful shores, the drumming presses each song steadily onward toward completion. Even if you were to remove the rhythm section to discover a fairly typical folk act, their voices and instrumental arrangements still rich and enchanting.
Is Dark Captain Light Captain not on the radio because they’re not some fresh-faced young solo artist with a winsome smile and quirky lyrics? Or is it because they’re not a bombastic rock outfit with a preening lead singer, soaring guitars, booming bass, and driving drums? I can’t quite figure it out and I’m not sure I’m supposed to do so. The band themselves might not even be worried about it; they might be happy with constant touring to promote the record. Whatever – it is what it is. Maybe I’m the one who’s naïve enough to think that songs like “Jealous Enemies,” “Circles,” and “Speak” would actually find a welcome reception from music-lovers who are radio listeners, replacing poppy schlock like Colby Caillat, Jack Johnson, Jason Mraz, and Sara Bareilles. All of my ranting aside, Miracle Kicker is full of life and replete with a high degree of musicianship; there should be more bands like this one out there helping to redefine how folk and pop really could sound.
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http://www.mediafire.com/?3z2vojtzwnzArriving in the fall of 2004, Has Been was released at the height of a Shatner resurgence that those late-'90s Priceline commercials kick started. He had another round of commercials for the company -- this time also starring his longtime comrade Leonard Nimoy -- and a co-starring role in the prime time series Boston Legal, which was a spin-off of the long-running TV drama The Practice, where he had won an Emmy for his guest spot as a sleazy lawyer. Things were breaking in Shatner's favor because he had embraced the overblown, cheerfully smug caricature, playing his persona instead of playing a character. Because of this, it was reasonable to expect that Has Been would be a cheerfully comic record, an album designed to be a comedy album, unlike The Transformed Man, whose humor was unintentional. That's not the album Has Been is. Sure, there's a good dose of humor throughout the record -- not only is Shatner hamming it up, but Ben Folds can never resist a joke -- but that's only one element on an album that's as weird and bewildering as The Transformed Man. In many ways, Has Been is its polar opposite -- there are no baroque arrangements or psychedelic effects, it's grounded in rock & roll and jazzy lounge instrumentals, its message clear, not deliberately cryptic. But the most shocking thing about the album is its sincerity. There's only one cover of a big pop tune, and it's Pulp's "Common People" -- one of the great singles of the 1990s, but a standard only in Europe, and largely unknown in America. While it's played on Has Been with a knowing wink, the song itself is intended to be funny: in Jarvis Cocker's hands, the wit cut like a blade, while Shatner blusters his way through it, but the difference is in delivery -- Shatner knows what the words mean, and he delivers it with an actor's precision. It's funny, but it's sincere, right down to how Folds brings his idol Joe Jackson in to snarl the chorus, so the cover works as a piece of music, not just as a novelty.
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http://www.mediafire.com/?ywmtzzqwjdohttp://sharebee.com/c76d6311
http://www.med!afire.com/download.php?jjnfyizimnm
Every few years, our little country belches out a band that accurately captures the zeitgeist and epitomises all that is good and healthy about the Irish music scene. More often than not, praise is heaped and hopes are pinned upon these bands, only for the incessant, histrionic build-up to override the substance. But Fight Like Apes are different. Having already received impressive plaudits from UK and Irish press on the back of their two excellent EPs and a handful of limited edition singles, the Dubliners know all about riding the crest of the hype-wave. Certainly, if you've experienced a FLA live show, you'll be aware that they look about as serious as Mary Harney on rollerblades - but what differentiates the synth-rock quartet from their po-faced contemporaries is their ability to coordinate the tawdry, with songs of depth and meaning.
Chief songwriters MayKay and Pockets are a talented duo, that's for sure; basing your predominant sound around synthesisers these days is a risky manoeuvre, but when the songs are as motley and as colourful as these are, it works almost intuitively. Producer John Goodmanson (Death Cab for Cutie, Nada Surf) has harnessed the band's sometimes-chaotic tendencies without blunting their sharp edges - best heard on the re-recorded versions of EP tracks Jake Summers and Battlestations - while live favourite Lend Me Your Face is more melodic and rounded, if perhaps not as instantly forceful as its original.
There's great range here, too; although Fight Like Apes excel at the driving, punky, venomous pop best heard on the sublime Do You Karate? and Digifucker, they're more than capable of mixing it up with melancholic downers like Tie Me Up With Jackets and Lumpy Dough. MayKay's wry, heartbreak-inspired lyrics provide the perfect foil to the sometimes-whimsical soundtrack, too - her voice capable of jumping from skewed lullabies to the wail of a thousand banshees in seconds flat.
More than anything else, though, Fight Like Apes and the Mystery of the Golden Medallion embodies a sense of excitement, and above all, impulsive fun - something that debut albums are rarely plucky enough to exhibit. An absolute thrill, from start to finish.
http://www.mediaf!re.com/?kam1it0iydm[/quote]
This naturally lead me to Metallica, so I decided to throw in "Ride the Lightning".Code: [Select]http://www.mediaf!re.com/?sharekey=6d68221795927173d2db6fb9a8902bda
http://www.mediaf!re.com/?3yndzmnoz3b http://www.mediaf!re.com/?ztwyiyc2inwgod is an astronaut
http://www.mediafire.com/?v90ygz1ld4m
Rules:
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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.
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god is an astronaut
Guys, get this.
This is good.
yay! i also have their self-titled album, if anyone wants that.
http://rapidshare.com/files/78252719/Friends_in_the_Mountains.zip.htmlhttp://www.mediaf!re.com/download.php?dtmqtnzyzwn
http://www.mediafire.com/?ljw3vzm2gyjhttp://www.mediafire.com/?1323mdodwjthttp://www.mediafire.com/?dyl0wdmytwyhttp://www.mediafire.com/?m5demqz3cyzhttp://www.mediafire.com/?mqgjwq2ziwdhttp://www.mediafire.com/?tnzyilnytdghttp://www.mediafire.com/?ndizijzyjmthttp://www.mediafire.com/?nzt3zlmggmnhttp://www.mediafire.com/?nz0yy2mreyzhttp://www.mediafire.com/?gjgjwmnegm2if anyone were to re-up cloud cult, I would love them forever!For some reason Mediafire isn't letting me up anything :(
http://rapidshare.com/files/164122441/ClCult-2006-FGG.rar
if anyone were to re-up cloud cult, I would love them forever!
http://www.mediaf!re.com/?qjbhhp2doyn
Been lurking for awhile and decided to contribute a bit since I upped these for a buddy anyway, and also since hip hop is a bit lacking, here you go:Oh yes. Oh yes. Yes you did... +5 awesome to this thread man...
The Coup - Kill My Landlord
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The Coup - Party Music
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The Coup - Steal This Album
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The Coup - Pick a Bigger Weapon
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Souls of Mischief - '93 Til Infinity
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Tonedeff - Archetype
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K-Os - Joyful Rebellion
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K-Os - Atlantis: Hymns for Disco
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Hilltop Hoods - The Hard Road
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Here's the final track because it didn't fit all on one file:Code: [Select]http://www.mediaf!re.com/?gjgjwmnegm2
Hope I did this correctly
Dert is one of the freshest producers in LA and he works his magic yet again with a free beat tape release featuring 34 exclusive tracks showcasing samples from the Pink Floyd discography titled Dert Floyd - Westside of the Moon. Featuring classic Pink Floyd vocal hooks, guitar samples, and drum breaks Westside of the Moon will have you bobbing your head and leave you hungry for more. Since this is a beat tape release the tracks are short, untitled, and not ready for a full album review, but Dert still serves up straight bangers. Producers like Dert give me hope that hip-hop is still alive and that the current era of glam-rap isn’t here to stay.
http://www.mediafire.com/?ktynmv1m5iq
snip
Oh yes. Oh yes. Yes you did... +5 awesome to this thread man...
It’s somewhat unfair to attempt to treat the soundtrack to the Flaming Lips’ long-in-the-making movie CHRISTMAS ON MARS as something separate from the film itself. Though a standard metric for a quality soundtrack is its ability to stand alone as a purely auditory experience, the psychedelic audaciousness of both the sound and vision of CHRISTMAS ON MARS requires something of a different approach. First things first, there are no songs here. This is a film score, not a collection of “songs from and inspired by.” Each of these dozen tracks are ambient instrumental pieces hitched upon the vaguest of ideas. In keeping with the sublime weirdness of the film, pieces like “In Excelsior Vaginalistic” and “Space Bible with Volume Lumps” are impressionistic and ethereal. Though the Lips have become progressively more entranced by cloudy atmospherics, even the most insubstantial numbers on the group’s recent albums have been anchored by at least some melodic underpinning. That’s not the case here. Instead, this album is more like a collection of all the atmospheric filigree that’s decorated their recent songs … just with all the song bits stripped away.
http://www.mediafire.com/?tmfs2zjxk0f
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http://www.megaupload.com/?d=FM7MD9PCPSAPP (pronounced "Sap") are Carim Clasmann and Galia Durant. The band claims to own a veritable junk shop heaven of arcane musical instruments and 'sound emitters' that range from gleaming pianos and instruments and pot-bellied ouds to children's xylophones, dusty retro guitars, farmyard noise-makers, mechanical ashtrays and squeaky rubber poultry. It is this collection of instruments that have led to critics heralding the band as being the pioneers of a new genre - which has been dubbed 'toytronica'. The Camel's Back is the band's fourth studio album, following on from Northdown (2004), Tiger, My Friend (2004) and The Only Thing I Ever Wanted (2006).
Listening to the tracks on this album it's easy to see where the term 'toytronica' is derived from. Several tracks (in particular 'Fix it', 'Mister Ant' and the instrumental tracks 'Marshrat' and 'Homicide') sound like you've walked into the middle of a strange old fashioned toy shop. This wonderful fusion of children's toys and clockwork contraptions is bound to evoke childhood memories - as everyone is bound to recognise at least a couple of the instruments used here. I couldn't help be reminded of the late Kirsty Macoll and The Cardigans - in particular segments of 'Part Like Waves' and 'Screws' sound very Macoll-esque. Likewise the title track 'The Camel's Back' and 'Somewhere There is a Record of our Actions' brought back memories of the Cardigans's Life album. There's a nice mix of both the bizarre and instant hit material. It's pretty easy to spot the tracks that will be released as singles to appeal to the masses. These include, I'd hazard a guess, 'The Monster Song' (which is to be released as a single on 03 November 2008), 'Somewhere There is a Record of our Actions', 'Fix it' and 'Mister Ant'.
There wasn't a single track on the album I didn't like - which is a rarity these days. This is an album that is well worth searching out.
http://www.mediaf!re.com/?nytttyxyotmIf David Lynch were to direct a remake of the Victorian romance Wuthering Heights, he wouldn’t need to commission a soundtrack; Secret Machines have recorded it. “Underneath the Concrete” and the lead single, “Atomic Heels,” reprise the intergalactic acid rock of previous Machines records. But when Benjamin Curtis (brother of frontman Brendan) left last year, he apparently took all the psychedelic vinyl; except for the ill-advised ballad “Now You’re Gone,” the band has turned to the gothic trance of Bauhaus and Nine Inch Nails. On “Have I Run Out,” theatrical kettledrums and tense strings introduce a beautiful sense of dreamy anguish. And “The Walls Are Starting to Crack” showcases the power of their new identity as apocalypse-heralding romantics: As violent electro blips transition into harrowing voices and melodramatic piano, you can almost see Cathy running through the moors to meet, like, Kyle McLaughlin at Peniston Crag.
http://www.mediafire.com/?nxzfyxyxlnm
Ok since John seems to be unable to get off his bottom, I guess I'll have to step up. He was doing the FabricLive series and hoping he'll pick it up sometime, I'll begin to upload the plain ol' Fabric series.Hells, I got lazy (really, my mp3 player went kaput and my whole musical world came to a screeching halt) and my Fabriclive supply got cut off by the man since the last time I downloaded. I've still got a good 35-36 of the 43 released, the rest will turn up eventually.
Fierce scratching, U.K. and U.S. hip-hop, and electro-flavored beats all figure into the turntable crew Scratch Perverts' entry into the Fabriclive series. Arguably the most fun disc in the risk-taking series, Fabriclive.22 goes from brash U.K. hip-hopper Skinnyman to introspective rockers Radiohead and ends with five tracks of fierce jungle. It's no small feat that the flow is seamless, but these crafty perverts go that extra mile and drop some of their own remixes into the whole shebang. The Ian Brown number is an official Scratch Perverts excursion, but many of the other tracks get messed up and funked up enough they could be labeled as such. Cuts like the Roots at their most reggae and Dead Prez at their most electro span genres themselves, but everything is inspired rather than clever and concise instead of cluttered. This isn't history in the making, but it's a smart party and you'd have to go bootleg to acquire anything more mashed up and exciting.part 1
http://www.mediafire.com/?zwtejtd1zmypart 2http://www.mediafire.com/?gmmozjtna44A mix CD from Death in Vegas back in the day would have been exciting enough, but since the 2004 album Satan's Circus introduced a much more left-field sound for DIV, 2005's Fabriclive.23 brings a more curious kind of anticipation. Death in Vegas' volume of the tasteful Fabriclive series hints at the Krautrock love of the group's 2004 album, but branches out into atmospheric and sane electro, Detroit techno, and nostalgic acid house sounds. Rather than arcing up, the mix ebbs and flows, repeatedly peaking with grungy beats before settling into trippy sets of tunes that wouldn't be entirely out of place on the Hearts of Space radio program. The Detroit techno of Cybotron and Ectomorph sounds just perfect surrounded by all this futurism, as does Death in Vegas' own Kraftwerk-worshipping "Zugaga," but it's the minimalistic type of techno Alex Smoke creates that's right in the middle of all these tones. Dinky's cheeky "Acid in My Fridge" provides the needed levity at the midpoint while "Jenna" from John Dahlbäck ends the set on a high note. A satisfying mix that's more headphones than dancefloor, Fabriclive.23 is step two in Death in Vegas' thrilling rebirth as a heady mavericks.
http://www.mediafire.com/?2oyynf4iqc0
http://www.mediaf!re.com/?flemd9rw4xxHilltop Hoods - The Hard RoadIs the remix album "Restrung" worth getting? I've heard a few tracks on their myspace but would have to order it from Aus which is a hass.
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Here's the final track because it didn't fit all on one file:Code: [Select]http://www.mediaf!re.com/?gjgjwmnegm2
The Fabric name is quickly associating itself with quality. Be it the club in Farringdon or the CD series that has been pushed by the likes of Craig Richards, James Lavelle and now Terry Francis, it is clear that we should expect nothing less than pure music quality from Fabric. The second installment of the standard Fabric series (not fabriclive) from Terry Francis is a worthy follow up to the very classy opener from Craig Richards.
The Cd builds quite nicely with smooth deep house records such as Outa The Blue's "R Change U" and the brilliant "Doing Shows" by Floppy Sounds. As the cd continues the baselines get chunkier. DJ Buck's "Ode to Mad Marj" as well as the wicked Asad's Silverlining Remix of Dark Male's "Night Life" is testiment to this. Blakkat's "Deeper" and the soulful "My Love" by Harris & Stubbs close the cd off in fashionable style.
Overall, a great mix to listen to. Not hands in the air stuff, but it never tries to be, rather a good mix to listen to at home and relax too.
