THESE FORUMS NOW CLOSED (read only)
Fun Stuff => BAND => Topic started by: est on 02 Jan 2011, 06:06
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First up, here is a link to the old thread: http://forums.questionablecontent.net/index.php/topic,27585.0.html
Next up:
Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
If you type MF in full, the forum displays M/F instead. Not sure if it'll help, but hey, it's worth a try, right?
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Continuing from the 2010 thread...
Love was one of the early interracial rock bands. They would have made it big if they toured outside of SoCal. They also helped a little known local band called The Doors get a record deal. :-)
Is using the term "interracial" racist?
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Oh no I wasn't saying the use of "mixed race" is inherently racist, I was merely expressing that the usage often puts people off because of its common usage as hate speech by racists. Interracial is definitely a better way of putting it, simply because it avoids that association. Neither term is racist - it's all in the usage and context.
PS Love is pretty damn amazing
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Honestly, if either of you believe that their race have anything to do with how good the music is or how much it should be appreciated, then I can't help you.
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wellllllll i'm not sure about that because the cultural context is probably pretty significant? everyone tends to forget that music was segregated, up to a point; in the 1950s there were literally black music stations and white music stations. so black and white people actually coming together to make music is something that, for popular music, was particularly rare, and likely would have combined some radically different musical background. which is part of why love was so impressive.
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Pinkshinyultrablast - Happy Songs For Happy Zombies[2010](320kb/s)
(http://3.bp.blogspot.com/_2o1VwhbFX6w/TFnW7pIR6tI/AAAAAAAAAPk/2i7zFiFDXS0/s1600/PINKSHINYULTRABLAST-HAPPY+SONGS+PSUB-HAPPY+ZOMBIES.jpg)
http://www.mediafire.com/?1845imc939ia6ep
First upload in the new thread yessss
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What exactly is Pinkshinyultrablast and what do they have in common with Mogwai?
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Very little. They're shoegaze/punk from Russia.
I forgot to link their myspace before, so bam (http://www.myspace.com/pinkshinyultrablast)
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The Melvins - Bullhead[1991]
(http://i69.photobucket.com/albums/i47/TheLovableCynic/MF%20Album%20Art/melvins-bullhead-900.jpg)
Allmusic Score: 4/5 Stars
After three albums filled for the most part with quick song bursts and the occasional longer track, the eight-song long Bullhead found the Melvins stretching out a bit more at points, this time allowing the heavily stoned tempos plenty of time to really sprawl all over the place. There are fewer sudden shifts between fast and slow moments as well, and a lot more pure lava-flow beat-over-head feedback sludge and noise. It's not all ten mph deliberation, though - "Zodiac" shows the trio at full speed and blasting aside anything that might be so foolish as to get in its way, not to mention one unhinged Osbourne vocal lead. If grunge was achieving breakthrough status in Seattle, it was being perfected in its rawest sense on this album. Opening cut "Boris" does all this in excelsis -- the band's longest recorded song at this point, nearly ten minutes long, it practically drips from the bongwater of eight million potheads, with Osbourne invoking his own brand of demons over the deep crawl of the music. Osbourne here really has got the dramatic, theatrical Ozzy Osbourne attitude down, with the occasional double-tracked vocals adding to the off-kilter intensity of the performances. Crover again shows his worth on the drums -- he plays things slow most of the time but, crucially, never once sloppily -- while Black keeps the bass going, however relatively unheard under Osbourne's guitar attack. "It's Shoved" is the not-so-secret highlight of Bullhead, Crover's brisker drum work and Black's sharp bass playing heralding a wild lead-guitar melody and a great ensemble performance. However, efforts like "Anaconda," with its slowly uncoiling power, and the intense "If I Had an Exorcism," which gets all the more wired and wound up as it goes (Black's bass here is some of her best), are no slouches.
http://www.mediafire.com/?7n9j128q2x0qbgc
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Brain Police - Beyond the Wasteland
(http://www.smallstone.com/store/images/SS-077.jpg)
http://www.mediafire.com/?nggtmddxv8yitbjhttp://www.youtube.com/watch?v=zN0lPYEIB88 (http://www.youtube.com/watch?v=zN0lPYEIB88)
Moses Hightower - Búum til börn (album of the year by an icelandic band in my opinion)
(http://rjominn.is/wp-content/static/2010/07/Moses-Hightower-B%C3%BAum-til-b%C3%B6rn.png)
http://www.mediafire.com/?xm1b88f0v9d36hjhttp://www.youtube.com/watch?v=LmiooRCjikk&feature=related (http://www.youtube.com/watch?v=LmiooRCjikk&feature=related)
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wellllllll i'm not sure about that because the cultural context is probably pretty significant? everyone tends to forget that music was segregated, up to a point; in the 1950s there were literally black music stations and white music stations. so black and white people actually coming together to make music is something that, for popular music, was particularly rare, and likely would have combined some radically different musical background. which is part of why love was so impressive.
Obviously it should be remembered that things weren't always as mixed up as they are now, but I think any kind of musician would dislike being deemed significant because of the cultural context he/she made music in. I do see your point though.. Btw just to make sure that I'm being understood correctly: LOVE WAS/IS AWESOME.
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(http://img268.imageshack.us/img268/441/333hv.jpg)
Camel - Speak Easy EP
Sleek-ish house stuff.
http://www.mediafire.com/?9uc4gevgugs342r
(http://img145.imageshack.us/img145/696/333ob.jpg)
Ill-Esha - Circadian Rhythms
Eskmo-ish hifi bass music. I don't remember why I got it, but it's accessible!
http://www.mediafire.com/?4wsyi4h7891x65c
(http://img507.imageshack.us/img507/9405/333tg.jpg)
Applescal - Welcome to the Woods
Applescal came out with a fascinating future house / IDM record last year and he starts off this one with EPs both vanilla and remix. This is the vanilla.
http://www.mediafire.com/?zzzgcfctdqzos7e
(http://img819.imageshack.us/img819/5826/333lu.jpg)
Applescal - Welcome to the Woods Remixes
If you couldn't tell, these are the remixes. No names stand out to me.
http://www.mediafire.com/?b4vofoomnd6j32v
(http://img529.imageshack.us/img529/4129/333tb.jpg)
KXTA - Voltage
Here's a good one... It's easy to lean on the "it sounds like AFX!" button whenever an acid techno record comes out, but this really does sound like AFX in the best ways. Impeccable synthwork Analog IDM at its most beguiling.
Tweakin' acidic electro-techno smarts from KXTA. 'Polysylvester' has some proper Analord chops about it, while 'Works In Progress' also features a very canny line in AFXian synth dissonance. Make sure to check 'Bass Chamber for a DMX Krew styled electro-dreamy jaunt and the crafty flutter and strut of 'Progress2!'.
http://www.mediafire.com/?w4lvht1r7q4o1ts
(http://img820.imageshack.us/img820/4156/333qa.jpg)
Juanpablo - Dream EP
Acid House 8-) 8-) 8-)
Frigio's head honcho invites Chicago's Josh Werner and perennial acid fiend, JTC, on an intrepid electro-acid quest. With help from the shadowy ArD2 aka Penélope his original 'Dream' sounds like a muzzled Ultradyne in a reflective mood, while the sinister EBM-spiked throb and bustle of 'Midas Land' fuses Josh Werner's vox into a detuned cut of gothic acid feat. arrangements from Rolf Martens and Ekis. JTC takes on 'Dream', laying gurgling 303 tweaks and electro-tipped jackers patterns with wickedly off-kilter chords. You know how he does.
http://www.mediafire.com/?q4j0ec606tlacr4
(http://img524.imageshack.us/img524/4707/333ci.jpg)
Genoc1de - Want You (Rush'd Remix)
I don't know why Boomkat keeps referring to L2S as making "feminine" garage, but whatever. The name is pretty "dodgy", though, I'll give them that.
The dodgily monikered Genoc1de gives up his debut release for L2S, backed with a sweetly feminine Rush'd remix. 'Mind' flits with featherweight 2-step and sparse, dainty melodies, while the Rush'd remix of 'Want You' loses itself in a lather of sensual, jazzy chords and swooning subs. Strong EP.
http://www.mediafire.com/?790scc8vf8ybsxv
(http://img524.imageshack.us/img524/4959/333xp.jpg)
Tom Trago - Use Me Again (Remastered)
Stop #4 on the Voyage Direct train, yet another undeniable House classic. You can practically hear the lineage from miles away - the A-side is Daft Punk pre-robofetish, the B-side is the type of thing that haunts James Murphy's dreams. It's all too awesome.
http://www.mediafire.com/?53nr7ixr23t1l1m
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(http://www.filez.st/screenshots/35/7471254135Halos_Scarecrow_EP.jpg)
Halos - Scarecrow EP
Indie / Alternative.
http://www.mediafire.com/?eaf4luil5al5esc
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Obviously it should be remembered that things weren't always as mixed up as they are now, but I think any kind of musician would dislike being deemed significant because of the cultural context he/she made music in. I do see your point though.. Btw just to make sure that I'm being understood correctly: LOVE WAS/IS AWESOME.
What about the all girl punk bands? Or anti-violence hardcore, or straight edge. I think being one of the first mixed race bands is not only a huge achievement but worthy of recognition. Obviously it's not the key point but it's a pretty major sidenote.
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Beatles Set at Open Mic, Dec. 30, 2010 (http://www.MF.com/?krohq4sbdz6l3uc)
My best friend and I finally recorded this. I have his permission to post this.
I'll warn you now (and again, we've agreed on this concensus), we start out significantly stronger than we finish.
(sorry about not splitting tracks, it's honestly more effort than it's worth with the equipment I have available, so it's a big ol' 69.3mb mp3)
Worth noting: I sing most of the lead in the first two songs, and I'm playing guitar. Try and guess if you can tell which songs I'm playing bass (hint: it's the ones where the bass is probably not much, and don't have backing vocals). Also, there are two different drummers that appear in the recordings, and a guest vocalist in the final song. I hope you enjoy hearing a bit of what my Thursdays are like!
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As the poster of the Love album and the naughty boy who used the term "mixed race" - apologies if I offended anyone, that obviously wasn't my intention and I certainly wasn't being racist - without wanting to seem like 'the lady who doth protest too much' I'm actually strongly involved with anti-fascist political groups here in the UK. But whatever. Where I'm from in the UK the term "mixed-race" isn't seen as offensive and I have friends who happily describe themselves as such.
I only mentioned it because the fact that they are a mixed-race/multi-racial/inter-racial (or whatever you view as an acceptable term) band is reflected in the music (which we can all agree is amazing), and was rather revolutionary for the time - for example, it was released only three years after all state and local laws requiring segregation were abolished. The context of the record is as important and interesting as the music itself.
Let's just leave it at that and concentrate on more important things i.e. sharing great music!
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Hey so yeah
Earth - Angels of Darkness, Demons of Light 1 (2011, 192 kbps)
(http://yayeveryday.com/images/post_images/2010-12-5/12836/1291618389.jpg)
http://www.mediafire.com/?1dwffjlab5bhrti
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You are so awesome
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The Melvins - Bullhead[1991]
Dear fans of Boris,
You probably have heard this album before, but this is what spawned Boris. Please listen, loud.
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Hey so yeah
FUCK
YEAH
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Obviously it should be remembered that things weren't always as mixed up as they are now, but I think any kind of musician would dislike being deemed significant because of the cultural context he/she made music in. I do see your point though.. Btw just to make sure that I'm being understood correctly: LOVE WAS/IS AWESOME.
What about the all girl punk bands? Or anti-violence hardcore, or straight edge. I think being one of the first mixed race bands is not only a huge achievement but worthy of recognition. Obviously it's not the key point but it's a pretty major sidenote.
A sidenote indeed. Americans (I'm Danish) shouldn't be proud they have a black president, they should be proud that they have a great president... And so on. That's just my opinion on the matter. If you expect to be acknowledged because of what you ARE and not what you DO, then we disagree. I wasn't offended, TheClickOfALight. It was mostly a joke, since I think the term is so weird, I can hardly wrap my head around it.
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(http://img717.imageshack.us/img717/1061/gpps.jpg)
http://www.mediafire.com/?0yup9qqi9sao8h8
(Listen to the remix of this one first.)
(http://img524.imageshack.us/img524/7735/jbcss.jpg)
http://www.mediafire.com/?3m2dbn576xlrc5t
(http://img59.imageshack.us/img59/6021/jftsgjae.jpg)
http://www.mediafire.com/?dv4c04v8gv26w7s
(http://img715.imageshack.us/img715/9477/63153347.jpg)
http://www.mediafire.com/?ifate83agih6fdd
(http://img143.imageshack.us/img143/957/27701746.jpg)
http://www.mediafire.com/?wf1dl2fsw8crjso
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Geotic - Mend (2011)
"Minimal / Ambient music project of Will Wiesenfeld" - who also records under the monikers of both Baths and [Post-foetus].
http://www.MF.com/?n70s5ovgs1c8bix
If you like what you hear, his other stuff is freely available at his website (http://www.angelfire.com/indie/postfoetus/geotic.html)
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I'm sorry if this has been said before, but how do I download now that it has been changed to mf.com?
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you just change "MF" to the actual name of the site (i don't want to write it out in an expanded form (or altered with ! or @), but you know what it is) in the address bar after you copy and paste the link
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Oh, ok, cause it was asking for a password which freaked me out.
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(http://2.bp.blogspot.com/_5LDlPUm-4ic/TOcCJrycyoI/AAAAAAAAADk/DsBIpsEC1x4/s1600/Grave+Ritual+-+%2527Euphoric+Hymns+From+the+Altar+of+Death%2527.jpg)
http://www.MF.com/?uukjia6dl8za1ezGrave Ritual - "Euphoric Hymns From the Altar of Death"
Some of the nicest dudes in underground death metal. highly underrated, deep underground. throwback death metal at its grittiest.
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Some of the nicest dudes in underground death metal.
Not that I'm questioning you, but that is a really great and hilarious phrase
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Oh, ok, cause it was asking for a password which freaked me out.
Maybe it'd be a good idea to change the filter to 'M/F' or something that won't parse as a url if people just copy the link.
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(http://bandcamp.com/files/11/05/1105141010-1.jpg)
http://www.MF.com/?6jf4mr4an5n1qi6
New G-side. Super spaced Alabama rap music, it's pretty brilliant.
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(http://img689.imageshack.us/img689/3851/hnia.jpg)
His Name Is Alive - The Eclipse (2010; V0)
http://www.mediafire.com/?8ln89dzfdrv28ob
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Get it while its hot
Mogwai- Hardcore Will Never Die, But You Will
(http://img534.imageshack.us/img534/3048/mogwaihardcorewillnever.jpg)
http://www.M/F.com/?7e24i5lpq3vi4e9Its really different from their previous stuff, but I'm definitely into it. I thought the Hawk is Howling was pretty meh for the most part, so this is a welcome change.
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Is that His Name is Alive good? I liked one of their records once.
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Longtime lurker. Joined because of this thread ... once it got moved I figured it would be time to sign up.
Probably not what people wanted to but here i am.
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Is that His Name is Alive good? I liked one of their records once.
Xmmer from 2007 is their standout album. It's not quite as incredible as that but it's among their better ones. I've been enjoying it a lot.
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T-rips!
(http://img823.imageshack.us/img823/1874/333ml.jpg)
Forest Swords - Dagger Paths + Bonus Disc
My #4 favorite album of 2010, I've included the old link to the proper EP and just uploaded the bonus disc, which has 6 previously unreleased songs plus a bunch of remixes and a mix by the FS dude. If you slept on this one, catch up.
The musical recipe that UK producer Matthew Barnes uses in his one-man project Forest Swords is simple enough-- pick some sparse rhythms and sounds, loop them at a pace both languid and insistent, and fold in texture and volume as each piece slowly gathers momentum. But judging by the Dagger Paths EP, released by Olde English Spelling Bee earlier this year, the results are richer than you might expect. Through dense, mesmerizing atmospheres, which conjure faded memories and dream states, Barnes manages to evoke techno, dub, drone, and even hip-hop and R&B.
In fact, when I wrote about the EP back in June, I had a little trouble seeing Barnes' work outside of the fog of buzzy micro-genres like chillwave and witch house. His music's ghostly aura connects to those and other leftfield trends, but really, Barnes has pretty much transcended them all. The more I've listened, the more I've found his hypnotic concoctions to be in a category of their own. Now that UK label No Pain in Pop has re-released Dagger Paths, adding two tracks from a recent 7" and a CD-R with an impressive array of bonus material, the singularity is so clear it's almost blinding.
Most of that bright light comes from the surprisingly integral role of guitar. At first, these songs sound like a slow, sleepy weave of disparate elements-- dubby bass, sparse percussion, distant voices, blurry samples. But eventually, a bold guitar figure crafts a melody that sticks in your head rather than drifting away with all the echo and atmosphere. Barnes' music can rightly be called murky and dream-like, but it's deceptively so. Dagger Paths is much more active and sharp than such descriptions might imply.
The result is that, the further you delve these songs, the catchier each becomes. A few are immediately engaging, like the swinging "Miarches" and hip-hop-in-slo-mo "The Light" . But other tracks prove just as memorable once they have some time to burrow into your brain. On "Glory Gongs", winding guitar chimes return whenever the track threatens to fall apart. And even the reverb-heavy, negative-space cover of Aaliyah's "If Your Girl Only Knew" retains the hook of the original. That trend persists as Barnes shifts his sound on two newer tracks-- the sparse, reggae-inflected "Rattling Cage", and "Hjurt", which wraps guitar in bombed-out drums and distant cries.
No Pain in Pop's bonus CD-R starts with six early Forest Swords tracks, all of which show Barnes' methods to have been pretty well intact from the start (a few are so heavy on fuzzed-out guitar explorations that Forest Swords could be mistaken for an improv rock combo). Also added are remixes of Dagger Paths cuts by other artists, and a 20-minute mix in which Barnes inventively reworks These New Puritans, Burial/Four Tet, and Wild Beasts. Clearly the guy has wide ideas about sound and what it can do, but what impresses most about Dagger Paths is its focus. All the elements and styles that Barnes collects like a magnet quickly align toward one unmistakable musical vision.
Dagger Paths EP
http://www.mediafire.com/?l44lsuwe23ap6u2Bonus Material Disc
http://www.M/F.com/?p4i4f9tgivbbv71
(http://img141.imageshack.us/img141/563/333lb.jpg)
Joy Orbison - BB / Ladywell
After the impeccable rave/bass hybrids of 2009 and a relatively quiet 2010, Joy Orbison comes back to what every dubstep-affiliated UK DJ is doing - House music. Still has all the awesome buildup of his most famous tracks, but with more subtelty and a lot more focus on the beat aspect of the dancefloor.
Fresh-as-f**k House music from the prodigious Joy Orbison. On the A-side the instantly arousing 'BB' finds some smooth-yet-dirty hybrid of Detroit and London flavours, where gritty garage drums tuck into sultry rolling house formation and the bassline just can't decide if its a square bass groover or a deeply padded subbass shudder. Either way it's just deadly effective. Flip over and the sparse, streamlined flow of 'Ladywell' comes off like some blend of Cassy and Kyle Hall, marrying streamlined, mesmeric vocal motifs with more rugged claps and masculine kicks. Mastered and cut at D&M, ready and raring for the rave. These will sell out in a flash - you've been warned!
http://www.M/F.com/?7utw06k0k5gnn2w
(http://img141.imageshack.us/img141/2840/333yh.jpg)
Geiom - Resi Claart / Stel Drum
Geiom tosses a throwback to his IDM roots (he was a Skam kid back in the day) with this nicely textured and layered DnB exercise. Not as crazy as breakcore but not stodgy, either.
Geiom steps into more IDM and minimal D&B-influenced terrain with a classy 12" for Cambridge's Frijsfo crew. 'Resi Clart' sounds like classic Arovane updated with an awareness of recent DBridge moves and some sub-continental percussive influence. On the flip, 'Stel Drum' works out a trickier style of dubstep with nods to ASC's rhythmic complexities.
http://www.M/F.com/?d16q52a6n802esx
And a few more things!
(http://img717.imageshack.us/img717/6797/albumreviewoffsfirstfou.jpg)
OFF! - First Four EPs
It's either the best fusion jazz record you've ever heard or some pretty raw hardcore punk. You figure it out.
The very last scene in the 2006 documentary American Hardcore finds Zander Schloss of the Circle Jerks delivering a eulogy. "It was over a long time ago! It's over, okay? Go home! Your cage is clean." The screen goes black just as Black Flag's "Nervous Breakdown" starts up; the vocal is by Keith Morris, Black Flag co-founder and Schloss' longtime boss in the Circle Jerks. It's a funny juxtaposition, considering the recent history of the Circle Jerks; though Morris attempted to keep the Jerks' engine running after yet another failed go, he and Burning Brides frontman Dimitri Coats teamed up, called a couple of buddies, ground out 16 songs. The results would stop in their tracks anybody who'd dare declare punk rock dead. Morris was around for the birth of hardcore, and from the sound of his new band OFF!, they're going to have to drag him away from the stuff, screaming.
For OFF!, Morris and Coats rang up bassist Steven McDonald of the perennially underrated Redd Kross, and Rocket From the Crypt/Earthless drummer Mario "Ruby Mars" Rubalcaba. Coats may be OFF!'s least known quantity, but here, as with the stoner rock of his Brides, he's got an adaptable style and ear for detail that are perfect for this recapturing job. McDonald holds down the low end with an uncharacteristic simplicity that suits these airtight tracks to a T. And Ruby Mars couldn't have been a tough call, hell of a drummer that he is; you'd have to be to hold these songs together. These guys might be punks, but after years in the game, they're total pros. And all that backstory melts away in three seconds on this bruiser of a record, one that reignites the hardcore spirit and turn-on-a-dime intensity of Morris' work with Black Flag and early Circle Jerks years without ever coming off like a history lesson.
OFF! is Morris' show, and for all their help getting him back to his roots, the band keeps out of his way, firing off blistering, not-a-second-too-long rumbles that feel shot out of a cannon. But having some new blood in the room lights a raging fire under Morris, and he pounces on these tracks. As ever, he speak-shouts with an unusual clarity, even when he's spraying out a ton of words at once. But it's the adaptability of his voice that's most stunning, the way he'll start out spitting and then swoop down into a scream. Lyrically, the OFF! songs seem to play on Morris' role as an angry young man all grown up; a line like "you wonder why I'm always screaming?" would sound fine coming from some 17-year-old with a glue-stuck mohawk, but given Morris' elder statespunk position, the question deepens, the emphasis falls on the "always." The young dude declaring "I've Had It" three decades back still shouts "Fuck People" with equal fervor.
First Four EPs crams 16 tracks into just over 17 minutes; the thing's packed so tightly, an extra second here or there could feel like one too many. This is lean, propulsive hardcore, played just as it would've been in L.A. circa 1981. The live-in-a-room recording lets you all but hear the sweat drip on the mic, Morris' hair slapping into Coats' amp. The breathless intensity of Morris' vocals is matched by the one-and-done feel of the musicianship; as Coats told Pitchfork last month, "the demo is the record," and no decision's been overthought. Morris spent a decade and a half trying to get the Circle Jerks together enough to make another album, and this thing sounds like it was made in two days, almost for the hell of it, and those lowered stakes result in a ramped-up fervor.
Even with the short runtime, First Four EPs really takes it out of you; each EP takes you through highs and lows in quick succession, so hearing all four straight through is like being put through a tenderizer. For all their ripchord intensity, I wish they'd made just a little more room for McDonald, whose work with Redd Kross proved him more adept at sneaking intricate bass lines under hardcore rhythms than he's allowed here. But these are, after all, the first four EPs, which assumes there's more to come. You could argue that there's a nasty conservative streak running through these four EPs, that Morris already made better versions of this record with his previous bands. But OFF! feels less like a regression than a regrouping, a shoring up of old strengths with the hopes of recapturing an old feeling. And that much they nail.
In an indie rock landscape that typically values complex arrangements, subtlety, and good taste, OFF! are not just refreshing, but totally necessary. It's an economic shithole out there right now-- the same conditions that led to hardcore in the first place. This music is built for a climate of frustration and powerlessness, and its bare-knuckled punch-in-the-face is a long-needed wake-up call to nostalgic escapism. Get mad instead.
http://www.M/F.com/?3d8s0c9wz1np3os
(http://img141.imageshack.us/img141/9452/333ws.jpg)
Modeselektion Vol. 01 Bonus Tracks and Versions
German IDM/Hip Hop/Bass wunderkinds Modeselektor wrap up the first round of their curated series of singles with outtakes. FaltyDL in particular puts in some of his best work in awhile here.
Extending the party vibes of 'Modeselektion Vol.1', Falty DL, Vaghe Stelle, Bok Bok, Cosmic TRG and Love Operation offer bonus tracks and versions. Most importantly, this EP introduces two exclusive tracks from relative unknowns Vaghe Stelle and Love Operation, the former with an impressive Scuba-like 'lectronic roller and the latter with a sublime ambient after-thought 'Heartbeat'. For the DJs, Bok Bok and Cosmin TRG's extended versions should come in very handy, stretching their elastic future funk vibes for longer mixes, while Falty DL burns off the flash Garage sweep of 'I'm Gonna Show You Somethin'.
http://www.M/F.com/?6g72n004p4e5d85
(http://img141.imageshack.us/img141/1954/106430.jpg)
Bastian Wegner - Davy Jones' Locker
Striking, deep, minimalist modern classical composition. The title should give you an idea of what sort of mood to expect.
From the striking artwork onwards, German artist Bastian Wegner and his debut record on much-admired Finnish label Sahko leaves you in a state of lost. His is a sound that brushes softly against bleached out strings, decaying drones and tones, haunted piano's played from the houses of dead people. Cold, elegiac electronics to submerge your ears in dust and gloom, primed for the darkest of nights.
http://www.M/F.com/?arw3569jhtkpd3e
(http://img211.imageshack.us/img211/1543/333mh.jpg)
OvO - Croce Via
Do you like weird, confrontational shit? Fuck you, of course you do. Check out OvO, they're European.
Milan grindcore duo Ovo return, following up 2006's Mistenia album with another clobbering collection of songs. The format is as simple as it is brutal: Bruno Dorella's drums lay down a bedrock of noisy percussion whilst Stefania Pendretti spurts out paranormally twisted verses in a variety of different voices, all whilst trying desperately to maintain control of her caterwauling, detuned stringed instrument (is it a guitar? a bass? a bit of elastic band attached to an amplified cardboard box?). You could probably trace the band's powerhouse, freeform sound to the likes of Melvins, or Boredoms, although there's a Napalm Death-like brevity and intensity to the 'Haiku' tracks, expending all energy and power within a few seconds of screeching and pounding. Massively entertaining and surprisingly varied avant-metal from the Load camp. Recommended.
http://www.M/F.com/?c4dx2a64uxq7gdg
(http://img406.imageshack.us/img406/8642/333hm.jpg)
Franklin de Costa - Fragile EP
HOUSE 8-) 8-) 8-) 8-) 8-) 8-) 8-) :psyduck:
After recent diversions into dub smudged House as Mudkid, Franklin De Costa goes straight Deep House with a contemporary twist for Curle. Leading off 'Fragile' fixes hazy, almost half-heard piano keys with padded bass and heavily smoked late night ambience, while 'Circular Beings' rubs up an electro-edged boompty Houser with deeply jazzed touches. On the flip 'Ush Ush' sit in a Nu-Euro-Deep groove and 'Soulbound' sets its sights on the deeper side of modern Chicago.
http://www.M/F.com/?k71ndb6537ba4ye
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Zombie Dude, you set my heart afire. Kimonos were a main spin during the retail holiday rush at the shop... they almost replaced Johnny Foreigner as "the most fun way to do inventory!"
(http://i.imgur.com/ROb4o.jpg)
copying the old link...
http://www.mediaf!re.com/?b511yfgipdy310b
Also, loved hearing dozens of people say, "I love this! Is this in French?!"
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haha no problem
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That record is the craziest thing those guys have ever done.
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Starfucker - Reptilians (2011) (320kbps) (Bonus Track Version)
(http://img513.imageshack.us/img513/4038/prc211reptilianscoverar.jpg)
http://www.mf.com/?x6y167tmq2cbmkc
The criminally underrated Portland indie-electropop quartet returns with their second LP. You want this. I mean, just look at that fucking cover.
edit: forgot to add that this is the preorder version and as such, has 2 bonus tracks
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fuck.
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yes.
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oh hey winkwinkthread! Long time reader, first time poster.
The Avalanches - Since I Left You (2000, original print*)
(http://img.photobucket.com/albums/v502/teevee/SILY.jpg)
http://www.MF.com/?b9ycc60zoo0y5xy
in celebration of the first update to their website in years (not that that means anything) here's The Avalanches' seminal dance/"plunderphonics" record. enough has been said about this band but if you don't have this record or haven't heard the original version, enjoy.
*and by original version I mean the first run Australian edition. Later copies including the version released stateside involved several notable changes and cuts due to problems getting the samples cleared overseas (or so I am led to believe; all I know for sure is the singles played on the radio don't sound like the ones on this copy). The original print is vastly superior.
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so good! so good. and yet it makes me want to cry, realizing it's been 11 years since this album came out without a follow-up.
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I haven't listened to this since I lost all my music years ago.
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When that The Avalanches album first came out, they sent promo mini-cds to the record store i frequented. i wish i still had them. it had like two songs on it and came w/ a sticker of a seaturtle w/ an old man's head on it. i was so unhip then, i am surprised i actually listened to such a cool group.
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If I ever find a full copy of the compilation/remix EP they put out (At Last Alone), I'll get it up here for you guys. I think I have like 5/8 tracks right now.
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What, this?
(http://img832.imageshack.us/img832/7016/folderlrm.jpg)
http://www.mediafire.com/?7d959hkugqlbu0e
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New Lows - Harvest of the Carcass
(http://img831.imageshack.us/img831/7171/4103q.jpg)
http://www.mediafire.com/?rc2eh0vucf29fzo
This band was supposed to break up, so we're lucky to hear any new material from them, let alone when it's this good. Think Cro-Mags and Integrity, but a more groovy, metallic edge. Also, if you haven't heard their self-titled release, you should check that out as well.
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What, this?
Sheeeeeeeeeeeeeeeeeeeeeeeeee-it. o/
(guys, Undersea Community is a really weird and amazing track. Someone had the 10" single on ebay a while back for $126 and I really wanted to buy it)
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Man, it's been years, I think, since I've posted on here. I just uploaded an album for a friend and thought y'all might enjoy it.
Barefoot Surrender--Barefoot Surrender
(http://i53.tinypic.com/2jcasly.jpg)
http://www.mf.com/?237e8ads4e1p97f
www.myspace.com/never-say-surrender (http://www.myspace.com/never-say-surrender)
This is hands down my favorite new album I've heard in years. They describe themselves as punkgrass, but they're much heavier on the bluegrass than the punk. I met these guys busking on the street one night this summer and they ended up staying with me for a few days. I've been listening to them pretty much every day since. Super catchy, hard-hitting, and EXCELLENT for drunken sing-alongs. For fuck's sake, they have a washboard! YOU NEED THIS.
Stand-out tracks: Forgot My Name and Faith No More
Also, these guys could always use some more support, so if you like it you should definitely buy it from them / put them up on your couch.
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Without further ado...
CAKE - Showroom of Compassion
http://www.mediafire.com/?2lg5za28ubp6hsf
(http://www.grantruby.com/wp-content/uploads/2011/01/Cake-Showroom-of-Compassion.jpg)
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oh hey winkwinkthread! Long time reader, first time poster.
The Avalanches - Since I Left You (2000, original print*)
(http://img.photobucket.com/albums/v502/teevee/SILY.jpg)
http://www.MF.com/?b9ycc60zoo0y5xy
in celebration of the first update to their website in years (not that that means anything) here's The Avalanches' seminal dance/"plunderphonics" record. enough has been said about this band but if you don't have this record or haven't heard the original version, enjoy.
*and by original version I mean the first run Australian edition. Later copies including the version released stateside involved several notable changes and cuts due to problems getting the samples cleared overseas (or so I am led to believe; all I know for sure is the singles played on the radio don't sound like the ones on this copy). The original print is vastly superior.
This is awesome, and I can definitely hear the differences in samples that you talked about.
Unfortunately 'Etoh' starts skipping a ton for about 40 seconds near the end :-(
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Electric Wizard - Come My Fanatics... [1997]
(http://i69.photobucket.com/albums/i47/TheLovableCynic/MF%20Album%20Art/comemyfanatics.jpg)
Upon its release, Electric Wizard's excellent debut carved a Titanic-sized swath through the heavy metal landscape, burying much that had come before under an avalanche of amp distortion, detuned riffs, and billows of marijuana smoke. And yet, impossible as it may seem, the band's absolutely colossal second effort, Come My Fanatics..., while somewhat less immediate than its predecessor, somehow upped the sonic ante through a wall of sludge so thick that even the most experienced of metal heads couldn't help but be overwhelmed by its power. Opening number "Return Trip" is quite simply a heavy metal landmark, from its sudden, feedback-induced (and bowel-releasing) opening chord to the anguished screams of main man Jus Oborn through to its final coughing denouement ten minutes later. The barely discernible lyrics to second track "Wizard in Black" (another monster at eight minutes) gradually emerge from the trio's cyclopean grind, intoning "I am a God...I am the One" -- and by gum if by now you're not ready to believe just that! Ensuing acid-metal behemoths like "Doom-Mantia" and "Son of Nothing" (the album's shortest track at almost seven minutes) will test the patience of uninitiated listeners before drifting into focus through billowing clouds of smoke, but the ultimate religious experience is well worth the lengthy conversion process. And though less memorable, instrumentals like "Ivixor B/Phase Inducer," (a full-fledged space rock feedback freak-out) and closer "Solarian 13" slot right into the album's imposing mass. Essential doom.
http://www.mediafire.com/?y66yzgfxbs6jvli
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Seriously, that album is amazing. Everyone should give it a shot.