Tracklisting:
1. Welcome - Chateau Flight
2. East - Norken
3. Morph Cross - The Logic Box
4. R Change U - Outa The Blue
5. Doing Shows - Floppy Sounds
6. Frostreet - Gruvhaus
7. Red Leather - SD Grooves
8. Ode To Mad Marj - DJ Buck
9. Oyea - Eddie Richards
10. Ooh Yi Yi - Gideon Jackson
11. D & D Gold - Take Away
12. Night Life - Dark Male
13. Dancin' - Filth
14. Lemon Pie Dub - Universal Agents
15. Deeper - Blakkat ft. Mark Bell
16. My Love - Haris & Stubbs
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God Is An Astronaut
Friends in the Mountains - Friends in the Mountains EP
I found these guys on sordo a while back. Pretty good solid post rock with some nice use of an organ. They describe their sound as "a case of the mondays" on their myspace page, thats fair, but not so cynical as Office Space, if thats what they meant. They have their ep for free download on the page too.
direct linkCode: [Select]http://rapidshare.com/files/78252719/Friends_in_the_Mountains.zip.html
Please guys, mediaf!re only. Everything else isn't even worth the trouble most of the time.
Also, please post some description of the albums you post. Album covers don't tell me much. Myself, I enjoy personal descriptions of albums more than AMG copypasta, but even that is better than nothing.
I don't even know what you're talking about.
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.
http://www.mediafire.com/?zhnt5wjdhuuWotan, 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.
http://www.mediaf!re.com/?hdtyqum3ymmIn 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.
http://www.mediaf!re.com/?imdjuxdg2b0On 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.
http://www.mediaf!re.com/?tfzyjxdmwyj
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.Yeah yeah here it is
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.
http://www.mediaf!re.com/?qltwv2damtnyou should also consider acquiring Dirtbike, which I posted some time ago.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
http://www.mediaf!re.com/?rmodcmdrrnzpart 2http://www.mediaf!re.com/?vymmh41n34yThe 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).
http://www.mediaf!re.com/?fndtkbnhujehttp://www.mediaf!re.com/?51hwzmnim1aKeeping 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).
http://www.mediaf!re.com/?yzmiwwc2tozpart 2http://www.mediaf!re.com/?z2xoyi4m3nhhttp://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.http://www.mediaf!re.com/?wrjgjm12gzk
http://www.mediafire.com/?gfnjzrnzxmdhttp://www.mediafire.com/?ymjjjzjzytyhttp://www.mediafire.com/?ctnliniohm1http://www.mediafire.com/?nm5ecjnu5zzhttp://www.mediafire.com/?hhtrwvq0ymwhttp://www.mediafire.com/?gyzqjmhjmlzhttp://www.mediafire.com/?zodn4ymzzynhttp://www.mediafire.com/?igelzmgdwqmhttp://www.mediafire.com/?mwozwjmmwmjhttp://www.mediafire.com/?4dmyzeoojfn
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Was someone looking for these?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.
Wintersleep - S/T
Wintersleep - Welcome to the Night Sky
http://www.mediafire.com/?tnm1jdjzjrrhttp://www.megaupload.com/?d=LS99U82QFabric 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!
http://www.mediaf!re.com/?zzmihzzn0waFrom 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.
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.
http://www.mediaf!re.com/?mrtembmwfwmFor 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.
http://www.med!afire.com/?ztvztj2mgl3Music 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.Another favourite of mine this year.
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.
http://www.mediafi!e.com/?22jjzzmtxzm“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.
http://www.mediaf!re.com/?jiyazwkmwti
This Is Your Captain Speaking - Eternal Returns
(http://c1.ac-images.myspacecdn.com/images02/16/m_1b2574c2dd6c44958a47491ecd3cbf08.jpg)Code: [Select]http://www.mediaf!re.com/?jiyazwkmwti
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http://www.mediafire.com/?twm52m3fzfnhttp://www.mediafire.com/?zzzmemeugfyGod Is An Astronaut - Far From RefugeCode: [Select]http://www.mediaf!re.com/?wm2gziiidyy
http://www.mediaf!re.com/download.php?tmzuzummyhzOpening 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.
http://www.mediaf!re.com/download.php?2ncym0zt5agOn 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.
Holy shit guys. That Helios album...
The Kilimanjaro Darkjazz Ensemble- Mutations EPThanks!
The darkjazz's new remix EPCode: [Select]http://www.mediaf!re.com/?zzzmemeugfy
the original KDJE album can be found on pg 100.
Gotye- Like Drawing Blood
(PICTURE)Code: [Select]http://www.mediaf!re.com/?yztyniwzdzzQuote from: Popmatters (because allmusic didn't have a review and P4K didn't do it's research)THIS IS A GOOD ALBUM LOL
Quoting because this album is so good
http://www.mediaf!re.com/?mmwuozzdtqwhttp://www.mediafire.com/download.php?2pluovzlexg
Holy shit guys. That Helios album...
What do they do?
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.
The Kilimanjaro Darkjazz Ensemble- Mutations EP
The darkjazz's new remix EPCode: [Select]http://www.mediaf!re.com/?zzzmemeugfy
the original KDJE album can be found on pg 100.
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.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 Kilimanjaro Darkjazz Ensemble- Mutations EP
The darkjazz's new remix EPCode: [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.
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.
http://www.mediaf!re.com/?mtnnyyownvz
http://www.mediaf!re.com/download.php?qa2mgwkxi5ihttp://www.mediaf!re.com/download.php?qtdqmmmwgdtLotus, 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.
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.
http://www.mediafire.com/?dmqjy1zy3z0It'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.
http://www.mediafire.com/?myqwtzztttxhttp://www.mediafire.com/?otymzimmztuhttp://www.mediafire.com/?zmrjmvztug2http://www.mediafire.com/?djwzz0gvjgiBoys Life- Boys Life
(http://image.allmusic.com/00/amg/cov200/drc800/c806/c806077608t.jpg)Code: [Select]http://www.mediaf!re.com/?dmqjy1zy3z0QuoteIt'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.
http://www.mediafire.com/?4zmnyg2ymmdThe 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.
http://www.mediafire.com/?mai0yqhmy3mAll 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.
http://www.mediaf!re.com/?mqtiyq24l2m
http://www.mediafire.com/?xflzdkcvmmzI 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.
http://www.mediafire.com/?kxtmtztoymzhttp://www.mediafire.com/?2zxqmznkgzz
http://www.mediaf!re.com/download.php?njhohgdsv2mhttp://www.mediaf!re.com/download.php?dfjgmmx12n2http://www.med!afire.com/download.php?0mvqm1ry5mq(http://www.revelationrecords.com/web_admin/band_photos/rev096.jpg)thanks one of my favorite bands to ever see live. song titles dripping with sarcasm (one of the first and best to do this)
Drowningman - Rock & Roll Killing MachineCode: [Select]http://www.med!afire.com/download.php?0mvqm1ry5mq
Kinda like Cap'n Jazz meets Ink & Dagger and The Dillinger Escape Plan. This album will hook you with the catchy melodies and then pummel you with riffage.
This incarnation of Palace, one of its more impressive, sees frontman Will Oldham turning out some of the strongest bleak country-rock in his career and taking the music in a few intriguing and even upbeat directions. With a great supporting cast that includes, among others, Sebadoh's Jason Loewenstein on drums and Oldham's brother Ned on bass, the group busts out laid-back twangy tunes that can really rock when the opportunity comes up. Most notably, tracks like "Work Hard/Play Hard" and the opening "More Brother Rides" are brimming with energy that may not overwhelm, but certainly provides a hefty backbone. Alternately, slower brooding tracks like the longing "New Partner" see the band proving their chops in a more refined setting. Oldham's cracking backcountry voice may be a bit of an acquired taste, but it's worth the time, as his inflections are capable of powerful feelings and certain honesty. The Palace team has put out many a record, but as far as accessible and slightly upbeat musical ruminations go, Viva Last Blues certainly sees the players near the top of their game. Things are a little thicker and dirtier than on the more laid-back acoustic records this prolific artist has put out, but the rock approach adds worlds to the delivery and creates a powerful palette for the equally important lyrics. Oldham is a truly underrated American talent, and this is among his best work, so take the time to find it.
http://www.mediaf!re.com/?owunuwmjtcj
http://www.med!afire.com/download.php?amfwynyqodm(http://www.revelationrecords.com/web_admin/band_photos/rev096.jpg)thanks one of my favorite bands to ever see live. song titles dripping with sarcasm (one of the first and best to do this)
Drowningman - Rock & Roll Killing MachineCode: [Select]http://www.med!afire.com/download.php?0mvqm1ry5mq
Kinda like Cap'n Jazz meets Ink & Dagger and The Dillinger Escape Plan. This album will hook you with the catchy melodies and then pummel you with riffage.
http://www.med!afire.com/?r2hct6n1hv4
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.
http://www.mediaf!re.com/?mwrnnzjzgznhttp://www.mediaf!re.com/?uwmzieyekjnhttp://www.mediaf!re.com/?dndmvwiyzmyhttp://www.mediaf!re.com/?yjqqyotyqnzhttp://www.mediaf!re.com/?25fwi2tn2jt
Here is an older Bonnie Prince Billy release as Palace Music. I love Oldham's voice along with the almost improvised feel on some of the album.
Palace Music - Viva Last Blues - 1995Code: [Select]http://www.mediaf!re.com/?owunuwmjtcj
David Eugene Edwards, enigmatic frontman and visionary for 16 Horsepower, began recording under the Woven Hand moniker while Horsepower was on hiatus in 2001. (The name "Woven Hand" refers to hands clasped in prayer; Edwards' Christianity — he was raised the son of a traveling Nazarene preacher — is a consistent, driving theme in his music.) Fans of 16HP will instantly recognize the same forces at work in Woven Hand — e.g., incendiary gospel, hallowed folk and mordant tones infused with a high, dark theatricality worthy of Nick Cave. Edwards worked on the material at home in Denver, recording, producing, and playing on most of the album by himself. Later, he pulled in guitarist Steve Taylor (ex-16 Horsepower) to help flesh out the compositions.
http://www.mediafire.com/?mdwkxmnrd5zhttp://www.mediafire.com/?dx2ynzizmjt
http://www.mediaf!re.com/?tontttumojz
http://www.med!afire.com/?ykyyjru4dmzhttp://www.mediafire.com/download.php?5izmnkmgbhfhttp://www.mediafire.com/download.php?yjuidgznkzq
http://www.mediaf!re.com/?tweim1ioymwPart2http://www.mediaf!re.com/?njm2rtiwzhyKurt Cobain made a lot of mistakes in his life but loving the Vaselines was not one of them. Nirvana covered one of their songs for their MTV Unplugged session, two other covers show up on the Incesticide record and as Kurt might tell you if he were alive today, from 1986 to 1989 the Vaselines were the best pop band on the planet. Sub Pop was kind enough to cash in on the Nirvana connection and on The Way of the Vaselines: A Complete History, release everything the Vaselines recorded. From the stomping, singalong opener "Son of a Gun" to the distorted and nasty "Let's Get Ugly" 17 tracks later, this collection is the Holy Grail of indie pop music. It's unfailingly amateurish, almost completely silly, occasionally quite perverted, and always about sex. The music has the simplicity and ear-grabbing melodies of the best bubblegum, the loud and semi-competent guitars of punk, and some of the attitude and lo-fi sound of the noise rock scenesters like the Jesus & Mary Chain. Throw in a bunch of religion and add simplistic choruses that will have you singing along the first time you hear the songs (as well as the thousandth) and you've got just about all the bases covered. It's near impossible to pick any songs as standouts since they are all so first-rate. A few moments that stand out though are Frances McKee's sweet schoolgirl vocal on "Molly's Lips" (she and co-leader Eugene Kelly both have great voices with a fleeting acquaintance to pitch but filled with humor, attitude, and style), the amazing lyrics to "Sex Sux (Amen)" including the immortal line "Father, Son, and the Holy Ghost/I'm the Sacred Host with the most," the rare serious beauty of "Jesus Wants Me for a Sunbeam," the meows on "Monsterpussy," the very rude bicycle horn on "Molly's Lips," and the loose vocal harmonies on "Lovecraft." The whole of their recorded output is lousy with one amazing moment after another. If by some strange kink of fate you are reading this and don't already own this CD, you have to get it. You've probably heard that a million times, but if you've never believed it before, please believe it now. You need the hilarious beauty of the Vaselines in your life and this CD gives it to you in its complete glory.
Barr - SummaryThis is pretty good. I found them a few years ago on pandora and have just a few tracks of theirs, but it's good and meaningful. Key tracks are probably "Half of Two Times Two" "This Song is the Single" and "Was I? Are You?". Though I do prefer a few tracks off of their album Beyond Reinforced Jewel Case. Good, but not great overall though.
(http://www.herohill.com/uploaded_images/BARR_GER065-760162.gif)Code: [Select]http://www.med!afire.com/?ykyyjru4dmz
Kinda spoken rock I guess.
http://www.mediaf!re.com/?mztyde4in2yhttp://www.mediaf!re.com/?zvjutn0onmzhttp://www.mediafire.com/?d3ztozittoy
Stephen Colbert - A Colbert Christmas: The Greatest Gift Of All!
http://www.mediaf!re.com/?5ktqtt2gkkmStephen Colbert - A Colbert Christmas: The Greatest Gift Of All!Code: [Select]http://www.mediaf!re.com/?d3ztozittoy
Personal favorite 2 Hip Hop albums of the year.
Q-Tip - The Renassiance
(http://upload.wikimedia.org/wikipedia/en/e/e0/TheRenaissance.JPG)Code: [Select]http://www.mediaf!re.com/download.php?5izmnkmgbhf
If anyone wants some Rosetta, I would be willing to upload that too, though the sound quality is only 128 kb/s. Unless someone else has higher quality Rosetta.... *hinthint*
Stephen Colbert - A Colbert Christmas: The Greatest Gift Of All!
In my attempt to contribute some awesome music that I don't think anyone has posted yet, I present:
THE DEAR HUNTER (No relation to Deerhunter or Deerhoof)
A band headed by Casey Crescenzo; it's a bit like progressive rock, and a bit like indie pop. Their albums follow an overarching concept: a play detailing the birth, life, and abrupt death of a boy. I'll leave the rest to whatever you guys think of it.
Act I: The Lake South, The River North EPCode: [Select]http://www.mediaf!re.com/?mztyde4in2y
Act II: The Meaning of, and All Things Regarding Ms. LeadingCode: [Select]http://www.mediaf!re.com/?zvjutn0onmz
Enjoy
If anyone wants some Rosetta, I would be willing to upload that too, though the sound quality is only 128 kb/s. Unless someone else has higher quality Rosetta.... *hinthint*
Stephen Colbert - A Colbert Christmas: The Greatest Gift Of All!
I'd almost say buy it instead. The whole "Operation Humble Kanye" thing he's come up with is nigh hilarious.
http://www.mediafire.com/?ozmvnzmommyhttp://www.mediafire.com/?m5jomqmtyyt
So instead of being a good boy and deciding my top albums of 2008 and listening to the albums I have not heard yet, I have been spinning this constantly because it is just that good.
Neil on Impression - The Perfect Tango
(http://static.rateyourmusic.com/album_images/481360.jpg)
These guys are an incredible post-rock group from Italy. It contains four 10 or so minute tracks that are just incredible. The four tracks of this album just seem to flow out so beautifully and naturally. They also have one of the best quiet-loud dynamics I have heard. The way they peak at their crescendos is insane. They build their crescendos with just the right amount of tension that when the break it is just so good to hear. If you enjoy post-rock you definitely should check this out. Also, there is a dude from Raein in this band, so thats always cool. Here (http://www.thesilentballet.com/dnn/Reviews/2008/TopRated/tabid/123/ctl/Details/mid/542/ItemID/1576/Default.aspx) is a Silent Ballet review if you wanna read more about it.
Even though it apparently falls under post rock’s ever-growing umbrella, Stylus Fantasticus takes a heavy influence from modern prog, giving the record a harder base than its contemporaries. Instead of epic dynamic contrasts and gorgeous repeated phrases, the album instead runs at a more frenzied pace, allowing constant melody and ace rhythm performances to form eight tracks of instrumental chaos. Stylus Fantasticus runs in a very specific frame: Each song develops a drum and bass theme (courtesy of the excellent Kouji Akashi and Hitoshi Ono), which in turn provides a solid foundation for violinist/pianist Mikiko Narui to build melodies that practically engulf the listener in sgt.’s sound. The opening track “Magnificent Light” serves as a great example of this by incorporating gorgeous piano playing over a jagged guitar base for four minutes of relaxed, carefree jamming. It serves as a fine preclude for the beast that follows, the asymmetrical blazer “The dilemma-game of snatched people.” Unlike the preceding track, “Dilemma-game” utilizes sgt.’s immensely talented rhythm section to run at a furious clip for 6 minutes, officially kicking off Stylus Fantasticus and introducing the world to sgt.'s definite skill at free-flowing improvisational mayhem.
http://www.mediafire.com/?mlynknnyqoc
http://www.mediafire.com/?wmot4wzgnz2
Here is an older Bonnie Prince Billy release as Palace Music. I love Oldham's voice along with the almost improvised feel on some of the album.
Palace Music - Viva Last Blues - 1995
http://www.mediafire.com/?mec1mukco2uhttp://www.mediafire.com/?4gezyqttwhg@Spoon_of_grimbo: That TGS rip would be excellent.
http://www.megaupl0ad.com/?d=RXMVJZNB
-VALID CONTRIBUTION-
If anyone wants some Rosetta, I would be willing to upload that too, though the sound quality is only 128 kb/s. Unless someone else has higher quality Rosetta.... *hinthint*
act two has been posted already.
please do a simple search. and NO requests.
Um. There isn't actually a link to the album. Which, after hearing you talk about it, it making me anxious.
http://www.mediafire.com/?jkddtilyo5g
It's a great album for people who already listen to too much post-rock.
Bon Iver - Blood Bank (EP)
tldr: post rock is awesome YEAAAAAAAAAAAAAAAAAAAAAAAAAAH
http://www.mediaf!re.com/?zmmmywzctzthttp://www.mediafire.com/download.php?momgnmmbajxhttp://www.mediaf!re.com/download.php?qniodjkizmihttp://www.mediaf!re.com/download.php?ndy2jwjmnmmLook at that haunting image of a drowning woman on the front of A Fragile Hope. You know from the start that this isn't going to be a cheery affair. Take the CD out of the case, put it in your stereo, and lie down. Close your eyes.
Open them. You're lying on a dusty floor in an very small and unfamilar building. The building is ruined; you know this because pieces of the age-old stone wall litter the floor around you, and a large portion of the roof is missing, allowing drops of rain to fall onto your face from the ominous grey sky above. In the distance, thunder rumbles. Lying there for a few minutes, taking in your surroundings, you surmise that the thunder is getting nearer. Slowly, you rise to your feet and make your way out of the building, through a hole in the wall. Looking around, you realise you're well and truly lost, and a sickening feeling begins to rise in your gut. The building is situated in the midst of a huge expanse of bleak moorland, and turning round, you realise that you're mere miles from a coastline, as unfamiliar as the building you woke up in. The sea seems to stretch out forever, grim, still and grey, reflecting the gathering storm clouds above.
Instinctively, you turn away from the dark sea and head inland. Nothing but the same empty moorland as far as the horizon. The thunder is getting much nearer now, and the wind is picking up. It might be just your ears playing tricks on you, but you could swear you can hear strange unearthly howls being carried towards you on the steadily increasing wind... Suddenly, as if out of nowhere, the sky opens up, lightning strikes, and the rains comes barrelling down in sheets. The sound is deafening, and the downpour is so intense that you can barely see three feet in front of you. Frantically, you run back to the relative shelter of the ruined building, and after what seems like hours (or could it have been minutes? Days? It's hard to say...), you reach the stone wall and take shelter under the remaining section of roofing.
After a while, a huge roll of thunder, much bigger than all those that preceded it, signals the strangely sudden end of the storm. Looking out, the sickening feeling begins to rise again, as you notice that the building is far closer to the coast than it had been before. A second look brings the realisation that the tide is coming in fast. The landscape seems even more impossibly bleak than before. The light rain that remains after the storm makes a low hiss as it hits the puddles of muddy water that litter the surrounding land, and the unearthly cries of earlier have been reduced to plaintive distant howls, now and then disguised by a large gust of wind. The tide is moving further in, fast, and it seems the storms is gathering for another attack. The sickening feeling turns into fear, and you begin to run inland. Nature itself seems to sense this, and the storm breaks again, the wind begins to blow rain into your face like shards of glass, and the tide rapidly continues its advance.
Tripping in potholes, falling onto rocks, frantically scrambling to your feet, with almost zero visibility, you continue to run desperately away from the elements that attack you, but it seems they're coming from all sides. Throwing yourself forwards for the final time, you trip again, striking your head on a rock.
You wake up. You're lying face up in a pool of stagnant water. The landscape is still as empty as it was before, but the sun is shining brightly down on your face. Slowly you rise to your feet. You don't know where you are, or where to go, but somehow you don't care. You feel as if a giant wave has washed over you and now everything is calm peaceful. But looking into the distance, you see a storm gathering...
http://www.mediaf!re.com/download.php?mu32zvndnujhttp://www.mediaf!re.com/download.php?nzucvmgqw2mywww.myspace.com/lostboyhttp://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=323534&blogID=442991042 - more downloads and albums
http://www.mediaf!re.com/?mgmh2zimznzhttp://www.mediaf!re.com/?vitaowi4ddmhttp://www.mediaf!re.com/?uznrktiynm5http://www.mediaf!re.com/?uw0lm5qmyag
http://www.mediafire.com/?l3tzidyqtayTed Leo/Rx - The Tyranny of Distance
(picture)Code: [Select]http://www.mediaf!re.com/?l3tzidyqtay
Ted Leo has basically yet to surpass this. It is way cool.
http://www.mediafire.com/download.php?mnmnylji2nuRules:
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.
http://www.mediaf!re.com/?hiqjdxohyutIn retrospect, "i" now seems like a crystal ball prophesying virtually every major musical development of the 1990s; from the shimmering techno of "A Love from Outer Space" to the liquid dub of "What's All This Then?," from the alien drone-pop of "Conundrum" to the sinister shoegazer miasma of "Supervixens" -- it's all here, an underground road map for countless bands to follow. Breathtaking in its scope and positively epic in its ambitions, the album is loosely organized into four sonic suites containing four tracks each, broken up by a series of wild-card noise interludes; the music shifts and mutates constantly, growing progressively deeper and darker with each passing song. Largely overlooked upon its original release, "i" is still an underappreciated masterpiece, but it's inconceivable to imagine that electronica and post-rock could ever have blossomed without it.
http://www.mediafire.com/?hmyvzajj1yzhttp://www.mediafire.com/?wqne4nwlzjq http://www.mediafire.com/?20n2n4dnwuh
http://www.mediaf!re.com/?sharekey=c2dce81d667d3ed4ab1eab3e9fa335ca8818858bd45e2ec9http://www.mediaf!re.com/?sharekey=c2dce81d667d3ed4ab1eab3e9fa335ca274fa25eb9b6e64dhttp://www.mediaf!re.com/?sharekey=c2dce81d667d3ed4ab1eab3e9fa335ca8ff347212a5bd915http://www.mediaf!re.com/download.php?gm32gyuyymnhttp://www.mediaf!re.com/download.php?onm5md1j1myhttp://www.mediaf!re.com/download.php?mnmybggzzq3http://www.mediaf!re.com/download.php?wzdz5ttdtqy
can you make those links available so that you can download the whole album instead of one song at a time?
Ted Leo/Rx - The Tyranny of Distance
(picture)Code: [Select]http://www.mediaf!re.com/?l3tzidyqtay
Ted Leo has basically yet to surpass this. It is way cool.
God himself has yet to surpass such a perfect record. Absolutely no lie.
this thread needs some holiday cheer...
http://www.mediaf!re.com/?innqyjtgmmjhttp://www.mediaf!re.com/?lygomwmly0oPart 2: http://www.mediaf!re.com/?xdyqmtfydmnhttp://www.mediaf!re.com/?xnod5jnzmtkhttp://www.mediaf!re.com/?jryhmiuwxidhttp://www.mediaf!re.com/?mgiiyzznw1n
http://www.mediafire.com/?tizhzuzffndAnd on a completely unrelated note, the best album by the best zydeco/Irish/English/Gypsy/klezmer/punk band you've ever heard:This is the most rediculous music I have ever heard in my life.
(http://img178.imageshack.us/img178/9738/597165bu7.jpg)
The Zydepunks - ...And the Streets Will Flow With WhiskeyCode: [Select]http://www.mediaf!re.com/?mgiiyzznw1n
This is the most rediculous music I have ever heard in my life.
(http://img.photobucket.com/albums/v129/jesusvsthepolice/gangpeel.jpg)
http://www.mediafire.com/?mzmkxaikzuhhttp://www.mediafire.com/?frtkiyznwtd(http://img444.imageshack.us/img444/9867/o613582zq2.jpg)How can this not be brilliant?
http://www.mediafire.com/?jiotlmtl3yjGang of Four Peel sessions
http://www.mediafire.com/?sharekey=1c6a09d97221cd8291b20cc0d07ba4d267cbe96ccda9cfbd
this thread needs some holiday cheer...
http://www.mediaf!re.com/?myzmyrmwwtz
http://www.mediaf!re.com/?nediygynywi
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.
http://www.mediaf!re.com/download.php?zzzqyqmcmdmVoltaire’s music has strong roots and connections to European folk as well as other influences such as the goth scene. However, many listeners find his music hard to classify. Voltaire describes his own music as- 'Music for a parallel universe where electricity was never invented and Morrissey is the queen of England.' He claims that bands and artists who influenced his music are Rasputina, Morrissey, Tom Waits, Cab Calloway, and Danny Elfman.
Here’s a double disc collection by a criminally overlooked band. I know you’ve never heard of them before but you really should give this a shot.Who's never heard of Pearl Jam? :?
Pearl Jam – Lost Dogs
(http://i37.tinypic.com/2d11xlf.jpg)
For the tracklisting and more info, check the Wiki page (http://en.wikipedia.org/wiki/Lost_Dogs_(album))
Disc 1:Code: [Select]http://www.mediaf!re.com/?ozmvnzmommy
Disc 2:Code: [Select]http://www.mediaf!re.com/?m5jomqmtyyt
http://www.mediafire.com/?onjkmfielndhttp://www.mediafire.com/?jyhjjmwejmyhttp://www.mediafire.com/?mmzw2etmkn0http://www.mediafire.com/?1zzmjmnmnzmhttp://www.mediafire.com/?wdgqzmz4dfg
http://www.mediafire.com/?imqzntnjojdhttp://www.mediafire.com/?zzkzmj2yhtmhttp://www.mediafire.com/?yjzuz5lmyizhttp://www.mediafire.com/?demyd1ddkwnhttp://www.mediafire.com/?wolwiinzl5wWhatever you do, don't let Mike King's disinterested mug shot in the middle of that cover scare you away, this album is, to my ears, their most energetic since Swagger, and it comes the closest to capturing their 'Lightning in a Bottle' sound that they had back like seven years ago. Not that their other albums are bad, far from it (keep in mind I'm a huge FM fan), its just that this one keeps the energy up, keeping my foot tapping and my head banging, so to speak. I like it a lot, my favorite track on here is probably the titular track "Float", or the extremely quick and dirty punk energy of "The Lightning Storm".http://www.mediaf!re.com/?wmznyqmk5rmhttp://www.mediafire.com/?zdmzuzydghm
http://www.mediaf!re.com/?n1yzqkdzzyjHoneycut hail from California's Bay Area and are signed to Quannum Projects. These three individuals are successful in their own right, but together they produce a tantalizing aural experience that reflects their hip hop, soul, funk and indie influences. Listen to the sound of Honeycut.
http://www.mediaf!re.com/?0zuyqynlthz
Low - Christmas
The H.P. Lovecraft Historical Society - A Very Scary Solstice
some one said about porcupine tree. i need lightbulb sun.
http://www.mediaf!re.com/?cdmzwzwj0nnhttp://www.mediaf!re.com/?tunmyjjjmnahttp://www.mediaf!re.com/?3dtzmntmz3thttp://www.mediaf!re.com/?22kzljtdhjnhttp://www.mediaf!re.com/?0mbmdzwgzvyhttp://www.mediaf!re.com/?damw1tumnowhttp://www.mediaf!re.com/?2jhtnldt31hhttp://www.mediaf!re.com/?yd0hvynwtdmhttp://www.mediaf!re.com/?ljjznryzqm2http://www.mediaf!re.com/?dwh0xuklxylhttp://www.mediaf!re.com/?xwmmq4mbyomhttp://www.mediafire.com/download.php?50nmylnfjryIron and Wine's debut record, The Creek Drank the Cradle, is written, produced, and performed by Sam Beam and features only Beam's voice, a gently strummed acoustic guitar, some slide guitar, and the occasional banjo. Iron and Wine creates intimate and emotional songs, recorded bedroom-style but never letting the lo-fi get in the way of the tune. The obvious comparison has to be Lou Barlow/Sebadoh/Sentridoh, as they share the same breathy voice, melancholy outlook on life, and devotion to Nick Drake. The difference is that there are no traces of punk rock or noise for the sake of noise in Iron and Wine's music. Beam isn't interested in rocking out or obscuring the beauty that bursts from within his simple songs; he embraces it and lets his sadness twist in the wind for all to see. Besides, his vocal harmonies are more soft rock than punk rock. "Lion's Mane" opens the record and immediately takes your breath away as Beam's voice is so beautiful and his hooks are razor sharp. Every song that follows is just as memorable, Beam sounding positively angelic as he harmonizes with himself. "The Rooster Moans" is a chilling side trip into Appalachian folk; "Southern Anthem" a falsetto-led indie-gospel track with an absolutely soaring chorus. The simple musical backing never gets boring either, as there are musical hooks to match the vocal hooks — the banjo in "Lion's Mane," the double-tracked repeating slide at the end of "Faded from the Winter," the gently chugging rhythm of "Upward Over the Mountain." As soon as the almost jaunty, Neil Young-esque album closer, "Muddy Hymnal," ends, you'll want to hit repeat and start again. The Creek Drank the Cradle is a stunning debut and one of the best records of 2002.
http://www.mediafire.com/download.php?xmjkmtmiignOn Our Endless Numbered Days, the follow-up to 2002's stunningly good Creek Drank the Cradle, the sound of Iron & Wine has changed but the song remains the same. No longer does Sam Beam record his intimate songs in the intimate surroundings of his home. Instead he has made the jump to the recording studio. As a result the record is much cleaner, less cocoon-like, certainly more the product of someone who has become a professional musician and not someone who just records for fun on a four-track. However, all Beam has sacrificed is sound quality. The sound of the record is still very intimate and simple, with very subtle arrangements that leave his voice and lyrics as the focal point. Luckily all the technology in the world can't affect Beam's voice, which still sounds like it comes right from his lips into your ear as if he were an angel perched on your shoulder. His songs are still as strong and memorable as they were on Creek, no drop off whatsoever in quality. "Naked as We Came" with sparkling melody lovely background harmonies by his sister Sara; the aching folk ballad "Radio War," which wouldn't sound out of place on Prairie Home Companion, only it would be the best thing you ever heard there; the sad and sweet "Each Coming Night"; the crystalline acoustic guitar ballad "Fever Dream," which has the kind of vocal harmony between Beam and his sister that seems to be the exclusive domain of siblings; and the soft rock CSNY "Sodom, South Georgia" are the equal of anything on Iron & Wine's debut and match up well with anything Palace, Smog, or their ilk have done lately. A definite plus to recording in a studio and enlisting the help of outside musicians is that there is much more variety to the album and there are lots of small production touches that liven things up like the Native American chants at the close of "Cinder and Smoke," the pedal steel guitar on "Sunset Soon Forgotten," and the drums and tambourine on the bluesy "Free Until They Cut Me Down." Our Endless Numbered Days is very subdued, thoughtful, melodic, and downright beautiful album and the new sound is more of a progression than a sudden shift in values, production or otherwise. Anyone who found the first album to be wonderful will no doubt feel the same about this one. Heck, you might even like it more.