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13-Point Program to Destroy America - The Nation Of Ulysses (Dischord, 1991)
(http://i876.photobucket.com/albums/ab325/desolationrow10/13point.jpg)
Quote from Allmusic
A raging collection of songs preaching an ideology of insomnia, teenage rebellion, and sharp dressing, the Nation of Ulysses' 13-Point Program to Destroy America comes across as a blueprint for the complete overthrow of adult society in favor of one ruled entirely by the cool kids. Nearly every track on the album is played at breakneck speed, and the overall message is one of uprising. "A Kid Who Tells on Another Kid Is a Dead Kid" and "Cool Senior High School (Fight Song)" extol the virtues of kids sticking together to exclude those not fit for the glorious new society, namely grown-ups and squares. All the songs are punk gems, and after a couple of listens the revolutionary rhetoric starts to sounds pretty damn exciting, maybe because it's not entirely clear whether or not the Nation of Ulysses is serious or just playing a joke on all the indie rock hipsters. Either way, it's hard for anyone to not enjoy songs like "Look Out! Soul Is Back" and "Today I Met the Girl I'm Going to Marry." The revolution might not be here quite yet, but when it comes, be sure to have this album as proof to your worthiness.
http://www.mediafire.com/?l0adlih19nfa4yd
I Know You Fine, But How You Doin' - The Gories (Crypt, 1995)
(http://i876.photobucket.com/albums/ab325/desolationrow10/goriesfine.jpg)
Quote From Allmusic
I Know You Fine But How You Doin' is a magnum opus of dirty brilliance. Dirty in the grunge-covered sense. Dirty in the back alley and sleepin' it off sense. As with their first LP House Rockin', the Gories employ a primitive backbeat of tom-toms, fuzzy guitars, and insomniac blues screams (distributed more democratically here by singer/guitarists Dan Kroha -- see also the Demolition Dollrods -- and Mick Collins -- see also Blacktop -- than on the Gories' debut, House Rockin'). Recorded in Memphis at Easley Recording in 1990 with legendary recluse/genius Alex Chilton at the boards, I Know You Fine is ever-so-slightly more "produced" than the debut. But the songwriting, thankfully, never leaves the gutter far behind. Better still, the Gories make you believe that it's all happened to them recently enough to be a painful enough memory to necessitate writing a blues-riff song. Muted howling, cavernous guitars, and throbbing drums are always half a step from simultaneously disappearing and blowing up in your face. The main benefit of a non-D.I.Y. production on this outing is atmospheric, after-hours gems such as "Six Cold Feet," "Early in the Morning," and "Smashed." The desperation quotient is taken up by such tunes as "Stranded," "Goin' to the River," and "Nitroglycerine." I Know You Fine is perhaps the Gories' most focused vision of urban punk blues. As an added bonus, the Crypt reissue version features more than nine extra songs culled from both singles and the original track listing of House Rockin' (perhaps Crypt didn't anticipate reissuing both records). With the added tracks, this reissued version of I Know You Fine But How You Doin' is the one Gories recording to buy if you must only buy one.
http://www.mediafire.com/?g6zwwb94g95dypu
The Perfect Prescription - Spacemen 3 (Glass, 1987)
(http://i876.photobucket.com/albums/ab325/desolationrow10/perfectspacemen.jpg)
Quote from Allmusic
Drawing together some earlier material and a slew of new songs, Spacemen 3 tied everything together on the brilliant Perfect Prescription, the clear point of departure from tribute to psych inspirations and finding its own unique voice. Planned as a concept album, Perfect Prescription works where so many other similar efforts failed due to the strength of the individual songs, as well as the smart focus of the concept in question -- a vision of a drug trip from inception to its blasted conclusion, highs and lows fully intact. The bookending of the album makes that much clear -- "Take Me to the Other Side" is a brash, exultant charge into the joys of the experience, a sharp, tight performance. "Call the Doctor," meanwhile, is a pretty-but-wounded conclusion, husky singing and a drowsy mood detailing the final collapse. The many highlights in between beginning and end are so striking that the album is practically a best-of in all but name. Sonic's eventual work with Spectrum and E.A.R. gets clearly signaled via the majestic reprise of the Transparent Radiation single, here introduced by the swirling flange of an edited "Ecstasy Symphony," also originally from that release. Sonic's breathless delivery of the Red Krayola classic, combined with the elegant arrangement, is a marvel to hear. "Walkin' With Jesus," meanwhile, is practically the birth of Spiritualized, the much different earlier takes now become a reflective combination of acoustic guitar, two-note keyboard lines, and Pierce's yearning, aching desire. The intentionally nasty flip to that is the storming charge of "Things'll Never Be the Same," a call to arms (or injecting something into them) that's as disturbing as it is energetic, the compressed, violent rage of feedback and rhythmic charge a gripping listen. Guest performers from the Jazz Butcher family tree, including Alex Green on sax, help expand the record's sonic range even further. Further reissues include a rotating series of bonus tracks from contemporary singles.
http://www.mediafire.com/?wmth2i75xa1an5h
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(http://img403.imageshack.us/img403/4508/333jn.jpg)
Wbeeza - Void
Wouldn't you know it, it's House music. House music with a pretty deep variation in track-to-track sound, no less. "The World Is Yourz" is quite reminiscent of Fred Falke / Alan Braxe's "Links 'n' Rings" - superb House production behind an old school MC, just the way it was meant to be.
'Void' is probably one of the most anticipated House albums by a UK producer in years. It's also Wbeeza's debut LP and places him as a promising British answer to Theo Parrish in many respects. His career trajectory thus far has seen his tracks played by a range of cats from Panorama Bar's Tama Sumo, to fellow South London figurehead Cooly G, via celebrated slots at the Freerotation festival and gigs across Europe. The seventeen tracks of 'Void' displays an appreciation for and dedication to the spectrum of deep house music, taking in everything from Dilla-esque HipHop with 'The World Is Yourz' feat. Chico Santiago, to moonlit vibes in 'Let Me Know' feat. Diyana, and abstract, heady beatdown experiments such as 'Sarar' or 'Day By Day', with a couple of proper floor controllers in 'Tru My Veins' and 'Variations'. The vibes run deeep on this one...
http://www.M/F.com/?lann9x68yce3q97
(http://img502.imageshack.us/img502/5418/333vk.jpg)
Cyclobe - Wounded Galaxies Tap at the Window
Stephen Thrower and Ossian Brown, longtime associates / live accompanists of Coil, as Cyclobe. They really hit upon that classic ambient industrial sound that Coil captured around the turn of the millennium.
There are very real reasons why Cyclobe albums are so infrequent, as Ossian Brown and Stephen Thrower seem to deliberately eschew or expertly conceal most of the tools that similar artists rely upon (improvisation, chance/randomness, repetition, etc.) in favor of a constantly shifting and deliberate abstract narrative. There is a purposefulness and articulation to Cyclobe’s brand of psychotropic mindfuckery that is very much their own. Their best work (such as this album) feels like a twisted, meticulously composed infernal symphony or an ambitiously nightmarish film soundtrack for a film that no one could possibly make. Wounded Galaxies evokes something far too extreme and abstract to capture with words and images: a deep, timeless, all-consuming cosmic terror.
Phantom Code
It is both fitting and remarkable that Brown and Thrower met through their associations with Coil. On one hand, there are enormous similarities between the two groups: a deep fascination with both the occult and obscure transgressive art, overlapping collaborators like Thighpaulsandra, the use of similar electronic textures, and so on. On the other hand, however, Cyclobe has wound up in such a completely different place that it is almost difficult to imagine that the two were ever intertwined. Cyclobe sounds like Coil's id allowed to run rampant. Ossian and Stephen certainly display a predilection for all things eerie and nocturnal, but they seem to be chasing an altogether more difficult, disturbing, snarling, and visceral vision. No one will ever confuse a Cyclobe album with ambient music.
That said, however, the first side of the album begins with some deceptively haunting and beautiful synthesizers that suggest otherwise. That feeling doesn't last long though, as "How Acla Disappeared From the Earth" quickly grows darker and more uncomfortable as more and more sounds fade in. It is one of the shorter works on the album, so it doesn't have much time to evolve; yet it features some truly wonderful gurgling and shivering weirdness in its periphery. The next song, "The Woods Are Alive with the Smell of His Coming," completely eclipses it though.
Cyclobe’s "17-minute Pagan opus" was actually debuted on its own last year as part of an exhibition at The Tate Gallery St. Ives and it is easy to see why: it is not only the centerpiece of the album, it may possibly the defining moment of the duo's career. It is built upon a simple, yet darkly exotic backbone of kalimba and Michael York’s pipes–a foundation that doesn’t change that much over the course of the piece, serving mostly as a rhythmic anchor for the surrounding maelstrom. The real excitement lies in what unfolds on top of it, as I am amazed at how many ingenious variations of "all hell breaking loose" Thrower and Brown are able to unleash: violent, discordant cello solos from John Contreras; squealing strings that sound like the swirling spirits of the damned; horrific orchestral cacophonies; and a deep creaking like the very fabric of the universe is straining and about to rupture. It is, quite simply, an utterly staggering work.
The album's second half again begins in much calmer, uncharacteristically droning fashion with "We'll Witness the Resurrection of Dead Butterflies," but its opening motif is quickly subsumed by Cliff Stapleton’s Arabic-sounding hurdy-gurdy permutations. The piece eventually reaches a bit of a lull before being torn apart by a violent series of apocalyptically crushing stabs of ugly harmony separated by quivering aftershocks. It feels like the actual earth is shuddering in terror–loud, unexpected, visceral, and awesome.
Gradually, the relentless bludgeoning gives way to some less alarming subterranean moans and rumbles and a delicately haunting piano theme takes shape over a buzzing bed of squiggling electronics. The piano piece is "Sleeper," but it is difficult to tell quite where it officially begins due to my inability to pinpoint the moment of segue. "Sleeper" is something of an aberration for the album, as it actually features some odd and creepy childlike vocals from Ossian Brown. In all other respects though, it fits in quite nicely, as the piano gradually becomes more chromatic and unmoored and the underlying music begins to lurch and swell thunderously. The title piece follows, perfectly closing the album by mangling a simple drone piece into massive swells and jarring paroxysms of dissonance. It actually has a disturbingly post-coital feel to it at times. I am curious about whether or not that was intentional, as Thrower has stated in the past that he feels that there is a "capricious sensuousness" to Cyclobe's music. It is difficult and a bit unnerving to try to imagine sex as deviant and alarming as Wounded Galaxies though.
The whole thing adds up to a rather overwhelming, unnerving, and utterly absorbing listening experience. I am fairly certain that my heart rate increased quite a bit over the course of the record, as there was no way to remain calm in the face of such disturbed content and violent dynamic shifts. It was kind of like being attacked, actually. That probably isn't an experience that appeals to most people, but Wounded Galaxies is certainly one of the most immediately striking and singular albums that anyone will release this year (and definitely the only album that can be described with phrases like "rapturous cosmic convulsion"). I don't think Brown and Thrower are particularly concerned about appealing to "most people" anyway. Despite all of its more overt charms, however, I suspect Galaxies’ greatest achievement may lie in its sheer depth and complexity: there are all kinds of layers and textures that I was far too shell-shocked to appreciate during my first several listens. This is a very hard album to fully process and I don't expect to get tired of it anytime soon.
http://www.M/F.com/?27bk6jy6qb4nr7s
(http://img130.imageshack.us/img130/5339/333xk.jpg)
Master Eveleigh - Fascinating Action
Somewhat perplexing drill'n'bass glitch music (think Lexaunculpt or Drukqs-era Aphex Twin), buzzing and seething all the way through.
'Fascinating Action' is the 2nd release on Lab Beat, and the first and only from Mr Master Eveleigh. He's obviously spent a fair bit of time listening to Squarepusher circa 'Come To Daddy' and AFX's 'Girl/Boy' song, judging by 'Chat Perdu (Pornography Mix)' and this same obsession with trickily enhanced rhytms shines through in the Rephlexian special 'Cornish Clotted Cream' and the masterful programming prowess of 'Gangsta Glitch'. Fans of The Tuss, The Wisp, or Jodey Kendrick should really check this out.
http://www.M/F.com/?ec8c7a8kabq6a3k
(http://img15.imageshack.us/img15/4796/333nc.jpg)
Mr. One Two - The Lost Country
Latest from Garage boutique L2S. Prime dancefloor cuts.
Another debut from L2S records, this time courtesy of Mr One Two. 'The Lost Country' faces Eastwards for melodic inspiration and fuses it with swinging Garage breaks in laidback style. 'Tibetan Bowl' is equally atmospheric, but with a more active 2-step swing and morphed vocals from Blender.
http://www.M/F.com/?eggarcssy3llyt7
(http://img521.imageshack.us/img521/6625/333qc.jpg)
M2J - Infinity Complex
They released this one just last week. Absolutely killer 2-step raving on the A, with a grime-ier, Terror Danjah-esque B-side, formant'd bassline and all. The best L2S in awhile.
http://www.M/F.com/?lf5a7y6gcyfos2s
(http://img211.imageshack.us/img211/7522/333eo.jpg)
Sp:mc and Lx One - Down / Judgment
Classically sparse dubstep in the Pinch / Darqwan mold. Almost trip-hop.
One of the freshest pairings in purist dubstep deliver lushed-out heavyweights for Tempa. 'Down' takes it back to deep end '06 styles with plummeting subs and suspended halfstep patterns enveloped within widescreen aquatic dub zones. 'Judgement' has a more purposeful dread personality, bowling lethal sub moves under crafty, double time fluctuations with a proper old skool Pinch sensibility. Deep and extra deadly gear.
http://www.M/F.com/?oy0xknkx60da0ox
(http://img96.imageshack.us/img96/3214/333ue.jpg)
Audiofun - Racket
Taut and nervous electro-house, with none of that fuckin' Ed Banger coke'n'leather bullshit. For whatever reason, none of the remixes are identified so you end up with two clutches of three songs with the same name and different sounds.
http://www.M/F.com/?wfr9o6g7co464d1
(http://img130.imageshack.us/img130/9613/333bpd.jpg)
Gremino - Ruffness / Silver
The latest from the quietly consistent Car Crash Set imprint, home to Blind Prophet and more. The A-side is a whiplash-inducing stepper cut, the B-side steps up the warped rave influences to near-Raffertie levels.
http://www.M/F.com/?32aah17jijja28a
(http://img508.imageshack.us/img508/5888/333tz.jpg)
Jacques Greene - The Look EP
From Montreal by way of Dublin, Jacques Greene makes heart-touching, foot-moving House in the Tom Trago mode, with a little more in the way of modern synthwork and a remarkably light touch when it comes to gated pads. Pretty great, and fitting with LuckyMe's collective vision.
Electro-seared Funky party cuts from Jacques Greene on his debut solo EP. With 'The Look' he joins a enviable list of debut contributions on Lucky Me, Hud Mo, American Men and Nadsroic among them, but brings something quite different to the table. The debonaire bounce of 'The Look' rolls with lazer-guided precision, no sweaty business here, while 'Good Morning' is like some new strain of deeper, introverted electroFunky with Deep House keys and tinted midnight vibes. 'Holdin' On' drops in a canny R&B swinger, with subtle but damn effective edits and seasick synths in the closing stages reminding us of Machinedrum and Praveen's 'Sepalcure EP' and 'Tell Me' keeps the drums loose and woozy while a synaesthetic light show of sublimely layered synths totally captures our attention. Fans of the more refined strains of Deep Teknologi, Cooly G, Kode 9 or L-Vis should be all over this.
http://www.M/F.com/?kp740w0y0kucmo1
(http://img832.imageshack.us/img832/4971/333ke.jpg)
Downliners Sekt - We Make Hits, Not the Public
The Autechre comparisons are apt only in that this is really impeccably produced - the punch of the drums and the buzz of the bass is pretty unbelievable, but it isn't remote or proggy the way Autechre often is. I passed on these guys before and I guess I really shouldn't have. This is what Eskmo would sound like if he wasn't so tangled up in that brostep problem. With Eskmo, James Blake and this, maybe vox direct from the DJ is becoming a new Thing.
We Make Hits, Not the People is the second in a trilogy of physically-released EPs by Downliners Sekt, four tracks exploring the innermost mechanisms of electronic music. Gears grind, pistons slam, exposed circuity enervates by rerouting electricity into explosive dead ends, all that good industrial stuff. Not unlike Raster-Noton's recent output, the fastidiously mechanical music shares certain structural ideas with dubstep. However, the force with which these beats crash and skid on the warehouse floor packs a determined wallop far greater than even the deepest sub-bass caverns of London.
As opposed to the unfriendly "industrial detritus" of preceding EP Hello Lonely, Hold the Nation, Hits feels more structured. Every track carries some sort of vocal melody, presumably sampled from any number of pop or R&B sources. They may be fragmented and occasionally encased in suffocating bulletproof glass, but they're melodies nonetheless. Downliners Sekt don't go about the typical route of dehumanizing androgyny or fashioning the anthemic and triumphant out of snippets, but rather use their siren songs to thicken the dread. On "White Dawn," a disconnected voice tremulously whimpers "I feel so cold"—it's too easy, too obvious and too effective.
"From Under Spinning Lights" starts the EP off with subtle sputters, synths whirring in the background—until the swinging beat finally drops, brutal by anyone's standards. This is painful music. Probing tendrils of electricity snarl and spark, menacingly creeping up the sides. The softly cooing vocals exhorting that "love is real" from somewhere deep within the track's churning chambers are mocking, an ugly approximation of humanity from a hulking mech.
Those electric currents combine with the beats for the startling "Incertia Gloria": Think five Reese basslines playing at once. But just like the previous EP, the final track shows the most progress: the potential energy of "Selfish G" is such that it sounds like the track is compelled to move, a violent thrust that nearly brings it down from within. Horns murmur in the distance and vocals babble meaningless phrases that ride the same unnatural horizontal trajectory; this mechanical beast isn't even pretending to be human anymore. As the track burns itself out, consumed by digital distortion flames, it becomes a question of whether or not Downliners Sekt vision is a dystopian reality or a nightmarish hallucination, but while their beats are playing, the thrilling terror—or awe—they inspire renders such matters meaningless.
http://www.M/F.com/?tr67h29tyoo6euv
(http://img502.imageshack.us/img502/2946/333ag.jpg)
The Drop / C.R.S.T - Looking to the Sky: The Remixes
Went out of my comfort zone and took a chance on this clutch of lite reggae remixes. The results are really hooky and unusually deft, as remix EPs go. Goes down real easy.
http://www.M/F.com/?x5gi648um466yu3
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I only have one thing for you today. It's okay.
(http://escho.net/images/catalogue/large/esc19.jpg)
Iceage - New Brigade
http://www.mediafire.com/?qf1w979jb29wmdb
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Hey so yeah
Earth - Angels of Darkness, Demons of Light 1 (2011, 192 kbps)
(http://yayeveryday.com/images/post_images/2010-12-5/12836/1291618389.jpg)
http://www.M/F.com/?1dwffjlab5bhrti
Thank you very much, you lovely person.
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Can anyone up Rihanna's new album please? Don't think it's anywhere on the old thread...
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Did we miss the rules? I think we missed the rules. Hold on.
Here you go:
Please note the second to last rule.
Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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Okay I got a few things to post in relation to the Weird Folk thread. Prepare for EAR FEASTS.
Cromagnon - Orgasm
(http://g-ec2.images-amazon.com/images/I/61V6egPl7YL._SS500_.jpg)
Sounds for really serious heads.
Yeah sure-- everybody prattles on about these so-called "fucked up" records alla time to the point where the term loses it's edge entirely. Is it REALLY fucked up, or does it just offend the same twits who have built a little Ikea record collection based on MTV or "hipness"? Shit, some people think Ween or Pavement is/was way out there, wheareas I find them to be disposable pap that stole it's soul from early Zappa (former) or early Fall albums (latter).Which brings me to an album that truly IS fucked up: CROMAGNON's ORGASM. Before I go too deep into scribing here, for history's sake I'll point out that this sucka appeared in 1968 on ESP-disk-- mavericks among mavericks in the musick biz. They brought us Sun Ra's HELLIOCENTRIC WORLDS, the first two FUGS platters, ALBERT AYLER's SPIRITUAL UNITY, and of course, the entire catalogue of proto-punk heroes, the GODZ.Now, when you stick the needle into the groove that is opener, "Caledonia", you'll immediately think you're listening to Einsturzende Neubaten gone black metal, then you'll realize you're WRONG and that there was no reference points such as that available in 1968. Wow-- the next track, "Ritual Feat of the Libido" is simply "Caledonia" slowed down to 1/3 speed you may notice; it makes your hands kinda clammy... music shouldn't scare you right? Especially not the kind made by two guys who useta write bubblegum hits that would make Herman's Hermits blush??! Ooops! Shouldn't listen to those voices in your head-- not only is it possible, that's exactly what's happenin'. And who are these mantra-chanting freaks cryptically referred to as their "Connecticut Tribe"? OK, you can't see me, but I'm shrugging my shoulders nervously....
http://www.mediafire.com/?knqds3cydu383od
Current 93 - Cats Drunk on Copper
(http://cdn.hmvdigital.ca/static/img/sleeveart/00/004/267/0000426762_500.jpg)
Great live album introduction to Current 93.
One of the most memorable nights in my adult life now has a soundtrack companion. The night on that summery evening at the Union Chapel in 1997 is still fresh in my mind. I got to spend time with one of my best friends Andrew, as we met Coil for the first time in person on the way in, and sat in a crowd pointing at various WSD-celebs like Steven Stapleton and other supporting cast members like Mika from Panasonic, Ivan Pavlov of COH and John Everall of Sentrax. The concert opened with readings from John Balance and a couple others (one of them lives in NY I think) and subsequently continued with the current cast of Current 93: Rose McDowell and Michael Cashmore on guitar, Karl Blake on bass, Joolie Wood on violin and James Mannox on drums. Special other guests on hand that evening included Bill Breeze, Martin Stone and Big Bucks Burnett, all joining in the big "Christ and the Pale Queens" closer. The unobtrusive audience gives me the impression it was recorded straight from the sound board, but unlike many similiarly recorded shows, I don't feel there's any loss of depth here. Put the music on in your livingroom and it feels like you're actually there.
http://www.mediafire.com/?kvu3ff99136hvbq
Down in June - Covers...Death in June
(http://img13.nnm.ru/2/1/1/4/8/21148a1bca04110b1c679a40b934873c_full.jpg)
Songs by the dark, militaristic industrial folk group Death in June are re-interpreted generally as pretty nice relaxed Scandinavian pop songs.
No slavish imitators, Sweden's Down In June deconstruct and lavishly, as well as lovingly, reinvent songs from the Death In June catalogue with their own distinctive Totenpop vision.
As The Byrds were to Dylan so Down In June are to Death In June.
A very rare and surprising discovery awaits.
http://www.mediafire.com/?a4c4hdmadcc494n
Looking For Europe: The Neofolk Compendium
(http://www.highfiber.com/~thermite/discs/looking_for_europe.jpg)
Man, what can I say. Apart from the respect I have to give it for having an enormous influence on the development of my own musical taste, Looking For Europe is just about one of the best 'various artists' releases I've ever seen. Compiled to accompany a book of the same title, it presents a history of neofolk over four CDs, from prehistoric fragments from the sixties all the way to the present day. Along the way, it manages to include an astonishing wealth of rare, unreleased and exclusive material, from artists as illustrious as Genesis P Orridge and Laibach (not to mention Blood Axis, Der Blutharsch, Andrew King, etc.). Unbelievably good shit. If you only download one thing from this post download this and give it a whirl, broaden your damn horizons!
“Looking For Europe” is a must have compilation for neofolk music fans. The authors and the Auerbach label have compiled a long needed compendium that captures the many elusive strands of a musical tale that is still unfolding. Neofolk music has grown over the last twenty years from the original compositional experiments and inspirations of a handful of pioneering musicians into a thriving underground music culture that has redefined the post industrial music landscape. Whether you are a hardcore neofolk fan or one of the newly initiated you will find “Looking For Europe” to be an essential and informative history of this coveted genre.
Part 1:
http://www.mediafire.com/?jnkh9n2z9bwqfd5
Part2:
http://www.mediafire.com/?v8kvz0g31kzrsy1
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Did we miss the rules? I think we missed the rules. Hold on.
Here you go:
Please note the second to last rule.
Oh, my bad. Sorry. Still, I'm desperate, can't find it anywhere...
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because of the weird folk thread:
Chelsea Wolfe - The Grime and the Glow (2010) (320kbps)
(http://4.bp.blogspot.com/_TwoWWVwAC-g/TSYud_RKOVI/AAAAAAAAAcY/sJO665WF54w/s1600/1293979450_chelsea-wolfe-the-grime-and-the-glow-2011.jpg)
http://www.mediafire.com/?swg46dpqk3p6cez
dark, gloomy, weird. think a way more disturbed marissa nadler.
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Oh, my bad. Sorry. Still, I'm desperate, can't find it anywhere...
Sorry guy, we don't actually listen to shit music here, you should find another forum.
:mrgreen:
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Here, try this link (http://www.google.com/webhp?hl=en).
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Sorry guy, we don't actually listen to shit music here, you should find another forum.
:mrgreen:
"Listening to pop music - even if it's actually really good - isn't cool oso I don't do it, in case some people on the internet I've never even met and never, ever will, and who know me completely anonymously, judge me negatively."
Here, try this link (http://www.google.com/webhp?hl=en).
Helpful, thanks, I haven't been trying that for the past few weeks, I'll have to check it out...
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dude check your PMs.
EDIT: heh. if you don't capitalize the P and the M there that reads differently.
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"Listening to pop music - even if it's actually really good - isn't cool oso I don't do it, in case some people on the internet I've never even met and never, ever will, and who know me completely anonymously, judge me negatively."
"I let myself be trolled constantly"
:mrgreen:
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Without further ado...
CAKE - Showroom of Compassion
<3333333333333333333 haven't listened yet but I'm downloading it and I am SUPER PSYCHED
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dude check your PMs.
yeah, have done now, thanks very much!
"I let myself be trolled constantly"
:mrgreen:
Meh, I've had a long day and couldn't resist the bait...
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Cromagnon - Orgasm
This is amazing
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(http://img690.imageshack.us/img690/2818/professionalkillerspyro.jpg)
http://www.mediafire.com/file/c880jq8wzy9z9eo/k-prok-pyro.rar
(http://img33.imageshack.us/img33/3338/professionalkillersisma.jpg)
http://www.mediafire.com/file/bk0o6u9mwsxg6so/k-prok-jiadp.rar
^ listen to this one first if you're not sure where to start
(http://img585.imageshack.us/img585/9394/60895537.jpg)
http://www.mediafire.com/file/a2u943ej29o571v/k-7-9.rar
(http://img820.imageshack.us/img820/9452/afghanistanvietnam.jpg)
http://www.mediafire.com/file/8b6q3y8zladv2ye/k-afstan-vnam.rar
(http://img193.imageshack.us/img193/7811/electrohouseisdead.jpg)
http://www.mediafire.com/file/d3gn665qcuu6aii/k-ehid.rar
(http://img502.imageshack.us/img502/2824/ufoexit.jpg)
http://www.mediafire.com/file/yzhawgt7m68i5qu/k-ufex.rar
so because it's 2011 and time to start giving back
and because of the new His Name Is Alive album
which is.......
alright
here's a couple old ones from the 90's when I really loved them
Nice one, thanks. Love their recent albums but never looked into any from before the mid-'00s. Definitely gonna check these out.
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(http://sphotos.ak.fbcdn.net/hphotos-ak-snc4/hs1376.snc4/164814_1719867270106_1041010316_31911419_1447348_n.jpg)
This is an incredible mix. I just wish I could have been there to see it performed live. It is by Lord Cry Cry, who had loads of stuff up on Soundc!oud, but it has all been taken down in the last month. It's dubstep, it's blues, it's jazz. It's impressive.
You know, Generation Bass is more than just a dance or transnational club label.
First and foremost we LOVE music. It therefore follows that we will sign and release records by artists who we really dig and love and feel very, very passionate about.
Thus, as I advised you at the beginning, when the label came into being, expect the unexpected. That’s what you ought to expect with us! My task is keep you constantly surprised, perplexed, guessing and sometimes scratching your head.
You might not get it right now but maybe you will a few years down the line..lol..
Lord Cry Cry is an artist I have been waiting for all of my life. If you could hear what I have already heard, you would be sitting here with your jaw hitting the floor.
He is our GREAT WHITE HOPE…ahahahaha…..sounds sooo southern doesn’t it..lol..Maybe one of my heroes, Neil Young, might have something to say about that
No, honestly, I am so damn excited about this artist cause he embodies so much of what I LOVE……part Tom Waits…part John Lee Hooker… Part Dubstep…..Part SurfStep….part PsychoBilly…..mostly GENIUS!
This is music for the SOUL and a reminder to those who sold their souls…ie.. Robert Johnson…
If there is any justice, I think a dude like this ought to be supporting some of the biggest rock bands on earth and playing sold out stadiums if he could duplicate what he does with a LIVE band!!!
Here’s an introduction into Lord Cry Cry’s mind.
It’s a mix which will enable you to see into a tiny bit of his MADNESS & GENIUS but without giving too much away as to the forthcoming release.
Don’t go into this mix expecting Tropical Bass or Cumbia but do expect lashings of Classical stuff, Blues, Jazz, Dubstep and some other really weird shiit. A man after my very own heart!
It’s one of my top 3 mixes of 2010 and this dude is one of my Top Artists of 2011
http://www.mediaf!re.com/?xybodwr1i67ymxa
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(http://4.bp.blogspot.com/_kqM4QF-yRGQ/TRERLdzHKMI/AAAAAAAAAr4/LDU_j_fYfAY/s320/smith-westerns-dye-it-blonde.jpeg)
Smith Westerns - Dye it Blonde (2011)
Sophmore album of Smith Westerns, slightly (cough) more produced. Beachy, bonfire, tops-off fake garage pop rock.
http://vimeo.com/17777581
www.M/F.com/?ps85hxt985l45ia
(http://www.drfu.com/images/fu_letter/10.09/26938_logo.jpg)
Iron and Wine - Webcast/Kiss Each Other Clean (2011)
http://www.M/F.com/?aj5eaj13e1cb9f7It's good, but strange that he really like belts-out and sings, instead of the modest whisper of yesteryears.
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Smith Westerns - Dye it Blonde (2011)
whoop hold on I have this in much better quality
The Smith Westerns - Dye it Blonde
http://www.mediafire.com/?wzarg01e2qblk91
All in delicious 320kb
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(http://img638.imageshack.us/img638/7821/roybrooks.jpg)
The first track, "The Free Slave" has, in my opinion, the most fluid, exciting, groovy rhythm section I have ever heard.
I have perused this thread for a year or two now. I thank you all for introducing me to music I would have not found for a long time without you. I have tried to join a few times and was not successful. I don't know what went wrong, I am a musician, not a computer aficionado.
This album is fucking sublime.
1970, the year of this recording, was a mighty exploratory year for jazz. The shock waves of the Miles Davis bombshell, Bitches Brew, were strongly reverberating in open minds. But not every innovator had to plug-in their instrument in order to crackle electrically. Indeed,Roy Brooks demonstrates on this live date just how alive and creative acoustic jazz could still be in that pivotal year of 1970. Brooks drives his all star quintet, which includes the grossly underrated Woody Shaw on trumpet, the heavy-weight George Coleman on tenor, the unstoppable Cedar Walton on piano, and the fluid Cecil McBee on bass.
Funky, adventurous, and totally accessible, this recording captures the sheer excitement and enthusiasm that players like these could generate when the chemistry was just right. This is a near-classic club date, a fact that is loudly amplified by the near frenzied appreciation of the audience, whose presence is felt throughout the four lengthy tracks that stretch across the record grooves. It almost makes the listener jealous, wishing to have been there on that memorable day at the Left Bank Jazz Society Baltimore, soaking in the pleasure of such a jamming session. Thankfully 32 Jazz has unearthed this disc for us to spin!
http://www.M/F.com/?eqox5jj12qg520e
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It might have been during the time when confirmation emails were not going out. (it was ages, we couldn't get it working right)
In any case, welcome!
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Timber Timbre - Timber Timbre (2009)
(http://img221.imageshack.us/img221/4161/coverbsp.jpg)
Magic Arrow (http://www.youtube.com/watch?v=icJOkfS7ImA)
http://www.M/F.com/?t89km283875t55j
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hey kids long time no share
(http://bandcamp.com/files/10/47/1047434332-1.jpg)
The Townhouses - Islands
I grabbed this album today and found it too infectious to keep to myself. The group are from Melbourne. The music is gentle and ringing, occasionally blippy and bloopy, otherwise beaty and soupy. Give it a try and enjoy.
http://www.mediafire.com/?8rdcinkqqr0eq9v
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(http://img703.imageshack.us/img703/6420/fenechsolerfenechsoler.jpg)
(self-titled; 2010; V2)
Contender (http://www.youtube.com/watch?v=ZaJvfEwFg18)
http://www.mediafire.com/?2z0sn5db8u2gb3c
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Timber Timbre - Timber Timbre (2009)
Magic Arrow (http://www.youtube.com/watch?v=icJOkfS7ImA)
http://www.M/F.com/?t89km283875t55j
This album is pretty fucking excellent, I'm actually surprised it hadn't been posted yet.
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Downliners Sekt - We Make Hits, Not the Public
The Autechre comparisons are apt only in that this is really impeccably produced - the punch of the drums and the buzz of the bass is pretty unbelievable, but it isn't remote or proggy the way Autechre often is. I passed on these guys before and I guess I really shouldn't have. This is what Eskmo would sound like if he wasn't so tangled up in that brostep problem. With Eskmo, James Blake and this, maybe vox direct from the DJ is becoming a new Thing.
We Make Hits, Not the People is the second in a trilogy of physically-released EPs by Downliners Sekt, four tracks exploring the innermost mechanisms of electronic music. Gears grind, pistons slam, exposed circuity enervates by rerouting electricity into explosive dead ends, all that good industrial stuff. Not unlike Raster-Noton's recent output, the fastidiously mechanical music shares certain structural ideas with dubstep. However, the force with which these beats crash and skid on the warehouse floor packs a determined wallop far greater than even the deepest sub-bass caverns of London.
As opposed to the unfriendly "industrial detritus" of preceding EP Hello Lonely, Hold the Nation, Hits feels more structured. Every track carries some sort of vocal melody, presumably sampled from any number of pop or R&B sources. They may be fragmented and occasionally encased in suffocating bulletproof glass, but they're melodies nonetheless. Downliners Sekt don't go about the typical route of dehumanizing androgyny or fashioning the anthemic and triumphant out of snippets, but rather use their siren songs to thicken the dread. On "White Dawn," a disconnected voice tremulously whimpers "I feel so cold"—it's too easy, too obvious and too effective.
"From Under Spinning Lights" starts the EP off with subtle sputters, synths whirring in the background—until the swinging beat finally drops, brutal by anyone's standards. This is painful music. Probing tendrils of electricity snarl and spark, menacingly creeping up the sides. The softly cooing vocals exhorting that "love is real" from somewhere deep within the track's churning chambers are mocking, an ugly approximation of humanity from a hulking mech.
Those electric currents combine with the beats for the startling "Incertia Gloria": Think five Reese basslines playing at once. But just like the previous EP, the final track shows the most progress: the potential energy of "Selfish G" is such that it sounds like the track is compelled to move, a violent thrust that nearly brings it down from within. Horns murmur in the distance and vocals babble meaningless phrases that ride the same unnatural horizontal trajectory; this mechanical beast isn't even pretending to be human anymore. As the track burns itself out, consumed by digital distortion flames, it becomes a question of whether or not Downliners Sekt vision is a dystopian reality or a nightmarish hallucination, but while their beats are playing, the thrilling terror—or awe—they inspire renders such matters meaningless.
http://www.M/F.com/?tr67h29tyoo6euv
This really is some brilliant stuff--definitely one of the best things I've heard lately. It's worth noting, though, that you can download this (and all their other releases) for free from their website.
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(http://img412.imageshack.us/img412/3394/lkjx.jpg)
Linton Kwesi Johnson is a UK-based dub poet. He became the second living poet, and the only black poet, to be published in the Penguin Classics series. His poetry involves the recitation of his own verse in Jamaican Patois over dub-reggae.
This is a compilation album and captures completely the anger of the Rasta man during the violent summer of 1981 in Brixton, South London.
At the beginning of April, the Metropolitan Police began Operation Swamp 81 - plain clothes police officers were dispatched into Brixton, and within five days almost 950 people were stopped and searched through the heavy use of the sus law - which allowed police to stop and search any individual on the basis of 'suspicion' of wrong-doing. This increased tension between the police and the community eventually leading to the riot.
Happy summer reggae this 'aint. It a cyall ta arms chap!
http://www.M/F.com/?1d3509q0u5p69jy
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Huh, always wondered what "Swamp 81" referred to.
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(http://img10.imageshack.us/img10/2522/gatekeepergiza.jpg)
http://www.mediafire.com/?43c80mr9cpev8be
(2010 / 320)
review (http://pitchfork.com/reviews/albums/14980-giza-ep/)
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It's too bad, I was going to have a rip posted as soon as it got here. Boomkat's been really slow lately.
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This is the new shit.
(http://img203.imageshack.us/img203/6281/333yjc.jpg)
Zerkalo - Stoi Storoni Zerkala Pt. 1
Pretty excellent synthwave throwback. Kind of like Serafina Steer if she played synths instead of the harp, sorta. Seedy cocaine goth music.
Clone initiate another sub-label, this time dedicated to an offshoot project of the Heinrich Mueller / Dopplereffekt spectrum. On these two Zerkalo EPs Mueller works with Victoria Lucas, whose arid vocals appeared on the shadowy Black Replica tracks available through their myspace. In Part I of 'Stoi Storoni Zerkala' the pair craft a sound in thrall to the richness of pure synthesizer tones and stark machine rhythms, unadorned by unnecessary FX and conjuring imagery of Chris & Cosey producing the soundtrack to some unknown 80s Russian film noir. It's not as conceptually high brow as the recent Dopplereffekt material but should satisfy your darker cravings. Aces.
http://www.M/F.com/?x2456hl565e0b70
(http://img268.imageshack.us/img268/8822/0673795706114600.jpg)
Tevo Howard - What Is Noise?
Following a killer 2010 (that featured a pair of sublime drops on Rush Hour) Chicago House classicist Tevo Howard launches an EP for the always-on-it Permanent Vacation. Expect only the finest hypnotic-melancholic, strictly analogue, deep house/techno grooves, wrapped up in silken pads, winding bass worms and cosmic hooks. If you were into the Virgo reissue last year, this is definitely the one.
http://www.M/F.com/?4qv4pl5lpoj9exp
(http://img94.imageshack.us/img94/2632/333ql.jpg)
030303 Label Compilation
Modern acid techno (they released that incredible EOD EP I posted a few weeks back) with a strong IDM undercurrent, as befitting such things. Great turns from EOD and Vibert.
Purveyors of the finest modern acid, the 030303 label gets its game together with ten tracks from James T Cotton, Ceephax, Ardisson, Luke Vibert and the rest. JTC's 'Nothings The Same' gets out the gates with a groovy Chi-town jacker using some dope Green Velvet style vocals. Ardisson are in the mood for it with the deadly uptempo '5 Minutes To Get Straight' and true to form, Luke Vibert gives one of the maddest offerings on the rushing machine breaks of 'Acid pHorce'. We're not sure who DB is but he's obviously got a thing for the techier end of the Rephlex catalogue i.e. The Wisp or The Tuss on 'Orisphee'. Ceephax's 'Acid Schmichael' hurtles out a dose of fast acid for the ravers dem and there's also a rare cut from the brilliant D'Arcangelo on 'No Strings Attached But A Volcom Belt'. Belter!
http://www.M/F.com/?5rbibdocd98zmrd
(http://img262.imageshack.us/img262/3844/333mg.jpg)
Cursor Miner - Requires Attention
Eclectic pop, more than anything, but generally all-over-the-place. Hooky, with pretty great production. Closest thing I can compare it to is a more hi-fi version of Pictureplane.
Electronica maverick Cursor Miner deploys his fourth album, a journey into the lawless frontiers of pop music where just about anything can happen. Oddball opener 'Reject' is what you'd imagine Depeche Mode jamming around a campfire might sound like, while the more circuit-centric 'The Golem Of Bognor Regis' lurches more conscientiously in the direction of an electro influence, whilst also sounding a little like one of Atom TM's many guises in its absorption of chintzy exotica. One of the album's highlights, 'The Man With The Transparent Face' marks a turn towards a post-dubstep sound, embracing throbbing, pressurised basslines and aggressive beats whilst keeping it quintessentially Cursor Miner with a weird lyrical contingent. Following suit, 'Mad Cow (Intensively Farmed Version)' maintains the dark and distorted urban edge, while such diverse treats as the Rephlex-ish 'Full English Fastbreak' and the star-gazing cold-wave missive (and former single) 'Luna' keep the top quality content flowing.
http://www.M/F.com/?apzz9pn7unslu06
(http://img833.imageshack.us/img833/5615/333ch.jpg)
Wil Bolton - Time Lapse
Boomkat says it better than I can. Flirts with Campfire Headphase-era Boards of Canada, generally very idyllic.
Hibernate records continues to dominate the pastoral ambient wasteland with this latest missive from Boltfish co-owner Wil Bolton. Better known as glitchy IDM feller Cheju, on ‘Time Lapse’ Wil strips down his sound to come up with something far more measured and beautiful than anything in his back catalogue. Beginning with the reverberating electronics of ‘Falling Away’ this sets the tone for the album, with distant field recordings sitting beneath echoing melodies. Somewhere in-between the electrified shoegaze of Manual and the melancholy electronics of Vangelis, Wil navigates his sound into more acoustic territory on ‘Corrosion’ and into deep, haunting drone on ‘Slate’, but the rich melodic sense is the glue that holds the record together. Bolton might not be breaking any new ground on ‘Time Lapse’, but his production skill and ear for melody make this a thoroughly enjoyable cinematic listening experience.
http://www.M/F.com/?kxa4x1tu0g747sj
(http://img403.imageshack.us/img403/3421/333vi.jpg)
The Gulf Stream - Native's Mantra EP
Somehow I ended up with another release from the same label that gave us the bro-y bass album I posted a week or so ago. Overall a lower-key affair, but still punchy!
http://www.M/F.com/?opoqadirdvvlwyb
(http://img402.imageshack.us/img402/3610/333st.jpg)
By Proxy - Sixty Eight
I know nothing about these guys other than that they're from NYC / San Fran / Seattle and they're releasing stuff on Car Crash Set, who I trust. The title track is a blue-toned club R&B track in the dBridge / Riya mold. It's pretty awesome. Contains a remix by Aussie DnB dude Vaccine.
http://www.M/F.com/?k59658rt4wjvbtg
(http://img824.imageshack.us/img824/9929/333yf.jpg)
Julio Bashmore - Everybody Needs A Theme Tune
I wish Julio would write my theme tune (http://img109.imageshack.us/img109/3214/emotallearsb.gif) He branches out a bit from his UK Funky roots (he might be the best in that business, Night Slugs be damned) with techier songs here. I love it to bits.
I feel like maybe he got his cover switched with a Oneohtrix Point Never album by accident.
Killer and diverse four-tracker from Señor Bashmore, the first for new London label, PMR Records. Most notably Julio diverts his energies into two new areas with the cannily dubbed-out disco triplets of 'Everyone Needs A Theme Tune' and even a slouchy future boogie cruise on 'The Horn That Time Forgot'. Back in more familiar terrain, 'Battle For Middle You' infuses a DirtyBird style deep burner with a sweetly filtered Detroit drop and 'Ask Yourself' floats off on a bed of 808 bass hits and breezy tropical synth pads. Very nice indeed.
http://www.M/F.com/?8ccb63p1ml2b40u
(http://img593.imageshack.us/img593/9205/333cy.jpg)
Jamie Grind - Footwork EP
The wiley, grizzled dubstep vets at Fortified Audio (who have released a few pretty choice twelves in the last year that you can find in the old thread) break into the faux-Chicago game, with this EP from Jamie Grind exploring... Footwork. If you like Ramadanman / Andrea / Addison Groove, this is more of that same great taste. I like the way Europe is refining and streamlining the rough'n'tough sensibility of the original Chicago sound.
After making a solid first impression with his Infrasonics debut, Leeds-based Jamie Grind reduces Chicago footwork to a shimmering flicker of neatened swing rhythms on Fortified Audio. The lead track deploys many of the same elements as your average footwork cut but arranged for House'd-up UK 'floors. Linking with Hackman the pair sketch out a skittering Broken-Beat raver on 'Saw The Light' while 'Without You' runs with percolating 808s, tidy rhodes stabs and sweet garage vibes, saving the killer 2-step blush of 'Now You Know' for dessert. fans of everyone from Hyetal to Andy Stott should give this some attention! Recommended.
http://www.M/F.com/?4lbaan21st7dte0
Last one!
(http://img651.imageshack.us/img651/8943/333xq.jpg)
Bvdub - Tribes at the Temple of Silence
Beautiful loop compositions from the dub techno stalwart Bvdub, like a less minimalistic Basinski in its better moments. Patient listeners are rewarded with the eventual emergence of gentle, loping techno on a few cuts. Brilliant stuff, great to veg out over.
The consistently good Home Normal label presents what must be the most engaging and lushly complex album to date from Brock Van Wey aka BVDub. Drifting slightly away from the vast dub scapes he's reputed for, 'Tribes At The Temple Of Silence' is a sumptuous suite of drone/loop-based ambient electronics with a keener sense of pop sweetness and taste for tempered beats. A first sign of things to come occurs on 'A Quiet Doorway Opens', setting the four walls of his sound to a more intimate environment. 'The Past Disappears' gives the first convective flush of emotion with a slow blur of symphonic strings and 13.5 tog ambient tones opened out with richly padded but deeply discrete basses. The keys and crystalline melody of 'Sanctuary' are more New Age positive, recalling some later Roedelius wanderings, but 'These Walls Will Always Remember' succumbs to that comforting loneliness that defines the best of his work, with chilly synths condensed into heaving, harmonious sighs. 'Morning Rituals' introduces even rarer elements to his work with what sounds like Native American ululations woven into waves of static and gently buoyant, icily clear electronic soul rhythms, whereas 'We Move As One' smudges fluttering dub house patterns into the background, foregrounding his powdered snow-crunching synth textures. 'Towers Rise To The Sky' renders his gauzy veils of ambient shimmer with breathtaking delicacy. Highly recommended.
http://www.M/F.com/?248gg5t0khnh1q1
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JESU - HEARTACHE DETHRONED (2010)
(http://img573.imageshack.us/img573/299/hh666197cover4c.jpg)
http://www.M/F.com/?7gy9awibwz14yr1
reissue of out of print first EP and some old unfinished stuff......
The Heart Ache EP consists of two 20-minute songs. The first six minutes of “Heart Ache” is a familiar Godflesh grind. Six minutes in, however, a Mellotron-triggered sampled choir starts up, and a clear guitar line begins to ring out, introducing a new guitar tone that will characterize Jesu throughout the albums and EPs to come, followed by Broadrick’s clear, yearning vocal and a slowly evolving composition including chiming acoustic guitars and keyboards, all played by Broadrick. The song succeeds in taking the listener on a complex journey without the pummeling loud-quiet-loud dynamics of the archetypal post-rock song. “Ruined” is even more cohesive, with a gorgeously downcast, ringing motif. The previously unreleased Dethroned EP is less impressive: unfinished songs still very much in a Godflesh mode. The title song is muscular, but marred by anonymous processed vocals, and “Aurated Skin” is beautiful but airless, falling a bit too close to formulaic dreampop.
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Barefoot Surrender--Barefoot Surrender
http://www.mf.com/?237e8ads4e1p97fwww.myspace.com/never-say-surrender (http://www.myspace.com/never-say-surrender)
Wanted to thank you for this - gotta admit I have a weakness for anything bluegrassy. Even putting that aside though, the album's fun.
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CAVIL AT REST - ORIONS WAY (2007)
(http://farm6.static.flickr.com/5086/5346506781_9a6386bcf7.jpg)
http://www.M/F.com/?cuzfgk1kgm2d3a0
I've been following this thread for 2 years now and I finally popped my cherry. I feel like a man.
OK, you all know Local Natives. Cavil At Rest was Local Natives before they changed their name and got better management. Same guys. Much more upbeat. Just as awesome. I dont know why they never pushed these songs but it's not my band so I cannot judge. "Sun Hands" was even a Cavil At Rest demo before the Natives went Local. This is a combination of both of their old EPs. The bassline, claps and breaths in "Who's There" will explain everything. Enjoy!
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OK, you all know Local Natives.
Umm... who? :?
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Your popped cherry is so fantastic indeed. Thanks much
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Those earlier disks remind me that their earliest gigs at the Jericho Tavern in Oxford under the name On a Friday were recorded by a friend of mine.
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Pienza Ethnorkestra - Indiens d'Europe (2006)
(http://cd1d.com/sites/default/files/imageupload/image_square/123523-indiens-d-039europe-05082010-1051.jpg)
http://www.myspace.com/pienzaethnorkestra
Crazy great french jazz, folk-rock, something. Hope you enjoy it.
http://www.M/F.com/?bb1qq9avh9sxa93
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(http://img833.imageshack.us/img833/5615/333ch.jpg)
Wil Bolton - Time Lapse
(http://img651.imageshack.us/img651/8943/333xq.jpg)
Bvdub - Tribes at the Temple of Silence
obviously, like everyone else, I can't keep up with all the goodness you put up but thanks generally and I'm liking these two at the moment - very relaxing
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Ulcerate - The Destroyers of All
(http://img687.imageshack.us/img687/2158/ulceratethedestroyerse1.jpg)
http://www.mediafire.com/?ab5w1x5mjdaf2aa
If you liked Everything Is Fire, you will definitely like this. For those that haven't listened before, I'd say they fit between the style of tech metal Gorguts and Deathspell Omega are known for. They play technical music, but it has so much atmosphere...and that title track is pretty much incredible.
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Awwwwwww daaaaaaaaaang
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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Anybody heard of Old Grey Mule? Great instrumental blues sound - can't seem to find the album 'Sound Like Something Fell Off the House' anywhere though. Definite must check out.
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(http://www.decoymusic.com/images/album_covers/0013/2643/casey-jones-i-hope-we-are-not-the-last_medium.jpg?1293008874)
http://www.mediafire.com/?c1f38lifz7zaghuSad to see them go, but this album is a good farewell. Straightedge at it's best, in musical form that is.
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(http://2.bp.blogspot.com/_Qf5aOT_9cRM/TSnRQnVIWBI/AAAAAAAAAs0/7BhzoBERaik/s400/the-get-up-kids-there-are-rules.jpg)
http://www. M/F .com/?11rbr9adz8ag7ulI don't know what to say about this band, huge influence on me growing up. This album is a pretty big departure from their usual stuff. What more is there to say.
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When that The Avalanches album first came out, they sent promo mini-cds to the record store i frequented.
Their music videos for Since I Left You and Frontier Psychiatrist are some of my favorite music videos ever.
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I'm not asking for a re-up or anything, just saying this is weird: anytime I try to click to download for that G.U.K., it just basically reloads the page... the first time I clicked all it did was launch a separate tab for bloomberg news... never had trouble with M/F before, it's weird.
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I have that quite often with mediafire actually.
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Yeah, it happens with me randomly as well.
Coming tomorrow: a block of pop-punk awesome. You've been warned.
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i might also put up a thrash metal megapost tonight or tomorrow for those interested.
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Apparat Organ Quartet - Pófýfónía
(http://upload.wikimedia.org/wikipedia/en/8/85/P%C3%B3l%C3%BDf%C3%B3n%C3%ADa_cover.jpg)
http://www.mediafire.com/?dw5pgxsp5d29ix4http://www.youtube.com/watch?v=WTIAvopghRg (http://www.youtube.com/watch?v=WTIAvopghRg)
Mammút - Karkari
(http://s3.amazonaws.com/YouLicenseImages/128674241231506250_wimiq2m03ptctf45m0cqqd45.jpg)
http://www.mediafire.com/?t2gntf3j7mz6mmrhttp://www.youtube.com/watch?v=aeGZriDklEo (http://www.youtube.com/watch?v=aeGZriDklEo)
http://www.youtube.com/watch?v=NNiOEH0Zon8 (http://www.youtube.com/watch?v=NNiOEH0Zon8)
Pétur Ben - Wine For My Weakness
(http://www.grapevine.is/media/w490/554afedfbaeabd.jpg)
http://www.mediafire.com/?9sstscyutt83nhnhttp://www.youtube.com/watch?v=qXxGzdtRKXM (http://www.youtube.com/watch?v=qXxGzdtRKXM)
Without Gravity - Tenderfoot
(http://cdn.pitchfork.com/media/8797-tenderfoot.jpg)
Tenderfoot is a beautiful album from Without Gravity, full of slow, loping rural grooves and spectrally pretty vocals from lead singer Kalli (just Kalli). On this debut LP the Icelandic group explores the same expansively ethereal, uncluttered terrain that Irishman Damien Rice explored on his debut, O, but with a bit more of an alt-country bent at times. In "Beautiful Son" -- which moves along at a laid-back acoustic groove, Kalli's gorgeous, jazzy vocals floating atop it all -- the prettiness is in the hushed spaces. "Country," with its bright peals of acoustic slide and (relatively) upbeat shuffle, could be an outtake from Ryan Adams' Heartbreaker. In fact, the aforementioned albums, Heartbreaker and O, are good reference points for understanding the hushed beauty of the aptly monikered Without Gravity; it's all about acoustic grooves, barely grazed percussion, and pretty, pretty vocals on this enchantingly atmospheric album. This LP, recorded primarily live in the studio -- with few alterations -- is packed with tunes for the beautifully downtrodden.
http://www.mediafire.com/?lep5glem06am9ayhttp://www.youtube.com/watch?v=DicB7bvBHEw (http://www.youtube.com/watch?v=DicB7bvBHEw)
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Sekaa Gong Tirta Sinar is a Sydney-based Gamelan group. Arepin Galang Surya ("Facing the Sunlight") was a concert given on 21st May 2005 as a benefit concert for Yayasan Senang Hati. The group's website is here (http://www.tirtasinar.org/).
(http://cassland.org/images/Gamelan.jpg)
Sekaa Gong Tirta Sinar - Arepin Galang Surya
http://www.M/F.com/?cm3wf3a5n2c59if
(This recording plays as stereo, but is actually in UHJ-encoded ambisonic surround format - as if you care!)
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(http://img577.imageshack.us/img577/9199/mrradm.jpg)
MRR-ADM are Southern Californian production team Michael Raymond Russell and Adam Douglas Manella. Built around and centered on a heavy, syncopated, driving drum kit, followed by percussive, insistent bass. It’s a constant flood of grimy minimalist-funk, punctuated by only a few moments of respite.
http://www.M/F.com/?d72gx8ktsag3aa8
(http://img510.imageshack.us/img510/9841/whitebro.jpg)
The second track 'Safari Strut' has the most amazing music video.
The quote says it all for me.
The World-Psych Masterpiece from the Whitefield Brothers - featuring Edan, Mr. Lif, Quantic, Percee P, MED, Bajka and members of the Dap Kings, Poets of Rhythm, El Michels Affair
Earthology is the long awaited follow up to The Whitefield Brothers cult-classic In The Raw. While In The Raw’s hypnotic, defiantly psychedelic funk music was grounded in the great musical traditions of both America and Africa, Earthology finds the Brothers infusing their funk (or, as the Brothers prefer it, “raw soul”) with musical traditions that span the globe.
To achieve the Earthology’s unique sound, the Brothers employed an array of instruments and put in a dizzying amount of research - traveling the world, joining different bands and ethnic performing ensembles, amassing and absorbing field recordings, trawling used record bins for lost examples of global psychedelic-fusion – over a period spanning some fifteen years. Like In The Raw, Earthology is grounded by a “raw soul” band’s building blocks – drums, guitar, bass, keys and horns – but it is augmented by such exotic instruments as gongs and flutes from Asia, xylophones and string instruments from Africa and Central American percussion instruments.
The use of African polyrhythms now seems commonplace on a funk or psych album; Arabic rhythmical structures, African pentatonic scales and Oriental modes do not. The Whitefield Brothers - and a multitude of guest ranging from vocalists Edan, Mr. Lif, Bajka, Percee P and MED to musicians from Antibalas, El Michels Affair, Quantic and the Dap-Kings - set these elements in a modern context and, over the course of thirteen, dense tracks, blend them with the fierce funk their fans have grown to love.
http://www.mediaf!re.com/?vzeawqfaladbamx
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ROBBERS - Demos & Flesh EP
(http://farm6.static.flickr.com/5249/5354965731_235c44fee2.jpg)
Robbers are from Long Island, NY. They play some haunting indie rock. Frontman/guitarist and songwriter Andrew Accardi is the younger brother of Brand New guitarist Vincent Accardi. For 20 years old, Andrew is kicking out some amazing music. I'm personal friends with these guys and they change the vibe in the room when they play. I put together their early demos that were tracked in the Accardi's basement and their latest Flesh EP, which was tracked and mixed by Mike Sapone[url]http://en.wikipedia.org/wiki/Mike_Sapone[url]. I like the demos better just because they're much more grimey. They roll with that Sons Modern crew that includes Happy Body Slow Brain, Glassjaw, Sainthood Reps. Enjoy!
http://www.m/f.com/?urxeb8cvxdlykuv
Flesh EP review on Ripples Effect http://ripplemusic.blogspot.com/2009/04/robbers-flesh-ep.html
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Coming tomorrow: a block of pop-punk awesome. You've been warned.
by tomorrow do you mean midnight?
i am a sucker for old school hardcore and pop punk
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(http://img130.imageshack.us/img130/3012/tsmtsm.jpg)
(self-titled; 2010; 320kbps)
http://www.mediafire.com/?m4nfrr8wzkg3b6n
"Circles" (http://www.youtube.com/watch?v=b9t8Oex9BpQ)
last.fm (http://www.last.fm/music/The+Soft+Moon) / review (http://pitchfork.com/reviews/albums/14997-the-soft-moon/)
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20 seconds into that song and I decided to download.
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Brotha needs to sleep. But here we go.
This post is mainly due to the fact that I got one of these albums in the mail the other day, and it's the first repress since the original, in 2005. And that Patrick wanted another listen to Upstairs/Downstairs.
Also due to the fact that this band is one of the greatest punk bands in history (at least I think so), and they were around for a criminally short time. They played what would stereotypically be called pop-punk, but with bits of jazz, 60s pop, 80s hardcore, and new wave. But if that sounds too damn pretentious for you, it's pop-punk songs about girls.
Ladies and Gentleman, The Ergs!. Not in full discographal form, but in essential 12" form.
dorkrockcorkrod (2005)
This was their first full length album, and is probably one of their single best releases.
http://www.mediafire.com/?vu85rmynp32eorv
Jersey's Best Prancers (2006)
A 12" EP that came out between albums. And yes, you guessed right if you thought "man, are they totally ripping off the cover of Lifetime's "Jersey's Best Dancers"?"
http://www.mediafire.com/?wly379fjkp8iksm
Upstairs/Downstairs (2007)
This was the band's second and final full-length album. A lot of people don't like this one as much as dorkrock, but a lot of people are wrong, too. There are some absolutely outstanding tracks on here, "Girls of the Market Square" being my personal favorite.
http://www.mediafire.com/?d8ajihwtad3z13e
That's It... Bye (2009)
The band's final release, a three song EP. Came out as a 12" on Don Giovanni, right after two split 7"s on No Idea with The Measure [SA], who just called it quits this week.
http://www.mediafire.com/?u6zi18wywz3gmn7
Pretty much anything else they put out can be found either on the "Hindsight Is 20/20, My Friend" comp, or the "Ben Kweller" and "Thrash Compactor" EPs.
The Ergs! are still around, in one form or another. After calling it quits at the end of 2008, they went on to play in many other northeastern punk bands, including Night Birds, The Dopamines, House Boat, The Measure [SA], Psyched To Die, Iron Chic, and Used Kids, amongst others. They also played two benefit shows at the beginning of December 2010 for a friend who was battling cancer, but a full reunion hasn't really been discussed or anything.
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Cut Copy - Zonoscope (2011)
(http://upload.wikimedia.org/wikipedia/en/7/7f/Zonoscope.jpg)
http://www.M/F.com/?u1yvlhbuh2drvfq
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ITT: The Ergs! get a restraining order against Shane.
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Zaz - ZAZ[2010](320kb/s)
(http://i.imgur.com/5qRAo.jpg)
http://www.mediafire.com/?0gffvfyo6h7k99w
Je Veux (http://www.youtube.com/watch?v=-F_9fgtEKYg)
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(http://img138.imageshack.us/img138/7486/leadbellykingofthetwelv.jpg)
Leadbelly - King of the 12 String Guitar
Amazon.com
Leadbelly is a folk musician by association not art. He was a bluesman, pure and simple: a howler, an astonishingly prolific composer, and a murderously driving guitar slinger. His catalogue is immense, and though the complete Folkways Leadbelly Legacy series is probably the best way to get a picture of his importance, this single disc of early 1930s field recordings, made shortly after Leadbelly left prison, has some crucial tracks and rare, alternate takes like "Packin' Truck Blues," "Roberta 1 & 2," "You Don't Know My Mind," and "Pigmeat." --Roy Francis Kasten
http://www.M/F.com/?mga3axbk3qzdyjw
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IRON & WINE - KISS EACH OTHER CLEAN [2011]
(http://img69.imageshack.us/img69/9538/ironandwinekisseachothe.jpg)
http://www.M/F.com/?heieshz12czbpn7
Well, I haven't played it yet, I liked the single but not the B-sides and the npr thing was so-so - but we'll see eh?
ugly cover though
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I like the cover! Agree with you on the split opinions about the songs. I really do hope I enjoy it but uh honestly I'm not confident. Here goes nothin'.
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Hello.
So, long-time-lurker, first time poster. Hopefully none of this has been posted before/won't be overly offensive to your ears.
(http://i51.tinypic.com/oqd2q0.jpg)
AJJ - Only God Can Judge Me
http://www.m/f.com/?994yhbg09yqmpe1
(http://i54.tinypic.com/2uy13sm.jpg)
Rosa - I, Mississippi, You
http://www.m/f.com/?u4c9vg82qzvuz5dDIY folk-punk from the lovely people at plan-it-x.
(http://i56.tinypic.com/1zlrfk9.jpg)
Withered Hand - Good News
http://www.m/f.com/?xlor0ig7frno0e5[Insert every positive adjective here] music from a miserable, bedroom-dwelling, Scottish man. So, a bit like Malcolm Middleton, but less cheery/more acoustic-y. DL this, because it is all good things.
(http://i56.tinypic.com/fdu2dw.jpg)
Withered Hand - You're Not Alone [EP]
http://www.m/f.com/?7q44t4omtg4ea1b
Hopefully there's no html fail.
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ALSO, to whoever posted the Brendan Murray a while ago. I really, really enjoyed that. Thank you!
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In honor of Trish Keenan's passing I will post the first couple Broadcast full lengths.
Broadcast - Work and Non-Work (collection of early EPs)
http://www.M/F.com/?a092scf8im80fka
Broadcast - The Noise Made by People (First Album)
http://www.M/F.com/?7toiei9kw6wdi77
might post some more stuff later. I was really sad to hear of her passing, very young and I loved the last album, the last compilation and their collaboration with the Focus Group so much and was looking forward to whatever they would do next. R.I.P.
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megapost hoooooo
NOW That's What I Call Beard Metal 2010
A collection of my favouritest albums of 2010 that can be humorously grouped together as "Beard Metal" or "Hipster Metal", or if you're not a dick, "really fucking good music".
There are some pretty notable exclusions from this upload, and that is because those albums I actually got from this thread (or the 2010 version of it, at any rate) and they should still be available if you want to search for them. I strongly recommend the following 2010 releases which other people have uploaded:
Alcest- Ecailles de Lune
Black Breath- Heavy Breathing
Darkthrone- Circle the Wagons
Austerity Program- Backsliders and Apostates Will Burn
Electric Wizard- Black Masses
Agalloch- Marrow of the Spirit
Salome- Terminal
Now onto the uploads
Ihsahn- After V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/ihsahnafter.jpg)
http://www.M/F.com/?3919vi6xyw1izsi
Solo album from former Emperor frontman. Features some truly righteous saxophone skronking from one of the members of Norwegian band Shining, whose Blackjazz album was released last year, and I believe may be in the old MF thread somewhere.
Mouth of the Architect- The Violence Beneath V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/folder.jpg)
http://www.M/F.com/?24jjfi6nt2s2s1k
Worth the price of admission alone for the heavy-and-epic-and-extremely-pretty cover of Peter Gabriel's "In Your Eyes". [Youtube (http://www.youtube.com/watch?v=Z118lF7vQUw)]
Kylesa- Spiral Shadow 128kbps
(http://i9.photobucket.com/albums/a55/ddovey/Kylesa-Spiral-Shadow-300x300.jpg)
http://www.M/F.com/?bcbsm74uzws97dx
Probably Kylesa's best album yet, melding the anthemic shoutalongs of Time Will Fuse It's Worth with the winding digression and psychedelia of Static Tensions, and some honest-to-god actual songcraft thrown in to boot!
Nachtmystium- Addicts: Black Meddle pt. II V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/Nachtmystium-Addicts-300x297.jpg)
http://www.M/F.com/?lbwdxxbmvim6cu2
Largely in here because it's probably the most controversial and polarising metal release of 2010, former USBM wunderkid Blake Judd introduces pop, indie rock and even disco elements into the usual misanthropic blast-and-drone milieu of previous Nachtmystium releases. Certainly a daring and deliberately provocative album, opinion seems keenly split on whether it actually works, or if Judd is just, like, a fucking gay poser bitch and totally not tr00.
Haarp- The Filth V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/haarp-the-filth-300x300.jpg)
http://www.M/F.com/?r04l794zirbt5cf
Murderously heavy New Orleans sludge with some death metal elements thrown in too. Haarp's real secret weapon is their singer Shaun Emmons, who manages to have extraordinary diction and clarity while growling and screaming and generally fucking himself up. Meaning, you can understand what the guy says, and what he's saying is generally very fucked up. These guys are on Phil Anselmo's new Housecore Records label, if that kind of thing interests you.
Nails- Unsilent Death 320kbps
(http://i9.photobucket.com/albums/a55/ddovey/512Br8PpsG2L_SL500_AA300_.jpg)
http://www.M/F.com/?rw9ov1bsbo8m8em
Exhibit A in evidence of the new Southern Lord paradigm. People were going ape-poopy over this in the Hardcore thread a little while back, and with good reason. They said it pretty well, so I might just quote them:
Oh hells yes.
Nails are some angry, angry young men. I love it.
Holy shit. It's like being hit by a train carrying 10 tons of awesome.
pretty much, yeah, only the driver is screaming at you too.
just listened to the 30sec samples on amazon and felt like i'd been kicked in the face by a mountain. totally buying this album!
It's only 14 minutes, but it's 14 minutes of OH SHIT FUCK HELL YEAH
You should probably already have this record. If you don't, now you've got no fuckin' excuse.
Ludicra- The Tenant V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/52670_216.jpg)
http://www.M/F.com/?1ys2kks6egxuygv
Sort of the dark horse of 2010, it didn't seem that a great many people were aware of this record, but those that were (myself included) couldn't shut up about it. Further proof that USBM is owning people's shit right now. Features John Cobbett from Hammers of Misfortune and Aesop Dekker who is now playing drums for Agalloch as well as running the legendary Cosmic Hearse blog.
Kvelertak- Kvelertak 320kbps
(http://i9.photobucket.com/albums/a55/ddovey/Kvelertak-E28093-Kvelertak.jpg)
http://www.M/F.com/?ov6na1x4d94fana
KVELERTAK KVELERTAK KVELERTAK KVELERTAK KVELERTAK . Probably my favourite metal album of last year, and as such I guess my de facto #1 album of 2010. Guaranteed to get the party started.
East of the Wall- Ressentiment V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/EastoftheWall-Ressentiment2010.jpg)
http://www.M/F.com/?h9dkws8j17h1ezq
Another album that didn't get an awful lot of attention, but was roundly championed wherever it was discovered. Unites the disparate and warring factions of the beardocracy by featuring both sludge and grit and hardcore as well as technicality and meandering instrumentals. Produced by Kurt Ballou of Converge, which also seems to be a good way to ensure cross-beard appeal.
The Ocean- Heliocentric and Anthropocentric
(http://i9.photobucket.com/albums/a55/ddovey/heliocentric.jpg)
Heliocentric: (192kbps)
http://www.M/F.com/?uh1ffursp0438jr
(http://i9.photobucket.com/albums/a55/ddovey/The-Ocean-Anthropocentric.jpg)
Anthropocentric: (V0-VBR)
http://www.M/F.com/?44rb1kd139dr43b
Trans-national prog-metal collective with forever-changing lineup releases two albums dealing exclusively in Dawkins-style criticism of religion and faith in general. Of course the nerds ate this up. Don't panic, there's some nice riffs in there as well.
Trap Them- Filth Rations V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/filthrations.jpg)
http://www.M/F.com/?n5smnvjs4z5neqg
Exhibit B in evidence of the new Southern Lord paradigm. More angry young men playing crusty thrash, more overtly techy and weedly than Nails, but still filthy and nasty as fuck.
Howl- Full of Hell 320kbps
(http://i9.photobucket.com/albums/a55/ddovey/0675037484_m.jpg)
http://www.M/F.com/?4fzac8fnkcnsjp4
LOOK AT THAT ALBUM COVER. LOOK AT IT. YOU WANT THIS.
What's that? The music? Oh. Yeah, it's more incredibly pissed off doom-sludge. What's up.
Intronaut- Valley of Smoke V0-VBR
(http://i9.photobucket.com/albums/a55/ddovey/intronautsmoke.jpg)
http://www.M/F.com/?4bzsh8c8844r9ct
Unanimously voted the best album to get stoned and listen to in 2010, if that's your kind of thing. Honestly, listen to this sober sometimes too kids, otherwise you'll be missing out on a lot of what is going on beneath the pound and crash. Intronaut are masters of labyrinthine interplay between all four of the band's instrumentalists, and one of the few bands where the professed diversity of influences mentioned in interviews actually shows in the music the band produces.