Italian Screamo Post
[awesome stuff from Raein and La Quiete]
Just a quick question out of curiosity. Is there a script available for fixing the mediaf!re links within the browser? While it's certainly not a huge deal of effort to change a single character, it does get a bit arduous after doing it time after time.
Blending rock, post-punk, jazz, and pop, indie rock outfit Colossal formed in late 2001. Intricate without being overbearing or difficult, the Elgin, IL-based quintet began playing shows in the spring of 2002 before Asian Man released their debut EP, Brave the Elements, in January 2003. Touring followed before serious writing began for the band's first full-length. Original bassist Jeff Feucht left the group in early 2004 to concentrate on teaching; Eli Caterer (Smoking Popes) joined on to finish the album alongside drummer Rob Kellenberger (Slapstick, Tuesday), singer/guitarist Patrick Ford, and trumpeter/guitarist/singer Jason Flaks. Welcome the Problems was issued in September 2004 with Neil Hennessy (the Lawrence Arms) officially joining the group after having sat in as a second drummer since the band's first tour. Chris Perrin (Seedy Sea Controversy, the Heavens) also replaced Caterer prior to embarking on a brief East Coast tour. Ford, Kellenberger, and Flaks next helped Asian Man Records owner Mike Park record his second solo album, North Hangook Falling, in early 2005. Colossal got back on the road during the year, touring with the Alkaline Trio and Mike Park; Flaks departed that fall and Eli Caterer returned in his place, this time on guitar. The Smoking Popes then reunited in December 2005, taking the attention of Caterer and Kellenberger away from Colossal; Hennessy and the Lawrence Arms released a new record and toured at the beginning of 2006.
http://www.mediafire.com/?mjmhznwzhndJust a quick question out of curiosity. Is there a script available for fixing the mediaf!re links within the browser? While it's certainly not a huge deal of effort to change a single character, it does get a bit arduous after doing it time after time.
So the only two Flogging Molly records I don't have are 2007's Complete Control Sessions, which are live recordings of songs that do appear on all their other albums, so I never bothered, and 2006's Whiskey on a Sunday, which is a CD/DVD combo pack. The DVD is a Flogging Molly documentary, and the CD has a bunch of live recordings of some of their best stuff, including a nearly twice as long live version of "Black Friday Rule", and a bunch of acoustic tracks, which I'll admit to wanting really badly. Merry X-mas dudes.
http://www.mediafire.com/?oytltah3k3x
Tapulous has announced the release of Christmas with Weezer, a game for the iPhone and iPod touch. It costs $4.99 and is available for purchase at the App Store.
A music beat game based on Tap Tap Revenge, one of the App Store’s top free apps, Christmas with Weezer features holiday-themed music from the rock band Weezer. Six tracks are included, and two tracks from Weezer’s Red Album have been included for players who get to hard mode.
http://www.mediafire.com/?emkznylzygm
Catacombs, don't be a dick. Not everyone's first language is English.
BK, I heard TSAR because their single came on a ready-made XBOX 360 playlist and they were pretty good. I'm presuming that's how you know of them as well?
WHOOPS! Forgot the [/sarcasm] tags. My bad.Here’s a double disc collection by a criminally overlooked band. I know you’ve never heard of them before but you really should give this a shot.Who's never heard of Pearl Jam? :?
Pearl Jam – Lost Dogs
Why Ted Leo hasn't released a Christmas album is what I want to know.
Here's the CD from Whiskey on a Sunday:
The forum auto-corrects the word if you type it out, it's so the thread doesn't get too much attention via people searching "mediaf!re thread" on Google.
Also, i really wanted that Devil Sold His Soul, but when I got it, the music files were in this weird format that appeared on my laptop as circles with arrows in them. I only speak iTunes, does anyone know how I can listen to this band? The music refuses to play in iTunes.
http://www.mediafire.com/?tj40izyyadgWritten and recorded in 1973 shortly after the death of roadie Bruce Berry, Neil Young's second close associate to die of a heroin overdose in six months (the first was Crazy Horse guitarist Danny Whitten), Tonight's the Night was Young's musical expression of grief, combined with his rejection of the stardom he had achieved in the late '60s and early '70s. The title track, performed twice, was a direct narrative about Berry: "Bruce Berry was a working man/He used to load that Econoline van." Whitten was heard singing "Come On Baby Let's Go Downtown," a live track recorded years earlier. Elsewhere, Young frequently referred to drug use and used phrases that might have described his friends, such as the chorus of "Tired Eyes," "He tried to do his best, but he could not." Performing with the remains of Crazy Horse, bassist Billy Talbot and drummer Ralph Molina, along with Nils Lofgren (guitar and piano) and Ben Keith (steel guitar), Young performed in the ragged manner familiar from Time Fades Away — his voice was often hoarse and he strained to reach high notes, while the playing was loose, with mistakes and shifting tempos. But the style worked perfectly for the material, emphasizing the emotional tone of Young's mourning and contrasting with the polished sound of CSNY and Harvest that Young also disparaged. He remained unimpressed with his commercial success, noting in "World on a String," "The world on a string/Doesn't mean anything." In "Roll Another Number," he said he was "a million miles away/From that helicopter day" when he and CSN had played Woodstock. And in "Albuquerque," he said he had been "starvin' to be alone/Independent from the scene that I've known" and spoke of his desire to "find somewhere where they don't care who I am." Songs like "Speakin' Out" and "New Mama" seemed to find some hope in family life, but Tonight's the Night did not offer solutions to the personal and professional problems it posed. It was the work of a man trying to turn his torment into art and doing so unflinchingly. Depending on which story you believe, Reprise Records rejected it or Young withdrew it from its scheduled release at the start of 1974 after touring with the material in the U.S. and Europe. In 1975, after a massive CSNY tour, Young at the last minute dumped a newly recorded album and finally put Tonight's the Night out instead. Though it did not become one of his bigger commercial successes, the album immediately was recognized as a unique masterpiece by critics, and it has continued to be ranked as one of the greatest rock & roll albums ever made.
http://www.mediafire.com/?y1ynnjlzwqyAnyone who has followed Neil Young's career knows enough not to expect a simple evening of mellow good times when they see him in concert, but in 1973, when Young hit the road after Harvest had confirmed his status as a first-echelon rock star, that knowledge wasn't nearly as common as it is today. Young's natural inclinations to travel against the current of audience expectations were amplified by a stormy relationship between himself and his touring band, as well as the devastating death of guitarist Danny Whitten, who died of a drug overdose shortly after being given his pink slip during the first phase of tour rehearsals. The shows that followed turned into a nightly exorcism of Young's rage and guilt, as well as a battle between himself and an audience who, expecting to hear "Old Man" and "Heart of Gold," didn't know what to make of the electric assault they witnessed. All the more remarkably, Young brought along a mobile recording truck to capture the tour on tape for a live album and the result, Time Fades Away, was a ragged musical parade of bad karma and road craziness, opening with Young bellowing "14 junkies, too weak to work" on the title cut, and closing with "Last Dance," in which he tells his fans "you can live your own life" with all the optimism of a man on the deck of a sinking ship. While critics and fans were not kind to Time Fades Away upon first release, decades later it sounds very much of a piece with Tonight's the Night and On the Beach, albums that explored the troubled zeitgeist of America in the mid-'70s in a way few rockers had the courage to face. If the performances are often loose and ragged, they're also brimming with emotional force, and despite the dashed hopes of "Yonder Stands the Sinner" and "Last Dance," "Don't Be Denied" is a moving remembrance of Young's childhood and what music has meant to him, and it's one of the most powerful performances Young ever committed to vinyl. Few rockers have been as willing as Young to lay themselves bare before their audience, and Time Fades Away ranks with the bravest and most painfully honest albums of his career — like the tequila Young was drinking on that tour, it isn't for everyone, but you may be surprised by its powerful
http://www.mediafire.com/?liwdmmm3ny2None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians' point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Miles; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Miles rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career. Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. There is this groove that gets nastier and nastier as the track carries on, and never quits, though there are insertions by Macero of two Miles takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On "Yesternow," the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Miles, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown's "Say It Loud, I'm Black and I'm Proud." The material that eases the first half of the tune into the second is taken from "Shhh/Peaceful," from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of "Right Off." It gets more complex as the original lineup is dubbed back in with a section from Miles' tune "Willie Nelson," another part of the ambient section of "Right Off," and an orchestral bit of "The Man Nobody Saw" at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero.
http://www.mediafire.com/?mezyz5f1mmoThe Most Serene Republic might tip their hats to their Arts & Crafts labelmates on their debut album Underwater Cinematographer, but this theatrical sextet is their own supergroup. Underwater Cinematographer comes off shiny and happy at first with its majestic piano arrangements dancing around angst-ridden guitar riffs and warm harmonies. Frontman/songwriter Adrian Jewett wears his heart on his sleeve like so many of indie rock's tortured souls (Lou Barlow, Ben Gibbard, Joey Sweeney), particularly on songs such as "The Protagonist Suddenly Realizes What He Must Do in the Middle of Downtown Traffic" and "In Places, Empty Spaces." These two particular tracks not only highlight a classic sentimentality, but also an inviting and a very personal effort from the band. They make it okay to be playful ("King of No One") and smart ("You're a Loose Cannon McArthur...But You Get the Job Done"), all without melodrama and too much romance. Underwater Cinematographer isn't your quintessential debut album. It's too complex, too inquisitive, and too ambitious. Tip your hats to the Most Serene Republic.
http://www.mediafire.com/?y015nnjiixmNotable in part for being the first band (preceding Los Campesinos! and New Buffalo) signed to Broken Social Scene's Arts and Crafts label without a membership connection to the mother band, the Most Serene Republic are nonetheless a perfect musical and philosophical fit. At eight songs in just about a half hour, Phages was originally recorded as a tour souvenir EP, but the label later gave it a wider release, not least because in nearly every way, it's an enormous improvement over their somewhat tentative debut album. The addition of second vocalist and guitarist Emma Ditchburn alongside frontman Adrian Jewett changes the entire dynamic of the band's sound, for the better. With two singers, the Most Serene Republic now have the vocal capabilities to properly enhance their textured, complex dream pop. Also, it must be said that Ditchburn is simply a better singer for this band than Jewett; his wispy high-register voice isn't as freakishly ethereal as that of Sigur Rós' Jon Thor Birgisson, but it's in that ballpark, and with Ditchburn tending to favor the lower harmonies, she adds some much needed substance and ballast to the vocals. As on Underwater Cinematographer, the lyrics seem like elliptical afterthoughts to the multi-layered arrangements, and as with the vocals, the overall sound of Phages is fuller and more detailed than its predecessor, from the near-instrumental opener "Emergency Performance Art Piece" to the closing track "Stay Ups," which opens with a free jazz duet for piano and drums before downshifting into a dreamy piano ballad that slowly builds into a full-band climax featuring distorted guitar drones and sweet-and-sour horns. A transitional record that points the way towards 2007's even more opulent Population, Phages is an important point in the Most Serene Republic catalog on its own merits.
BK, I heard TSAR because their single came on a ready-made XBOX 360 playlist and they were pretty good. I'm presuming that's how you know of them as well?
http://www.mediafire.com/download.php?m1xi2rmwgifMy favorite Thermals album. A little harder to listen to at first than The Body, The Blood, The Machine, but a fucking stellar album about life as I see it. Remember Today and A Stare Like Yours are probably my favorites off this album.http://www.mediafire.com/download.php?mydmzxjnhqyMy best description of Billy Bragg is just saying think about how good the Clash were and how they went to shit in the 80s, and then realize that this guy came along in 1980 and wrote a bunch of great music from a more personal slant that embodied the original intent of the aesthetic of punk while in fact belong to a different musical style plus he sings some great protest/working man/socialist songs.http://www.mediafire.com/download.php?mwjumjrgzdzThe first Bob Dylan album I listened to, still my favorite. Blowin' In the Wind is great, and I think Don't Think Twice It's Alright is probably one of the best songs written about a breakup ever.
http://www.mediafire.com/download.php?kced2mwymfyIt's little wonder why Drake felt frustrated at the lack of commercial success his music initially gathered, considering the help he had on his debut record. Besides fine production from Joe Boyd and assistance from folks like Fairport Convention's Richard Thompson and his unrelated bass counterpart from Pentangle, Danny Thompson, Drake also recruited school friend Robert Kirby to create most of the just-right string and wind arrangements. His own performance itself steered a careful balance between too-easy accessibility and maudlin self-reflection, combining the best of both worlds while avoiding the pitfalls on either side. The result was a fantastic debut appearance, and if the cult of Drake consistently reads more into his work than is perhaps deserved, Five Leaves Left is still a most successful effort. Having grown out of the amiable but derivative styles captured on the long-circulating series of bootleg home recordings, Drake assays his tunes with just enough drama -- world-weariness in the vocals, carefully paced playing, and more -- to make it all work. His lyrics capture a subtle poetry of emotion, as on the pastoral semi-fantasia of "The Thoughts of Mary Jane," which his soft, articulate singing brings even more to the full. Sometimes he projects a little more clearly, as on the astonishing voice-and-strings combination "Way to Blue," while elsewhere he's not so clear, suggesting rather than outlining the mood. Understatement is the key to his songs and performances' general success, which makes the combination of his vocals and Rocky Dzidzornu's congas on "Three Hours" and the lovely "'Cello Song," to name two instances, so effective. Danny Thompson is the most regular side performer on the album, his bass work providing subtle heft while never standing in the way of the song -- kudos well deserved for Boyd's production as well.