Dawnbringer- Nucleus 320kbps
(http://i9.photobucket.com/albums/a55/ddovey/29285.jpg)
http://www.M/F.com/?9624szruultbpak
Downloaded this myself based solely on the enthusiasm (and #1 of the year rating) of my personal favourite metal journalist Cosmo Lee at Invisible Oranges (interview with Chris Black from Dawnbringer on I.O. here (http://www.invisibleoranges.com/2010/12/interview-dawnbringer/)). Smart, ambitious, diverse, unclassifiable metal that is yet still a joy to listen to in the way that a lot of great and dumb classic metal (read: Judas Priest or like, Manowar even) is. Impeccably produced, chock full of awesome, awesome guitar solos (remember guitar solos guys?) and damn near impossible to ignore.
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i have a beard, does that mean i should like all of these albums?
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Whithered Hand A+
Also, Dovey, yes.
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i have a beard, does that mean i should like all of these albums?
No because you're also a whiny girlish emo person
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In honor of Trish Keenan's passing I will post the first couple Broadcast full lengths.
might post some more stuff later. I was really sad to hear of her passing, very young and I loved the last album, the last compilation and their collaboration with the Focus Group so much and was looking forward to whatever they would do next. R.I.P.
:-(
Fuck. I didn't know -- how sad indeed.
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Of pneumonia of all things.
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Kids and Explosions - Shit Computer
(http://1.bp.blogspot.com/_-lpMaiI8d0s/TNFulmpbuqI/AAAAAAAABaQ/rDHbj7eBHlU/s1600/kids+%26+explosions+-+shit+computer+album+cover.jpg)
http://www.kidsandexplosions.com/
This is the best mashup you will ever hear
On a separate note, the dude behind this got nominated for an academy award for this video (http://www.youtube.com/watch?v=jmR0V6s3NKk&ob=av1el)
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Also Dovey all of that metal is rad.
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Also also I appear to be in a mashup mood
The Brothers of Chico Dusty - Wick-It
(http://barrygruff.files.wordpress.com/2011/01/big-boi-vs-the-black-keys-e28093-the-brothers-of-chico-dusty-mixtape.png)
http://www.mediafire.com/?bb10lnno715rz7z
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I figured I should start actually contributing to this thing. So here's the new Madlib.
Madlib Medicine Show #11: Low Budget High Fi Music (2011) V0 CD rip
(http://www.stonesthrow.com/uploads/images/product/detail/madlib-medicine-show-no-11.jpg)
After a brief pause in the Medicine Show series, Madlib returns with a 28-track, full-length hip-hop album of collaborations with AG, Guilty Simpson, MED, Oh No, Strong Arm Steady and others. Karriem Riggins pops in for a short Supreme Team session, Madlib & Oh No debut their group The Professionals, and we hear for the first time a Jaylib-era track from Madlib & Dilla's never-realized second album.
The unofficial title of this album is Dirty Demos selected by the Loop Digga, a reference to a fire which destroyed some of this album's master tapes - a story detailed in the CD's 12-page booklet. The CD cover is by Isabel Samaras, LP illustrations by Gustavo Eandi, and design by Jeff Jank.
THE LIMITED-EDITION 3/LP VINYL UPDATE: 3LP NOW SOLD OUT - contains 14 additional Madlib beat instrumentals. The covers are one-of-a-kind, hand silk-screened by Hit+Run, with Hennessy-infused paint. Some photos of the LP and printing process are below. More coming soon.
http://www.mediafire.com/?7n9xf9hir8a17co
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Uh oh, I feel a linkdump coming on
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sacrebleu
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I cannot handle two in one day
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(http://img691.imageshack.us/img691/2662/stateofart.jpg)
http://www.mediafire.com/?pf3hjro41f6bucb
http://soundcloud.com/streetrockaz/state-of-art-pt1-by-sotu-the-traveller-streetrockaz-nl-mixtape
^ You can check it there.
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ITT: The Ergs! get a restraining order against Shane.
ITT: I met Mikey this summer when I saw The Dopamines. Interesting dude.
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First I got my rips on. Pretty much all House and Techno this time, 50/50 down the middle.
(http://img163.imageshack.us/img163/4447/333bt.jpg)
Perc - Antifunk / Purple
I like the b-side a lot more than the A. Hard as techno gets.
With his Perc Trax label dominating the techno schedule for the last 12 months Perc has become a key figure on dancefloors from Berlin to Tokyo. His latest for CLR has the heft to work it with any of the big guns. 'Antifunk' nods to the lean and mean Traversable Wormhole releases with a purposeful pneumatic chug and 'Purple' goes one deeper by way of tucked Latin syncopations and killer space drama synthlines. Check this!
http://www.M/F.com/?sbv1cd61qhpu7y2
(http://img683.imageshack.us/img683/7334/333cs.jpg)
Didz & Chico / C.R.S.T - Something New / Roulette
Choice UK house of the moment. This one took me by surprise, as the last C.R.S.T. split on Ten Thousand Yen (with Diverse Concepts) was kind of there and gone with me, but this particular split is more in line with the Julio Bashmore school of 90's-tipping House revivalism (Ten Thousand Yen released Bashmore's "Chazm / Footsteppin'", so I wasn't about to give up on them). "Something New" is a real pleasure.
**Hand-numbered edition of 350 copies** Classy contemporary Garage styles from the Ten Thousand Yen label, introducing new artists Didz & Chico, and a tightly tucked swinger from C.R.S.T. Cardiff's Didz & Chico make an impressive debut with 'Something New', full of carbonated 2-step beats and warm, vintage-sounding strings with a rich snippet of soul vocals. C.R.S.T's masterful 'Roulette' further proves why they're on the tip of everyones tongue right now, firing organ stabs and fractured rhythm programming to command hips and shoulders in silkily syncopated style.
http://www.M/F.com/?s1plloagvlgby1t
(http://img72.imageshack.us/img72/1368/333egn.jpg)
Bad Autopsy - Bad Autopsy EP
From the stark presentation I was expecting minimalist dubstep type stuff, but it turns out this is more in the UK Funky vein. "Gin Mixer" is something like what you'd get if The Prodigy decided to try their hand at Grime, and "Call Back" is pure Roska rhythm. Pretty fresh.
Debut solo release business from Bad Autopsy, adding his quirky-but-rugged Funky style to Ramp. The keen-eared among you may have copped his swish R&B refit on the Ca$h Antic$ 2 12" last week, but don't worry if you didn't, because these tracks are better. 'Rot Pot' starts up with double vision-inducing, dissonant synth riffs and crisply clipped Funky drums, while 'Gin Mixer' locks hard into a bristling R&B/Funky fusion with ace, cut-up, late '80s synth samples. Call Back' on the flip has gotta be the one though, sounding like the evil weirdo cousin to Deadboy's sentimental Garage/Funky archetype. Top 12", well recommended!
http://www.M/F.com/?h9sciis911zv5sm
I've got like 14 other things so sit tight.
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Dgtla
(http://img88.imageshack.us/img88/1838/333gw.jpg)
Clubroot - Remixes Vol. 1
SPL's is the track for you States-centric WOBheads, Zentz applies some Autonomic-y DnB rhythms, and Kuma... sounds just like Clubroot!
Quite surprisingly, Clubroot's tracks have remained untouched by external forces, until now. SPL, Bryan Zentz and Kuma chip in with powerful, 'floor-ready services. SPL's mix of 'Semptiternal' is easily the ruffest and tuffest of the lot, crashing in with artillery strike snares and amped-up hardcore bass with dramatic results. Brian Zentz is well known for his tough techno output, but makes a strafe into atmospheric halfstep with this 'Dulcet' version, keeping the drums and melody suspended in dread airspace while the bass brings the menace from below. Taking a different look at the same track, Kuma's mix is more anaerobic, pushing into a closer, claggier effect akin to the recent Raime 12".
http://www.mediafire.com/?ibuz4uy3aqs4zib
(http://img716.imageshack.us/img716/9238/333we.jpg)
Illum Sphere - The Plan Is Dead
Illum Sphere has up to this point been one of those inscrutable dubstep / techno cross-pollinators but on this one he cuts loose a little bit and sounds a little bit like a less blown-out Raffertie, or a less exacting Ital Tek. A surprisingly good fit for Fat City, and possibly the best thing Illum Sphere has yet done.
http://www.mediafire.com/?22dvwljs54tkwjv
(http://img97.imageshack.us/img97/2374/333bu.jpg)
Fizzarum - How Nature Works
A really convincing simulacrum of mid-period Autechre. Glitchy, but with just enough techno-flavored melodicism.
A collection of rare and hard to find tracks, ‘How Nature Works’ originally surfaced as a hugely limited CDR back in 2004, so it’s nice to see it available for wider release now. The Russian duo have been dormant (or at least very quiet) for some time now, but their moody blend of Autechre’s technical wallop and Richard D. James’s ear for harmony is still just as involving as it was back in the late 1990s. This odds-and-ends roundup is a great cross-section of their work, and while it doesn’t have the distinct narrative of their ‘proper’ albums, it’s still a hugely enjoyable listen for fans and newbies alike. I’m getting nostalgic for the late 90s already, catching a bus to work, Minidisc player in hand, crack smoke in the air – aaaah. Lovely.
http://www.mediafire.com/?mggjn4oefdhuxpj
(http://img834.imageshack.us/img834/3172/333zg.jpg)
Lower Dens - Batman
Jana Hunter has long been on our radar thanks to a couple of simply stuninng albums; 2005’s ‘Blank Unstaring Heirs of Doom’ and 2007’s ‘There’s No Home’. I was starting to wonder what had happened to her before I came across this wonderful new single from her new band Lower Dens. Her remarkable voice is still present, but is now backed up by a ‘proper’ band, who give her songs room to reach the heights they always threatened to. While the music is still something of a throwback to a bygone age, Hunters songs are so effortlessly enveloping with an addictively woozy streak, it’s hard not to fall in love with them. For some reason the band reminds me of Beach House, but darker, fuller and with a lot more edge. A big recommendation.
http://www.mediafire.com/?opumcv2b9pcd2z5
(http://img834.imageshack.us/img834/5620/333eh.jpg)
Objekt - Objekt EP1
Serious Scuba / Pinch vibes. For lovers of classic dubstep.
Lean and hungry dubstep minimalism from the hugely promising Objekt label. We know b*b-all about the artists but in true, facelessly underground style, the music does all the talking. For the forward steppers 'The Goose That Got Away' jams on a warped 808 rhythm and ascending chords vibe, sounding something like Pearson Sound sparring with Jam City. Next, 'Tinderbox' turns out a more menacing vibe, building a forcefield of 808 bass to protect crunked-out triplet rolls and a rush of darkside adrenaline synths tapping into a deep reserve of UK rave essence. Support from Peverelist, Appleblim, Ben UFO and Pinch. This is the sh*t, basically. TIPPED!
http://www.mediafire.com/?2el9eko2xx363k6
(http://img203.imageshack.us/img203/9007/333bzh.jpg)
Orphan101 - Propa / Disemble
Smooth dubtech productions from one of the niche's go-to imprints, Apple Pips.
Applepips present two electro-reinforced steppers from Bristol's Orphan101, including the immense 'Disemble'. With a brilliant appreciation for space and silence, this shocking B-side deploys startling darkside detonations and electromagnetic EBM pulses to completely make our day. Can't wait to hear this played on a big system!!! The flipside 'Propa' is a more restrained creature built with radar bleeps, fluttering electronica tones and a minimised, fluid post-dubstep skip enhanced with quaking subs. This is easily the best record Apple Pips have released since Instra:mental's 'Leave It All Behind'. Highly recommended!!!
http://www.mediafire.com/?rw2y2f8wq30r2e0
(http://img171.imageshack.us/img171/7382/333cm.jpg)
Siriusmo - Feromonikon / Signal
This guy released an EP during the tenure of the last M/F thread and this single on his mentors' label steps up the "House" suffix on his signature electro, with Daft Punk influences being felt most heavily on the A. Still plenty weird, though.
MDSLKKTR's buddy Siriusmo heats up the first Monkeytown 12" after the Modeselektion series. Packed with all the cheeky melodic chops and sawtooth synths you could hope for, 'Feromonikon' is like a more grown-up Boys Noize tune, Mans Music, if you like. 'Signal' is yet more charming, brimming with bright electronica melodies, a galloping, Funky-debted martial rhythm and bass guitar motifs not far from Squarepusher terrain. Unique.
http://www.mediafire.com/?k7sjps8b1osl3vb
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sacrebleu
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OK, so here we go, some old names return.
first up Rockabilly legend Wanda Jackson makes a record with Jack White playing and producing
- it's pretty great
WANDA JACKSON - THE PARTY AIN'T OVER
(http://img193.imageshack.us/img193/3748/thepartyaintover.jpg)
http://www.M/F.com/?stp9v5v993mujve
Detroit institution Dirtbombs return with an album of detroit techno covers
odd? you betcha - 20 odd min version of 'bug in the bassbin' - suck it an see
DIRTBOMBS - PARTY STORE
(http://img841.imageshack.us/img841/3895/dirtbombspartystoremini.jpg)
http://www.M/F.com/?v88vasl8joucmbx
lastly Greg Dulli stops twatting about and makes another Twilight Singers record,
pity the sleeve ain't as good as the gutter brothers one. still, it sounds like The Twilight Singers
and to me that's a good thing
TWILIGHT SINGERS - DYNAMITE STEPS
(http://img521.imageshack.us/img521/6980/coverfh.jpg)
http://www.M/F.com/?q7qhbu30l7zy033
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<3 Twilight Singers
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KYLESA
Dawg, I think track 8 is corrupted. On my PC it's only 1.46 long.
Awesome post btw, have downloaded 90% of it.
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Parenthetical Girls are releasing their next album, Privilege, as a set of five EPs. Here are the first two.
(http://i54.tinypic.com/2drgtb4.jpg)
Privilege Pt I: On Death And Endearments
http://www.mediafire.com/?6qr7ay74awmlx6s
(http://i51.tinypic.com/5x3lnm.jpg)
Privilege Pt. II: The Past, Imperfect
http://www.mediafire.com/?b6ide2h7o6dq2dz
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Forgot a code to the Microworld release!
(http://img832.imageshack.us/img832/4435/333ga.jpg)
Microworld - Happy Machines
More in the classic techno vein. Low-key, measured, sneaks up on you. Good for when you need to chill out but don't feel like ambience.
**Translucent Green Vinyl** A lovely offering from techno anomaly Microworld, this time for MoM. He's only got a meagre handful of relases to his name, but each 12" bears a distinct stamp of driven-yet-lush characteristics. The four tracks investigate variations of pounding 808s countered a with bright and clean melodic shine,sometimes deviating from the 4/4 like on the electro-set 'Featuring' with DJ Brutalist or the sublime 'Subterraneous'. Sweet.
http://www.mediafire.com/?m3vv271wahv66db
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Morton Valence - Bob & Veronica Ride Again
(http://img72.imageshack.us/img72/1282/gpdp.jpg)
http://www.M/F.com/?tmnzqyiwy5u
You'll most likely not have heard of this but it's just gorgeous
From BBC
Morton Valence have been around since the mid 00s and have almost been on the verge of making it ever since. They were selected as music chain Fopp’s most promising newcomers of 2006, were tipped by the Guardian in 2007 and Chandelier, this album’s majestic opener, was a BBC Radio 2 Single of the Week last year. They also released possibly the best single you’ve never heard of the past decade, Sailors, a full-fat slice of hook-rich electro-pop.
The big time may still elude them after this, their debut album, but it is a fine example of classic, intelligent British art pop. Accompanied with a 112-page romantic novella, Bob and Veronica Ride Again is an immense, well-made record that sounds far bigger than its budget. Loosely speaking, the concept involves Veronica getting on a London tube train and attempting to escape from her past. She heads for glory with her partner, Bob. For 40 minutes, we follow their exploits, falling down staircases, camping in fields of crickets, and swinging from the chandeliers, remembering that they “believe in lust at first sight.”
Whether you find all this piffle or not, the music behind it is pretty sharp. The band’s sound has shifted from their early singles from electro-pop to broader, sweeping shoegazing pop. Leader Robert ‘Hacker’ Jessett has moved away from the lion’s share of lead vocals and allowed keyboard player Anne Gilpin to take centre stage. Her delicate, emotive style is complemented by Jessett’s growl.
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(http://img833.imageshack.us/img833/6565/silks.jpg)
I deafened myself for about two days (no shit) after listening to track two repeatedly through headphones.
Stupid I know, but I got carried away.
Dubbed the world's SLEAZIEST album, Silky is music to get drunk and pick up strippers and steal a bus and rob a bank to.
Back in the day, there used to be preachers who would refer to rock and roll as the Devil's music.
This is exactly what they had in mind.
Andre "Mr. Rhythm" Williams was born in Bessemer, Alabama in 1936. He started singing in 1952 with a church choir in Chicago, Illinois.
The Williams family then moved to Detroit, Michigan where Andre began his recording career with Fortune Records.
Andre recorded over 50 songs for Fortune including: Bacon Fat, JailBait, Pass The Biscuits and The Greasy Chicken.
In 1998 Andre released his sleaze-rock masterpiece, "Silky", on In The Red Records which proved to be a commercial and critical smash for Andre.
He has toured a number of times with the Jon Spencer Blues Explosion who wound up recording with Andre as well as crediting him executive producer on their "Acme" album.
"Andre Williams makes Little Richard sound like Pat Boone"…Lux Interior
http://www.mediaf!re.com/?2pk49nma00l0y4q
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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(http://img839.imageshack.us/img839/9241/primaat.jpg)(http://img4.imageshack.us/img4/7550/primmy.jpg)
This is Prima at his best, during the wild and swinging Fifties, when his was "THE" act to see in Las Vegas.
He's King Louis in the Jungle Book for fucks sake. The character in the Disney film was based on him and he sang the tune.
Cool, cool, cool.
http://www.mediaf!re.com/?18f7ss0l4l3o8p1
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KYLESA
Dawg, I think track 8 is corrupted. On my PC it's only 1.46 long.
Awesome post btw, have downloaded 90% of it.
That's how long it is on my compy too! I guess that's how I downloaded it, and for some reason never actually noticed. Weird. I've found a proper version and am uploading it currently.
EDIT: here 'tis
http://www.mediafire.com/?qvbzecx7r1vlnfr
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Still 1:46 for me
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I just downloaded it myself and it's fine. Should be 3:42. Are you downloading it from the above link, or my original post? I just re-uploaded the single track, not the whole album.
Failing that, you can get it from here: http://stereogum.com/521572/kylesa-forsaken/franchises/haunting-the-chapel/
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Yeah I've downloaded it from that link twice now. Weird
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First things first:
(http://img833.imageshack.us/img833/6712/449176579725e3076b11.jpg)
Cotton Keys - Archive (?)
Cotton Keys are possibly maybe the best band in my town, which has a nice little homegrown music scene (I guess the closest thing we have to a "breakout" is Candy Claws (http://pitchfork.com/reviews/albums/14518-hidden-lands/), who are minor faves of P4k). I work at the local college radio station with their bassist and I've been waiting for them to actually release something for awhile now. Today the guy I know uploaded this to his Facebook. I implore you to check it out, I'm sure it will fit the tastes of many of you more lo-fi indie rock / pop-ish people. I quite enjoy it. The files weren't tagged, so I tagged them myself and bestowed upon them the original name of the .zip as their album title. I also gave it random cover art from their myspace (dude did not put a lot of work into presentation!)
This is their Myspace page (http://www.myspace.com/cottonkeys).
http://www.mediafire.com/?3wbcnc1gar7a2bd
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Fixed track
Thanks Dovasaurus. Track is banging and sounds even better at full length.
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And then we're on to Rips! Most (all?) of the rips here, I originally uploaded as digital files. These are straight from the wax, so download them if you prefer the slight variations in sound, or you're new to the releases (natch).
(http://img408.imageshack.us/img408/732/333vd.jpg)
Autechre - Oversteps
Autechre's return to mid-90's form after a long dalliance with hardcore glitch. One of my favorite albums of 2010.
Autechre's music is brazenly abstract. I don't use the word "abstract" as a warning, just as an acknowledgment that the unique pleasures offered by albums like Draft 7.30 have an airy and intellectual substance to them. The music behaves according to human tropes: tension and release, obedience and rebellion, the imperfect repetitions of imperfect memories; but it doesn't feel human in any conventional sense. You don't feel the familiar warmth of standard instruments, and you don't feel the comfort of knowing that actual hands and feet are physically producing the sounds you hear. You don't know whether the compositions were charted out in real time or generated automatically by a mysterious piece of software. Sean Booth and Rob Brown have a relationship to technology that is so thoroughly organic that their work can't seem anything less than foreign. Most composers aren't as willing and able to dive so deeply into the soul of computers and produce music that, as metallic and abstract as it is, writhes with vitality.
Autechre's music is brazenly experimental. For at least a few years of their career, "experimental" was best understood as a warning. Starting in the late 90s, but continuing to an even greater degree after the turn of the millennium, Autechre produced tracks that were driven by a restless spirit of improvisation. Their songs would start out sharp and confident, bearing the skeleton of rhythm but lacking the soft flesh of melody, comporting themselves with a clear but distant idea of groove. Then, over the course of several minutes, they would tear themselves to pieces before wandering off into the distance, bewildered with the completeness of inner transformation, stunned in the spirit as if a revolution had just occurred. Autechre's experimentation has been violent, and it was violent for years, contorting sound into shapes that would feel jarring and unwelcome in any other context, including their own early albums. It wasn't until 2008's Quaristice that we saw them back off from those forbidding, 8-minute marathons that deconstructed and reconstructed themselves, learning instead to embrace a manner of improvisation that has remained daring and unique without sounding so ruthless and ascetic.
Sean Booth and Rob Brown have brought melody back. That might be the single most important thing about Oversteps, their newest Autechre album. Its highlights are not, like the explorations on Draft and Untilted, daring pieces of architecture, but pieces whose soft edges and subtle, multilayered melodic contours feel human in a way that may evoke an eerie nostalgia in longtime fans. Their track titles remain stubbornly meaningless, but take note of "known(1)," "d-sho qub," and "st epreo," which all hearken back to the early days of Warp Records, when home-listening electronica was a new idea and the sophisticated compositional edge of acts like Autechre, Polygon Window, and Black Dog was like a little oasis in a world that was preoccupied with overreaching itself and drowning out the past with empty innovations. That isn't to say Autechre's music has suddenly become self-satisfied or backward-looking; their counterpoint may not be as loud and assertive as their beats, but it's every bit as restless and alive, and just as antagonistic toward exact repetitions as high school English teachers are toward plagiarism.
Of course, anything I say about these tracks seeming soft or human might be completely lost on a listener coming to Autechre for the first time. The textures here are soft, but that means a lot more when you are an outfit with something like Gantz Graf lingering in your past. Tracks like "see on see," "O=0," and "redfall" go beatless, letting their overlapping, cascading melodies tell their own complex story of becoming without needing to resort to the blunt trauma of percussion. But peace's flipside is desolation; there are other songs that float by without really living lives of their own, like extras in a film.
Like Quaristice, Oversteps takes its time fading in and out from silence, being bookended by long and uneventful stretches of sound that are as gradual in their development as a sunrise. Autechre have always dealt with a wide scope, from their all-encompassing use of frequencies to their eclectic range of influences to the large-scale formal migrations of their more adventurous compositions. When you combine this love of breadth with an insatiable curiosity for technology, it explains why Booth and Brown always seem to be operating on uncharted territory. This album has its ups and downs, its highlights and dead stretches, but if these guys wanted to sound safe and well-balanced, they should have stopped making albums 15 years ago. Their developments are nothing if not honest, even if the gruff, muffled intimations of hip-hop sound awkward or antagonistic, even if the softness of these pieces evades any conventional sense of emotional directness.
The extroverted and violent streak of Autechre's early last decade is being turned inward. You might not be able to feel the human element in what they are doing, but if you are patient and attentive, it might stop seeming so foreign, a little like your own thought processes, operating freely from the encumbrances posed by the physical world, expressing themselves gradually but vitally, with a little more peace and a little less violence.
01. r ess
02. ilanders
03. known(1)
04. pt2ph8
05. qplay
06. see on see
07. Treale
08. os veix3
09. O=0
10. d-sho qub
11. st epreo
12. redfall
13. krYlon
14. Yuop
http://www.mediafire.com/?lyxqe9cmb64eecj
(http://img402.imageshack.us/img402/5665/333ul.jpg)
Floating Points Ensemble - Post Suite / Almost In Profile
Kind of a left-field turn for Mr. Points, who up to this point was the premiere slo-house DJ in the UK. As per the title, he plays with an ensemble of live musicians on this 12" and explores jazzier avenues of music. The result is not unlike Bonobo's Black Sands album from last year (also on Ninja Tune), even if it is a lot looser and less dance-y than that album got.
Sam Shepherd's Floating Points Ensemble make their highly anticipated recorded debut with two sumptuous tracks for Ninja Tune. Following his stream of hugely acclaimed releases on R2, Planet Mu, and Eglo (which he co-runs with Alex Nut), and now in command of twelve skilled players, Sam has evolved the Floating Points project to a full-blown group. The ensemble have already claimed the coveted 'Best Maida Vale Session' at Gilles Peterson's 'Worldwide Awards' in 2009, and it's quite clear to see why when listening to these tracks. Between the ecstatic symphonic flush of 'Post Suite' and the luxurious character of 'Almost In Profile' this record serves a good chunk of your annual soul quota in one perfectly formed package.
http://www.mediafire.com/?ay6qawm0881f2lc
(http://img96.imageshack.us/img96/2813/333ei.jpg)
Gatekeeper - Giza
This was posted not a week ago (by... TheFuriousWombat, was it?) but I thought I'd put up the vinyl rip in case anybody wants it! Yet more indications that mid-80's industrial / darkwave music is back in style.
Chicago's Gatekeeper follow last year's debut with a brilliant, and far more substantial, EP for Merok (home to releases from Kingdom, Salem, Teengirl Fantasy). If you've not checked their first 12" or awesome Fact mix, you really should sort it out. 'Giza' expands their style over six tracks, blending traces of Italo, Industrial EBM, and early Chicago house with VHS sci-fi soundtrack signatures and arcade game music. They've got a close contemporary ally for this sound in HIT's White Car and to a certain extent Skam's VHS Head, but Gatekeeper's tracks have an innate cinematic narrative that's quite hard to ignore and more like a cybercylic hallucination of the music they adore, than a rehash or cut-up. From the arcade biker themes of 'Chains', to the menacing Hellraiser vibes of 'Storm Column' , the leather-bound thrust of 'Giza' and the digital hallucinations of 'Mirage' this is a feast for any industrial dancefloor aesthetes. Highly recommended!
http://www.mediafire.com/?23eb74ns68knqqg
(http://img155.imageshack.us/img155/5942/333qn.jpg)
Dro Carey - Venus Knock EP
Ozn Witch House. It's all there - the southern rap influences, the downtuned "spooky" samples, a stylized Triangle glyph stamped on the white label, etc. etc. Luckily nobody's actually trying to rap here!
**Dangerously heavy, hand-stamped debut 12" from Dro Carey on Will Bankhead's Trilogy Tapes** The first vinyl release on graphic designer extraordinaire, Will Bankhead's trilogy tapes label (home to cassettes from Kassem Mosse and Ben UFO, a.o), it takes the mutant hypnagogic R&B sensuality of Hype Williams and amps it with frightening velocity, foregrounding actively robust beats (sounding all the better for a heavyweight D&M master and lacquer cut) against an unpredictable moiré of psychosynthual blurts and unhinged, intrepid arrangements. Opener 'Get Rid Of This Guy' sounds like Bok Bok in a lucid dream state, his urbane cool replaced with drool on the keyboard, while the severely unstable title cut oscillates somewhere between munted dubstep rave and lysergic noise with uncompromising style and swerve. Turn it and 'Dead Keys' inverts some poor, sweetened soul cut with horrifically dark intent before 'Glitter Variables' tweaks a twitching rut of ruff-synced loops with gloopy bass shapes and ear-weevilin' synths. Records like this make us incredibly satisfied yet aching to hear more. Hugely recommended!!!
http://www.mediafire.com/?tq9mi0s8jjhs4em
(http://img263.imageshack.us/img263/9926/lilbangelsexodusamalgam.jpg)
Lil B - Angel Exodus
Oh you'd better believe it, it's the new (digital-only) album from Lil B. Just went through one listen, but it's a lot more focused and a lot more polished than anything I've heard from him in the past. Based God baby, love him or leave him.
http://www.mediafire.com/?h506fofcg5i47wl
(http://img262.imageshack.us/img262/133/333xw.jpg)
Bird By Snow - Songbread / Another Ocean
Tempted to get this on vinyl... Only just got it but it's sounding pretty great to me. If you like folkier stuff, check it.
Perhaps if all albums were always released with such care and attention devoted to them the recording industry wouldn't be in such a scrape at the moment. Bird By Snow's latest (their third full-length) comes on clear vinyl and CD-R packaged together with a colour lithograph poster-sleeve, a handmade booklet of lyrics and prose, and a second semi-transparent poster of poetry and painting. The music itself is a mixture of folk-inspired songwriting, shambling, rustic multi-instrumental recordings (perhaps comparable on some level with Mount Eerie's spartan recording style), field recordings and tape manipulation, which makes for a slightly confusing if occasionally very rewarding hippy-ish trip - 'My Life Is Easy', for example, proves especially good thanks to its dark, very dramatic lo-fi recordings of cello, piano and spiny electric guitar, all of which conspire to lend the otherwise slightly strange vocal a sense of gravitas. Limited to 550 copies.
http://www.mediafire.com/?y1fy11a9mry9k89
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(http://img72.imageshack.us/img72/7210/27863.jpg)
George Fitzgerald - Don't You
Scuba pulls remix duties under his techno-oriented moniker on the B, but the A continues Fitzgerald's trajectory into Joy Orbison rave-house-step territory. Exuberant and primed for the dancefloor / your living room.
Promising London bass teknologist George Fitzgerald lands on Scuba's Hotflush imprint for his debut plate. Maker of sensuous garage/2-step rhythms zoned out by clipped, swirling vox and warm bass tones, Orbison style. What matters is a clear adoration for classic mid 90's vibrations of Todd Terry that he plugs into the bass pleasure centres.
http://www.mediafire.com/?d4k351xll67zz49
(http://img573.imageshack.us/img573/7582/333qv.jpg)
Ø (Mika Vainio) - Heijastuva
Top-shelf experimentalism, periodically featuring the high-frequency whine of electric feedback but mostly composed of heart-touching ambience. I'd put him up there with Keith Fullerton Whitman or Autechre, with all the eventual reward (and frustration) that entails.
http://www.mediafire.com/?04bxfn44bar614t
(http://img413.imageshack.us/img413/8139/333wi.jpg)
Codes in the Clouds - As the Spirit Wanes
Hey do you guys remember Explosions in the Sky? These guys sure do. Sonically they don't do much to distinguish themselves from the massive homogeneous blob of cleanly recorded, regal guitars and bombastic drums that is post-rock, but it's not offensive and certainly not unpleasant to listen to.
Strong but tender instrumental Post Rock from Dartford, Kent-based quintet Codes In The Clouds. Their third album for Erased Tapes is just as expansive as the first two, confidently melodic and brimming with cinematic positivity.
http://www.mediafire.com/?xk779ej81reywqo
(http://img510.imageshack.us/img510/243/333zm.jpg)
Phaeleh - Falling (Kulture Mix)
Kind of like a bridge between the modern-day DnB of Autonomic or NonPlus and the bro-averse roots of dubstep. The cover art's pretty gaudy but the music is actually pretty catchy.
Phaeleh steps up to Skreams' Disfigured Dubz with the atmospheric roller 'Falling' b/w a junglist rework from Kulture. Like his celebrated drops for Wheel & Deal and Afterglo, Phaeleh's signature feel for rave-yearning, tranced-out melodic arrangements and cleanly produced dubstep rhythms are fully intact. However, the Kulture remix takes that diva vocal where it really needs to go, arming her with an undercarriage of heavy junglist rollidge. Full colour picture sleeve.
http://www.mediafire.com/?5ih4rujvxqqjkf8
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first try - think i have to give you something back...
john roberts - glass eights, dial records, 2010
techno, deep, soulfull
http://www.M/F.com/?2368jikz3qusr27
hope it works..
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Jasper TX - A Voice from Dead Radio
(http://static.boomkat.com/images/317083/333.jpg)
Under The Spire drop their conventional arigato pak, raw cardboard presentation for this Jasper TX double-disc, instead opting for full artwork - a move that only emphasises that this is a release worth drawing extra attention to. A Voice From Dead Radio devotes one disc to Jasper TX originals and a second to remixes contributed by an enviable list of artists that includes Peter Broderick, Xela, Zelienople, Steinbruchel Aaron Martin and Simon Scott. The first CD collects rare and long out-of-print 3"CD-R tracks that originally circulated during 2007 via minuscule editions named Harrisburg, D+A EP and Pilgrims (the former two were pressed up as a run of 75 copies while the latter was distributed in a relatively generous supply of 100). When sequenced together these nine tracks make for a solid, hour-long album, and since so few people were able to get hold of the material first time around, this would justify the reissue treatment all by itself.
Pair with this a new disc of remixes from the great and the good of drone and ambient music and you've got something very special indeed: Pillowdiver opens the album with a take on 'Harrisburg Pt. 1', whose static waves are stretched out into a more serene, steely format, while it's companion piece 'Harrisburg Pt. 2' is handled very differently by Zelienople. The Chicago group install a more organic presence on the record, seemingly leaving computer-generated sounds out of the equation and instead favouring a tense, febrile cover of the track dominated by live percussion, effects-treated guitars and brooding background tones. Xela's remix of 'A' comes as something of a surprise. After one or two minutes of fluctuating lo-fi textures you start to hear a 4/4 beat emerging, eventually blooming into a submerged propulsive device that brings to mind a scuzzed-up, cassette-recorded Wolfgang Voigt production. Many of the artists here choose to marry their own voices with the source material - never more literally than in the case of Peter Broderick, who introduces both acoustic guitar and fragmented vocals to 'A Beacon To Lead Us There'. Meanwhile Aaron Martin adopts a similar policy, applying his cello and wordless singing to 'Our Way Through The Field' and Jefre Cantu-Ledesma makes a strong contribution with his noisy, rumbling ambience on 'D'. Further standouts arrive from the reliably excellent Steinbruchel (whose 'Through Dusk... And Falling Leaves remix is typically pristine and beautifully realised) and Seaworthy, whose quarter-hour 'A Voice From Dead Radio' includes excerpts from every track on the album, condensing the spirit of the original material into a single wonderful tract. Limited to just 300 copies.