http://www.mediafire.com/download.php?wjtynmdndjnWith even more of the Fairport Convention crew helping him out — including bassist Dave Pegg and drummer Dave Mattacks along with, again, a bit of help from Richard Thompson — as well as John Cale and a variety of others, Drake tackled another excellent selection of songs on his second album. Demonstrating the abilities shown on Five Leaves Left didn't consist of a fluke, Bryter Layter featured another set of exquisitely arranged and performed tunes, with producer Joe Boyd and orchestrator Robert Kirby reprising their roles from the earlier release. Starting with the elegant instrumental "Introduction," as lovely a mood-setting piece as one would want, Bryter Layter indulges in a more playful sound at many points, showing that Drake was far from being a constant king of depression. While his performances remain generally low-key and his voice quietly passionate, the arrangements and surrounding musicians add a considerable amount of pep, as on the jazzy groove of the lengthy "Poor Boy." The argument could be made that this contravenes the spirit of Drake's work, but it feels more like a calmer equivalent to the genre-sliding experiments of Van Morrison at around the same time. Numbers that retain a softer approach, like "At the Chime of a City Clock," still possess a gentle drive to them. Cale's additions unsurprisingly favor the classically trained side of his personality, with particularly brilliant results on "Northern Sky." As his performances on keyboards and celeste help set the atmosphere, Drake reaches for a perfectly artful reflection on loss and loneliness and succeeds wonderfully.
http://www.mediafire.com/download.php?tknkhyi5lkmAfter two albums of tastefully orchestrated folk-pop, albeit some of the least demonstrative and most affecting around, Drake chose a radical change for what turned out to be his final album. Not even half-an-hour long, with 11 short songs and no more -- he famously remarked at the time that he simply had no more to record -- Pink Moon more than anything else is the record that made Drake the cult figure he remains. Specifically, Pink Moon is the bleakest of them all; that the likes of Belle and Sebastian are fans of Drake may be clear enough, but it's doubtful they could ever achieve the calm, focused anguish of this album, as harrowing as it is attractive. No side musicians or outside performers help this time around -- it's simply Drake and Drake alone on vocals, acoustic guitar, and a bit of piano, recorded by regular producer Joe Boyd but otherwise untouched by anyone else. The lead-off title track was eventually used in a Volkswagen commercial nearly 30 years later, giving him another renewed burst of appreciation -- one of life's many ironies, in that such an affecting song, Drake's softly keened singing and gentle strumming, could turn up in such a strange context. The remainder of the album follows the same general path, with Drake's elegant melancholia avoiding sounding pretentious in the least thanks to his continued embrace of simple, tender vocalizing. Meanwhile, the sheer majesty of his guitar playing -- consider the opening notes of "Road" or "Parasite" -- makes for a breathless wonder to behold. If anyone needs confirmation as to why artists like Mark Eitzel, Elliot Smith, Lou Barlow, or Robert Smith hold Drake close to their hearts, it's all here, still as beautiful as the day it was released.
http://www.mediafire.com/download.php?44zzz02iynyElliott Smith's third album sees his one-man show getting a little more ambitious. While he still plays all the instruments himself, he plays more of them. Several of the songs mimic the melody mastery of pop bands from 1960s. The most alluring numbers, however, are still his quietly melancholy acoustic ones. While the full-band songs are catchy and smart, Smith's recording equipment isn't quite up to the standards set by the Beatles and the Beach Boys. The humbler arrangements are better suited to the sparse equipment. "Between the Bars," for example, plays Smith's strengths perfectly. He sings, in his endearingly limited whisper, of late-night drinking and introspection, and his subdued strumming creates a minor-key mood befitting the mysteries of self. "Angeles" is equally ethereal -- Smith's acoustic fingerpicking spins out notes which briskly move around a single atmospheric keyboard chord, like aural minnows swimming toward a solitary light at the surface of the water. The lyrics are a darkly biting rejection of the hypercapitalist dream machinery of Los Angeles (it would make a great theme song for Smith's label, Kill Rock Stars). Ironically, "Angeles" was included on the Good Will Hunting soundtrack, which won Smith the acclaim of Hollywood's biggest, brightest, and best connected voting body, the Academy of Motion Picture Arts & Sciences. Smith's stock in L.A. soared after he took his bow at the Oscars with Celine Dion and Trisha Yearwood. It might have been more interesting had he sung "Angeles."
http://www.mediaf!re.com/download.php?g0wozonlhmtJudging only by his earlier, bare-bones indie-label albums, it seemed highly unlikely that Elliott Smith would turn into the ambitious arranger and studio craftsman of his lushly textured Dreamworks debut, XO. A big part of that shift, of course, was the fact that Smith had major-label finances and equipment to work with for the first time; this allowed him to fuse his melancholy, slightly punky folk with the rich sonics of pop artists like the Beatles and Beach Boys. Smith continues in that direction for the follow-up, Figure 8, an even more sonically detailed effort laden with orchestrations and inventive production touches. With a couple of exceptions, the sound of Smith's melancholy has largely shifted from edgy to sighingly graceful, although his lyrics are as dark as ever. Even if the subject matter stays in familiar territory, though, the backing tracks are another matter -- a gorgeous, sweeping kaleidoscope of layered instruments and sonic textures. Smith fleshes his songs out with assurance and imagination, and that newfound sense of mastery is ultimately the record's real emphasis; there's seemingly a subtle new wrinkle to the sound of every track, and yet it's all easily recognizable as trademark Smith. Even if it is a very impressive statement overall, Figure 8 isn't quite the masterpiece it wants to be -- there's something about the pacing that just makes the record feel long (at over 52 minutes, it is the longest album in Smith's catalog), and it can sometimes float away from the listener's consciousness. Perhaps it's that Smith's songwriting does slip on occasion here, which means that those weaker tracks sink under the weight of arrangements they aren't equipped to support. Still, most of the songs do reveal their strengths with repeated plays, and it's worth the price of a few nondescript items to reap the rewards of the vast majority. Fans who miss the intimacy of his Kill Rock Stars records won't find much to rejoice about here, but overall, Figure 8 comes tantalizingly close to establishing Elliott Smith as the consummate pop craftsman he's bidding to become.
http://www.mediafire.com/download.php?ncjy2515nirBefore he died in 2003, Elliott Smith released five albums (plus the posthumous From a Basement on the Hill), but he had dozens and dozens of songs recorded, either alone on a four track or with friends in various studio settings, that had never seen the light of day. Kill Rock Stars -- the label for which he made arguably two of his best records, 1995's Elliott Smith and 1997's Either/Or -- with help from the late singer's archivist, Larry Crane, collected a handful of these pieces, added extensive and often personal liner notes, and made them available to the public under the title New Moon. Written and recorded between 1994 and 1997, the 24 tracks on New Moon showcase Smith at his most instinctive and natural, when he uses hardly more than his (double-tracked) voice and his guitar. Though some of the songs here, especially the earlier ones, can be quite simple, even raw at times, there's a sad, clean sweetness that comes through despite the occasional bit of tape hiss, of tinny chords. In fact, much was done by the album's producers to maintain the integrity of Smith's original tracks, remixing them only when absolutely necessary (the only song that took vocal and instrumental elements from two different sessions is "New Disaster," and is clearly marked as such). This means that New Moon embodies an unadulterated Smith, singing and playing songs how he wanted to, carefully layering his voice and adding the occasional harmony, the second guitar, the subtle drum tap -- and with little of the full-band sound he moved into after he left KRS and went to a major label -- but it doesn't mean that the pieces sound incomplete or unprofessional; almost all them could've been included on one of Smith's albums, and in fact many of them were near to making the cut. "Looking Over My Shoulder" has a great hook, catchy in that monotonously melodic kind of way Smith knew how to do best. "You're always coming over with all of your friends and all their opinions I don't want to know," he sings, a slight anger in his voice, while "All Cleaned Out" reveals a kind of pity for his subject. There's a depth of emotion in New Moon, more than pure sadness, seen in his cover of Big Star's "Thirteen," recorded live in DJ Rob Jones's basement and played back later on air, the near indignation of "Georgia, Georgia," the fast picking on "Almost Over." Even the rendition of "Miss Misery" included here, the song that propelled him into the spotlight, has a lightness that doesn't exist in the final product. Instead of that hauntingly sad refrain, that last plea, "Do you miss me, miss misery like you say you do?" Smith hints at a different ending. "'Cause it's all right, some enchanted night I'll be with you," he sings. There's distant hope for redemption, for resolution here, something that was not present in the later version. In fact, that's the overall feeling that New Moon gives, a sense of opportunity, of possibility, of life within the bleak reality. The album portrays a more stable Smith and promises something brilliant to come, full of words and chords that will touch thousands, alluding to the future and the past, but mostly, in its own quiet way, screaming to show off the immense talents of one man and his songs.
Before he started experimenting with left-field hip-hop beats and electronic samples, Steven Ellison, aka Flying Lotus, experienced a moment of enlightenment. While filming a documentary about his great aunt/spiritual advisor Alice Coltrane and his cousin Ravi Coltrane, their cab driver asked if they were musicians. Alice responded that, in fact, the three of them were, except Steven didn't know it yet. It was a turning point, and soon after, when he viewed an ad challenging aspiring beat-makers to send in music to be used for Cartoon Network's Adult Swim bumpers, he took a chance on a whim, sent out a demo, and landed himself a paid position pumping out silky tracks for promos of his favorite shows. As an avid gamer, it was only natural that he would create downtempo Boards of Canada beats sauced with retro 8-bit bleeps and chimes, and these were a perfect fit for the Nintendo generation fan base of Adult Swim. Lotus' second full-length, Los Angeles, expands on fractured Zelda grooves, muddy bass stamps, and glitched drum loops to stir up nonintrusive computer chillout music modeled for a hip graphic designer's headphones. It could be considered headphone candy, but with the beats as liquefied and squishy as they are, headphone Slushee is more appropriate. "Golden Diva" rides the line between cold and sugary, crackling and popping like melting ice as carbonated hiss rotates in and out of the void behind unintelligible syllables diced together from stray vocal bits. In the same fashion, "GNG BNG" flips a Middle Eastern sitar groove into a mangled keyboard line slithering over a distorted rototom beat, before dropping down into "Auntie's Lock" to end the album in a quiet hush with breathy whispers over electronic piano loops. Like 2006's 1983, the patterns are subtly atmospheric and individual grooves feel tailored for the attention deficient, never lingering for very long before switching into a new tapestry. Loaded with 17 tracks, it's an entertaining and fitting addition to the Warp catalog that makes for some highly hypnotic video arcade/coffee parlor mood music.I love it I love it I love it
http://www.mediafire.com/?kdtyjgnezvj
Elliott Smith - Either/Or
The new acoustic Chumbawamba are now three albums into their career, and they seem to have really got the hang of it with this one. The boy bands haven't won, of course, not when there's creativity like this around. Perhaps they've now settled comfortably enough into their new identity to become more open, but this collection of songs long and short includes drumming, some programming, fuller arrangements here and there with Dixieland, and a stray brass band, a couple of samples (Martin Carthy speaking) and even some guests, in the shape of the Oysterband's Robb Johnson and Roy Bailey — all folkies with a strong political bent. The songs here actually seem to pick up from where the older version of the band left off with Readymades, hutting notes that are political and poignant — usually together — "Refugee" is a perfect example, but there's also plenty of acid wit ("Add Me") and in "Word Bomber" they've made a gorgeous plea for peace that never comes close to the maudlin. They know their strengths and play to them, using harmonies and simple melodies — witness "Words Can Save Us." Now they're firmly fixed on the folkie side of the aisle, they cock a snoot at trad folk with the delicious "Lord Bateman's Motorbike." The anger might not be as overt as it was in the mid-'90s, but it's still there, and they now seem to thoroughly understand how to mix pop — of the acoustic folk variety, of course — and politics in the most natural way. Perhaps surprisingly for a band that's been around for so long, but one of the most satisfying discs of their career.
http://www.mediafire.com/?wzmq5grf4zz
elliot smith stuff
It's amazing how much he looks like a scene-core kid on that cover.
I've heard a lot of good stuff about him but none of his music. Where should i start?
Nick Drake - Five Leaves Left
MrBlu, I know it's the Internet and everything, guy, but c'mon, don't you have a Sarcast-o-Meter or something? (unless you were being ironic, but that's so Meta I think I need to lie down)
Anyways, So With all this X-Mas Music, I was thinking of ways I could contribute to all this red and green, and decided that while I fucking LOATHE X-mas and X-mas music, I do have something that is genuinely what makes me happiest when red & green come to mind.
(http://allthesongs.files.wordpress.com/2008/04/flogging-molly1.jpg)
Aww YEAH!
Starting with their 1997 EP Alive Behind the Green Door
(http://www.dararecords.com/irish_music_store/info/images/floggingmolly_greendoor_360.jpg)Code: [Select]http://www.mediaf!re.com/?imqzntnjojd
It sounds so good, especially the never-recored-in-a-studio "Never Met a Girl Like You Before", Which is #3 of my top Flogging Molly songs ever, totally awesome and romantic.
Here is their breakout 2000 album Swagger:
(http://content.answers.com/main/content/wp/en/d/d7/Flogging_molly_swagger_cd_cover.jpg)Code: [Select]http://www.mediaf!re.com/?zzkzmj2yhtm
What can I say about this Irish-American Punk/Trad rock masterpiece? It's totally indomitable, electric, and powerful. Holding "Black Friday Rule", "Devil's Dance Floor", and the heart-wrenchingly somber and beautiful "Far Away Boys", it's a wonder this album doesn't regularly stand up and start fights with all your other CDs.
Following Swagger we have much less face smashingly energetic album, 2002's Drunken Lullabies:
(http://upload.wikimedia.org/wikipedia/en/1/1b/Flogging_Molly-Drunken_Lullabies.jpg)Code: [Select]http://www.mediaf!re.com/?yjzuz5lmyiz
The album title gives you an idea of the slowed down and melodic direction this record takes, focusing more of Mike King & COs Irish Traditional slow rock roots. An excellent album for hanging in the dorm/Apt. chilling and knocking a few brews back.
Moving along,here's the 2004 album that hit #20 on the US top 200 charts and was a #1 on the Independent Music charts, Within a Mile of Home:
(http://upload.wikimedia.org/wikipedia/en/5/53/Flogging_molly_within_a_mile_of_home_cd_cover.jpg)
^ For some reason this is not the cover art I have, but it's what google says it the right one, so whatever...Code: [Select]http://www.mediaf!re.com/?demyd1ddkwn
I picked up this CD on their release tour (which they had tied in with the semi-successful 'Punk-Voter' tour) in NYC, and the show they put on for it was INTENSE. It has a slightly more political connotation on a few tracks, but it's not obnoxious or ham fisted, and they find a really nice blend of Irish Trad-Rock and straight drunken punk on this CD, very pimpin' indeed. During the show, he tripped over a chord and didn't stop singing, the band didn't miss a beat, it was awesome, and after the song he said "That's what happens when an Irishman messes around with Sake', I was made for stout, not Rice wine or whatever the fuck it is *hiccup*. It's the Devil's way of reminding me not to forget who I am, ha ha." and then the Tin Whistle comes in, heralding Devil's Dance Floor, and everything went nuts.
Lastly, their last studio album to date, contained elsewhere on this thread but for convenience's sake, 2008's Float:
(http://upload.wikimedia.org/wikipedia/en/f/f7/FM_Float_Cover425.jpg)Code: [Select]http://www.mediaf!re.com/?wolwiinzl5wWhatever you do, don't let Mike King's disinterested mug shot in the middle of that cover scare you away, this album is, to my ears, their most energetic since Swagger, and it comes the closest to capturing their 'Lightning in a Bottle' sound that they had back like seven years ago. Not that their other albums are bad, far from it (keep in mind I'm a huge FM fan), its just that this one keeps the energy up, keeping my foot tapping and my head banging, so to speak. I like it a lot, my favorite track on here is probably the titular track "Float", or the extremely quick and dirty punk energy of "The Lightning Storm".
So the only two Flogging Molly records I don't have are 2007's Complete Control Sessions, which are live recordings of songs that do appear on all their other albums, so I never bothered, and 2006's Whiskey on a Sunday, which is a CD/DVD combo pack. The DVD is a Flogging Molly documentary, and the CD has a bunch of live recordings of some of their best stuff, including a nearly twice as long live version of "Black Friday Rule", and a bunch of acoustic tracks, which I'll admit to wanting really badly. Merry X-mas dudes.
P.S. Dear Santa, All I want for X-Mas is for someone to please RE-Up to Slint albums onto this thread, I searched for em, but all the links are dead =(.
http://www.mediafire.com/?ynzj1m0td5h http://www.mediafire.com/?begnmak5tm5 http://www.mediafire.com/?nthozldxnej
http://www.mediaf!re.com/?jtmcx22yvxaAlso, who is going to search for Mediaf!re instead of the legitimate spelling anyway?
http://www.mediafire.com/?lhgwyq0yzd5http://www.mediafire.com/?tymtjoyuzzyhttp://www.mediafire.com/?oznjo2w2nfzhttp://www.mediafire.com/?feqvtwmondohttp://www.mediafire.com/?rtnmagmquv4http://www.mediafire.com/?2xwgnu0whtghttp://www.mediafire.com/?awxa3dbkaiyJust a quick question out of curiosity. Is there a script available for fixing the mediaf!re links within the browser? While it's certainly not a huge deal of effort to change a single character, it does get a bit arduous after doing it time after time.
The forum auto-corrects the word if you type it out, it's so the thread doesn't get too much attention via people searching "mediaf!re thread" on Google.
Oh shit, dude is right. Not only that, the first link is to the forums as well, and the sixth one down is to an album cover quoted on FFFFOUND! that has a link back to the forums. We should do something about this asap.
although i do wonder what the status is with mediaf!re uploads, as the mf site itself obviously keeps track of your IP address - i always upload without an account, but whenever i go on, it recognises me and shows a list of my previous uploaded files. does this mean the uploader is traceable/at risk of trouble?
http://www.mediaf!re.com/?hm2zozhi4rqhttp://www.mediaf!re.com/?n15jztgdtrgDidn't know arcade fire had a christmas album, but i heard bright eyes' was pretty terrible as well
I would love to check out the Belle & Sebastian Xmas album...
http://www.mediafire.com/?0gtymnznwytOne of the few who has worked with both superstar 50 Cent and underground hero MF Doom, Seattle-based producer Jake One spans the hip-hop spectrum. Born Jacob Dutton, he got his break while attending the University of Washington. After dropping off a tape of beats to his favorite record store, his productions landed in the hands of fellow producer Mr. Supreme. When Supreme began his Conception label, Jake was hired to produce Eclipse's "World Premier," a Pete Rock influenced cut that would land on J-Rocc's 1998 mix Walkman Rotation. A steady stream of work followed with 2003 being a monumental year with a track on DJ Babu's Duck Season, Vol. 2 and another on Beg for Mercy, the debut album from 50 Cent's G-Unit crew. His relationship with MF Doom would begin a year later via De La Soul and their track "Rock Co. Kane Flow." Work for everyone from Planet Asia to Lil Scrappy would follow, and then in 2007 he produced the high-profile track "All of Me" for 50 Cent and Mary J. Blige. In 2008 he helmed his own debut album, White Van Music, released by the Rhymesayers label. Alchemist, Busta Rhymes, Slug, and Young Buck were just some of the guest artists appearing on this diverse full-length.
http://www.mediafire.com/download.php?diz0yzimmmzhttp://www.mediafire.com/download.php?uzjnnm4hjgl
http://www.mediaf!re.com/?xoxedgyozbt
Sufjan Stevens - Songs for Christmas
http://www.mediaf!re.com/?zgyywdzkdyiWith Devotion, Beach House prove once again that they're one of the more strangely named bands around. Their music is so lonely, so haunting, that the only beach house it evokes is a deserted one, stranded on a winter night so desolate that summer isn't even a memory. Then again, that atmosphere is precisely what made Beach House's self-titled debut so striking, and Devotion is even more so, since Victoria Legrand and Alex Scally bring more focus, depth, and warmth to their unmistakable sound. Tracks like "Gila" and "Turtle Island" show that all the pair need to build a mood are their vintage-sounding drum machines, keyboards, and layers of Legrand's womanly, velvety voice, but Beach House spend just as much time expanding their horizons as they do delivering their definitive sound. Devotion begins with "Wedding Bells," which, with its fuzzed-out guitar, keyboard filigrees, harpsichords, and pedal steel, is one of the duo's most elaborate songs yet. It's also one of Beach House's most immediate, fully formed songs, something that this album has far more of than the band's debut. "You Came to Me" is a stunner, melding dark chamber pop ambience with lyrics that feel like they came from a surreal '70s AM radio hit. "Heart of Chambers" is downright soulful, with Legrand's keening voice and swelling organs giving it a truly devotional cast. Not surprisingly, given the album's title, Devotion's songs deal with love and loyalty, or the lack thereof: "Some Things Last (A Long Time)" is an aptly torchy, country-tinged ballad about carrying a torch for someone; "Astronaut" pines for a crush to be requited, filtering the innocence and drama of girl group pop through the band's gauzy approach. "Home Again" is just as sweet -- but not nearly as reassuring -- as its title suggests, setting lyrics like "Something about the way a heart is nailed above a hand" to finger snaps and a melody with a wintry sparkle. Like Beach House, Devotion sounds like it was made for, and possibly in, the dead of night. This time, though, Beach House's dark moods have more shades, and even a little bit of light, making them all the more compelling.Pretty sure this was up here awhile back. Here 'tis again.
http://www.mediaf!re.com/?i0dmm2qaddmWith his polished delivery and smooth, almost soothing voice, Iceberg Slim could have been one of any number of beatnik poets, delivering elaborate monologues over smooth background music on 1976's Reflections. The difference is Iceberg Slim (neé Robert Beck) was a pimp, and his stories are scathingly explicit, and, more often than not, extraordinarily compelling. The language can get graphic; this is not an album for the squeamish. For those who aren't easily offended, though, this album will be spellbinding. Slim's skills as a storyteller cannot be overstated; even at his crudest, he still spins riveting yarns. "The Fall" is virtually autobiographical, depicting his last days as a pimp and what sent him on a downfall to prison, leavened with scabrous humor. "Broadway Sam" is a mean, hilarious story of another pimp who has the tables turned on him in prison. The second half of the record, though, is more poignant, as Slim remembers a lost love on "Durealla" and comes to terms with his relationship with his late mother on "Mama Debt." Throughout the record, Slim is backed by jazzy music courtesy of the Red Holloway Quartet, which enhances the stories without overshadowing them. Many years later, of course, Slim would serve as the inspiration for gangsta rappers like Ice-T (who named himself after Slim) and Schoolly D. Too many of Slim's followers, though, lack the mixture of street smarts and the intellectual and emotional depth shown here. For anyone interested in the roots of modern urban culture, Reflections is a must-hear.
http://www.mediaf!re.com/?diyztjylzaghttp://www.mediaf!re.com/?ntckcizrqydhttp://www.mediaf!re.com/?jzgy42jme3yIt would be fair to say that David Bowie saved Iggy Pop's skinny ass more than a couple of times. In 1976, as Iggy made strides to get his life back on track (following the demise of the seminal Stooges), the pair would join forces on what would arguably turn out to be one of Iggy's best solo albums, The Idiot. The album would initiate the first in a series of love/hate collaborations between Detroit's bastard son and the Thin White Duke. With The Idiot in the can, Iggy set out to tour the U.K. and America, using the future Tin Machine rhythm section of Hunt Sales (drums) and Tony Sales (bass), as well as Bowie guitarist Ricky Gardiner. Bowie would also volunteer his services by contributing keyboards, thus enhancing the quartet's sound. This live recording, taken from the band's gig at the Agora Ballroom in Cleveland, OH, showcases Iggy and company in all their cookie-cutter glory. It's clear from the recording (and the album's excellent liner notes) that Iggy looked at this tour as his chance to do right. The live music that comes out of the pairing clearly shows passion but ultimately lacks the abandon of past as well as later Iggy tours. Although well-executed and certainly well-rehearsed, songs like the cathartic "Raw Power" and "1969" are siphoned by the politeness of it all. Some, however, do work. Tracks like "Search and Destroy" and "T.V. Eye," when broken down into these slower and more orchestrated arrangements, sound good. However, other tracks like the punishing "Dirt" and the boogie-woogie, sounded-like-a-good-idea-on paper romp through "No Fun" don't deliver on the promise made by the originals. The topnotch recording itself is right off the soundboard and sounds timeless. A worthy historical document for any hardcore Pop fan.
http://www.mediaf!re.com/?ujnzglaj2zy
Sufjan Stevens - Songs for Christmas
as are 1-3
Sufjan Stevens - Songs for Christmas
Parts 4-5 are b0rked.
hxxp://www.megaupload.com/?d=3SVICKD5http://www.mediaf!re.com/?zommcxmjteyhttp://www.mediaf!re.com/?0tki1nmzdnhhttp://www.mediafire.com/download.php?zgzz0ymztlnhttp://www.mediafire.com/download.php?mmw5zkevztt
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...Re-Up
(http://img134.imageshack.us/img134/6392/coverhu7.jpg)
* Noise-Rock
* Indie Rock
* Experimental Rock
* * * Fixed * * *Code: [Select]http://www.mediaf!re.com/?nmyhtxiidtmQuote from: allmusicMarnie 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.
http://www.mediafire.com/?5unzov4t2ej
Adapting haute techno sound-design to moody, methodical swells of post-rock, Danish DJ/producer Trentemoller made a capital-A album that upped the ante for what minimal-minded electronic music can do in a full-length format.That's about all I could find about this album. But it's one of my favorites.
http://www.mediaf!re.com/?lyzgmu0mnawDisc 2http://www.mediaf!re.com/?zufldyj4mb0Fabric 41 was one of the precious few mix albums by Luciano commercially available at the time of its release. Considering Luciano is often compared complimentarily to Ricardo Villalobos and widely considered one of the top minimal DJs of the new millennium, it's unfortunate there aren't more. Fabric 41 is a fantastic showcase of his DJ performance style, which includes overlayered mixes and a varied track selection of minimal and Latin- and tribal-tinged house. Within the first quarter of the 80-minute, 16-track set, Luciano showcases his knack for layering one track over another and letting them play out. He does this twice in a row with Brothers' Vibe's "El Baile" and Los Updates' "Getting Late (Luciano's Getting Late Remix)," and he does it most impressively later on in the set when he layers M83's "In Church" over Julien Jabre's "Jungle Beatz." His subsequent transition from "Jungle Beatz" into Inner City's "Good Love (Luciano Remix)" is also impressive, leading next into one of the album's peak tracks, Phuture's "Rise From Your Grave (Tiefschwarz Remix)." While the mixing is impressive from a technical standpoint, it also helps keep the track selection moving along from one musical style to the next -- from the minimal style of the first third to the house style of the middle, then back to minimal for the finale. Luciano includes several tracks released by his label Cadenza (Rhadoo's "Slagare," Reboot's "Be Tougher," Alex Picone's "Floppy," Schneider, Galluzzi, Schirmacher's "Albertino"), along with a couple of his remixes, but there surprisingly aren't any of his own productions.part 1
http://www.mediafire.com/?3j40wgwxumxpart 2http://www.mediafire.com/?1imznwnwkv2Joel Martin and Matt Edwards take their alias from Martin Denny's exotica landmark, yet their approach can be likened -- not just through the title but in its sound as well -- to "Quiet Pillage," the slack but unease-inducing interpretation of "Quiet Village" by experimentalist post-punks 23 Skidoo. Beneath the track list of Silent Movie, an album highlighted by material released in small runs on 12" during 2005 and 2006, the duo thanks "everyone that's been involved in making this album. You know who you are." It's probable that not everyone knows who they are, at least not in this case. The most creative and affecting sample-reliant album since the Avalanches' Since I Left You, Silent Movie plucks from numerous forms of marginalia, whether obscure, loathed by the stereotypical record store clerk, or loved by legions of geeks who were dealt wedgies in high school by Van Halen-loving jocks: prog rock and yacht rock punch lines, new age pin cushions, unhip singer/songwriters, largely unknown Italian film-music composers, and several others. For the most part, these sources are not so uncool that they are cool. They are so uncool that they are... extremely uncool. Unlike the giddy non-stop carnival atmosphere of Since I Left You, Silent Movie is, for lack of better categorization, a chillout album, even though it is just as much a creep-out, its most tranquil scenes seemingly on the verge of being washed away by a sudden ecological catastrophe. With the exception of "Circus of Horror" -- scuzzy hurtling-through-a-dustbowl psych rock, replete with the howls of a man who sounds like he has been pitched into the Grand Canyon -- and "Gold Rush" -- a dead ringer for Scenic's epic, tribal desert scores -- everything passes with the force of a light breeze, evoking swaying hammocks, sun-bleached picnics, beached isolation, states of half-awake delirium, and the slowest-moving groups of stoned dancers imaginable. Though the new tracks, including the impossibly lush "Broken Promises" and the sparkling but arid "Singing Sand," could hardly be accused of weighing down the album, it's the previously released material that stands out most. Best of all is "Pillow Talk," a reconfiguration of the Alan Parsons Project's "Voyager/What Goes Up..." that can be disorienting in the most sterile environments. Bonus: it sounds like it was put together to flow directly into the Passions' "I'm in Love with a German Film Star."
http://www.mediafire.com/?z0m2mryjyyo
You are a gentleman and a scholar.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...Re-UpCode: [Select]http://www.mediaf!re.com/?5unzov4t2ej
http://www.med!afire.com/download.php?ytk1ojzn4yn
Anyway: Firefox users - to install Greasemonkey (no way to make it work without that):
https://addons.mozilla.org/cs/firefox/addon/748
The script for Firefox is here:Code: [Select]http://www.mediaf!re.com/?hm2zozhi4rq
Also thanks Wombat for re-upping the Sufjan Stevens. I've got some of the tracks off that set but it's much nicer now to have the whole thing.
http://www.mediaf!re.com/?zmdy5mmzyrnhttp://www.mediaf!re.com/?zhamzj4tz2j
That post was totally fucking unnecessary! Seriously!
The guy is offering loads of free music. It took you about three seconds to scroll past it and you are not obligated to download it. Don't be a prick.
edit: and I assume since the script is user-side, googling mediaf!re will not find this thread.