Disc 1: http://www.mediafire.com/?o2zgtwwkr2n
Disc 2: http://www.mediafire.com/?mtmygg31czq
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first try - think i have to give you something back...
john roberts - glass eights, dial records, 2010
techno, deep, soulfull
http://www.M/F.com/?2368jikz3qusr27
hope it works..
Good first post. Include some art next time though. :)
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Rhythm & Sound - Rhythm & Sound, 2001
http://www.M/F.com/?c40ou6w26zmd6fo
it´s dub! it´s techno! classic material
compiles tracks of several Rhythm & Sound 12"
try:
http://www.youtube.com/watch?v=UgV2OXldFiA
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Various - Blech II: Blechsdöttir, Warp, 1996
http://www.M/F.com/?nw3bh928zy32m6u
the quintessential guide to Warp in the 1990s. mixed by the guys from Ninja Tunes.
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Pole - 1, Kiff SM, 1998
http://www.M/F.com/?y03x97vymhyov6b
clicks, white noise and dub
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just make one post with multiple albums please. it's less cluttering.
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DJ Sprinkles - Midtown 120 Blues, Mule, 2009
http://www.M/F.com/?092a2ds1rex6s1hHousemusic from Terre Thaemlitz
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Console - Mono, Disko B, 2006
http://www.M/F.com/?wkk6dm35qf63wo5warm electro/ambient from Martin Gretschmann (The Notwist)
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DJ Spooky That Subliminal Kid - Rhythm Science: Excerpts And Allegories From The Sub Rosa Archives, Sub Rosa, 2004
http://www.M/F.com/?g4k1d27fcvbq7zmambient collage, mixed by dj spooky, came with his book "rhythm science"
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Aphex Twin - Selected Ambient Works 85-92, Apollo, 1992
http://www.M/F.com/?9s0q6q7q5707j34classic electronic music
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Forss - Soulhack, Sonar Kollektiv, 2003
http://www.M/F.com/?rw6ramwt5hu8p9vdrums, samples, cut&paste, next step in sample music after dj shadow
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enjoy!
hope everything works..
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I've seen some Anjunabeats on here before, so here's something - it's the 10 year anniversary compilation album. :
10 Years of Anjunabeats (Mixed by Above & Beyond)
(http://i.imgur.com/Kp1Ndl.jpg)
http://www.mediafire.com/?85frfl4d9ngp99s
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Ah nice one mate, just got that myself. Anjunadeep:03 soon too (I'm a total Deep whore, got every single release from that label). Good year for anjunatunes already :)
(http://img810.imageshack.us/img810/1914/ta049autoclav11allstand.jpg)
http://www.M/F.com/?46d7ov5ej3j7ku2
(2010; V0 I think)
review (http://www.chaindlk.com/reviews/?id=6182)
edit: and a random 'bonus' odd A1.1 track 'cos I just remembered how awesome it is;
http://www.mediafire.com/?f2x1sfekp4khsa9
(By My Own Admission - C-Drone-Defect remix)
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Charles Ives - String Quartets performed by the Blair String Quartet
(http://img545.imageshack.us/img545/9735/cipor.th.jpg) (http://img545.imageshack.us/i/cipor.jpg/)
http://www.mediafire.com/?dni2pvh70gfogbg
Ives’s two string quartets are as unalike in origin as they are in content. The First Quartet uses his beloved revival and gospel hymns as musical sources, and its energy and originality provide an early example of Ives’s highly original creative powers. The highly complex Second String Quartet was born of a typical Ives rage against what he perceived as the effeminacy of standard string quartet performances. Ives himself summarised the work’s programme as: ‘four men – who converse, discuss, argue ... fight, shake hands, shut up – then walk up the mountainside to view the firmament’.
from Naxos.com
My composer friend mentioned to me that while he was alive Ives never would have thought anyone would have cared about his music the way that they do now. A Yalie, the guy was far more famous as an insurance company executive than he ever was as a composer. A cool quotation, "Use your ears like men."
Half of this is music that you'd find as background music in a proper haberdashery and half is what you'd hear as you were drowning in the Arctic Ocean.
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dudes charles ives is motherfucking groovy.
DID YOU KNOW!
charles ives is so groovy and bad that the dude straight up "discovered atonality" (quotations because i dont necessarily believe that music can ever be truly atonal, but thats completely aside from the point and is another discussion entirely) before schoenberg ever did, but he was too busy making mad stacks selling people insurance they didn't need to worry about making a name for himself because charles ives was better than you.
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The mental image of a hyper-masculine string quartet is one I will cherish dearly for a long time to come.
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(http://img842.imageshack.us/img842/6582/93874082337271267685887.jpg)
Sonic Youth – Simon Werner a Disparu (2011) OST
http://www.M/F.com/?4bevs2rsdyyqjny
(http://img842.imageshack.us/img842/957/1294910250akronfamilyst.jpg)
Akron/Family - S/T II The Comic Birth and Journey of Shinju TNT
http://www.M/F.com/?y9srvbfepf4n88h
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A Hawk And A Hacksaw – Cervantine
(http://i.imgur.com/ku0Qx.jpg)
http://www.mediafire.com/?21btkdii76fy7mzDrummer from Neutral Milk Hotel forms mostly instrumental band with Eastern European (Balkan, Turkish, etc) influences.
MySpace (http://www.myspace.com/ahawkandahacksaw)
"Godbless the Ottoman Empire" (youtube) (http://www.youtube.com/watch?v=4jEFt--uGq0)
Telekinesis – 12 Desperate Straight Lines
(http://i.imgur.com/AcoYf.jpg)
http://www.mediafire.com/?9nkq3xxthyzivquMySpace (http://www.myspace.com/telekinesismusic)
"Coast of Carolina" (youtube) (http://www.youtube.com/watch?v=wAN4jumiblQ)
Leopold Skin – I See Mountains
(http://i.imgur.com/LFYhl.jpg)
http://www.mediafire.com/?7nqltm7fpd0zmpiMySpace (http://www.myspace.com/leopoldskin)
"Song to a Bird" (youtube) (http://www.youtube.com/watch?v=nVJfrNIJeXo)
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Akron/Family - S/T II The Comic Birth and Journey of Shinju TNT
http://www.M/F.com/?y9srvbfepf4n88h
Sweeeeeeeet.
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In like 12 hours: Another metric tonne of music.
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Here are a couple of recent discs featuring Tuvan throat-singing. For those who are unfamiliar, throat singing is a style of overtone singing, practiced by Mongolians, Tuvans and Tibetans (if you ever heard one of those super-deep Tibetan prayer chants, that's one kind). People who sing in this style produce high and low (and sometimes mid) pitches simultaneously. It's a very guttural sound, and ranges from a high whistle to a sub-sonic growl.
The flagship group for Tuvan folksong is Huun-Huur-Tu, and they've just released a disc called Ancestor's Call. They've made relatively few recordings in the past decade, and this is their first straight-up studio recording of traditional songs since 1999. It's a re-recording of their most well known songs by the current line up, and it's probably the best single album in their catalogue. You couldn't ask for a better introduction to this style of music.
(http://img109.imageshack.us/img109/4493/51kzjxul11lss500.jpg)
http://www.M/F.com/?cbxdw329183yp2e
Yat Kha- Poets and Lighthouses
(http://img811.imageshack.us/img811/8517/51t2ejvgsnlss500.jpg) (http://img811.imageshack.us/i/51t2ejvgsnlss500.jpg/)
http://www.M/F.com/?xsdkvkdve27cl83
If you've not heard of Yat Kha before- they're led by Albert Kuvezin, a specialist in the low-bass Kargyraa throat singing style. He was a founding member of Huun-Huur-Tu, but felt constrained by tradition- and so formed his own band, mixing Tuvan folk music with an often avant garde take on rock 'n' roll. You can get a pretty good sample of them on the youtubes (http://www.youtube.com/watch?v=Z_8CPhfTxyU&feature=list_related&playnext=1&list=MLGxdCwVVULXcmDunUiYkE4COybh-wa-Zv): This album represents quite a change for the group, with the usual back up band gone and replaced by English folk musicians, and the lyrics largely being translations of Japanese poetry- it's quite a multicultural blend. Still, if you liked the band before, there's plenty for you here, Kuvezin is still clearly in charge of the music's vision. plus there's an improvised Kargyraa/Bagpipe duet that is one of the best bits of music I've heard in the young year.
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cool, thanks for this!
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Here are a couple of recent discs featuring Tuvan throat-singing. For those who are unfamiliar, throat singing is a style of overtone singing, practiced by Mongolians, Tuvans and Tibetans (if you ever heard one of those super-deep Tibetan prayer chants, that's one kind). People who sing in this style produce high and low (and sometimes mid) pitches simultaneously. It's a very guttural sound, and ranges from a high whistle to a sub-sonic growl.
Since I got into Hanggai, I've been trying to find more throat singing. Thanks!
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IIRC I think Hanggai might use a different type of throat singing. There are several styles, apparently.
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Forss - Soulhack, Sonar Kollektiv, 2003
This is fucking ILL, thanks!
I've grabbed a fair amount of stuff from the past few weeks of this thread, time to contribute again!
DJ Cash Money Presents Head Bangin' Funk 45's
(http://3.bp.blogspot.com/_JWx3rwzTR3E/S5hhElH6PwI/AAAAAAAABX0/nGyIMBGuSrw/s400/BDN03CD.jpg)
This is exactly what it sounds like. DJ Cash Money is a legend. Head bangin' funk 45's are what he is spinning in this compilation. It is fucking tight. No more needs be said.
http://www.M/F.com/?2ukhberlcpq52hv
Pulshar - Inside
(http://2.bp.blogspot.com/_Uc24qhdnQO4/TMUdULdydRI/AAAAAAAAJPc/3XNS92lO_U8/s400/th_Pulshar-Inside.jpg)
As far as genre goes, this is probably best filed under "downtempo electronic music," but that's just because "fucking sweet" isn't a genre. This album is a masterpiece of thick, deep, groove. Personally I tend towards the dub side of things, so this (http://www.youtube.com/watch?v=FXrYoDQPeTY) is the sample track that would grab me first, but this (http://www.youtube.com/watch?v=pntM-OL4iNM) is another example of how fucking sick this album is. Get it.
http://www.M/F.com/?cyewsjiey5dwh50
MF didn't accept the third thing I wanted to put up, so sad face on that.
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Just kidding, I'm not dead!
So, 2 very different things happening right now. The first was found in an email from 2 years ago. I told myself to download it and never got around to it. Middle of the Road was a band from the 70s. Sounds like ABBA, but totally isn't. The video for Chirpy Chirpy Cheep Cheep is enough to make me want to get a job at Urban Outfitters.
(http://img.photobucket.com/albums/v180/Punk930/b_42833_Middle_Of_The_Road-The_Best_Of-2002.jpg)
http://www.M/F.com/?t786srzj4dy54yf
The second has become the soundtrack to 2011, Mindy Gledhill's debut album Anchor. Fall in love already.
(http://img.photobucket.com/albums/v180/Punk930/MindyGledhill_Anchor_COVER.jpg)
http://www.M/F.com/?nrij39rgcdx9mv4
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IIRC I think Hanggai might use a different type of throat singing. There are several styles, apparently.
Maybe. The description given makes it sound pretty similar though.
edit: No, this was exactly what I wanted to hear. Awesome!
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Diggggtal
(http://img819.imageshack.us/img819/521/333fq.jpg)
dBridge / Instra:Mental - From the Start / Detuned Heart
dBridge and Instra:Mental continue their slow trickle of official tracks previously heard in edited form on their Fabriclive 50 mix, "From the Start" being the third such single in the series (after Riya's opening "Feels Like" and Distance's "Sky Alight") and the second song in the masterful beginning 8 minutes of the mix. It's what you've come to expect from dBridge, all blue-toned pads and tight, slo-mo DnB drum programming, but it's the interplay between the bass and the chord progression that really sets this as perhaps the best thing dBridge has ever done. For whatever reason I was reminded of the Phonogram, a comic about magical music (it's better than that sounds) and a particular storyline in which a clubgoer is so enraptured by a song that she literally becomes an embodiment of the joy of dancing. I imagined that this was the song she was dancing to. Is that overwrought? Yeah, probably. But it's that good of a song. The B finds Instra:Mental continuing their curious expedition into IDM territories, complete with a lead synth straight out of the Skam / early Warp playbook. Amazing single.
Instra:mental and dBridge share a beautiful fourth installment on Autonomic.. In sci-fi romantic, Bladerunner-mode, 'From The Start' is built from swooning synth chords and tenderly lightweight drums, cross-pollinating Detroit elegance with limb-synced London knowledge. dBridge articulates this vibe with the arrestingly Autechre-like 'Detuned Heart', one of those sublimely weepy dancefloor moments that's become their stock in trade.
http://www.M/F.com/?zdjctj7eek8rgez
(http://img651.imageshack.us/img651/6738/333hq.jpg)
Silent Servant - Violencia
I just recently started getting into the more industrial corners of techno (the better to have a platform from which to survey the rest of the sprawling genre) and Sandwell District looks to be my label of choice. Dark, punchy, deep techno full of rough textures and stabbing, hollow bass. Love it.
Sandwell district continue to rule our techno box with an iron fist on this sick platter from Silent Servant, backed with killer remixes from Kalon and Function. The original version of Silent Servant's 'Violencia' is another of his brittle rhythm specials, with undulating bass twists anchoring industrialised dub techno chords, but it's the Kalon remix that has just struck us down with one of the heaviest dub techno variants we've heard in ages. Stepping aside from the brutally stripped minimalism of their awesome 'Born-against' EP to produce a similarly dedicated club wounder, but adding thick and amorphous layers of dub tech science that simply places them in the upper echelons of the game. Function's remix is no less brilliant too, offering a utilitarian stomper at a slightly reduced tempo with tonnes of potential. Totally f**king killer.
http://www.M/F.com/?gd6gzzk75mlkkzx
(http://img405.imageshack.us/img405/4064/333tt.jpg)
Pixelord - Fish Touch
Extra-fidgety, bleeping, off-kilter bass music of the sort you're probably familiar with by now if you've any interest in recent electronic music. A particularly deft example of the form, with some heavyweight remixes in tow. KidKanevil's warped take on Rick Ross is pretty funny.
Err, when did Gultskra Artikler start making electronic HipHop?! Well, last year by the looks of it, but it totally flew under my radar. Anyway, 'Fish Touch' is really good, flowing from dubbed-out wonk on the title track to the nastier bass growls and forced neck-snap of 'Kiss Your TV', through to Dubstep/Skweee like jest on 'Cybernator' and 'Flower Cannon'. On the remixes, heRobust ives 'Fish Touch' a holographic remake while Om Unit gives 'Cybernator' a Juan Atkins-alike overhaul and KidKanevil reviews 'Fish Touch' from a more staggered crunk angle.
http://www.M/F.com/?uzty4zf17vxlnb2
(http://img262.imageshack.us/img262/441/333hv.jpg)
Ghost Mutt - Sasquatch (Slugabed Remix)
Ghost Mutt and Slugabed team up for more blown-out Skweee antics, this time on Lowriders Recordings. Unlike the Donky Stomp EP, this is pretty much a Ghost Mutt show with Slugabed providing a remix, but it's still pretty worth it, I'd say. There's also a Coco Bryce mix that sounds like the bass was set to Creaky Wooden Boards mode.
Squelchy, manic and rather unhinged psyk-hop from Ghost Mutt, prepared with a Slugabed remix on the flip. The two original tracks are two sarnies short of a mentallists picnic, losing any semblance of conventional melodic arrangement and only just held together with the crookedest head nodders beats... but definitely having fun doing it! Slugabed joins in the madness on the flipside, reorganising the chaos with his heavy dynamics to make it breathe like an asthmatic robot on crack.
http://www.M/F.com/?l18f87141c5fya3
(http://img228.imageshack.us/img228/9613/pic5300x300.jpg)
Jozif - Sunrise EP
Choice disco-house, more analog than digital, in keeping with the InFine aesthetic. Background music for a high-class party.
Elegant deep house, disco mechanics from Jozif on excellent Parisian label InFine. Four tracks that are surely designed to soundtrack long summer nights on Ibizan terraces, cutting through the warm air perfectly. With previous for Wolf + Lamb you get the idea where it's heading.
http://www.M/F.com/?f8ejt6pyyftgfmz
(http://img717.imageshack.us/img717/1518/333dv.jpg)
Follakzoid - Föllakzoid EP
Unerringly faithful krautrock revivalism. If that's for you, you already know it.
Alternately motorik and mellow psych grooves from another Chilean band on Sacred Bones. Föllakzoid is the other group of The Holydrug Couple's Ives, pushing away from that groups psychedelic rock jams into more intensely focused and ritualistic rock grooves. 'IV, III, II, I' is essentially like a killer Neu or Can tribute with wickedly spaced-out guitar noise, while 'Arabic Hash' blooms from swirling, FX laden guitars and synths to be reborn as a streamlined instrumental psych trip.
http://www.M/F.com/?41ci3tp6cy8hcz9
(http://img153.imageshack.us/img153/2029/333bj.jpg)
Duffstep - Backseat / Your Touch (Duff Disco Remixes)
After a whalloping, Joy Orbison-esque single under the Duffstep moniker, here are two tracks on the other end of the spectrum - languid, heady disco-house. Really impeccably produced - you wouldn't guess this was the sideline of a major ravestep-y talent, though there are telltale hints, especially on the B. If you don't know how to dance to dubstep, well, you'll know how to dance to this.
Jeremy Duffy reworks two of his Duffstep tracks as solid 100bpm Duff Disco chuggers ahead of his 'Return To Saigon' debut LP. The drag-disco of 'Backseat' builds with an expert dancefloor touch akin to the like-minded Cottam productions, while 'Your Touch' wraps warm, fluid chords around a hulking electro bassline to brilliant effect. A must check for fans of Kassem Mosse's slow stuff, Mark E, or Toby Tobias.
http://www.M/F.com/?f0i5lzo2s1nqrbh
(http://img341.imageshack.us/img341/5339/333xk.jpg)
Bloodman - Remote Viewing / Deep Fish
I don't usually trust Deca Rhythm, but these are some full-throttle acid-electro dancefloor cuts. Yet more evidence that I will buy anything referenced to as "IDM" in some way. Groovy stuff, reminiscent of Brackles, Cosmic Revenge, et al. The B is especially good.
Two electro-driven and breaksy sounding Dubstep variants from Bristol's Bloodman. As a close associate of Appleblim and Gatekeeper he shares some of their taste for darker IDM-inspired melodies, while striking his own style of electroid rollidge with 'Remote Viewing', and augmented breakstep in 'Deep Fish'. One for followers of Applepips, Elemental or the techier Bristol heads.
http://www.M/F.com/?8ueuckg6bsn0bct
(http://img263.imageshack.us/img263/4287/333ri.jpg)
nsi. - Sync
A whole lot of exercises in techno minimalism - not remotely dancefloor oriented, though. Like a less fundamental take on Mark Fell, or a less glitchy Quaristice-era Autechre. Meaning, these are pretty academic headphone songs. For people who really love analog synthesis.
Typically reserved yet engrossing album of 24 pieces for drum machine and sequencer from Max Loderbauer and Tobias Freund's acclaimed nsi. project. 'Sync' is their first full length since 2007s suite of piano and synth exercises '...Plays Non Standards', and is more concerned with rhythmically driven arrangements ranging from dry, unadorned beat tracks to hugely endearing, intuitively melodic electronica. The tracks are delineated by the devices used in their creation, with symbolic codes denoting each instrument, pretty much as follows: a Doepfer modular system (+), and EML 400/401 synth (#), an Eventide Time Factor delay pedal (*), a Korg Mini Pops 7 (=), a Korg MS 20 (•), a Makenoise Maths module (<), an MFB Dual LFO module (ø) and a Roland CR 78 drum machine (>). The tracks feel like highly polished improvisations/ They rarely last longer than three minutes and showcase a diverse mastery of their setup, loosening the drum machine's rigid personality with dextrous manipulations and really toying with its full spectrum of timbres in a collection of unique patterns and rhythmelodic syncopations.
http://www.M/F.com/?vbx36ig3fj8cq4w
(http://img524.imageshack.us/img524/8205/333hd.jpg)
Cex - Megamuse EP
I tend to hold my nose whenever I dive into Tigerbeat6 stuff because, well, you never know, but this surprised me. Bombastic IDM in the latter-day Skam mold (think VHS Head, Nuearz, etc.) with a bevy of remixes exploring Slugabed-style maximalist Squee (Baconhead), glitchier IDM melodicism (Fulgeance), and nu-rave electro (Raoul Sinier). Something for everybody here.
Cex commendably sticks to his metallic-finished, obtuse IDM style on 'Megamuse', backed with diverse remixes from Baconhead, Fulgeance, Scrubber Fox, Raoul Sinier and KingBastard. After more than 10 years making this stuf, Ryan Kidwell aka Cex probably can't tell the difference between his music and tinnitus, with is intended as a compliment considering his trademark taste for caustic, glistening hi-end timbres. Both the title track and the more melancholy downbeat 'Princent Vice' are defined by those unremittingly sharp tones, kinda like a cat-scratching wake-up call in that alert, visceral sense. The remixes range from wonky hiphop courtesy of hotly tipped Baconhead and a moodier Fulgeance, while Scrubber Fox pulls off a Meat Beat Manifesto-esque beat cut-up and Raoul Sinier remakes '12 Exalt' with strange tunings.
http://www.M/F.com/?md8g273wrsjqohv
(http://img828.imageshack.us/img828/3577/333zn.jpg)
Com Truise - Cyanide Sisters EP
Yeah, I know, spoonerism. Dro Carey was bad enough. But if you like 80's styled machine-tooled R&B classicism (sometimes known as "Chillwave"), you can't do much better than this EP. I was really surprised by how much I liked this. Contains a few glitch elements, for good measure. Like a more restrained, more lo-fi Letherette.
Originally released on AMDISCS, Com Truise's debut release, the 'Cyanide Sisters EP' was just so good Ghostly International had to give it a reissue. The blend of "mid-fi synth-wave" and "slow motion funk" is Com's signature appeal, cross pollinating fragments of classic wave-pop learned from Joy Divison/New Order, Cocteau Twins etc with a palette of crisp IDM/HipHop drums and smeared ambient sounds worked to a melodic '80s machine funk agenda. The result is one lush listen for fans of Tropics, BoC or Gold Panda.
http://www.M/F.com/?y9abalw9whtywol
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This is me apologizing for posting in this thread only to have an alert when someone posts in it.
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(http://img43.imageshack.us/img43/1091/333gv.jpg)
Motion Sickness of Time Travel - Seeping Through the Veil of the Unconscious
I guess this is pretty Grouper-esque but there are far fewer folk influences here. In general it fits in a space between the beatless abstract synth music of Keith Fullerton Whitman and the hypnagogic girl-pop of Nite Jewel. Boomkat tends to overemphasize things and while they make "Telepathy" out to be a great song, there seems to be a tape / synth hiss that lasts through most of the song that will rub some people the wrong way.
*Initial copies come on ultra-limited green vinyl. Beautiful layered vocals and electronics - a must for fans of Grouper.* Sublime temporal intervention of fragile drone pop from Motion Sickness Of Time Travel, the solo alias of Hooker Vision co-curator, Rachel Evans. Between graduating from college and starting grad school last year she committed these five tracks onto a cassette for Digitalis which has since been remastered onto emerald green vinyl by Brad Rose, who hailed the album as "the best demo I've ever received" - and it's really easy to believe him. 'Seeping Through The Veil of the Unconscious' finds Evans' individual sound suspended like a time-lapsed image of Grouper's angelic reveries or a more minimal, gaseous take on the sound made by Stellar Om Source. This is the sort of music you inhale with your ears, catching its subtly harmonised notes in your pleasure centres like some tingling rare space gas. Gazing out into the twinkling slow synth haemorrhage 'Clairvoyance', wordless vocals drift by like space dust on an endless cosmic voyage, while 'Mental Projection' is laced with the same kind of after-hours substance that informed the finest post-Detroit UK electronica. However, the album's guiding star has to be the radiant 'Telepathy', a heart-stopping late night lullaby of half-heard vocal fragrances redolent of Altar Eagle albeit within a darkly rhythmic and strange 3D sound sphere. The detailed crevices and dense pop essence of this album takes everything she's done before to incredible new heights, hence our highest recommendation for lovers of midnight electronic romance.
http://www.mediafire.com/?nuptr73dzbt6ix9
(http://img155.imageshack.us/img155/6402/333adn.jpg)
Whistla - Pillowtalk
An extended remix EP from the L2S boss. Future Garage.
Future Garage ringleader drops the soul-infused 2-step of 'Pillowtalk' backed with solid refits by VVV, Submerse, Duncan Powell, KMA and the rest. Skip to the Duncan Powell mix for razor cut 2-step twitch rhythms or go to Submerse for the ruffed-up techy sound or KMA for a deadly junglist swivel. Texan producer VVV gives a bubblin' and bobblin' version with hints of Zomby's killer rhythm programming and Para gives a useful, scene-setting mix on the brink of Garage and 'Ardcore.
http://www.mediafire.com/?bve3kfk0vx63ccs
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I was lucky enough to snag a copy of that Motion Sickness of Time Travel album when it came out on cassette earlier last year and it's one of my most listened to purchases of the past several months. Really wonderful stuff and it sounds even better on vinyl! Probably almost impossible to buy either version at this point but people should buy other stuff by her, her recent stuff especially has all been great.
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Low Threat Profile
(http://i.imgur.com/jaJZm.jpg)(http://24.media.tumblr.com/tumblr_lflp4o7wD71qzct90o1_cover.jpg)
http://www.M/F.com/?nodybgipqoyd7iuRad old man hardcore supergroup. Download this if you like OFF! or The United Nations.
Here's a picture of the vocalist
(http://media.tumblr.com/tumblr_lflr92n2Ri1qzabc5.jpg)
If that doesn't convince you I don't know what will.
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Fergus and Geronimo - Unlearn
(http://i.imgur.com/7fRRO.jpg)
http://www.M/F.com/?ie1m3p0kp5tczlwMySpace (http://www.myspace.com/fergusgeronimo)
"Powerful Loving" (youtube) (http://www.youtube.com/watch?v=iHCx0zciZrE)
The Boxer Rebellion - The Cold Still
(http://i.imgur.com/rDzdn.jpg)
http://www.mediafire.com/?g6xf6yrsn3e8w2qMySpace (http://www.myspace.com/theboxerrebellion)
The Dears - Degeneration Street
(http://i.imgur.com/H8j3l.jpg)
http://www.mediafire.com/?2bxclhn0lcbdz8zMySpace (http://www.myspace.com/thedears)
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I was lucky enough to snag a copy of that Motion Sickness of Time Travel album when it came out on cassette earlier last year and it's one of my most listened to purchases of the past several months. Really wonderful stuff and it sounds even better on vinyl! Probably almost impossible to buy either version at this point but people should buy other stuff by her, her recent stuff especially has all been great.
Hopefully not! I ordered one of the green vinyl copies, which should only number in the low hundreds, if that. Hopefully they're aiming for a wider release of normal vinyl sometime soon.
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Some sounds from my shores.
Adebisi Shank - This Is The Second Album By A Band Called Adebisi Shank
http://www.mediafire.com/?9114w1vsmm61w23
Very strange, very brilliant instrumental punk rock.
Overhead The Albatross - Lads With Sticks
http://overheadthealbatross.bandcamp.com/
Free to download E.P. from these dudes. Not M/F but hopefully you all enjoy bandcamp just as much. Major key, post-rocky stuff, not entirely my bag, but they have a song called 'Liam Neeson', and I like Liam Neeson.
Apologies for the lack of album covers. The Adebisi Shank one is worth looking up because upon it there is an image of a Zebra.
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I was lucky enough to snag a copy of that Motion Sickness of Time Travel album when it came out on cassette earlier last year and it's one of my most listened to purchases of the past several months. Really wonderful stuff and it sounds even better on vinyl! Probably almost impossible to buy either version at this point but people should buy other stuff by her, her recent stuff especially has all been great.
Hopefully not! I ordered one of the green vinyl copies, which should only number in the low hundreds, if that. Hopefully they're aiming for a wider release of normal vinyl sometime soon.
Well knowing Digitalis there's 500 or less total almost guaranteed. Brad's not big on publishing quantities unless it's a super low number but it's long sold out from the source and sold out from Boomkat, Discriminate, and Mimoraglu to name just a couple. It's around some places still but I'm positive available copies are few and far between at this point.
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(http://img201.imageshack.us/img201/8608/ebtm.jpg)
http://www.mediafire.com/?z3j2mt29fftou5m
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Hercules And Love Affair - Blue Songs (2011)
(http://www.thelineofbestfit.com/wp-content/media/2011/01/Hla_blue_songs.jpeg)
Great new CD from a great band.
http://www.M/F.com/?cy9iwi51ef9riw5
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Can I interest anyone in some Archers of Loaf. I'm too lazy to up anything that no one will download.
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This might answer your question. (http://forums.questionablecontent.net/index.php/topic,25946.0.html)
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Message received. I'll put up every album plus the GOAT ep sometime tomorrow.
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Loaftacular
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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Here, give or take a few alterations, are ten of my favorite albums from last year. Maybe my top 10, maybe not quite, but close enough.
10. The North Sea - Bloodline
pitch black, noisy as hell synthesizer mayhem
http://www.mediafire.com/?gice3zmy1kd
9. ALTAR EAGLE - Mechanical Gardens
best electro-pop album of the year, totally blissed out and exuberant
http://www.mediafire.com/?rpomab7u253xi8l
8. En - The Absent Coast
gorgeous, lush, immersive dronescapes featuring a heavily processed bowed koto among other things
http://www.mediafire.com/?s3v8vsgojph7y1s
7. Erik K Skodvin - Flare
dark minimalism, an amazing combination of organic sounds (creaking pianos, whispering guitars, radio static) and electronic effects
http://www.mediafire.com/?wyc42vbo0k34xzx
6. Xela - The Sublime
The soundtrack to excavating ancient crypts and cathedrals long buried and unseen for a thousand years. An enveloping, graceful, and gorgeously hauting pair of synthesizer masterpieces from one of the genre's finest
http://www.mediafire.com/?5y83rl6w5i56j9a
5. Grasslung - Sincere Void
A fantastic drone album that strikes a perfect balance between a pure soundscape and something more organic and tangible. Nostalgic, mournful, each track is a mini-masterpiece; taken as a whole they form a spectacular, cohesive package.
http://www.mediafire.com/?v5a06dfortsizry
4. Yellow Swans - Going Places
A searing kosmiche masterpiece, propulsive, haunting, unhinged yet far more constrained and considered than much of their ultra-abrasive earlier work.
http://www.mediafire.com/?mqjgjz5mzzr
3. Eluvium - Static Nocturne
A sublimely beautiful 50-minute long drone homage to static and white noise both musical and in the natural world. Organs and pianos appear from grainy static fragments, field recordings blear almost to the point and often beyond of recognition, white noise washes - at time thunderously at others with the utmost serenity - over the listener.
http://www.mediafire.com/?3t187y4m1fhb5n3
2. Jefre Cantu-Ledesma - Love is a Stream
gorgeous, elating music, a torrent of immense, blissful noise, textures blown out with dreamy haze, shimmering walls of sound with buried harmonies humming beneath. It's often summery and hopeful but also incredibly loud and dense, chaotic and harsh, in some ways akin to both My Bloody Valentine and Tim Hecker's "Harmony in Ultraviolet" (fans of both will be very happy with what they hear in any case) but more abstracted, a stunning sort of synthesis of the two which manages to make these references while maintaining a distinctly original sound.
http://www.mediafire.com/?53u9bw1ioza3hi6
1. Daniel Bjarnason - Processions
without a doubt one of the finest entries in the modern classical genre in some time. Although not dissimilar to his contemporaries - names like Max Richter, Olafur Arnalds, and Johann Johannsson come to mind - Bjarnason eschews the glitchy electronics and computerized flourishes of the latter two and pursues grander, more ambitious compositions than all three. Jarring, intense, unapologetically epic, there's nonetheless a remarkable sense of restraint even while Bjarnason takes us to the very edge of the precipice.
http://www.mediafire.com/?gn4n2w02i5m
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Talib Kweli - Gutter Rainbows[2011](320kb/s)
(http://i.imgur.com/zbSkn.jpg)
http://www.mediafire.com/?b6cgapq1gm2fnza
Solid album from a great rapper.
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Boom - The Sonics (Norton, 1966)
(http://i876.photobucket.com/albums/ab325/desolationrow10/sonicsboom.jpg)
http://www.M/F.com/?yk4jrjcfz04
The second album by this 60's garage rock group from the American northwest. A lot of the record is covers but the originals are frantic, sinister rock songs that definitely point towards punk, and even the covers are imbued with an energy and a certain sense of abandon that rise above the typical bar-band run through of 50's rock tunes.
Icky Mettle - Archers of Loaf (Alias Records, 1994)
(http://i876.photobucket.com/albums/ab325/desolationrow10/ickymettle.jpg)
http://www.M/F.com/?omozyynwmm5
In light of recent news that Archers of Loaf might be playing several shows, here's their amazing debut album. If you've never listened to to them before here's the place to start.
Matador Singles '08 - Jay Reatard (Matador, 2008)
(http://i876.photobucket.com/albums/ab325/desolationrow10/matadorsinglesjay.jpg)
http://www.M/F.com/?07cjg2hqsq6r8e2
All the singles Jay Reatard released on Matador records in 2008. In my opinion in contains his best songs including "See/Saw" and "Always Wanting More," super fucking catchy are pop gems.
Smoking Acid EP - The Brian Jonestown Massacre (A Records, 2009)
(http://i876.photobucket.com/albums/ab325/desolationrow10/smokingacidjonestown.jpg)
http://www.M/F.com/?ntlwozotu2z
The first EP released on Anton Newcombe's new record label, A Records. Two of the songs are on Who Killed Sgt. Pepper? but it also contains another two songs unavailable on any other BJM LP and an alternate version of "Tempo 116.7"
A Sufi and a Killer - Gonjasufi (Warp, 2010)
(http://i876.photobucket.com/albums/ab325/desolationrow10/sufiandakiller.jpg)
http://www.M/F.com/?3gjnkzznqmo
Lo-fi hip-hop with touches of Middle Eastern music and pyschedelia thrown in for good measure. I downloaded the album at the behest of a friend the other day and was blown away.
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Boom - The Sonics (Norton, 1966)
I'm really enjoying this, thanks! Maybe one day I will get into music with guitars.
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Boom - The Sonics (Norton, 1966)
I only had a couple mp3s back from when myspace let people download stuff off music pages, so thanks! An old roommate had a vinyl of theirs that I always wanted to pick up but could never find (dunno why I never just ordered it online, actually...)
Anyway, YES these dudes are killer.
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Man I love the Sonics. Pretty excellent and varied post of music all around, that Gonjasufi was one of my favorite surprises of recent times.
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The Sonics - Here Are The Sonics!!! (1965)
(http://images.uulyrics.com/cover/t/the-sonics/album-here-are-the-sonics.jpg)
Another great effort from The Sonics.
http://www.M/F.com/?twtw5wd6udkszh3
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YES that's the one my roomie had.
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the nine original 12"s of Basic Channel
classic dub techno from Mark Ernestus and Moritz von Oswald
Cyrus Enforcement (BC-01, 1993)
http://www.m/f.com/?4il8cbg3na8gcn8
Phylyps Trak (BC-02, 1993)
http://www.m/f.com/?h6nlaaqc2ldvluo
Vainqueur Lyot (Reshape) (BC-03, 1993)
http://www.m/f.com/?efjb7rkgxe33wx1
Quadrant Q 1.1 (BC-04, 1993)
http://www.m/f.com/?edxd68b2b6kyhae
Cyrus Inversion (BC-05, 1994)
http://www.m/f.com/?86blnso5srq2wo2
Quadrant Dub (BC-06, 1994)
http://www.m/f.com/?29jriiz4eurqasz
Basic Channel Octagon / Octaedre (BC-07, 1994)
http://www.m/f.com/?wlkogfh17yi9jr7
Radiance I / II / III (BC-08, 1994)
http://www.m/f.com/?5vg8f0tcudtq0um
Phylyps Trak II (BC-09, 1994)
http://www.m/f.com/?m1pvx4690s57qgl
http://www.youtube.com/watch?v=71YBeF7d4AE&feature=related
Anybody cares?
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I for one totally care about dub techno
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I have the edits of many of these, but not the originals. I'm psyched you posted them and looking forward to downloading them when I have the time.
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The Knife - Deep Cuts (2003)
(http://upload.wikimedia.org/wikipedia/en/1/12/TheKnifeDeepCuts.jpg)
The most amazing electropop album.
http://www.M/F.com/?di3ymyryttu
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#the original Maurizio 12"s
#classic dub techno from Mark Ernestus and Moritz von Oswald
Ploy
http://www.m/f.com/?1k18trhgwv1hcni
Lyot
http://www.m/f.com/?mlkonmrjuvxt6d4
Domina
http://www.m/f.com/?fcqeqzag56z3lzr
M-4
http://www.m/f.com/?444aa5hj7jff2if
M-4.5
http://www.m/f.com/?2jm9anq1rovj0es
M-5
http://www.m/f.com/?6ojfbrkt8916qjq
M-6
http://www.m/f.com/?yl8pa14a4772aqw
M-7
http://www.m/f.com/?da69alp5pgida0a
#get lost!
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(http://img88.imageshack.us/img88/8131/f54c.jpg)
1 Ryan Crosson - Metro Bunker
2 Four Tet - Love Cry
3 Appleblim & Ramadanman - Void 23
4 Kenny Larkin - Glob (Claude VonStroke Mix)
5 Swayzak - Ping Pong
6 Canson - Sleeping (Demo Version)
7 Martinez Brothers, The - Broke In The BX
8 Roska - The Sheppard
9 Soul Clap - Break 4 Life
10 Mole, The - Nervous Disid
11 Cajmere - Freaks And Stars
12 Art Department Feat. Seth Troxler - Vampire Nightclub
13 Deetron - Sing
14 Guti & Dubshape - Every Cow Has A Bird
15 Soul Keita & Nicolas Jaar - Para(sol)
16 Damian Lazarus - Diamond In The Dark (dOP Remix)
17 Lee Jones - Yoyo
18 Agaric - Run (Ostern Jam)
19 Su Kramer - Magic Dance
20 Bill Holt - Program Ten (Part Five)
21 Bill Holt - Program Ten (Part Six)
info (http://www.fabriclondon.com/label/fabric/54/)
http://www.mediafire.com/file/fpfydlqdojcij5j/fabfiftyfour.rar
(http://img502.imageshack.us/img502/6633/f55k.jpg)
1 Shackleton - Come Up 4:45
2 Shackleton - Moon Over Joseph's Burial 0:57
3 Shackleton - Hypno Angel 2:51
4 Shackleton - Visontele 2:22
5 Shackleton - Interlude: Blood Rhythm With Wishy Drones 2:22
6 Shackleton - Operatic Waves 2:22
7 Shackleton - Closeness To Nature 2:51
8 Shackleton - Negative Thoughts 3:13
9 Shackleton - Death Is Not Final 2:58
10 Shackleton - International Fires 4:34
11 Shackleton - Paper 1:50
12 Shackleton - Deadman 5:02
13 Shackleton - Interlude: Point One, Sense It 1:24
14 Shackleton - Man On A String (Part 1) 4:30
15 Shackleton - Man On A String (Part 2) 6:10
16 Shackleton - Ice 2:18
17 Shackleton - Busted Spirit 4:34
18 Shackleton - Bottles 5:57
19 Shackleton - New Dawn 4:02
20 Shackleton - Something Has Got To Give 0:55
21 Shackleton - Massacre 5:02
22 Shackleton - Stripped 3:29
info (http://www.fabriclondon.com/label/fabric/55/) / review (http://pitchfork.com/reviews/albums/14947-fabric-55/)
http://www.mediafire.com/?cld6sxw0g3fwail
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anyone else having issues downloading fabric 55?
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It seems to download/save okay, is that what you meant or are some of the files corrupt? Did stutter suspiciously on the way up so let me know if you need fresh copies of any individual tracks.
(http://img517.imageshack.us/img517/783/kd003albumremixes.jpg)
http://www.M/F.com/?cekg3qv49f8x49w
http://www.M/F.com/?s1htl9tcctjbi9w
(http://img827.imageshack.us/img827/6281/1264148036cover.jpg)
http://www.M/F.com/?jcew3n8c0vy7zdk
(http://img408.imageshack.us/img408/7452/kd017cover.jpg)
http://www.mediafire.com/?7y382t2a1qhllox
1 and 3 are 320 CBR, 2 is 256 for some reason.
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bright eyes - the people's key (2011) (320kbps)
(http://1.bp.blogspot.com/_TwoWWVwAC-g/TURlowF7_rI/AAAAAAAAAc0/sqfs1JKoKqU/s1600/Bright-Eyes-The-Peoples-Key.jpg)
http://www.mediafire.com/?1kkaj5ixja8tr51
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Like a boss. Thank you so much for that!
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Most have probably seen this, but worth to download.
Matt & Kim With Jay Z.
A great mash up by DJFMC.
http://www.mediafire.com/?gjnvqf5ua1j70ru
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Some random stuff eh
Guts - Le Bienheureux
(http://img651.imageshack.us/img651/7579/gutsbienheureux.jpg)
And The Living Is Easy!!! (http://www.youtube.com/watch?v=59wbr_Vquxs)
http://www.M/F.com/?y76984zpe5amu0b
Minotaur Shock - Maritime
(http://img535.imageshack.us/img535/6752/0000851739350.jpg)
Muesli (http://www.youtube.com/watch?v=_Dq_SGVxIEc)
http://www.M/F.com/?5tx0dmsucq4t44h
DJ Vadim - The Soundcatcher
(http://img197.imageshack.us/img197/4678/djvadimthesoundcatcherb.jpg)
Sufferin' Blues (http://www.youtube.com/watch?v=bVl_cGugAws)
http://www.M/F.com/?b9pp85d585l8k7v
Greensleeves Rhythm Album #27 Diwali (Gold Edition)
(http://img17.imageshack.us/img17/997/1517310.jpg)
XM24 (http://www.youtube.com/watch?v=lJrfghSOe_o)
http://www.M/F.com/?vdcdzcjks3qeqqp
The Good, the Bad & the Queen
(http://img833.imageshack.us/img833/8932/61g5zl7slplsl500aa300.jpg)
The Good, the Bad & the Queen (http://www.youtube.com/watch?v=lArp4CduRvI)
http://www.M/F.com/?9o8nrz9an63yrp9
St. Thomas - Hey Harmony
(http://img198.imageshack.us/img198/314/heyharmony.jpg)
Be Cool, Be Nice (http://www.youtube.com/watch?v=bBJWiiXnzpQ)
http://www.M/F.com/?0h0zzjjiaaqwrap
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Burzum - Fallen[2011](320kb/s)
(http://i.imgur.com/lc5MM.jpg)
http://www.mediafire.com/?fb9buohuy5afvjp
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Dead Letters Spell Out Dead Words - Lost In Reflections (Fang Bomb, 2008)
(http://i54.tinypic.com/hwg29e.jpg)
http://www.mediafire.com/?r7ki4cqkkxwpdsq
http://www.tinymixtapes.com/music-review/dead-letters-spell-out-dead-words-lost-reflections
Thomas Ekelund (the man behind Dead Letters...) writes of the album that it is, to a large extent, an outgrowth of his diagnosis and subsequent battle with borderline personality disorder, and the attendant feelings of alienation, isolation, and the perturbation of the sense of self. He describes his personal degeneration as having gotten to the point where his image of himself was of “An empty shell containing oozing, black bile and nothing else.” For all this marked doom and gloom, it's interesting that the most salient feature of the album is its approachability.
A listener going into this album would be right to expect a plunging, pit-of-despair excursion through black fields draped with mist, the moaning intestines of glacial caverns and abandoned, decaying toy factories, and at points, we do get those sorts of typical dark ambient tropes. However, much more often we are submerged in a more subtle, profound, and strangely comforting seclusion. Set adrift on a sturdy but pliable raft of electronic snaps, crackles, and pops, we are borne gently to and fro by layered currents of iridescent guitar melodies and rolling swells of delicate fuzz. There is no doubt a strain of loneliness and pain suffered in solitude that runs through each of these songs, but it's the kind of neurosis that you can bring home to mom. As hard as this album tries to be tortured and inaccessible, it can't shake the fact that it's actually a very beautiful and generally pleasant experience.
This is not to say that we've got an I'm From Barcelona album on our hands here. There are a couple tracks (“Lost and Losing,” “In Crowded Rooms, On Empty Streets”) that at least break ground on that pit of despair, alerting us to the darker side to Ekelund's project; but even these moments end up resolving themselves into graceful phantasms of melodies. I suppose that these subtle swayings of emotion are just another manifestation of the album's theme, but as illustrations of an ailment that Ekelund says “inevitably drapes every aspect of life in shadows that range from shades of gray to coal black,” I can't help but feel that some of that terror and despair has not been fully transcribed.
If this album is meant to be a declaration and relation of feelings of anguish, existential anxiety, and sequestration, I must say that it has failed. However, there is a type of invitation here, a form of calling into loneliness. We are not asked to empathize with this album, and we are not dragged screaming by its tendrils into the heart of darkness. Instead we are nudged, led quietly by our hands to a place where someone has found something of value, and then we are left there. A child's fortress inside a giant rotting stump deep in the forest, a dock with no boat or house on the shore of a lake long since turned to swamp — we are left alone, sure, but we are also left with the hope of coming to terms with that fact and of finding something worth being alone for.
Ryoji Ikeda - Test Pattern (raster-noton, 2008)
(http://i55.tinypic.com/35lf3a9.jpg)
http://www.mediafire.com/?9i380lw7bt7xg01
http://www.tinymixtapes.com/music-review/ryoji-ikeda-test-pattern
"Caution! This CD contains specific waveform, impulse and burst data that perform a response test for loudspeakers and headphones. High volume listening of the last track may cause damage to equipment and eardrums."
So reads the disclaimer on the sleeve of Ryoji Ikeda’s new batch of auditory hallucinations entitled Test Pattern. Seems while Tipper Gore was getting her panties up in a bunch slapping Parental Advisory stickers on the albums of any rapper who would utter such profanities as ‘bitch this’ or ‘hoe that,’ the real threat lay in the prospect of conceptual sound artists damaging valuable electronics and deafening our nation’s experimental music fans. A similar warning graced the cover of Dataplex, Ikeda's 2005 release, with the one notable exception being the promise that playing it wouldn’t result in the demise of your CD player and/or ears. Dataplex was the first readily available document of Ikeda’s Datamatics series, a multimedia project dealing with the artist’s ongoing obsession with the sheer overload of data in the modern world.
Test Pattern is the second release in the series, and its techniques are part continuation and part departure from the material on Dataplex. As a pure auditory experience, it may be a step down from Dataplex, but what it lacks in sonics it makes up for in conceptual gold. Moreso than its predecessor, Test Pattern showcases Ikeda’s ability to derive meaning out of the most stripped-down sounds. A veritable Morse code awaits the listener on Test Pattern, with every sound dissected to its subatomic particles. You’ll hear tones, frequencies, blips and bleeps, but never notes, never melodies. With such an amusically stacked deck, you’d think it would be impossible to create anything even marginally interesting; for Ikeda, however — who, like Satie or Feldman, thrives on the austere — it’s a snap.
The real beauty of Ikeda’s work lies in its ability to provoke some of the deepest thoughts you’ve had on the nature of sound and, even, reality. I still remember sitting in my friend’s college dorm on an early psilocybin-fueled journey, listening to Ikeda’s 2001 release, Matrix; the disc consisted of one long sine wave whose properties were such that, in an enclosed room, the sound would change depending on your ears’ relation to the speakers. Climbing on top of furniture and seeking new aural vantage points, all involved were dramatically moving their heads and bodies in an attempt to modulate the tone and thus control it, a truly novel moment in my progression of understanding/having my mind blown about sound. That is the essence of Ryoji Ikeda: he throws everything you knew about reality out the window and thrusts open those rusted doors of perception.
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Dead Letters Spell Out Dead Words are awesome! People should download that album
Gavin Bryars' "Sinking of the Titanic" (1969)
From my blog
"Sinking of the Titanic" was Gavin Bryars' first major piece and it remains one of his best, a rarely performed, beautiful and original minimalist multi-media piece for orchestra. The germ of the composition comes from the story that the band on the Titanic went down with the ship playing the Episcopal hymn "Autumn." With this piece, that hymn is performed by the strings and echoed gorgeously and hauntingly in drifting waves throughout the rest of the orchestra. The piece evolves slowly, taking us quietly down with the ship to the ocean floor and then, many years later bringing the ship back up again as it is discovered and explored. Woodblocks ping out sonar beams, a bass clarinet weaves a warm and whirling journey beneath the waves, a crackling recording of an old woman recalling the evacuation of the ship swims up out of crumbling static now and again. The piece ends serenely beneath the ocean, winding through the halls of the decaying ship, faint, melancholy reminiscences of when it was full of life and music whispering beneath a thrumming pulse and snarled static. The hymn remains thematically present throughout, reemerging in full near the end through a glowing pulse of sound. Wonderfully evocative, this recording is gorgeously forlorn and haunting. Not positive which orchestra is performing here but they do a fantastic job in any case. The link is for the full performance, 1:12:35 in length.
http://www.M/F.com/?2zplt1e1wqjay1g
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Burzum - Fallen[2011](320kb/s)
I heart yoooooooou
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Ryoji Ikeda - Test Pattern (raster-noton, 2008)
Wow, this stuff really starts messing with your head after awhile.
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Ryoji Ikeda - Test Pattern (raster-noton, 2008)
Wow, this stuff really starts messing with your head after awhile.
I listened to two of his albums back-to-back and my nose started to feel stuffed up. It was a very strange experience. Also, that warning is no joke. Don't play this album very loudly, it will fuck shit up.
E: I have literally all of Mr. Ikeda's discography. I could upload all of it if you guys want. Plus a little more Dead Letters Spell Out Dead Words as soon as I rip it from the cassette.
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I have literally all of Mr. Ikeda's discography. I could upload all of it if you guys want. Plus a little more Dead Letters Spell Out Dead Words as soon as I rip it from the cassette.
I, for one, would love more Ryoji Ikeda and Dead Letters.
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bright eyes - the people's key (2011) (320kbps)
http://www.M/F.com/?1kkaj5ixja8tr51
noooo, two days later and it's already been removed :(
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Individual uploads for popular leaks generally don't last longer than a day, really. But if you do some searching I'm sure you'll find a fresher upload somewhere.
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Okay, I'm still working on the Ikeda megapost, but in the meantime have more Dead Letters.
Dead Letters Spell Out Dead Words - No Words (Cassette Rip)(Land Of Decay, 2010)
(http://i55.tinypic.com/20ux2ja.jpg)
http://www.M/F.com/?l86n8svkimza9eb
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DeVotchka - 100 Lovers
(http://i.imgur.com/7lLv6.jpg)
http://www.M/F.com/?1l043wq72nsw73e
The Rural Alberta Advantage - Hometowns
(http://i.imgur.com/r3jqt.jpg)
http://www.M/F.com/?ubu24hvbcud161d"In The Summertime" (youtube) (http://www.youtube.com/watch?v=e-bSQWRM7_I)
this is not the bright eyes album you are looking for
(http://i.imgur.com/f8waz.jpg)
qx0rwyuqsb64laf
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you're my new best friend
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BE is down. That was quick.
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(http://img696.imageshack.us/img696/2486/333hmn.jpg)
Brokenchord - A Girl of 13 Summers / Orion
Along with Ital Tek, the foremost name in bringing IDM styles to dubstep. A relatively fresh face, too - This is, far as I can tell, only his second release.
2nd drop from Brokenchord for the Black Acre family of labels. 'A Girl Of 13 Summers' is full of compacted and compressed synthline euphoria just bursting with melodic electronica positivity and arranged with enough neck-snapping style to grip the dancefloor. On the flip 'Orion' is brilliantly unstable, like some gaseous bulb bulging with lop-sided synths and hiphop/dubstep rhythms folding in themselves double time under the pressure of a quasi-speed Reese bass.
http://www.M/F.com/?5cgu59z8v6hb3u4
(http://img156.imageshack.us/img156/3424/333syh.jpg)
DMX Krew - That Was Harder Than I Expected
Vintage electro-acid from the prolific longtime Rephlex associate. The title track is too smooth. Def for you if you liked Space Dimension Controller's funkier early work, or EOD's more romantic moments.
Fine four-tracker from the uncompromising DMX Krew aka Ed DMX for his home-brewed Breakin' imprint. Highlights are easily the lead cut 'That Was Harder Than I Expected' with its curiously dissonant melodies, which kinda sounds like two Bochum Welt tracks playing at once, and equally the pastoral arcade glow of 'Space Invaders Meets Darth Vader' with its zonked, zappy synth pads and padded bass pulses.
http://www.M/F.com/?jmf7bqz7mctjwh5
(http://img233.imageshack.us/img233/8043/333wc.jpg)
Sepalcure - Fleur
Love Pressure really snuck up on me but the greatness of this EP is out in the open from the start. Impeccable production and plenty of NYC-bred House Diva samplage. Up there with Mount Kimbie or FaltyDL.
Another hotly tipped act to appear on Scuba’s Hotflush imprint, Sepalcure blend ambient soundscapes with lush melodies, hushed vocals and a deep, experimental post-dubstep sound that’s quite frankly, really rather wonderful. You may recognise them from their former constituent parts – Machinedrum (Travis Stewart) and Praveen (Praveen Sharma) – but the Brooklyn based duo, who recently marked their debut in Europe with their gig at Plan B in Brixton, have really come into their own as Sepalcure. They first emerged from the undergrowth using the new moniker late last summer with their Love Pressure EP, which stunned audiences across the globe and now they return with the highly anticipated follow up Fleur.
Kicking off with the EP’s title track, Sepalcure send us into a sublime headspace which is somewhere between contemporary hot shots like Mount Kimbie, Pariah and fellow yanks Vondelpark and Ninja Stalwarts like Cinematic Orchestra. Chiming instrumentals are paired with shimmying, faded out vocals and clipped woodblock beats. Next, “Your Love” takes things even more downbeat with echoing, reverbed atmospheric crackles and a warm, murmuring b-line yet there is a sense in which this track won’t settle – constantly fidgeting and looking towards the horizon until entering a contemplative passage towards the end. It leads us neatly into “No Think” – which could well be the defining track of the EP, what “Work Them” was to Ramadanman last summer. Here lurching 2-step rhythms hit home with great effect, the same shimmering, barely there vocals which saw before return and there’s an overwhelming sense of brooding darkness before a soulful element rounds it off. Divine. Finally, “Inside” closes the EP with a synth-soaked intro and short two-minute Flying Lotus style finale, incorporating string flourishes, muttering lyrics and warm ambient watercolour washes.
http://www.M/F.com/?pfo2gbcvgnn1ez6
(http://img121.imageshack.us/img121/671/333tk.jpg)
Tilman Ehrhorn - Past Utopia
Lush, cinematic glitch / IDM in a sort of early Plaid vein, not too overbearing, often quite subtly pretty. Right up my alley, maybe yours too?
Slightly surreal glitchtronica compositions from Tilman Ehrhorn. 'Past Utopia' is his third album proper, some eight years post his 2003 'Task' debut for Mille Plateaux. His music is as concerned with mood and space as it is sharply contoured rhythms, but what he does in between is a little harder to define. The clipped rhythms of 'Green And Yellow' nod to vintage SND, while 'The Crown' almost has some of Actress's lo-fi sleight of hand to it, and 'Radio Petrol' is an unpredictably hiccuping and spluttering micro-house production. It's the blend of these skittering micro rhythms and his wide palette of samples that really define this album. Fans of Farben, SND or Matthew Herbert should have a sniff.
http://www.M/F.com/?aaohvp6qtwymatz
(http://img37.imageshack.us/img37/1738/333ak.jpg)
14 Tracks From Planet Mu
A great primer unless you've missed the last year and a half or so of (non-Footwork / Juke) Planet Mu releases. Features 4 unreleased tracks from Solar Bears, Oriol, Boxcutter and Rudi Zygadlo.
'14 Tracks From Planet Mu' gives a succinct taste of what the exploratory imprint has been up to for the last few years, and where they intend to go with it. The comp is roughly divided between now-established label classics and new material from recent signings, and some veritable veterans. Repping for the last two years the comp touches on Floating Points' breathtaking debut release 'K&G Beat', Jamie Vex'd's downbeat metamorphosis into Kuedo mode on 'Starfox', Rossi B & Luca's soca-grime ruckus 'E10 Riddim', Swindle's ecstatic 'Airmiles' and forward thinking progpop & dance from Ikonika, Rudi Zygadlo, Slugabed and the inimitable Falty DL. On a brand new and exclusive swing, Oriol delivers the frisky bubbler 'Solar' next to Irish duo Solar Bears' pop ambient heartwarmer 'To Be With Her' and 'Parasol' taken from The Internal Tulips debut album 'Mislead Into A Field By A Deformed Deer', and Boxcutter gives the exclusive 'Ufonik' feat. Brian Greene, a brilliant excerpt from his forthcoming album, due later this year. Bargain.
http://www.M/F.com/?f4ffs3prqzvkg2p
(http://img163.imageshack.us/img163/5718/333ur.jpg)
Gravious - Junction City EP
Saigon Recordings seems to have the market cornered on glossy, exuberant rave dubstep monstrosities in the Starkey vein (that Duffstep single from a few months back was their doing) and here they extract a great clutch of echoing, garage-y techno-indebted cuts from (relatively) old hat Gravious. I had some dealings with the guy who used to run Highpoint Lowlife and that this act was on his roster speaks to the quality of his product. Infectious stuff.
Saigon follow that terrific Duffstep 12" with three techno-inspired Dubstep rollers from Hot Flush and Highpoint Lowlife contributor, Gravious. 'Junction City' has one foot firmly in Detroit and the other planted in a Glasgow bassbin, fusing the two styles at its apex. 'Lodestone' mellows out with a canny digidub influence in the bass balanced by an effervescent lead melody next to the sci-fi strokes of 'Lunar Module' and its sticky, 808-powered stargaze vibes.
http://www.M/F.com/?3w6dk9becq78309
(http://img716.imageshack.us/img716/321/333mo.jpg)
Heinali - 67 Breaths
Really loving this one - it sort of feels like that awesome Nest album from last year crossed with some of Julian Fane's older instrumental pieces. To wit, dramatic and cinematic instrumental cuts with big emotions and swooping strings and warbling guitar. Highly accessible for a "modern classical" album.
The first release on eclectic new label Arlen comes from minimalist composer Heinali, a self-taught multi-instrumentalist from Kiev, Ukraine. While his music is reminiscent of the likes of Goldmund and Dustin O'Halloran, both in terms of content and atmosphere, his wide range of influences - from jazz to post-rock via classical - is evident, making '67 Breaths' a bold and startling debut that's more than just another contemporary classical release. Simple in composition but affecting on record, Heinali's background as a writer for films, art performances and installations is apparent in his material, and this album heralds the arrival of a potent new talent on the scene.
http://www.M/F.com/?vlh7x7aq8asjwtj
God, there's so much more where this came from, but I have to sleep before I can continue. More on the morrow.
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Gospel, the code for the Rural Alberta Advantage album isn't working, for me anyway.
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Hmm. Works for me. Try this?
http://www.mediafire.com/file/ubu24hvbcud161d/raAdvtg-htown.zip
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Aye, that's it now. Cheers!
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Best post you've put up in a while, KVP. Thanks a lot.
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Steven Drozd - The Heart Is A Drum Machine (OST) (2011)
(http://img810.imageshack.us/img810/3827/mziyhpdvbbt170x17075.jpg)
Born (http://downloads.pitchforkmedia.com/Steven%20Drozd%20-%20Born.mp3)
http://www.M/F.com/?g1u8xzica1tbxi7
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Gah my internet's acting wacky and won't allow me upload files at the moment, so I decided to dump a bunch of links to stuff I've already uploaded from M/F/my old megaupload account that I haven't posted here yet.
Heavy Days - JEFF the Brotherhoood (Infinity Cat, 2010)
(http://i876.photobucket.com/albums/ab325/desolationrow10/heavydays.jpg)
http://www.M/F.com/?mqoo66c80d035ak
JEFF the Brotherhood are a rad band from Nashville who've been releasing records on their own Infinity Cat label for the past ten years, but this is the first album that's had nation-wide distribution. They're a sibling guitar/drum duo but have more in common with the Ramones, Wire, the Beach Boys and Chisel than they do the White Stripes or the Black Keys. If you guys like it lemme know and I'll post their earlier stuff (which is nearly impossible to find on the internet) once I can upload stuff to M/F again.
Your Side of Our Story - The Brian Jonestown Massacre (Unreleased, Recorded in 1998)
(http://i876.photobucket.com/albums/ab325/desolationrow10/yoursideofourstory.jpg)
http://[email protected]/?d=C970B9HU
These are the fabled BJM John Peel sessions, intended for European consumption but never officially released. It contains some live favorites that've never seen a release on an official Jonestown album such as "Swallowtail" and "Johnny Marr Is Dead." (Edit) Upon re-downloading the link to make sure it still works I've discovered there aren't any track names (sorry!) so here they are:
01. Intro
02. Servo
03. Nailing Honey To The Bee
04. This Is Why You Love Me
05. David Bowie (I Love You Since I Was Six)
06. Nothing To Lose
07. Whoever You Are
08. Satellite
09. Johnny Marr Is Dead
10. Somewhere
11. Jennifer
12. Who?
13. Swallowtail
14. It Girl
15. Telegram
16. Here It Comes
17. Outro
18. Feel So Good
19. Prozac vs. Heroin
Here's Little Richard - Little Richard (Specialty, 1957)
(http://i876.photobucket.com/albums/ab325/desolationrow10/hereslittlerichard.jpg)
http://www.M/F.com/?iuwocyvml2j
Some people have never listened to this album, which is a shame cause it kicks so much ass. The famous songs ("Tutti Frutti," "Long Tall Sally) have been covered to death by dad bar-bands to death but the original versions as well as the other songs have an energy and a joy that still gives them power. And that scream! If you love bands with lots of shouting/screaming, you have Little Richard to thank so download this ASAP.
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Best post you've put up in a while, KVP. Thanks a lot.
N/P.
(http://img834.imageshack.us/img834/9448/333eb.jpg)
Jatoma - Jatoma
Best Kompakt release I've heard in awhile. I can't decide if I'm more enamoured with House or Techno these days...
Writing about electronic music is difficult because it requires you to be both hyperspecific — down to the drum machine or synth, the record label or nightclub — and that you move away from that specificity in order to allow your subject an identity that’s not overdetermined by technology or genealogy. Plus, unlike more culturally embedded forms such as blues or jazz, electronic music often is short on cues — the stories that help us understand what we’re listening to, that tell us where the meaning lies, that feel less like narratives and more like matrices or hypertexts. Choose your own adventure and so forth. There’s a dizzying profusion of paths from the zero-degree of consumer electronics, a 440 Hz sine wave, to a new group like Kompakt’s Jatoma. This comes as a relief. The music on the trio’s self-titled debut LP for the Cologne label is hard enough to pin down without the whole sordid business of identity and a PR one-sheet getting in the way.
Jatoma the record does not sound the same way twice. There is a lot of detail, to be sure, but the album’s changeability is the result of canny construction, not being overstuffed, almost suggesting that some kind of Oulipian restrictions are in place. Jatoma (specifically Tomas Barfod, Mads Kolding and Jacob Littauer) plays cat and mouse with certain techno conventions, walking a fine line between recognizable forms and sounds that don’t quite scan as musical. The production logic fights against quantization, the production-software button that snaps all MIDI notes to a particular metrical grid. Much of the drama here comes from phrases that barely fit into the songs, parts that threaten to topple the whole Jenga tower over.
Despite the ways Jatoma calls attention to its own construction, the album is not too sophisticated to have the same level of emotional accessibility as, say, Four Tet or The Field. The pleasant central motif of the first track, “Little Houseboat,” states this clearly at the outset, before an onslaught of sounds divides the focus. Jatoma’s productions are filled with options. There seems to be a stable core to every track around which sonic detritus orbits; what you choose to pay attention to among these gambolling sounds can effectively change the experience of the song — but then again, the core of the song often morphs significantly before the runtime is out. Which means that this album can be both idyllic and sinister. It makes and re-makes itself in realtime.
This is very true of a certain kind of electronic music. I bought Autechre’s Tri Repetae++ seven years ago simply because it had the best reviews. It wasn’t until two weeks ago, prompted by rainy weather, I finally heard what was essential and compelling about it. The best Autechre tracks are half dirty, harsh industrial sounds and half recognizably musical techno: a sketch of a melody or some warm pads, for example. As a listener you’re called upon to make sense of the “non-musical” sounds in terms of the musical ones while filling in the built-in blanks in the melody or ambience. The appeal has more to do with internal, unresolved tension than with forward momentum.
Fourteen years later, it makes sense that Jatoma’s take on this concept would involve more than two simultaneous ideas. This might give the reader the idea that Jatoma is scattered, but it’s not. It’s frequently an overwhelming experience because there is so much to take interest in here, but it’s still a carefully engineered one — packed with some of the more satisfying jams of the year. It is itself a combination of specificity and anonymity, a state of flux with very few right angles.
http://www.M/F.com/?9c1vxh99c1jvmna
(http://img600.imageshack.us/img600/2209/333mv.jpg)
xxxy - You Always Start It / Ordinary Things
You know the Joy Orbison template by now, and Ten Thousand Yen delivers yet more of it from garage dude xxxy. If you liked that Julio Bashmore EP I posted, check this, you'll like it. The A is colossal.
Ten Thousand Yen push the proverbial boat out with a fittingly resplendent screen-printed sleeve for xxxy's mighty 'You Always Start It'. Riding a wave of adulation from Fact Magazine and his label boss, Doc Daneeka, xxxy has arrived at his most substantial, emotionally arresting single to date. The title track is a proper Bobby dazzler, swinging with a sussed deep garage groove but taken in any direction you need to go through judicious use of a cascading arpeggio that envelopes the whole track and turns it into a twirling double helix of mutant Techno and anthemic Garage. 'Ordinary Things' is a little simpler, relaxing into a plump, subs driven roller with MDMA-triggering euphoric builds like a more sensitive cousin to the all-together-now rave of Hot City. Fans of Joy Orbison, Roof Light, or Julio Bashmore - this one is massive!!!
http://www.M/F.com/?jyadn9ce5bdfa0t
(http://img255.imageshack.us/img255/7758/333mt.jpg)
Luke Abbott - Trans Forest Alignment (Gavin Russom Remix)
The newest Border Community dude takes the best track off his album and gives it to Gavin Russom (of LCD Soundsystem / Black Meteoric Star fame) for an analog House refix. Includes a non-album cut and another remix from Rocketnumbernine, who I've never heard of.
Brilliant single taken from Luke Abbott's 'Holkham Drones' debut LP, including the exclusive 'Caucus Race' a remarkable remix by Rocketnumbernine and Gavin Russom's exotic techno version. Abbott's instinctively timed, hardware-driven experiments are about the best thing on Border Community right now, full of carefully constructed, humid analogue soundscapes with supremely tangible textures and spacious 3D shapes, best heard in the morphosis from euphoric techno to visceral electronic drone zones in 'A Trans Forest Alignment'. Yet more impressive for us is the stunning remix from Ben and Tom Page aka Rocketnumbernine, who first debuted their sound on Four Tet's Text label in 2010. Jacking up the tempo and adding acres of wonderful harmonic dissonance their remix is simply unmissable for fans of stirring dancefloor electronics, regardless of style or subset. Gavin Russom serves one of his typically nuanced exotic techno versions on the flip, next to the bleeding raw electrojack of Abbott's exclusive contribution 'A Caucus Race'. Recommended!
http://www.M/F.com/?wroy84ic1v1cm78
(http://img341.imageshack.us/img341/8265/333he.jpg)
Martyn & Mike Slott - Collabs Series No. 1
To be perfectly honest the first track isn't quite up to the snuff Martyn's more recent singles, being as it is a pretty meat-and-potatoes House cut, but the B offers up a nice bit of bright, dreamy disco.
Martyn and Mike Slott collude on the first 12" of a collaborative series from All City. We'd guess there's a few of you breaking out in sweats already looking at the lineup, and the music should justify your giddiness. 'All Nights' is a seriously good-looking swagger-House riddim, all buff dub chords, rumping subs and a deadly percussive palette of slinking bells, slicing snares and densely padded kicks. If the Martyn influence is clear in that one, then 'Pointing Fingers' belies a fair input from Mike Slott, set to a grooving mid-tempo swing with cosmic harp and synth interplay on a Flying Lotus tip. Heavy.
http://www.M/F.com/?lj8w1ydqqg68lk8
(http://img821.imageshack.us/img821/1342/333esc.jpg)
Kassem Mosse - EP5
This guy used to run with Instra:Mental to some degree, representing the technoid side of that group's sensibility. The deepest Techno productions.