Quick: Name one hardcore punk album from the past 10 years—hell, make that ever—that opens with a lilting flute solo followed by a chorus of electric guitars so dense, pealing, and overtone-rich, they could make minimalist-rock architect Rhys Chatham's neck hair stand on end. That's just the first of many moments on Fucked Up's second full-length where the Canadian band pushes hardcore beyond traditionally accepted limits of artfulness. The rest of The Chemistry Of Common Life heads even further into left field, often with staggering results: Neu!-esque motorik grooves, philosophically dense lyrics about the birth/death cycle, up to 70 simultaneous guitar tracks, and waves of Eastern percussion and melody, all powering 11 hugely textured songs that still hit as hard as a 90-second Negative Approach jam. While it's offset on a few songs by "clean" female vocals, Damian Abraham's glass-gargling roar remains the primary source of Fucked Up's visceral energy. From this point on, it'll be more exciting to see how much farther beyond gut-level the band is willing to go.I've heard this record compared to The Shape of Punk to Come quite a bit. Don't know if it's that good. But it's good. It's totally Fucked Up!
http://www.mediafire.com/?yjnyn4mkyqw
and for you to take the time to tell me that mine was unnecessary, was unnecessary. i simply said what was on my mind...
http://www.taringa.net/posts/musica/1501968/MegaPost-de-iTunes-Exclusive,(Festival,-Session,London,-SoHo.htmlhttp://www.mediafire.com/?ttjkaftdmmohttp://www.mediafire.com/?zvxtkzmiztjhttp://www.mediafire.com/?udtwh4zzy1mhttp://www.mediafire.com/?jtoknmmdz0yhttp://www.mediafire.com/?fez3qzckiyyhttp://www.mediafire.com/?xmwzt2yqgjjhttp://www.mediafire.com/?4zew1tj1jemhttp://www.mediafire.com/?znnbvyx5t3lhttp://www.mediaf!re.com/?14ydnzd2jbd
Fucked Up - The Chemistry of Common LifeQuote from: The AV ClubStuff!I've heard this record compared to The Shape of Punk to Come quite a bit. Don't know if it's that good. But it's good. It's totally Fucked Up!Code: [Select]http://www.mediaf!re.com/?yjnyn4mkyqw
More indie-folk goodness from Canadian band Great Lake Swimmers comes courtest of newest album Ongiara. Named for the seafaring vessel taken to reach their recording studio on Toronto Island, Ongiara is a mellow, string laden composition which lingers with tranquillity behind the vocals of front man Tony Dekker and compliments the soft tones and lingering lyrics of the album. Leading with the upbeat "Your Rocky Spine" the album slowly quietens and fades slightly towards its conclusion though the journey is one to remember.
http://www.mediafire.com/?ixiym2mmwryhttp://www.mediaf!re.com/download.php?mindzjtm4odhttp://www.mediafire.com/?0omnninmzy5http://www.mediafire.com/?yrmtmvqtmxz
AC Newman - Get GuiltyCode: [Select]http://www.mediaf!re.com/download.php?mindzjtm4od
bitchessssssss ;D
AC Newman - Get GuiltyCode: [Select]http://www.mediaf!re.com/download.php?mindzjtm4od
bitchessssssss ;D
http://www.mediaf!re.com/?nzezqmxvgwmDisc 1http://www.mediafire.com/?tn4mmtycydjDisc 2
Out of curiosity, how did you rip the iTunes Exclusive records?
Boris - Smile: Live at Wolf Creek
http://www.mediafire.com/?2u5g1k3535v
Carl. Turned out really nice, it's about as good as The Slow Wonder.AC Newman - Get GuiltyCode: [Select]http://www.mediaf!re.com/download.php?mindzjtm4od
bitchessssssss ;D
M. Newman or Carl Newman? How did it turn out?
http://www.mediafire.com/download.php?rnzto2gdn0iUnlike some other garage/road acts, which play it relatively one-note, 18th Dye mix things up well in their return record. That’s most notable perhaps with their male/female dueting vocals on such pieces as the brightly distorted (and Vaselines-esque) “Go ‘n’ Go” or the driving but upbeat “Is”, and its fuzzed group vocals. Yet other well-done mash-ups include the quiet road mixed with louder garage on opener “Island vs. Island”, or the atmospheric swing and carry to well-placed finisher “Air”.
There are some times when the combos go too far: the reverb and stop/start distract from the strong ‘started’ portions of “Chinese Spoon”, the sway is more interesting than the march on the slightly choral “Amorines”, and the thud added to the bass on “Song For Helen” takes away from that piece’s grace. And there are also times on Amorine Queen where 18th Dye play it straight, and are all the better for it, like with the not overdone garage/road “Soft the Hard Way” or catchy bass-drive “Text Is My Killer”. And the record’s clear stand out is the dark, but completely catchy and sly “Backdoor”, whose great indie-girl group vocals are oh so slickly charming.
http://www.mediafire.com/?jwz20yxmpzg
http://www.mediafire.com/?z2ddm0mw3yjhttp://www.mediafire.com/?dyyqywnvwjy
http://www.mediaf!re.com/download.php?i2vzqzzmnjmhttp://www.mediaf!re.com/?qlrtnjxjmnmHere is another album (a re-up by request).
This is The Apple Miner Colony - The Heat Haunted Fever. If one word defines this band, it is "epic." With over 30 members and utilizing nearly every instrument you can imagine (guitars, drums, mandolins, banjos, trumpets, trombones, tubas saxophones, clarinets keyboards, etc... they even have a damn musical saw), The Apple Miner Colony forges an epic fusion between Folk Rock and Orchestrated Orgasm. With an average song length of 7 minutes, this concept album paints a picture book with its detailed and beautiful lyrics and orchestrated compositions. It even has some postrock embedded in there, creating one of my favorite albums of this year. Check them out! They are also working on a new album for release in the spring/summer.Code: [Select]http://www.mediaf!re.com/?qlrtnjxjmnm
Here is another album (a re-up by request).
This is The Apple Miner Colony - The Heat Haunted Fever. If one word defines this band, it is "epic." With over 30 members and utilizing nearly every instrument you can imagine (guitars, drums, mandolins, banjos, trumpets, trombones, tubas saxophones, clarinets keyboards, etc... they even have a damn musical saw), The Apple Miner Colony forges an epic fusion between Folk Rock and Orchestrated Orgasm. With an average song length of 7 minutes, this concept album paints a picture book with its detailed and beautiful lyrics and orchestrated compositions. It even has some postrock embedded in there, creating one of my favorite albums of this year. Check them out! They are also working on a new album for release in the spring/summer.Code: [Select]http://www.mediaf!re.com/?qlrtnjxjmnm
This is amazing. Thank you!
http://www.mediaf!re.com/?btxytte4mdohttp://www.mediaf!re.com/?9utjo0vowzu
Sufjan Stevens's Xmas stuff again; parts 1-3 and 4-5 as before:Sufjan Stevens: Christmas, Volume 8 ("Astral Inter Planet Space Captain Christmas Infinity Voyage")Code: [Select]http://www.mediaf!re.com/?iwwdwduvzmxCode: [Select]http://www.mediaf!re.com/?nzntjyywnmyNot that I can see why so there's so much interest in it...
http://www.mediafire.com/?0ij5hn4wytz
Sufjan Stevens: Christmas, Volume 8 ("Astral Inter Planet Space Captain Christmas Infinity Voyage")Code: [Select]http://www.mediaf!re.com/?3yyojzgbyyn
http://www.mediafire.com/?0ij5hn4wytz
http://www.mediaf!re.com/?dvyzztmlnjmhttp://www.mediaf!re.com/?yoa2ziynmw5It took over 20 years, but Connecticut is finally being recognized for its contributions to rap. A long time, to be sure, but understandable when you're in the shadow of New York, ground zero of the hip-hop bomb, and Sylvia Robinson's Sugar Hill Records empire in New Jersey. Plus, New York has never had any scruples about culling talent from the rest of the globe to feed its culture jones. Case in point: Tony Pearson (aka Mr. Magic) is best known as New York's first all-rap radio DJ, but before he was gobbled up by the big city, Magic was the Connecticut rap impresario who made Third Unheard possible. To be fair, it was Connecticut's proximity to New York that allowed them to be among the first to fall sway to the newest form of party music. In the late '70s, Magic was a record store owner and promoter with an ear for disco and funk when he heard Kurtis Blow's "Christmas Rap." The song changed his musical outlook and left Magic determined to release the first rap record from Connecticut. The results were released as "Rappin' With Mr. Magic" and it was clearly the work of an impassioned amateur, but its naïve charm is palpable even 20 years on. And charm is what keeps Third Unheard going. The secret weapon of the comp is 12-year-old Pookey Blow, nephew to Magic, who steals the show with his slurred delivery on "Get Up (And Go to School)" and shows up again with Magic for the highly rated "Earth Break," but he is far from the only bright moment here. From the utterly bizarre and singular "Ventriloquist Rap" of Willie Brown and, yes, his dummy Woody, to the tuneless-yet-still-compelling chorus of the Outlaw Four's disco-rap "Million Dollar Legs," Third Unheard is refreshing for its lack of formula and its exuberance.
http://www.mediafire.com/?5m3yzznmwcj
http://www.mediafire.com/?lmlz2ymj3mq
To say that the Explorers Club are trying to channel the mid-'60s Beach Boys on Freedom Wind isn't meant as complaint or praise or any other subjective judgment. It's objective. They are trying to channel the Beach Boys, utterly, totally, completely, and they're not pretending otherwise. From the reverb and the ever popular Ronettes drum break starting "Forever" and the album off to the close harmonies and the lyrical subject matter and more, even the studio chatter, this is a Beach Boys clone, tribute, borrowing, imitation, call it what you will. And the band isn't hiding it at all or pretending otherwise — to the point where the CD booklet is produced to seem like a scuffed and well-loved vinyl sleeve starting to rub off a bit around the record's circumference. So all this said, what to say about it? Perversely enough, the fact that they are so direct about it almost makes the whole thing more worthwhile than the endless number of bands that have worn their Brian Wilson fetish on their sleeves but can't get anywhere near what makes that band so great. By wishing they were the band themselves — or wishing they were the Wondermints backing up Brian Wilson, at least — the Explorers Club have produced a nearly unchallengeable album. If you love the Beach Boys' work in its "starting to be dreamily insular" phase, you'll enjoy every last note on here as the familiar combinations they are, different but the same, even while shaking your head with a chuckle at the sheer nuttiness of it all. If you don't like the Beach Boys, you won't like this. There it is; there's all that can be said.
http://www.mediafire.com/?de23qymhmuj
http://www.mediafire.com/?nzbzyex1wzm
http://www.mediaf!re.com/?2j2wqnhwij2(supposedly produced by Atsuo)http://www.mediafire.com/?x12ov6ddzwg
http://www.mediaf!re.com/download.php?zmozocmdzzqThat was an excellent idea... to post that, I mean... but I'm sure seeing them was an excellent, excellent idea as well. Thanks!
http://www.mediafire.com/?ivndtdy4d3yhttp://www.mediafire.com/?ednnzizzdazhttp://www.mediaf!re.com/?mgytm3kzcmuhttp://www.mediafire.com/?glnzimntbjzhttp://www.mediaf!re.com/?mnttgv2j1mmhttp://www.mediaf!re.com/?e2nzezigzyy
Radio Soulwax Live - Get Your Yo-Yo's Out! (pt. 3)
A masterful DJ set that bumps, thumps, and generally gets some serious booty-shakin' going on. This is the only Radio Soulwax I have! mediaf!re thread, remedy my Soulwaxless pain with more dance fuel! (Pts. 1 and 2 of this would be a great start.)
Pt. 1Code: [Select]http://www.mediaf!re.com/?mnttgv2j1mm
Pt. 2Code: [Select]http://www.mediaf!re.com/?e2nzezigzyy
http://www.mediaf!re.com/?w1h2uvjwzznhttp://www.mediafire.com/?vmmwdgnwnnmProbybly Richard D. James, probably not. If you like the Analord series, this one is for you.
I found some more with them, if you're interested. And if you were refering to me posting Fanfare....!?
"Castor was an American indie rock/emo band from Champaign-Urbana, Illinois. Formed in 1994, they were known for their "fluid" sound, often changing time signatures several times in a song while maintaining the flow of the music."Whatever. Complex, heavy, moving, loud come to mind. I don't know what to say about the interplay...labyrinthine. Beautiful really.
http://www.mediaf!re.com/?sharekey=50bded1f438cf7e6d2db6fb9a8902bdahttp://friendlyghostrecordings.com/http://www.mediaf!re.com/download.php?mu32zvndnujhttp://www.mediafire.com/download.php?nzucvmgqw2mwww.myspace.com/lostboy
http://www.mediaf!re.com/download.php?mumyl3zyddehttp://www.mediaf!re.com/download.php?unj2zzknj02
Here is a new EP from an Indie band "Night Beds"god damn these albums are excellent. Thanks!
This is Night Beds - S/T EP. It sounds, as the name implies, very dreamlike with muted melodies and very rhythmic drum beats and harmonious overlays of vocals and chimes. The talent comes from Winston Yellen and Matt Wilcox. Winston's last band, Winter Boat, nailed the melodic indie pop-rock down to a science, and Matt's last band, Matt and Isom, was an electric romp through the fields of melodrama. You could say this is a fusion of the two, creating an amazingly epic sound. Check them out. They are working on a new EP for January. If you like the stuff and want to hear their other bands, just PM me and I'll up it in a jiffy. Thanks!Code: [Select]http://www.mediaf!re.com/download.php?i2vzqzzmnjm
Here is another album (a re-up by request).
This is The Apple Miner Colony - The Heat Haunted Fever. If one word defines this band, it is "epic." With over 30 members and utilizing nearly every instrument you can imagine (guitars, drums, mandolins, banjos, trumpets, trombones, tubas saxophones, clarinets keyboards, etc... they even have a damn musical saw), The Apple Miner Colony forges an epic fusion between Folk Rock and Orchestrated Orgasm. With an average song length of 7 minutes, this concept album paints a picture book with its detailed and beautiful lyrics and orchestrated compositions. It even has some postrock embedded in there, creating one of my favorite albums of this year. Check them out! They are also working on a new album for release in the spring/summer.Code: [Select]http://www.mediaf!re.com/?qlrtnjxjmnm
http://www.mediafire.com/?zyznwmymjz0With this debut recording, Elizabeth Anka Vajagic sets her vocals against a backdrop led by ragged guitars, moving from harrowing, dry-as-a-bone intimacy (“With Hopes Lost”, “Iceland”) to reverb-soaked torch-song balladry (“Around Here”, “Sleep With Dried Up Tears”), and the odd explosive noise freak-out along the way (“Where You Wonder”). Vajagic’s voice and lyrics are uniquely powerful, able to move across a considerable range while remaining guttural, unflinching and honest as hell. Through much cross-pollination with the local noise/improv scene, Elizabeth has assembled a fine cast of players to add textures and arrangements to the seven tracks on this debut record, making for an intense cycle of songs peppered with skittering drums, contrebasse, cello, harmonium, piano, bowed cymbals, and oud. Guest players include Chris Burns and Simon Fazakerly (Crackpot) on guitars, Beckie Foon (Silver Mt. Zion, Esmerine) on cello, Michel Langevin (Voivod) on drums, Fluffy Erskine (Molasses, Hrsta) on musical saw, Sam Shalabi (The Shalabi Effect, solo) on oud and Efrim (GYBE, Silver Mt. Zion) on piano, harmonium, guitar and backing vocals. The album was recorded by Howard Bilerman at the Hotel2Tango in Montreal.