The ever-reliable Kassem Mosse impresses with three tracks for Italy's Kinda Soul Recordings - home to releases from Jus-Ed, Scott Ferguson and Rick Wade. It's hard to pick a highlight from these sublime efforts. A-side '2D' would be the obvious choice with its plaintively captivating lead synth and engrossing arrangements imbued with the same addictive qualities as his Workshop 08 12" or 'Aqueous Haze' 12", but then you encounter the snapping Deep House/Electro groove of 'Thalassocalyce' embroidered with the most gorgeous Detroit motifs, and the killer slo-mo echoic throb of 'Demo Drums Ripping Demos'. Fuck it. They're all killer and worth the immediate attention of any self-respecting techno fiend.
http://www.M/F.com/?sgttpfpoyq73avw
(http://img341.imageshack.us/img341/3162/333zx.jpg)
No. 9 - Usual Revolution and Nine
I go back and forth on this one - it was sort of an impulse grab and while the production and arrangements are generally solid, the music's relentlessly... upbeat mood and the inclusion of an ill-advised take on Canon in D keep me at arm's length before a sugary piano passage draws me back in for a spell. It's halfway between a legit record and the shopping music in the Sims. If you like Oriol or Bonobo you will probably dig this.
http://www.M/F.com/?8ej25p6dd5jlyyq
(http://img254.imageshack.us/img254/2937/333ut.jpg)
Sonic Youth - Simon Werner a Disparu
It's Sonic Youth. You like Sonic Youth, right? All instrumental, dissonant at times, post-rocky at times. But it's certainly Sonic Youth. Tasteful!
'Simon Werner a Disparu' is Sonic Youth's OST to Fabrice Gobert's film of the same name. We've not checked the movie yet so couldn't comment on the relationship between sound and image, but taken as the standalone album it's intended to be, the group have created a vividly cinematic sonic experience. "In Spring 2010 Sonic Youth gathered at their Echo Canyon West studio in Hoboken, New Jersey to watch the rushes of a new film, 'Simon Werner a Disparu', by French director Fabrice Gobert. The band spent the following few weeks recording music which was then shaped as needed to fit the various scenes of the film. For this release, rather than present the abbreviated clips of music as used in the film, the band went back in the autumn to the original tapes and re-organized the various pieces for this original soundtrack release, sometimes montaging multiple tracks together, other times extending cues into new sonic realms."
http://www.M/F.com/?n66js939ms9sz83
(http://img339.imageshack.us/img339/9292/333oq.jpg)
//Tense// - Turn It Off
The synthwave / industrial revival continues in earnest. I got it mainly on the strength of the original track and the White Car remix, because anybody who loves the Wax Trax! scene as much as they do deserves my support.
Somebody should make that cover guy into a comic book hero. "Meatface Leatherdaddy".
http://www.M/F.com/?45iqkh50gqd2b8f
(http://img412.imageshack.us/img412/8585/333cql.jpg)
Wagon Christ - Manalyze This!
More puns and chopped up samples in this track from Luke Vibert, making his triumphant return to Ninja Tune under his original IDM-centric alias, Wagon Christ. Sounds about right considering where he left off but there's no small amount of residue left from Vibert's last few pseudonym-less excursions.
Ahead of his 'Toomorrow' LP, Luke Vibert drops new Wagon Christ material on 'Manalyze This!', a sample strewn groovy breakbeat number with his usual cheeky sense of arrangement and sugary synth licks.
http://www.M/F.com/?v00z4fzu2g7t3v9
(http://img87.imageshack.us/img87/9292/333oq.jpg)
Windmills By the Ocean - II
I was expecting a drone / ambient album, but this is fairly straightforward post-metal / post-rock type stuff, hard-to-hear vox and all. It's pretty winning stuff, all told. Hits all the right notes.
http://www.M/F.com/?fnxbsbaw0kbksk2
(http://img163.imageshack.us/img163/3793/buck300x294.jpg)
Buck 65 - 20 Odd Years
Yes, Buck is back. He never left but he's back! I'll say this - old-school boom bap has not served Mr. Terfry for awhile and it doesn't here, but after the shaky "Superstars Don't Love" Buck seems to settle into a comfortable groove. I've seen it referred to as a return to a Talkin' Honky Blues feel for Buck, which is unfortunately not really true - there's definitely a lot more Secret Houses Against the World in this album's lineage, what with the mostly sombre tone. But I really liked that album, so fuck you. Don't take my word for it, listen to a guy from some bumfuck town out in the middle of nowhere! I bet the people he works with are all assholes.
Buck 65 is no stranger to oddities. His latest release, entitled 20 Odd Years, is a collaboration with numerous other artists to celebrate the roughly twenty years that Buck 65 has been making his odd style of hip-hop music. Because the album is so collaborative, 20 Odd Years is full of variety. All the songs feature Buck 65’s unique alternative hip-hop style, but the utilization of other artists’ vocal styles, ranging from a deep baritone to a soaring soprano, with Buck 65’s flow of rhymes creates an intriguing sonic blend. This unique auditory landscape that’s filled with deep layers of synths, samples, electronic drum tracks, and a multitude of physical instruments is in no shortage of hooks; harmonic minor melodies over the tonic and dominant-seven chords are a common occurrence that help to achieve tension-building hooks that keep the listener interested. As a whole, 20 Odd Years ventures though an abundance of moods, moments, and musical styles to create a fine way to spend three-quarters of an hour.
http://www.M/F.com/?pkej795o1ys417y
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And that scream! If you love bands with lots of shouting/screaming, you have Little Richard to thank so download this ASAP.
Hmm. That IS my favorite part of King Khan & The Shrines. OWWWWWWWWWWWW
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Les Savy Fav - Inches (2004)
(http://ecx.images-amazon.com/images/I/3194R0AW3GL._SL500_AA300_.jpg)
A compliation album featuring vinyl-only singles recorded and released between 1995 and 2004. Heavy, raw, incredible.
http://www.M/F.com/?ggygjqizzfi
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Goddamnit I am trying to upload the new Dirtbombs album but my internet is being so shitty.
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The Dirtbombs - Party Store[2011](320kb/s)
(http://www.israbox.com/uploads/posts/2011-01/1295381574_dirtbombs.jpg)
http://www.mediafire.com/?lehofn8rr6c5r8o
Once again the dirtbombs release an album completely different from their previous releases. This time around they go for a more techno sound. (http://www.youtube.com/watch?v=MNdhPukc0uA)
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Really digging The RAA and that Heinali KvP uploaded, I have such a hard time scouring for good contemporary classical
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Papercuts – Fading Parade (2011) 320
(http://img222.imageshack.us/img222/5729/8291400x371t.jpg)
http://www.mediafire.com/?lv65nzd9w49fdla
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Neutral Milk Hotel - In The Aeroplane Over The Sea (1998)
(http://www.normanrecords.com/images/covers/40/73040.jpg)
My favourite album of all time? Perhaps…
http://www.M/F.com/?wmvlzhxroz2
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A Hawk and A Hacksaw is betttterrrrrr.
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Rules:
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Ensure your tags are correct and that you have specified both Artist/Album in your post.
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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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Repost the rules at the top of each new page.
Some random stuff eh
I pretty much liked everything in this post.
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A Hawk and A Hacksaw is betttterrrrrr.
Nah, no chance :wink:
However, I saw AH&AH play in an art gallery, and they did an acoustic encore in the middle of the audience - simply sublime.
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John Vanderslice did that when I saw him, too. It was good times.
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Man, it's been years, I think, since I've posted on here. I just uploaded an album for a friend and thought y'all might enjoy it.
Barefoot Surrender--Barefoot Surrender
(http://i53.tinypic.com/2jcasly.jpg)
http://www.mf.com/?237e8ads4e1p97f
www.myspace.com/never-say-surrender (http://www.myspace.com/never-say-surrender)
This is hands down my favorite new album I've heard in years. They describe themselves as punkgrass, but they're much heavier on the bluegrass than the punk. I met these guys busking on the street one night this summer and they ended up staying with me for a few days. I've been listening to them pretty much every day since. Super catchy, hard-hitting, and EXCELLENT for drunken sing-alongs. For fuck's sake, they have a washboard! YOU NEED THIS.
Stand-out tracks: Forgot My Name and Faith No More
Also, these guys could always use some more support, so if you like it you should definitely buy it from them / put them up on your couch.
HOLEEEEEEEEEE SHEET! This album is brilliant! Thank you
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HEY! Here's som Birchville Cat Motel from my latest blog post
Beautiful Speck Triumph
(a gorgeous, intense, droning odyssey built largely on an organ. Two discs, over two hours)
Disc 1: http://www.mediafire.com/?5t7kvuktknbrk5fDisc 2: http://www.mediafire.com/?6ofdvclokqcpmop
Bird Sister Blasphey
(total mayhem, black metal psychadelia run through a sonic meat grinder. Unrelenting, ear splinteringly noisy and completely awesome)
http://www.mediafire.com/?yppgnzfu51atw5y
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Jason Isbell & The 400 Unit - Here We Rest
(http://i.imgur.com/w8nG4.jpg)
http://www.mediafire.com/?mawo554j7rsy2cdMySpace (http://www.myspace.com/jasonisbellmusic)
John Vanderslice - White Wilderness
(http://i.imgur.com/54Taf.jpg)
http://www.mediafire.com/?0zfk1hok8a9zpb0
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Deep Throat - Anthology, Pts I and II
(http://i.imgur.com/wNSab.jpg)
http://www.mediafire.com/?jn4m0ddavy3txn5
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Happy Trendy – Old Friends
(http://i.imgur.com/6QkUv.jpg)
http://www.mediafire.com/?qgdw2vgd3ix49sbBand Camp (http://happytrendy.bandcamp.com/album/old-friends)
Something to fill the void from Casiotone for the Painfully Alone.
Oldermost - s/t
(http://i.imgur.com/pnPhH.jpg)
http://www.mediafire.com/?awwofyhunpwrz5w"Lose Your Mind" (vimeo) (http://vimeo.com/17963821)
Thomas Hunter And White China Gold – White China Gold
(http://i.imgur.com/4YIh3.jpg)
http://www.mediafire.com/?km8apt0zksu11dgBand Camp (http://thomashunterandwhitechinagold.bandcamp.com/album/white-china-gold)
Great Pacific - Rainfall
(http://i.imgur.com/vkO4N.jpg)
http://www.mediafire.com/?ye8k22tzov83mi3"Distance" (youtube) (http://www.youtube.com/watch?v=wbsixR-AKBY)
The Low Anthem - Smart Flesh
(http://i.imgur.com/VY0Ot.jpg)
http://www.mediafire.com/?q276u7devqqa6wo"Ghost Woman Blues" (youtube) (http://www.youtube.com/watch?v=Vpadm5i_CKU&feature=player_embedded)
Mother Mother – Eureka
(http://i.imgur.com/Li9rp.jpg)
http://www.mediafire.com/?gl8ydzdln7qn7d4MySpace (http://Mother Mother – Eureka)
"The Stand" (youtube) (http://www.youtube.com/watch?v=OvfcZtYSA1o)
Hotel of the Laughing Tree – Terror and Everything After
(http://i.imgur.com/Js3xB.jpg)
http://www.mediafire.com/?0bpuydvne55t2peMySpace (http://www.myspace.com/hotelofthelaughingtree)
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Happy Trendy – Old Friends
Something to fill the void from Casiotone for the Painfully Alone.
Why would you fill that void?
Also, is that picture the old guy from Breakfast at Sulimay's?
The Low Anthem - Smart Flesh
http://www.M/F.com/?q276u7devqqa6wo
This, however, I can't wait to hear.
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Oh rad, new mother mother
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Happy Trendy – Old Friends
Something to fill the void from Casiotone for the Painfully Alone.
Why would you fill that void?
Everybody has their vices I suppose. I occasionally love a Chicago hot dog too, and they're not that great from a culinary standpoint. I'm glad you found something in the pile you liked though.
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Let's Wrestle - In Loving Memory Of... (2007)
(http://www.the-fly.co.uk/upload/images/single_reviews/Lets_Wrestle.jpg)
This EP is better than their debut album, 2009's superbly titled In The Court Of The Wrestling Let's, which is well worth a check out as well. Garagey indie pop from London.
http://www.M/F.com/?u4nt3rn4zrg
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I'm a total amateur with Dubstep. Not making an insinuation or anything there...
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James Blake - James Blake (2011)
(http://img717.imageshack.us/img717/4607/jamesblakelp.jpg)
So I guess a lot of people have already heard of this guy, especially if you read P4k/live in the UK. I heard his remix of Untold's Stop What You're Doing this time last year. I listened it to once a day for at least 4 months and it became my favourite song of 2010.
OK I wrote a whole post about how great this guy and tried state my feelings towards the album but it came off as sycophantic so it turns out I can't do positive reviews. I'll say this instead - after my first listen it confirms my suspicions that James Blake is the first Important Artist of whatever this decade will be called. He manages to mix Dubstep, Gospel, Soul and all sorts of electronic influences into one while still covering indie songs (http://www.youtube.com/watch?v=oOT2-OTebx0) that enter the UK charts. I'm sure there'll be a better Boomkat review along soon, but seriously - download this.
http://www.mediafire.com/?atilplduhh4av0q
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messin' up words because these are a coupla leakz.
(http://img227.imageshack.us/img227/206/333afx.jpg)
noreH-ttocS liG & xx eimaJ - er'eW weN ereH
This one's been massively hyped for awhile - it's a remix album for GSH done entirely by one of the dudes from 2009's favorite band, the XX. Honestly I don't think it works most of the time - the spare trip-hoppish production on the original album really kept out of the way of the main attraction (GSH's voice, which packs enough character into a single song for a whole album) but Jxx's post-dubstep production often tries to step up and share the spotlight and more often than not the results are messy and underwhelming. But don't take my word for it - in two weeks or so people are going to be talking about how brilliant this is.
http://www.mediafire.com/?hw7ws39p2emi870
(http://img825.imageshack.us/img825/7127/333is.jpg)
ioM y oroT - htaenrednU ehT eniP
So there was this guy named Chad and he hit the tail-end of the so-called "Chillwave" scene, and he was noticeably competent compared to his compatriots. Later on he started making filter house as Les Sins, and it wasn't Ed Banger filter house either, so it was pretty good. Now he's back with a second album about a goatee'd man turning into a giant anemone, or something. The music is pretty good! He'll probably be the one guy who survives when the last bit of public interest is sapped from the dying genre.
http://www.mediafire.com/?dv1r66oelwanc4f
Anyway
(http://img806.imageshack.us/img806/6759/333zv.jpg)
Exillon - Mean Rich Mud
I hadn't really heard of Exillon before but they straddle a fine line between Benga-esque Diary of An Afro Warrior wobble dubstep (hard to mention that without conjuring images of WOBWOB music, but it's not like that, for serious) and more dexterous IDM-ish arrangements. More often than not it skews towards the former, which is actually for the better as far as I'm concerned. Brainier productions are well and good but every once in awhile you long for something that isn't too dense but isn't too dumb, and this does quite nicely.
Exillon strafes into the post-dubstep quagmire with a crafty six-tracker. 'Buzzkills' keeps it minimal and mechanical, kinda like a robotic Wiley beat, while 'Paper Kites' exudes techier compositional virtues with its cinematic string arrangements and 'Hardware Acid' steers close to the recent Funckarma sound. Jump on 'Mean Rich Mud' for a Starkey-style romper and 'Popplerdad' for a derivé into Analord vibes.
http://www.mediafire.com/?hw9onx8eoygyusx
(http://img97.imageshack.us/img97/6733/abcgh.jpg)
Higuma - Den of the Spirits
I shared this months and months ago but that was an LP rip with undifferentiated tracks - this is the digital version, with a full tracklisting.
Glooming folk drone ambience from Barn Owl's Evan Caminiti and Lisa McGee aka Higuma. This gorgeous pressing is every bit as dark and brooding as you'd expect from someone involved in Barn Owl, conjuring arcane drones and spellbound choirs of forest folk to commune with the gods during a sixth month winter. This is the kind of stuff that would have been banned in 1342. If they had electricity. And turntables. It feels like we've stumbled across a meditative ceremony where simple folk voices gradually emerge from the gloom into haunting choral hazes. Coruscating guitar notes provide faint light, gaseous shimmers which sometimes grow into subdued swells and moments of intensity but always dissipate into the black background, lost to the night. The drawn-out bowed strings are a constant, maintaining a slow burning tension throughout while occasional occult percussion chimes across the scene, jangling rhythms gently dusting the surface with bells and gongs. This record creates it's own fully formed alternate dimension for a limited opening of time, allowing us to enter and observe the proceedings from a branch on a tree before receding into the run-out grooves and wondering where we just were. Magnificent.
http://www.mediafire.com/?aw1m7991p89le4r
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(http://img6.imageshack.us/img6/7453/bcds.jpg)
Submerse & Resketch - Get Away
Prime garage cuts from the inmitable L2S imprint and Submerse is turning out to be something like their breakout talent - agile drum programming and luminescent, clean synthwork. You can definitely discern the jungle lineage on the title track.
Melancholy 2-step and jammin' Garrij on a future swivel from L2S's hottest prospect. Following their acclaimed 'Hold It Down' burner, 'Get Away' comes with the brooding emotional vibes (it's ok, just let it out, yeah?), whereas '2nite' features Submerse solo deploying classic samples and crisp swingers rhythms to soul-tugging effect.
http://www.M/F.com/?nm5910yz6anlhr1
(http://img703.imageshack.us/img703/1114/cdels.jpg)
Royal-T - Orangeade
Butterz is a label in its infancy but it's already staked a distinct niche for itself, namely instrumental Grime production (fitting that they got Terror Danjah for their maiden release). Royal-T's been gaining a lot of heat for his remix work, and this EP shows he can be just as good hammering out originals. The title track is very, very Starkey-esque (though given Starkey's debts to Grime, maybe it's best to say he sounds like Royal-T) and only gets better as it goes along. The rest of the EP is in TD / Swindle taut Grime mode.
Certified Grime killers from the youthling Royal T, hitting up the 7th release for the very excellent Butterz label. The ruffneck and wickedly darkside-tinted 'Orangade' was apparently created after Silencer claimed Gucci Mane's 'Lemonade' was the best Grime tune at the moment, causing Southampton's 20 year old Royal T to respond in deadly style. On the flip the harder, Breaks-driven 'The Whistle Song' gets a look in, while a slickly suspended Devil mix of 'Music Please' closes the side. Rude.
http://www.M/F.com/?vg887vpq2egmx63
(http://img251.imageshack.us/img251/3237/ghit.jpg)
Baron Retif & Concepcion Perez - Superman
A curveball, this one. Authentic electronic funk, but not computer funk, per se - the instruments all sound live / analog. Pretty cool use of synths playing traditional guitar part on the title track, smoldering spanish (?) vox on the B backed by a thick monosynth bass. The drumming is the best part here - very authentic, very jazzy. Like Helado Negro scoring a blaxploitation film.
http://www.M/F.com/?31dqbboown8zrr6
(http://img43.imageshack.us/img43/3240/defek.jpg)
Joyride - Joyride
Heard the first 30 seconds of "Baby Soldier" and I was hooked. Indelibly arranged groove-oriented DJ music, sort of shamblotic and glitchy and definitely fast-paced but it's definitely not Low End Theory kind of stuff. The tone really jumps around a lot, too ("Afrrkk" is almost twee). Wouldn't be surprised to hear whoever this guy(s? Girl{s}?) on Planet Mu or some other "progressive" dance music label. Really incredibly strong for something that just materialized out nowhere. The more I listen, the more impressed I am.
http://www.M/F.com/?5e3dj77cb7j5pzb
(http://img534.imageshack.us/img534/7877/efgz.jpg)
Ensemble Economique - To Feel the Night As It Really Is
Definitely feeling the Endtroducing-era DJ Shadow comparisons here - jazzy drum breaks, plaintive and moody organ and strings, building and building and building... Affecting music. Just one track, unfortunately.
Brian Pyle managed to direct two near-perfect excursions into gloomy, cinematic ambience last year with ‘Psychical’ and ‘Standing Still, Facing Forward’ and ‘To Feel The Night As It Really Is’ follows that rich seam with a wry smile. Eschewing the near-psychedelia of ‘Psychical’ and the post-classicism of ‘Standing Still…’ this five-minute piece instead takes in the dustiest of breaks and brings us something closer to early DJ Shadow, Keith Fullerton Whitman’s long-departed DJ Hekla project or a rare Trunk records basement-find. It’s fantastic stuff, and if Pyle is working on an album’s worth of this kind of material we’re really in for a treat. Don’t miss it!
http://www.M/F.com/?epyqhq577c1pe97
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(http://img820.imageshack.us/img820/3918/fghi.jpg)
Craft Spells - After the Moment / Love Well Spent
Yo dawg I herd u liek 80's. It really is pretty New Order-y. Canned drums and everything. Such hooks!
Bittersweet pop music heavily indebted to New Order, the 2nd release by Craft Spells for Captured Tracks. 'After The Moment' is post-coital blisspop par excellence, wholly indebted to Manchester's finest but that's no bad thing at all. The distanced vox and arpeggiated NRG of 'Love Well Spent' has a taste of the '80s pop explored by The Soft Moon.
http://www.mediafire.com/?99tb9m3wp5bqb9j
(http://img834.imageshack.us/img834/6351/hijq.jpg)
Julio Bashmore - Everybody Needs a Theme Tune (The Remixes)
Yeahhhhhh. Ramadanman tries on a new name (a new Luke Vibert in the making?) but his production touches are a dead giveaway, while Midland brings Bashmore into sci-fi techno territory with skybound organs and tons of delay. Awesome remixes for awesome songs.
Ramadanman adopts his new, US Garage-sounding Maurice Donovan alias to join Midland in remixing Julio Bashmore. Distinguished from his Pearson Sound and Ram's styles, the remix for 'Battle For Middle You' is more conventional NYC garage albeit with a UK subbass pressure and his crisp production style. Midland's 'Ask Yourself' remix shows why he's tipped for big things this year, hitting a sweet stride between lushly proggy House and Bass-soaked swing grooves. Big big twelve.
http://www.mediafire.com/?4os6qsx8vfsd7wh
(http://img43.imageshack.us/img43/9923/333aq.jpg)
Chelsea Wolfe - The Grime and the Glow
Lo-fi lady-garage rock, with neofolk and dub-goth excursions thrown in. Better than LA Vampires! Everybody wins! That Boomkat review just rubs salt in the wound left by my inability to acquire Sasha Grey's industrial-drone album. Fuck you Boomkat!
NYC's Pendu Sound follow aTelecine's 'A Tape Culture...' with the much talked about sophomore effort from L.A. native, Chelsea Wolfe. Like Sascha Grey, Chelsea has a taste for the sweet blood of gothic noise music, giving her vocals over to a grim and remorselessly gloomy style of garage goth-rock also comparable in no small part to the earlier Zola Jesus records. There's a lugubrious, lead-hearted aesthetic at the core of 'The Grime and the Glow', from overcast neo-folk like 'Cousins Of The Antichrist', to chillingly maudlin garage in 'Moses', the solo piano extractions of 'Benjamin' and the Marissa Nadler atmospherics of 'Halfsleeper', but the most tangible, memorable moments occur with the scouring guitars of 'Bounce House Demons' and the incredibly ethereal 'Widow'. Don't pass over this one, there's just something about it...
http://www.mediafire.com/?oir0pr3f5x750au
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That James Blake album is pretty sick.
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longtime lurker, first time poster.
this is my acoustic music.
i'll post music from other artists here soon, too, promise.
This Sounds Good If You're Connor Byrne
connorbyrne.bandcamp.com (http://connorbyrne.bandcamp.com)
RIYL: Saves the Day acoustic, Get Up Kids
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The Rural Alberta Advantage - Departing [2011]
(http://i56.tinypic.com/eq2z44.jpg)
http://www.mediafire.com/?t5d7jlm8zjinl14
OMG
EDITED: link was fuxd, new link up.
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(http://img525.imageshack.us/img525/8683/letenglandshake.jpg) (http://img525.imageshack.us/i/letenglandshake.jpg/)
http://www.MF.com/?kx23222bhc23pst
totally different again from 'White Chalk' or 'Uh Huh Her', there's folk in there and allsorts - I haven't taken it all in yet.
It's a lot better than 'Kiss Each Other Clean' I can tell you that much
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The Rural Alberta Advantage - Departing [2011]
http://www.M/F.com/?t5d7jlm8zjinl14
OMG
EDITED: link was fuxd, new link up.
(http://i.imgur.com/HfQMU.jpg)
Eggsalad.
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Wait, is egg salad a good thing or a bad thing?
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Wait, is egg salad a good thing or a bad thing?
No Matter how good it tastes going in, it is never a good thing coming out.
so stinky.
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(http://img821.imageshack.us/img821/2846/333yx.jpg)
Desolate - The Invisible Insurrection (w/ bonus tracks)
The RA review about says it all - the beats are really just a garnish for the sighing synths and echo-chamber keys. At its best it approaches something like early Pantha du Prince - deep, cold, delicate and mournful. There were 3 non-LP tracks on the CD and one non-CD track on the LP, and they're all included.
There's no getting around two things with Desolate's debut album for Fauxpas Musik. #1: It's Sven Weisemann. #2: It's among the best albums Burial never made. These two things are related, of course. Weisemann's work under his own name, especially Xine, has often had the same sense of melancholy as the aforementioned UK producer's garage and dubstep compositions. Weisemann only seems to marry his distinctively milky piano and dubby basslines to a syncopated beat as Desolate, though. So while it'd be easy to say that it's someone pinching Burial, given the context that it's Weisemann at the controls, you can hear it as the Berlin-based producer doing 2-step the only way he knows how.
This isn't meant to absolve Weisemann of sounding like Burial. It's merely to explain that he comes by it honestly. Listen to his minimalist piano compositions, and you'll know that he likes the black keys the best. Listen to his latest 12-inch for Mojuba, and you'll know he understands arranging instrumental music as well as anyone. That he succeeds at producing three (or four, if you believe he's the man behind Just Another Beat's Jouem project) different strands of dance music is a little bit mind-boggling. For those who've seen his energy behind the decks as a DJ, though, it's probably not that surprising. He's a guy that seems to play as if every record is his last—even when it's sedate deep house.
I don't know where "Divinus" fits into Weisemann's sets. Or if he plays these tracks at all. They seem to fit better as the warm-up or the come-down. While there are beats on nearly every song, they merely serve as accompaniment. The Invisible Insurrection is mood music first, electronic music second, dance music sixth or seventh.
One of the drawbacks of Weisemann's Xine was its length. With the same feelings being explored over the course of 20 miniatures, it felt like it could have been at least eight tracks shorter with little problem. The vinyl version of The Invisible Insurrection only has nine, and it's a perfectly pitched 36 minutes that has short ideas (both "Farewell" tracks) and showcase centerpieces on each side ("Cathartic" and "Divinus"). Hard to say whether this was judicious editing (doubtful) or the limitations of the vinyl format (more likely), but it simultaneously leaves you wanting more and secure in the knowledge that you actually don't need it.
http://www.mediafire.com/?j1y6y64g616n68d
(http://img209.imageshack.us/img209/1133/cottonkeyz.jpg)
Cotton Keys - Sweatshop Sounds
The finished product, straight from band. Better art than what I just nicked from their Myspace. Indie rockkkkkk
http://www.mediafire.com/%3Fzuftanb7l25fwjf&h=24276
(http://img811.imageshack.us/img811/1447/333nn.jpg)
Daedelus - Tailor-Made
FlyLo mentor Daedelus is nothing if not inconsistent (blame it on his foolish insistence on the album format) but this single is the best thing he's done in awhile. Sounds like he's been taking some cues from the Joy Orbison camp - insistent beats and swelling synths abound. Pretty infectious.
Alfred Darlington has been perfecting his ‘pots ‘n pans’ electronic subgenre for some time now, and under the Ninja Tune umbrella has put together some of the weirdest collections of post-everything dance music I’ve come across. ‘Tailor-Made’ is no different, and while it features vocals from Milosh pushed right to the front in what seems to be an attempt at full-on pop, it still sounds utterly spannered. There’s a bit of rave in there, a bit of house, a nod to the LA beat scene, a large-ass dollop of soul and then something altogether Alfred about the whole thing. There can be only one!
http://www.mediafire.com/?8bhnkiu7sjw5tl5
(http://img195.imageshack.us/img195/705/333ok.jpg)
1000names - Before Sunrise EP
Like Duffstep before them, these Slugabed-y dudes decided to go left-field with relatively straightforward disco-house. Warming up for an Opit (Subeena's imprint) release, I hear. This sort of sound would fit well into that oeuvre.
Black Acre's Bulgarian anomalies 1000Names jam on two drag disco aces backed with slump-hop remix by Steve Lynx and Hellrazor. The sensually slow groove of 'Before Sunrise' is only a few shades away from the Balkan disco of Sare Havlicek but with a more modern twist, while you could almost imagine Danielle Baldelli spinning 'Kaleidoscope' at the cosmic club. Steve Lynx and Hellrazor chime in with a stoned-flow rerub of 'Pocket Calculator' from 1000Names' 'Illuminated Man' LP. Tipped to fans of Architeq, Kelpe and co.
http://www.mediafire.com/?4v4nvv4y5yn4k19
(http://img145.imageshack.us/img145/2752/333nt.jpg)
Point B - Suicide Beauty Spot Remixes Part 2
A nice little crop of remixes for Point B - Dead Fader works a track into his usual blown-out industrial fuzz, Boxcutter takes things into more effervescent territory, Boris Noiz is all about the tight techno programming, Blackmass Plastics provides a good 90's car chase soundtrack, and Dead Sound plays a more conventional dubstep game.
Diverging the dark energy of Point B's 'Suicide Spot' into strains of dubstep, autonomic-style D&B, electro and gnarled techno. Boxcutter gives the highlight with a dBridge-styled vision of 170bpm synth romance, while Boris Noiz drops a razor-edged future techno workout, and there's roughed-up Dubs from Dead Sound and Dead Fader.
http://www.mediafire.com/?z35c34blkoas42v
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Wait, is egg salad a good thing or a bad thing?
(http://i.imgur.com/4qNiY.jpg)
(It was good.)
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Thanks for Joyride it was refreshingly awesome and made me want to shake my ass
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Well, good! Here's another new one, it's pretty great. I like both songs more than pretty much anything off of The Stand-Ins.
Okkervil River - Mermaid [2011]
(http://exclaim.ca/images/okkervil.jpg)
http://www.mediafire.com/?hh9ztqd7lzzlqt7
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PJ Harvey - Let England Shake (2011)
(http://upload.wikimedia.org/wikipedia/en/5/5f/Pjharveyletenglandshake.jpg)
http://www.M/F.com/?9wc1xt6e7udedyo
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Well, sometimes albums get put up that are already somewhere else in the thread - but barely half a dozen posts up on the same page (and still active) might be a new record...
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Well, sometimes albums get put up that are already somewhere else in the thread - but barely half a dozen posts up on the same page (and still active) might be a new record...
That link wasn't working for me...
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OK, thanks then. But it worked when I wrote my post!
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(http://exclaim.ca/images/okkervil.jpg)
Oh awesome. I didn't know this was a thing.
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Thank you so much for the Okkervil River single. It's so great.
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Am I the only the Cotton Keys d/l isn't working? The myspace rip was fantastic so I'm excited for this... grr. would almost buy it unheard.
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Yeah, not working for me either. And the myspace stuff was pretty great.
In conclusion: bummer.
Re-up please?
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Monstrous post 'cause my M/F account's working again Do you guys want a shitload of live bootlegs? Of course you do!
(http://i876.photobucket.com/albums/ab325/desolationrow10/thebirthdayparty.jpg)
The Birthday Party
The Birthday Party Live in Athens 9/17/1982
http://www.mediafire.com/?wu4uiyznnwn
The Birthday Party Live in Sydney 1/6/1982
http://www.mediafire.com/?my0un2ayt2z
(http://i876.photobucket.com/albums/ab325/desolationrow10/thefall.jpg)
The Fall
The Fall Live in Newcastle 6/30/1984
http://www.mediafire.com/?15wywh2wg51
The Fall Live in Clitheroe 6/16/1985
http://www.mediafire.com/?u1kgjngyiz3
The Fall Live at WOMAD 7/19/1985, Part 1
http://www.mediafire.com/?luzmnjnzmyy
The Fall Live at WOMAD 7/19/1985, Part 2
http://www.mediafire.com/?jmeffmkytzm
The Fall Live at Finsbury Park 7/27/1986
http://www.mediafire.com/?423yw3izomd
The Fall Live in Hamburg 2/13/1987
http://www.mediafire.com/?jtkezji0ukc
The Fall Live at the Reading Festival 8/28/1987
http://www.mediafire.com/?lml5tlxtoyr
(http://i876.photobucket.com/albums/ab325/desolationrow10/huskerdu.jpg)
Hüsker Dü
Hüsker Dü Live in Minneapolis 8/25/19785
http://www.mediafire.com/?yl22tih0ygw
Hüsker Dü Live in London 6/21/1987
http://www.mediafire.com/?4ltlqftdiqm
(http://i876.photobucket.com/albums/ab325/desolationrow10/nickcave.jpg)
Nick Cave
Nick Cave Live in Atlanta 6/30/1984
http://www.mediafire.com/?n3iyztzyynm
Nick Cave Live in Holland 1/12/1985
http://www.mediafire.com/?1hdhl8mb9q75ps7
Nick Cave Live in Vienna 5/10/1987
http://www.mediafire.com/?yanygymcqmy
Nick Cave Live at the Reading Festival 8/24/1990, Part 1
http://www.mediafire.com/?jgvzl5ljwvw
Nick Cave Live at the Reading Festival 8/24/1990, Part 2
http://www.mediafire.com/?ijjjjimyitt
Nick Cave Live in Norwich 4/26/1992
http://www.mediafire.com/?xly33tywxmz
(http://i876.photobucket.com/albums/ab325/desolationrow10/pjharvey.jpg)
PJ Harvey
PJ Harvey Live in London 6/23/1993
http://www.mediafire.com/?lhazzct0nog
PJ Harvey Live in Glastonbury 6/25/1995
http://www.mediafire.com/?2s5k9ewx593t6c3
PJ Harvey Live in Cardiff 10/26/2000
http://www.mediafire.com/?1jvgznwuwkn
PJ Harvey Live at Reading Festival 8/24/2001
http://www.mediafire.com/?m45gwyocnkk
(http://i876.photobucket.com/albums/ab325/desolationrow10/portishead.jpg)
Portishead
Portishead Live in Paris 4/12/1995
http://www.mediafire.com/?5njiwoznlua
Portishead Live in Glastonbury 6/26/1998
http://www.mediafire.com/?nlzzgbvfhaxb0ww
(http://i876.photobucket.com/albums/ab325/desolationrow10/theramones.jpg)
The Ramones
The Ramones Live in New Jersey 11/19/1977
http://www.mediafire.com/?143jmgkyynm
The Ramones Live in Amsterdam 9/15/1980
http://www.mediafire.com/?nmmxwjmymmn
(http://i876.photobucket.com/albums/ab325/desolationrow10/sonicyouth.jpg)
Sonic Youth
Sonic Youth Live at the Brixton Academy 12/14/1992
http://www.mediafire.com/?gcw5vzzgmnd
Sonic Youth Live in London 7/1/1998
http://www.mediafire.com/?777x7m82h74ie8x
Sonic Youth Live in Austria 4/22/2009
http://www.mediafire.com/?kegzitimogz
(http://i876.photobucket.com/albums/ab325/desolationrow10/thewhitestripes.jpg)
The White Stripes
The White Stripes Live at the London Forum 12/6/2001
http://www.mediafire.com/?leyrnmnlojg
The White Stripes Live in Manchester 5/4/2003
http://www.mediafire.com/?zfi0xizjmlj
and finally here's some miscellaneous bootlegs
Massive Attack Live at the Royal Albert Hall 7/6/1998
http://www.mediafire.com/?hhleynzjzi0
R.E.M. Live in Holland 1987/Norway 1985
http://www.mediafire.com/?zq1dywddtnh
Slowdive Live in London 9/3/1991
http://www.mediafire.com/?oyyxz3thbnz
The Smiths Live at the Apollo Theatre Oxford 3/18/1985
http://www.mediafire.com/?yrwkgyexyzz
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A Night In the Box - Write A Letter (2008)
(http://farm6.static.flickr.com/5136/5433856076_1ab3674b61_z.jpg)
A friend passed this record onto me a few years back and it's too good not to share.