Loving this thread - If I can find anything not already here, I'll pack it up and post it. What's the general consensus on metal?
Great thread. This is my first post and my first offering:
Castor - Self Titled (Mud Records - 1995)
There is no way I can describe them...so here's a half assed description from Wikipedia:Quote"Castor was an American indie rock/emo band from Champaign-Urbana, Illinois. Formed in 1994, they were known for their "fluid" sound, often changing time signatures several times in a song while maintaining the flow of the music."Whatever. Complex, heavy, moving, loud come to mind. I don't know what to say about the interplay...labyrinthine. Beautiful really.Code: [Select]http://www.mediaf!re.com/?sharekey=50bded1f438cf7e6d2db6fb9a8902bda
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.
http://www.mediafire.com/?wyynegzjkzj
http://www.mediaf!re.com/?ztwmmn2mm2zhttp://www.mediaf!re.com/?qmyzmjuyhilhttp://www.mediafire.com/?ztxhkommdnchttp://www.mediafire.com/?hxymynjiywyMargot & the Nuclear So and So's signed with Epic Records in 2007, having made enough waves with The Dust of Retreat to climb aboard a major-label's roster. The big leagues aren't always accommodating to evolving bands, however, and the band soon clashed with Epic over which songs to include on their follow-up album. Two different records were ultimately released: the band's preferred version, Animal!, and the Epic-appeasing Not Animal, which featured those songs favored by the label. The latter record was the only one to receive a proper CD treatment, while Animal! was relegated to a vinyl/digital release.
(http://img339.imageshack.us/img339/9304/coveranimalcf5.gif)
Margot & The Nuclear So And So's - Animal!Code: [Select]http://www.mediaf!re.com/?hxymynjiywyQuote from: AllmusicMargot & the Nuclear So and So's signed with Epic Records in 2007, having made enough waves with The Dust of Retreat to climb aboard a major-label's roster. The big leagues aren't always accommodating to evolving bands, however, and the band soon clashed with Epic over which songs to include on their follow-up album. Two different records were ultimately released: the band's preferred version, Animal!, and the Epic-appeasing Not Animal, which featured those songs favored by the label. The latter record was the only one to receive a proper CD treatment, while Animal! was relegated to a vinyl/digital release.
I actually loved the compromise record, Not Animal too. I can see why the label would think the band's arrangement didn't have mass appeal, though.
http://www.mediafire.com/?thxmzkdwnzohttp://www.mediafire.com/?3xlv5tzgukb
http://www.mediafire.com/?zyy4tyowwm2http://www.mediafire.com/?rxonj4zey0nhttp://www.mediafire.com/?iznmtiz4jjx(http://img377.imageshack.us/img377/181/193788sx2.th.jpg)
Fantastic DSBM from Belgium.Code: [Select]http://www.mediaf!re.com/?ztwmmn2mm2z
Their sound is very harsh and droning, yet their songs are massive, emotional affairs. They may not be your thing, but it's free - give them a shot.
Twin Obscenity - Where Light Touches NoneCode: [Select]http://www.mediaf!re.com/?ztxhkommdnc
Fantastic Black Metal album - check it out.
http://www.mediafire.com/?nygjqyyt2iqhttp://www.mediafire.com/?nznnmizlyoohttp://www.mediaf!re.com/?to2lyqgimzmKings of Leon - Aha Shake HeartbreakCode: [Select]http://www.mediaf!re.com/?rxonj4zey0n
Did someone say "Black Metal" ?
Yes?
Awesome. Love the stuff.
http://www.mediaf!re.com/download.php?2ykiz2hmnjiA couple of months ago, I found myself flicking through a magazine, and happened upon an article that bemoaned the lack of passion in a lot of today's popular music. I don't want to turn this into a finger-pointing contest, but suffice to say the piece blasted several over-hyped buzz bands whose performances and recordings they felt lacked a certain passion. I have to say I found myself largely in agreement, having recently watched live footage from several UK festivals only to be faced with droves of identikit indie bands playing, frankly, as if they couldn't give a shit. With that in mind, it's heartwarming to hear a band like Bridge and Tunnel who, right from the opening seconds of "Wartime Souvenirs," sound like a band whose sole intention is to be the andidote to that very sense of indifference.
B&T tread a similar musical ground to the likes of Braid and American Football, combining melodic indie with emotional punk rock, albeit taking a rather more abrasive route for the most part. Guitarist/vocalist Jeff possesses a strong voice, reminiscent of the former's Bob Nanna both in the conviction with which he sings, as well as his tendency towards more unusual vocal patterns. The band's penchant for interweaving melodic guitar parts and tendency towards mathy interludes also echoes the work of those aforementioned 90s emo pioneers, however the addition of female vocals courtesy of guitarist Rachel (and occasionally also from bassist Tia), gives East/West a markedly more distinct feel, with the ladies sometimes taking the lead, other times harmonizing with Jeff, and occasionally even overlapping an entirely different vocal line, resulting in a similar effect to that created by the guitars. The drumming comes courtesy of ex-Latterman sticksman Pat Schramm, and while B&T share much of the heart-on-sleeve passion of his former band, he's adapted his previously up-tempo drumming style admirably to fit the more varied and intricate sounds displayed here.
It must be said however, that East/West is something of a grower; from the start, it's easy to appreciate the passion and melodic nous that the band show throughout, but after the first few listens, it was only the more straightforward tracks, like the catchy "Night Owls" which really stood out. The reverb-heavy production, while giving the record a nice live feel and an airy, spacious atmosphere (particularly to the vocals; it genuinely seems like they're shouting from the rooftops at times), does little for the clarity of the sound; the band's many-layered approach often becomes a little overwhelming, and their rather complex approach to song structures doesn't help matters. But persevere, and you're rewarded with a whole range of treats in the likes of the urgent "Call to the Comptroller's Office," the spidery guitar wizardry of "Rubrics," the slow-burning "Town Hall Gathering" and the twisting, turning behemoth that is "Grace for These Wayward Hearts." The closing track "As Close as I Can" is also pretty fucking spectacular, and a fitting end to the album.
East/West is not a record that you can throw on in the background, but if you can forgive the band the occasional moment of unfocused songwriting and make the effort to dig deep into their serene-yet-chaotic sound, you'll find that these aren't songs you'll be humming to yourself - these are songs you'll want to scream along to from the top of mountains. Bridge and Tunnel are a band whose fierce passion and creativity is self-evident, and in East/West, they've made an album which reflects those qualities. For that, they should be praised.
Kings of Leon have been on heavy rotation for me over the past few days. I'm uploading their first two albums, along with their fourth and most recent. The band is comprised of three brothers and a cousin who make gritty, sweaty, dirty southern rock. The first album is typical of many band's first album, loud/fun/rebellious type music. Their second is a little more grown up version of that. Their fourth was released i think a month or two ago and is a little bit more subdued, and there's more experimentation on it than their other releases, but it's still great. My only precursor might be that the singing is a bit of an acquired taste.
Kings of Leon - Youth & Young ManhoodCode: [Select]http://www.mediaf!re.com/?zyy4tyowwm2
Kings of Leon - Aha Shake HeartbreakCode: [Select]http://www.mediaf!re.com/?rxonj4zey0n
Kings of Leon - Only By the NightCode: [Select]http://www.mediaf!re.com/?iznmtiz4jjx
They were ripped from CD's via iTunes. I'd put up their third release but i don't own it. Enjoy!
http://www.mediaf!re.com/?ktwtgjmwhgzhttp://www.mediafire.com/?otoa5n1iynyhttp://www.mediafire.com/?mfninjzjlyyhttp://www.mediaf!re.com/?zlnrlyzdl2k
http://www.mediafire.com/download.php?gdnin1tzidmhttp://www.mediafire.com/?lhmmygzgktj
http://www.mediaf!re.com/?mmyjm4jntuwhttp://www.mediaf!re.com/?tmmyjdtzwgzhttp://www.mediaf!re.com/?mnvhzdw5wenhttp://www.mediaf!re.com/?5gndbhmmdt5http://www.mediaf!re.com/?jymhzwjnibthttp://www.mediaf!re.com/?tyyt2vijejnhttp://www.mediaf!re.com/?ytrvqyrinrqhttp://www.mediaf!re.com/?znzhzkmzkdjPart 2:http://www.mediaf!re.com/?jyt2idognyohttp://www.mediaf!re.com/?1ynuxnzm3vxhttp://www.mediaf!re.com/?jxtmznbxmgthttp://www.mediaf!re.com/?wrrjdr3wdjyhttp://www.mediafire.com/?nntmbzx2yytYeah, man. I just got back from smoking weed. What is it? mediaf!re said there was an error or something. But I want that cover.New Animal Collection album, its called Merriweather Post Pavillion or something like that,
http://www.mediaf!re.com/?yjfmnmiw1wdedit: whoever would lie about an album this good doesn't have the christmas spirit
Mp3 160
Animal Collective - Merriweather Post Pavilion
here I found this link: Merriweather Post Pavillion @ 160 kbs CD Rip
despite the name of the inside folder being pickles, it's a good linkCode: [Select]http://www.mediaf!re.com/?yjfmnmiw1wdedit: whoever would lie about an album this good doesn't have the christmas spirit
http://www.mediafire.com/?4zd5xf4mjnmhttp://www.mediafire.com/?d1yxmvjoxyshttp://www.mediafire.com/?bmjtlmjosxdhttp://www.mediafire.com/?cvfmyrzey0jhttp://www.mediafire.com/?80nsdfvdmjghttp://www.mediafire.com/?xmlyxnxewxyhttp://www.mediafire.com/?cjww4kmnzwghttp://www.mediafire.com/download.php?l1cu6lpzrsqhttp://www.mediaf!re.com/download.php?kw09wt7puaphttp://www.mediaf!re.com/?xxmvmijzisahttp://www.mediaf!re.com/?3lpxjbnnsbjhttp://www.mediaf!re.com/?thzmh0mwzzyhttp://www.mediaf!re.com/?do0tzhxywy9http://www.mediaf!re.com/?mjuntmiaugwhttp://www.mediaf!re.com/?gdy1xypimguhttp://www.mediafire.com/?dfntimifzwzhttp://www.mediafire.com/?satyg4lxmxzhttp://www.mediafire.com/?qd3gn41ztm2Im not sure exactly what you liked about Castor, but just by judging by the Bridge and Tunnel sound, all that I could think to do was give a few options based on guitar interplay, singing style, rockness...Shiner - Starless, Giants Chair - Purity and Control, and Boys Life on the rock side of things. C-Clamp - Longer Waves, and Sharks Keep Moving - Self Titled, based on melodics. Then Braid - Frame and Canvas, maybe even Mock Orange, because I think they're similar to Bridge and Tunnel.
Of course there's also bands like American Football, Colossal, Very Secretary...I could really go on talking about midwestern emo...but to have a bit of restraint here are three albums (most of the others that I mentioned you can find in the thread)
Im fairly sure that you already have American Football and Braid, etc...here's something that's been buried in the "crates" of the genre:
C-Clamp - Longer Waves (Ohio Gold - 1995), because they have a similar sound...and incase its intricate guitar rock that youre after, go for these: Shiner - Starless (O&O - 2000), who's frontman recorded the second Castor album. Then there's the classic: Giants Chair - Purity and Control (Caulfield Records - 1996)Code: [Select]http://www.mediaf!re.com/?ktwtgjmwhgzCode: [Select]http://www.mediaf!re.com/?otoa5n1iynyCode: [Select]http://www.mediaf!re.com/?mfninjzjlyy
ENJOY!
http://www.mediaf!re.com/download.php?4izy0lgolzvhttp://www.mediafire.com/?f0jjjjpmmjfBy The End Of Tonight - A Tribute To Tigershttp://www.mediafire.com/?zqyt4m2t3gz
http://www.mediaf!re.com/download.php?hizhlkmmownC-Clamp - Longer Waves sounds awesome!! Def. the best of the 3 albums posted.. but the file was messed up and only extracted 4 songs.. could you please re-rip/upload this album? ..and any other C-Clamp stuff if you have it. Thanks for introducing me to this band!!
http://www.mediaf!re.com/?nnm4ltjymmoRules:
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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.
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http://www.mediafire.com/?jyig0mym4alhttp://www.mediafire.com/?zm1ozmnjjcrhttp://www.mediafire.com/file/yzmn2jgozqj/TrtMsk1.ziphttp://www.mediafire.com/file/dmnn44yomzu/TrtMsk2.ziphttp://www.mediaf!re.com/?zzazzwynojmhttp://www.mediafire.com/?kvzzjamrtomWhy this album, a collection of odds-and-sods from a little-known Kansas indie rock band isn't seen as one of the crowning achievements of that whole mid-90s Mid-West emo scene is beyond me. Yeah, bands like Christie Front Drive and Boys Life, while being pretty good, still had more prestige that these dudes. The only time I've seen them in a magazine was in an off-hand reference to them in the opening paragraph of an article about Jimmy Eat World, back when they were a credible part of that scene.Re: By the End of Tonight
They did a split with this excellent band in the same vein called This Town Needs Guns. I'll up it if anyone is interested.
http://www.mediafire.com/?1zvmfflzjaj
No discussion of mid-west emo is complete without Vitreous Humor (http://en.wikipedia.org/wiki/Vitreous_Humor).
I uploaded their album "Posthumous" to the thread a blue moon ago but it's not there anymore. When I get around to upping it I will post a link here.
No discussion of mid-west emo is complete without Vitreous Humor (http://en.wikipedia.org/wiki/Vitreous_Humor).
I uploaded their album "Posthumous" to the thread a blue moon ago but it's not there anymore. When I get around to upping it I will post a link here.
I may end up uploading the "(Don't Forget To) Breathe" compilation.
http://www.mediaf!re.com/?vvetshxzgj5http://www.mediaf!re.com/?jmwtr2ztnwt(Disclaimer: not my links, low quality, and overall the compilation isn't as good as I remember the single 7" were)
this town needs guns are not nearly as good as owls were
Animals was recorded in an alternate universe where tim kinsella got really into B&S and put on a scarf and wrote some shitty lyrics
Re the This Town Needs Guns conversation: VSnaresFreak's post on the previous page has some bands in the same vein, I recommend the Tera Melos albums...I don't have any Pele to offer but they would be an excellent band to add to the thread. :wink:
Postmarked Stamps Compilation (Tree Records - 1999)Code: [Select]http://www.mediaf!re.com/?vvetshxzgj5Code: [Select]http://www.mediaf!re.com/?jmwtr2ztnwt(Disclaimer: not my links, low quality, and overall the compilation isn't as good as I remember the single 7" were)
http://www.mediaf!re.com/download.php?jnty0yzyqyn
http://www.mediafire.com/download.php?hrnw2ztm3lh
Here's "Chemistry for Changing Times" by The Blacktop Cadence. Recorded wayyy back in 96/97, and remastered/rereleased in 2003, it's a fairly varied take on the Braid/American Football midwestern emo sound, and features Chris and George (vocals/guitar, and drums, respectively) from Hot Water Music.
http://www.mediafire.com/?2mz52nzj3re"Imagination"- Gladys Knight and The Pipshttp://www.mediaf!re.com/?konx5gdmznj