A Night In The Box hails from Minneapolis, MN. They play rock 'n roll, porch-stompin bluegrass awesomeness. They sound like the White Stripes meets a bottle of moonshine. Shredding violin, banjo, and acoustic guitars run through old tube amps. Lead singer Clayton Hagen recalls Robert Plant in his vocal delivery almost to the point of ripping him off but it's so darn good. I wish these guys toured more (esp through NYC because it would be a party), but this 15 track album will have to suffice. I added an older accapella track named "Hustle" at the end of the file. You'll understand why I added it. Now I feel like drinking. Enjoy!
http://www.m/f.com/?wdtynluvzx4bz1s
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Since the weather cleared up, the metric tonne of music that was held up in transit like a traffic jam arrived all at once. Deaf Center, Geoff Mullen, 1000names, Tim Hecker, Instra:Mental etc.
Long night of ripping ahead.
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Well, good! Here's another new one, it's pretty great. I like both songs more than pretty much anything off of The Stand-Ins.
Okkervil River - Mermaid [2011]
http://www.M/F.com/?hh9ztqd7lzzlqt7
I'll be in the bunk.
(http://i.imgur.com/pIrgG.jpg)
EDIT:
Julie Doiron / Okkervil River Split
(http://i.imgur.com/KVNjY.jpg)
http://www.mediafire.com/?14zzcc3mgpv8a5fForgot I had this sitting in my EPs folder.
In Search of a Midnight Kiss Soundtrack
(http://i.imgur.com/YeK82.jpg)
1. The Kind Shearwater 2:50
Play 2. A Hush Shearwater 4:17
Play 3. My Good Deed Shearwater 5:54
Play 4. Wedding Bells Are Breaking Shearwater 6:40
Play 5. Wilson's Theme Paleo 1:14
Play 6. Lost Shoes Paleo 1:52
Play 7. Sky Pilot Paleo 0:43
Play 8. Walkin' and Whistlin' Asylum Street Spankers 5:18
Play 9. The Queen Of England Mendoza Line 4:58
Play 10. Uncle Science Brian Macguire 7:48
Play 11. Driving Music Brian Macguire 4:07
Play 12. Discolite Sybil 4:23
Play 13. Mocha Queen Sybil 2:45
Play 14. Lines Okkervil River 4:42
Play 15. Wind Of Change Sybil 5:11
Play 16. Auld Lang Syne The Family Band 1:45
Play 17. Mermaid Okkervil River 6:59
http://www.mediafire.com/?3g36z5hdgy1x38g
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Four Eyes 7"
(http://middayprocrastination.files.wordpress.com/2010/06/photo-29.jpg?w=300&h=293)
http://www.mediafire.com/?dnh8muhzw2294lf
Really quick and simple rock. You have no reason not to download this.
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(http://img132.imageshack.us/img132/1500/retailjuke.jpg)
Andrea - Retail Juke / Write-Off
http://www.mediafire.com/?htgitvsars3yjii
(http://img220.imageshack.us/img220/7536/demdt.jpg)
Demdike Stare - Triptych
http://www.mediafire.com/?rw2wldawdvfn7rn
http://www.mediafire.com/?jwzxxhatp421n4d
(http://img15.imageshack.us/img15/5104/bayert.png)
Andrew Bayer - Distractions
http://www.mediafire.com/?uhomcww61nsi430
(http://img820.imageshack.us/img820/6928/ta050tapagemeanderetche.jpg)
Tapage & Meander - Etched in Salt
http://www.mediafire.com/?bhdy9gswdcglwgg
(http://img717.imageshack.us/img717/9607/aastm.jpg)
Arms and Sleepers - The Motorist EP
http://www.mediafire.com/?fq9ij3dahpome02
(http://img830.imageshack.us/img830/8958/matadort.jpg)
Arms and Sleepers - Matador
http://www.mediafire.com/?tvbckden7d9akh7
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That Mother Mother album grabbed my attention.
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Here is a link to a folder containing every one of Ryoji Ikeda's solo releases (minus one).
http://www.mediafire.com/?q9tbs0168b2su
One added note: "Matrix (for rooms)" is exactly what it sounds like. From what I know, it's two separate sine waves at different pitches, panned hard left and hard right, so the position of your head relative to the speakers affects the way your brain processes the sound. In other words, where you are in the room makes it sound different. It's not really something you need to listen to more than once.
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Here is a link to a folder containing every one of Ryoji Ikeda's solo releases (minus one).
http://www.M/F.com/?q9tbs0168b2su
One added note: "Matrix (for rooms)" is exactly what it sounds like. From what I know, it's two separate sine waves at different pitches, panned hard left and hard right, so the position of your head relative to the speakers affects the way your brain processes the sound. In other words, where you are in the room makes it sound different. It's not really something you need to listen to more than once.
Is that minus one Test Pattern?
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Is that minus one Test Pattern?
Not anymore! No, there was a fairly rare release as part of the "Mort aux Vaches" series on Staalplaat that I haven't been able to get my hands on.
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Here is a link to a folder containing every one of Ryoji Ikeda's solo releases (minus one).
http://www.M/F.com/?q9tbs0168b2su
One added note: "Matrix (for rooms)" is exactly what it sounds like. From what I know, it's two separate sine waves at different pitches, panned hard left and hard right, so the position of your head relative to the speakers affects the way your brain processes the sound. In other words, where you are in the room makes it sound different. It's not really something you need to listen to more than once.
Thanks for this. There were a couple albums in that folder that i hadn't heard before, so it's nice.
I've leeched too much from this thread so i should probably contribute too. I don't have anything new (recent) though, and the following files that i am offering aren't my own rips.
Xiao He - Shen Fen De Biao Yan / Yi Ge Ren De Jiao Xiang (2009, MP3, 320kbps)
(lit. "Little River" - "The Performance of Identity" / "One Man's Orchestra")
(http://img42.imageshack.us/img42/3564/xiaohe.jpg)
http://www.mediafire.com/?tvezks27ap23lv5
http://www.mediafire.com/?8w81b6716mev8m5
http://downloads.maybemars.org/track/mtv-mtv-playI kept the mp3 filesnames and metadata in chinese because i feel like it. Romanize/translate as you wish.
A guy singing nonsense (not really scat) while screwing around on an acoustic guitar. relatively/surprisingly weird and varied for a double album consisting of almost solely vocals and guitar. (Parts of the second part use effects.)
First two links are the two respective parts of the album. The third link goes to a bandcamp where you can sample one of the tracks. That link is part of a larger free compilation from the record label which released this album. Among the other artists featured in the comp I personally/particularly enjoy P.K.14 and Joyside.
Ryoji Ikeda - Mort Aux Vaches (1999, MP3, 192kbps)
(http://img46.imageshack.us/img46/2011/ryojiikeda.jpg)
http://www.mediafire.com/?saaz5ltba95cdluPeople probably already know what this is.
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Haven't posted anything of substance in here in a while (aside from that Ergs! megapost), but here's another 12" from the band who had my #2 release of 2010:
Nails - Obscene Humanity
(http://images3.wax.fm/nails_obscene_humanity-SFU-27-1290288319.jpeg)
RIYL: Trap Them, Black Breath, fucking hardcore
http://www.M/F.com/?dwteidf4z5n
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FUCK YES
and here I was thinking the mediafire thread had gone soft
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
I received about 13 pieces of physical music through the mail in the few days. These are their stories.
(http://img145.imageshack.us/img145/5650/333sl.jpg)
Deaf Center - Owl Splinters (w/ Svarte Greiner bonus disc)
The last album of Norway's Deaf Center dropped in 2005, and in the meantime its two members have become pretty big wheels in the modern classical / ambient world - Erik Skodvin has released boatloads of work under his own name and the drone alias Svarte Greiner (my avatar is from one of his LP covers), and Otto Totland has been less prolific but just as good with his Nest project (which released my #1 album of 2010, Retold). This year they return with Owl Splinters, a brilliant synthesis of Totland's cinematic majesty and Skodvin's ear for tension and dissonance. These guys are the best at what they do, and this is without a doubt the best ambient music you'll hear this year, maybe some of the best you'll ever hear. "The Day I Would Never Have" in particular is just absolutely stunning.
Six years is no time at all in ambient music. If your work, ambient musician, doesn’t feel timeless for at least half a decade, or long enough to help fuel a minor assault sentence, you may as well give up on atmospheric leanings and instead invest in a drum machine/actual instruments.
It’s been six years since Erik Skodvin and Otto Totland first butted heads, proving to the world that two exiled Norwegians can do more than teach foreigners about the delights of Hoegaarden Wit beer. For fans of Deaf Center that was six years too long, though they’ve had plenty to cling to in the meantime: the ambient duo’s debut Pale Ravine (2005) was so timeless, so weather-beaten, and so strangely prophetic of modern classical with its sprinklings of piano that you could almost forgive its creators’ six-year silence. Skodvin had (and still does) his Svarte Greiner side project where he pours drone music into the underworld, and Totland sneaked out a mini-album, but as far as the Deaf Center setup was concerned, they may well have been serving actual prison time.
Then, late last year, there were rumors. Totland and Skodvin were back in the studio making music, and it was music so hypnotic, storm-blasted, and flecked with ivory that it could beat Beethoven’s mother in a fist fight. Sure enough, following on from one leaked track on Soundcloud, they now deliver Owl Splinters, the best possible follow-up the fans could have dreamed of, particularly if the fans’ most sensuous dreams involve Johnny Greenwood producing a film score. One that could out-weird Daniel Day-Lewis.
So, how do you surpass a debut record that’s had six years of slow-burning impact? You take the same formula, slow it down imperceptibly, and then apply white noise until you’re facing an Australian cyclone. Having cleared that hurdle, you then countermand the howling with the world’s gentlest piano scales. Because for all Skodvin’s brewing fury and drone attacks, Totland can make you feel safe in only one tinkle, as demonstrated on the aptly-titled “Time Spent,” where he humanizes static. Yes, having made it through the sandstorm of opening track “Divided,” Deaf Center 2.0 attempt a little lost lullaby, one which stares down biblical strings with the music box from a psychological thriller movie. This is no starchy classical being trooped out here, just a strange, frozen ballet. The barely audible crinkling effects will have you checking your window for rain, and as Totland wheels out yet another grand piano and plays it two rooms down from the mic, Skodvin wheezes in return, building winter gales into into a hulking organ grind. By the time you’re halfway through the album and into the monolithic “The Day I Would Never Have,” the Owl Splinters atmosphere matches the one on Jupiter: contorted, inescapable, 82% ammonia.
But, for a Type Records release with at least one doom-drone originator at the controls, OS‘s greatest feat is in its restraint. The urge to collapse into all-out roaring is there for the whole forty-three minutes, but Skodvin and Totman have made a sort of pact: you stay feathery on the piano, I won’t go to Hades in the mix. “Close Forever Watching” is a fine example of the slow, beautiful scraping that these Nords can dish up in a blink, and if you don’t feel stirred by the ghosts of “Teardrop” on “New Beginning (Tidal Darkness)” then, frankly, you’re unstirrable. It’s this continuous tilting between oblivion and relief that makes Owl Splinters so intriguing; these strange little shifts, like the moment on “Animal Sacrifice” where Skodvin picks up a cello. You couldn’t produce noises like that with an orchestra, not unless the conductor is willing to admit a wind machine into his string section. And that will never happen because four tenths of all concert attendees tip too generously and wear wigs.
If the Coen brothers need something reliably deep to help flesh out their next spiritual Western, they should push Josh Brolin’s CV to one side and put Owl Splinters on their desk. This record won’t let the weaker elements perish, or remember that it was once in The Goonies and then punch Diane Lane in the face. This record’s good for six years.
(Album)
http://www.M/F.com/?jh9122icp0l20s1(Svarte Greiner Bonus Disc)
http://www.M/F.com/?5feo69pnb23w5u7
(http://img51.imageshack.us/img51/7968/333jo.jpg)
Geoff Mullen - A Dust Futures
Avant-synth OG / Keith Fullerton Whitman's right-hand man Geoff Mullen drops a tape of mad genius synthwork. Noisy, psychedelic, often surprisingly beautiful. "ADF 03" is great.
Capping a vintage year for Mr Mullen after his 'Bongo Closet' LP for Type everyone round these parts, Digitalis present the mystic space music jumble of 'A Dust Futures'. Using his favoured Yamaha CS-50 and creating a delirious friction from assortments of tape loops, Mullen makes strange and wonderful arrangements full of sparse, cold space and spiralling plumes of abstract melody which just happens to sound ever so similar to the breakdown from Carl Craig's 'The Climax' on the B-side (no shit!). This is the sorta stuff we can zone out to all day and comes with the warmest recommendations for fans of OPN, Arp, Dylan Ettinger, or Stellar Om Source.
http://www.M/F.com/?2un9mrnaqb9usud
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(http://img196.imageshack.us/img196/6330/333nq.jpg)
Instra:Mental / Von D & Riskotheque - Voyeur / Like A Bird
Instra:Mental takes point on an appropriately sleazy portion of technoid Robocop music, while Von D & Riskotheque give us highly melodic club music, somewhere between Autonomic and L2S. Both really awesome songs. Look out for Von D - he's got an album out this year. Whatever, Resident Advisor.
"Voyeur" has been around for so long already—the Autonomic crew have been hammering it since what feels like the beginning of time—it's hard to know what to say. Basically, it's a banger. A total banger. But it bangs without ever really banging. There is no big drop. There are no crushing kick drums. The bass never farts and the vocals never rouse (quite the contrary). Melodically, it's low-key, off-key and warped, and what little variation there is is kept to a bare minimum. It's really all—all—in the groove, which falls somewhere between the sleazoid tech-funk of Ivan Smagghe circa fabric 23 and Boddika's more recent electro-bass revivalisms. For chin-stroking techno aesthetes, this might not sound like much, but for wasted ravers the world over, it's dynamite. Anyone who heard it spanking out of Bloc's hefty Jak:Bloc rig back in March will agree. Even the carpet was gurning.
It's no wonder Skream signed the tune (Skream = bangers, right?), but sadly this means it arrives via his less than consistent Disfugured Dubz imprint, home to some of the stodgiest bass "music" yet pressed to wax, e.g. the B-side. Quite apart from the fact that "Voyeur" literally screams (no, not intended) one-sided pressing, there's very little justification for releasing bloopers like "Like a Bird" in the first place. Unless, that is, melodically uninspired, rhythmically cumbersome, structurally predictable pseudo-deep half-step is worthy of being put out. In which case, I stand corrected. But I'll take the A-side any day. It's one of the tunes—read: choons—of the year.
http://www.M/F.com/?cb56vwxdketl765
(http://img444.imageshack.us/img444/5117/333bo.jpg)
Roel Funcken - Daze Flextone
One half of Funckarma provides to us an EP of heavyweight IDM dubstep functions. Heavy, sleek and technical. "The Fortress Collapses" is absolutely clown-shoes mental.
Funckarma's Roel Funcken steps out on a techy 'beats mission for Eat Concrete. After a decade producing the instantly recognisable Funckarma sound, it's interesting to hear Roel going alone over these four tracks. There's an effervescent spaciousness to 'Daze Flextone' which carries through the whole EP, fixing spiralling synthline ascensions to skittering, skeletal post-electro rhythms with little sign of the slow and heavy dubstep influence which recently weighed their sound. That said, there's a defined halfstep swing to 'The Fortress Collapses' but it's indebted to the colder, more dynamic sound of Vex'd or Reso than anything else, while 'Martyrz' jacks on a glitched sound akin to VHS Head and 'Koortshond' splices Falty DL-style future garage with his clinical arrangements. For fans of Aardvarck's Bloom series, Falty DL, or Gescom!
http://www.M/F.com/?sbvajg01f1nb317
(http://img841.imageshack.us/img841/8088/333ze.jpg)
Mountains - Choral (LP Vinyl Edition)
Gorgeous, affecting acoustic folk / drone music with light electronic elements scattered throughout. Builds and breathes beautifully. James Blackshaw-esque at times. Worth a shot even if you don't like drone.
*New edition in a limited black sleeve, includes a download code redeemable from the label* Following on from last year's triumphant vinyl-only release Mountains, Mountains, Mountains on Catsup Plate, this latest opus from Koen Holtkamp and Brendon Anderegg finds the pair decamped to Thrill Jockey. Mountains have certainly risen to the challenge of releasing via a bigger label, and Choral could reasonably be considered the duo's most refined full-length to date, serving up six tracks of highly evolved drone-folk, all exquisitely produced and filled with dynamic variation. The thirteen-minute title track marries acoustic drones, spectrally sifted electronics and a host of voices embedded in the background noise. It's a dense and effulgent piece of electroacoustic music - tantamount to a long drawn out fanfare - lighting the path ahead for more subtle pieces like 'Map Table', which combines clear and carefully picked acoustic guitars with deep, textured field recording treatments and a healthy supply of blurry synthesis, Boards Of Canada style. Another glaring highlight comes in the form of 'Melodica', which sets out with a jangle of chimes and digital echo before swelling up with a fragrant, effortless warmth that's like a blast of summer air. Mountains have set themselves apart from a good many of their peers and contemporaries, offering an alternate take on abstract electroacoustic music; while Fennesz, for instance, has moved into more earnest, classically-oriented territory with Black Sea, Holtkamp and Anderegg deliver a kind of 21st century folk music - one that's immersed in the aesthetics of modern technology yet retains a very natural, very approachable sound. Absolutely gorgeous music and a massive recommendation.
http://www.mediafire.com/?jrikxiquuz731n3
(http://img708.imageshack.us/img708/3931/333qo.jpg)
Isan - Greencracked / Catgot
Shaggy, ramshackle proto-techno melodicism from Isan. The B sounds a lot like a digital music box. Sort of twee, and sweet, as electronic music goes.
Antony Ryan and Robin Saville have been producing their very distinct variant of pure analogue electronic music since their incredible 'Damil 85' debut for the Wurlitzer Jukebox imprint landed almost 15 years ago. The economy employed in their production setup and sound palette has seen them veer in and out of fashion all along that timeline, but in reality very little has changed in the delicate sound world they've inhabited throughout. it just so happens that at this exact moment in time their sound feeds straight into a ravenous appetite for all things Kosmiche and early electronic - the likes of which we haven't seen for as long as we can remember. So while the likes of Emeralds, Roll The Dice, Oneohtrix Point Never and The Advisory Circle hone in on and capture different aspects of this sound, Isan continue doing what they've always done so well; transmitting timeless electronic lullabies at once redolent of 1970's scientific futurism and Great British archetypes, sitting out on the bowling green, supping on a cup of tea, a BBC test card transmission flickering quietly in the background. This limited edition 7" taster for imminent 'Glow In The Dark Safari Set' album is just a thing of absolute beauty and simplicity, with "Greencracked" making use of a percolated Casio rhythm and what sounds like a detuned synth cascading throughout with all the gentle intensity you would expect from a mid-70's Harmonia production. "Catgot" starts life in a more choppy and unsettled fashion before taking a deep breath and stepping into the childlike toy laboratory you've imagined while listening to Raymond Scott's 'Soothing Sounds For Baby', all the while tugging at your heartstrings and pulling you back into a state of mental regression - the buzz and intensity of the modern world all but gone for its blissful 3 minute duration. It just is what it is - utterly sublime.
http://www.mediafire.com/?g4lnv8ts1bzamn5
(http://img828.imageshack.us/img828/9288/333wf.jpg)
Tim Hecker - Apondalifa
Once more, Tim Hecker takes what sounds like a monolithic, amplified drone and sculpts something like a song out of it, with guitars and strings and small noises. The 7" split the song into two parts, for some reason, but this is the unified piece. Majestic, in that inimitable Hecker way.
*A limited 7" vinyl edition of 'Apondalifa', splitting the nine-minute piece across the two sides. Included is a digital download coupon (redeemable directly from the label) entitling you to a free MP3 version of the piece as a single track.* Of all the big names in contemporary electronic music, few can make swells of noise sound so tuneful and emotionally engaging as Tim Hecker. The Canadian composer has long-since established his signature sound of gusty processed guitars, melodious static and soaring drones, and this new single-length release for Room40 finds him taking his craft to a new level of refinement. 'Apondalifa' begins with surging strands of guitar, clipped and layered over waves of stratospheric hiss, slowly taking a melodic shape as the piece develops; looped chord fragments become more apparent after a couple of minutes, and for certain stretches you'll hear a good deal more of Hecker's guitar playing than he normally permits. Drawing towards the four minute mark, bright synth tones cut through the melee, leading to a midway crescendo - from here onwards the clouds of electronic fizz dissolve away to expose mantra-like guitar figures, repeating and re-layering before themselves gently ebbing into nothing. A top-quality, most welcome return from this exceptional electronic musician - it's only a shame there's not more of it.
http://www.mediafire.com/?4q2l3xol5xxacyo
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(http://img819.imageshack.us/img819/6645/333js.jpg)
Mathemagics / Young Prisms - Split
The Mathemagics tracks are a pleasant slice of post-Panda Bear indie pop, with loud dubby drums, ambling bass and half-whispered vocal harmonies. Young Prisms back it up with some lo-fi shoegaze melodies. Pretty nice stuff.
*Limited to just 350 copies for the world on special card sleeve and artwork by Jeremy Perrodeau. Includes a download code redeemable directly from the label* Emerging from the North American hypnagogic dreamscape, Mathemagic and Young Prisms are paired on a beautiful 7" from Atelier Ciseaux records (following wax from Lucky Dragons, Best Coast and U.S. Girls). On the A-side we get Mathemagic's 'Breaststroke', a sublime marriage of strangely squashed bass guitar with deliciously smacky vocals and half-heard drag beats in a lovely meeting of Shoegaze and Witch house disciplines. Without the buried beats and featuring a more natural indie bass, Young Prisms occupy a more classic shoegaze space strongly indebted to MBV, but also with a drowned optimism akin to Ducktails. Highly Recommended!
http://www.M/F.com/?f9kd5i30c6nxpbe
(http://img202.imageshack.us/img202/6392/333ayf.jpg)
West Norwood Cassette Library - Blonde on Blonde (Pearson Sound Mix)
UK Garage dude comes out with a surprisingly faithful Chicago throwback, and the remarkably consistent Pearson Sound (aka Ramadamanman aka Maurice Donovan) remixes it in that unerringly precise way he always does. It's perhaps even more jacking than the original. Choice House.
Aerobic House workout from WNCL b/w a minimised and more refined Pearson Sound mix. After stints of dubstep and breaks-y dub-tech, WNCL unfurls 'Blonde On Blonde's classy yet rugged formation of bumpty Chicago House with crafty edits. On the flip Pearson Sound aka Ramadanman reduces the groove to a bare minimum of blocky kicks and sparing percussion, developing a kind of Tech-House pattern leading to sumptuous breakdown and back out again. Tidy.
http://www.M/F.com/?al39a2aqddw9pjo
(http://img148.imageshack.us/img148/9527/333cd.jpg)
Taylor Deupree - Shoals (Edition)
Going a bit further into the avant-garde with this one. 12K boss Taylor Deupree releases what sounds like field recordings of an enclosed washroom. Probably goes well with good weed.
*Limited to an edition of 300 individually numbered copies for the world* This 7" serves as a highly limited and lovingly produced companion piece to Taylor Deupree's recent Shoals album. The clear vinyl comes packaged inside a heavy chipboard sleeve, letterpressed with dark green ink, and the crisp brown paper inner-sleeve brandishes an embossed 12k logo. Furthermore, each of the 300 copies is hand-numbered. Even before we get to the music it's a lovely item, and an object of desire for any Deupree or 12k fan. About that music: the A-side features a specially edited version of Shoals album track 'A Fading Found', which has been cut down to a size more befitting of a 7" single release (a lean 4:16, down from the expansive twelve minutes of the original) while the B-side is an exclusive track, 'Sere' conceived in the same spirit as the superb Shoals tracklist. Taylor Deupree is well and truly back to his best with this material, and while it initially seems a little peculiar that such abstract, extended compositions should be reformatted as short and snappy vignettes, it undoubtedly works. 'Sere' is worth the admission price alone, finding Deupree cultivating the most discreet and subtle of melodic profiles from a processed sonic environment constituted from room sounds, sonorous percussion and countless strange whirrs, creaks and reflections. Not to be missed.
http://www.mediafire.com/?oupqt7u1ab9xach
(http://img41.imageshack.us/img41/1584/bluewaterwhitedeathblue.jpg)
Blue Water White Death - Blue Water White Death
It's the dudes from Shearwater and Xiu Xiu and they sort of kind of made a drone album! Hope you like affected vox!
Blue Water White Death is the collaborative partnership of Jamie Stewart (Xiu Xiu) and Jonathan Meiburg (Shearwater). Conceived and recorded in just the seven days from Christmas to New Year’s Eve, 2009, their eponymous debut is exactly the sort of document one might expect to emerge from a whirlwind creative collision between its two inimitable makers. Tender and deeply vile in equal measure, Blue Water White Death is less an exercise in traditional songcraft than it is a meticulously rendered space. Most of the songs here don’t develop by typical linear courses, instead lingering amidst the trappings of the album’s unusual sonic architecture — running their leathery hands along the walls of its vast, damp corridors and floating in its cold, deep pools.
The title of the album comes from a 1971 documentary that follows a group of divers who set out to capture great white sharks on film. That film was the initial point of departure for Meiburg and Stewart, and Blue Water White Death certainly evokes a uniquely brutal aquatic vision. The duo trade vocals evenly across the album’s eight tracks, and their respective musical interests and strengths prove to be extremely complementary. Stewart’s songs tend to get down amidst the waters, his crooked incantations swallowed up by waves of leaden drones (“Rendering the Juggalos”) or wading in the foam and slime of the shallows (“Death for Christmas”). Meiburg, on the other hand, tends toward the nautical. His gorgeous falsetto is dappled with sunlight and his dry, nimble fingerpicking skips like a schooner over ambient soundscapes whose shimmering surfaces imply leagues of dark, heaving depths below.
Blue Water White Death’s four gatefold panels feature illustrations of four different deep sea fish set against a clinical field of white. They’re grotesque creatures with near-alien deformities, their brutalized anatomies born of long legacies spent in the cold and darkness of deep oceans. They’re also strikingly beautiful and the perfect avatars for the album’s tenuous mixture of majesty and hideousness, innocence and shame.
http://www.mediafire.com/?6694md24vwycf80
(http://static.boomkat.com/images/410373/333.jpg)
Conquering Animal Sound - Kammerspiel
Glitchy, rustic, ramshackle, serene electro-folk pop. As far as the vox is concerned, the Bjork comparisons are pretty apt. Comfort music.
With Bjork off astral travelling in the outer realms of out-sound, there's been a gap left in the musical landscape. Where do we go now for perfectly crafted female-fronted electronic pop? Sure there's a few options, but few with the glacial, near-ambient bliss of the Icelandic snow-queen, that is until Kammerspiel came along. Despite having a name that would suggest otherwise the band hail from Glasgow (via Edinburgh) and their music seems primed to fit into a warm spot right next to 'Homogenic' and 'Vespertine' on your shelf. Sure the production might these days owe just as much to omnipresent overlords The xx, but there is an overwhelming sense of opera and scope, something the nonchalant chill-wave set would struggle with at best. 'Conquering Animal Sound' is a pop record, but one with just enough smarts to get even the most po-faced experimental music obsessive to take notice, you'll certainly be missing out if you don't.
http://www.mediafire.com/?3o5y1i92rk6n9w9
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(http://3.bp.blogspot.com/_K9bTpIRSsRQ/TS6EULuUAJI/AAAAAAAAAPA/X7P4LMlcBUo/s1600/Asobi_Seksu_Fluorescence__med_.jpg)
Asobi Seksu - Fluorescence (2011) 260ish kbps VBR
http://www.M/F.com/?369e6hph5yvs32r
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Gang Of Four - Entertainment! (1979)
(http://upload.wikimedia.org/wikipedia/en/6/6d/Entertainment%21.jpg)
This is possibly my favourite post-punk album ever; political without being in-your-face and anoying, and nicely influenced by reggae and funk.
http://www.M/F.com/?mmy4f2gythy
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Asobi Seksu - Fluorescence (2011) 260ish kbps VBR
Yessss
Here is a link to a folder containing every one of Ryoji Ikeda's solo releases (minus one).
Yesssssssssssssssssss
My ears and mind will bleed for days
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Parts and Labor - Constant Future
(http://i.imgur.com/yNYIn.jpg)
http://www.mediafire.com/?6oxacpia61spo7y
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I just uploaded Mumford & Sons Sigh No More, Arcade Fire's the Suburbs, and LCD Soundsystem's Sound of Silver and This is Happening for a friend. Anyone here want them?
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yes please.
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The Teardrop Explodes - Kilimanjaro (1980)
(http://ecx.images-amazon.com/images/I/51jNtzSXPLL._SL500_AA300_.jpg)
http://www.M/F.com/?1k2mmnthmtm
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None of this is new to these boards, but it's all excellent and it was already in my MF folder. Enjoy!
Arcade Fire - the Suburbs
http://www.mediafire.com/?3de7jcece8myo8n
LCD Soundsystem - Sound of Silver
http://www.mediafire.com/?d77z8i4etd1cpx8
LCD Soundsystem - This is Happening
http://www.mediafire.com/?3d69e1a0q06s260
LCD Soundsystem - the London Sessions
http://www.mediafire.com/?cmtfpy08oqiz8cv
Mumford & Sons - Sigh No More
http://www.mediafire.com/?bhvs4vhro4jhew0
the Wedding Band (Mumford & Sons) - the Wedding Band EP
http://www.mediafire.com/?qdm9beg8sp71j6h
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some band with some new ep...
Glassjaw - Coloring Book EP
(http://i.imgur.com/Waw8Ul.jpg)
http://www.mediafire.com/?7epi4f0pk349j7p
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(http://static.boomkat.com/images/219746/333.jpg)
Hrsta - "Ghosts Will Come and Kiss Our Eyes"
http://www.mediafire.com/?2no5ri8sl9749gc
I guess since after Godspeed went on an infinite hiatus, i kinda dismembered myself from the resemblance of a being in its music, aside from its listed releases. Discouraged by the subtle solemness and often cheesy being of a silver mt. zion and its constant name alterations, it furthered my distance from the genius of Godspeed. That being said, my best friend just left the house with the departure gift of this video:
http://www.youtube.com/watch?v=cUQ2l9UZttA
initially totally heightened by the art direction, I then heard the haunting fucking sounds as heard in Skinny Fists. I guess I'm the scum of the earth for being such a fan of Godspeed and never learned myself of this group, but fucking this is Mike Moya (guitar and voice), one of the founding members of Godspeed You! Black Emperor. Completely entranced, I hope this becomes a sturdy addition to your music collection, whilst i search for vinyl and such from this artist. I am going to give this one a thorough listen before I merge myself into its elder releases.
The album art is shit, my only complaint thus far...
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Cocteau Twins - Treasure (1984)
(http://upload.wikimedia.org/wikipedia/en/d/db/Treasure_cover.jpg)
“Ethereal dream pop” - dark, ambitiously atmospheric soundscapes that incorporate elements of both ambient and electronic music, and which can be seen as one of the parent albums of the late 80s/early 90s shoegaze fun explosion. A blog I read once said that the world is split into two groups - people who love this album, and people who haven’t heard it yet. I think that pretty much sums it up perfectly.
http://www.M/F.com/?wqzinyduqwn
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the world is split into two groups - people who love this album, and people who haven’t heard it yet.
and the Cocteau Twins, who apparently don't like it.
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and the Cocteau Twins, who apparently don't like it.
O RLY? Dunno why, I think it's boss.
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and the Cocteau Twins, who apparently don't like it.
O RLY? Dunno why, I think it's boss.
it's amazing.
it's just funny how they think it's their worst work, yet it's generally regarded as their best work by music fans.
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(http://img838.imageshack.us/img838/5980/333jd.jpg)
Bots / Polaroid Sunset - Diskoblink! / Verry Sorry
Taut, lo-fi Skweee on the A, Low End Theory-style hip hop edits on the B. Already sold out!
**Black label, limited to 120 hand-numbered copies** Unhinged lo-fi ragga-disco and slicing edits from Bots and Polaroid Sunset on one very limited MYOR 7"! Bots' 'Discobink' has a lead melody like the reversing bleeps of an articulated lorry, factored into a rubbed and tugged ragga-disco rhythm for rudeboy androids. Polaroid Sunset's 'Verry Sorry' is a fancier edit job, dicing what sounds like some Various-style folk-pop or R&B vocal (we haven't a clue what it is) over dextrous drum flips and seething Zomby-style bleeps. Word!
http://www.M/F.com/?4v9f7wkbx9yc8xd
(http://img690.imageshack.us/img690/8688/333ui.jpg)
Ghostleigh - For All Those / It's On
The newest addition to my stable of followed acts, Ghostleigh breaks out some true emotional computer music on the A, all sustained drama that feels like it's on the verge of imminent collapse but somehow avoids a messy end. The B has a more classic House feel but it works well and effectively within the confines of the form. Great stuff.
Ghostleigh stays in House gear for the ninth 12" on his self-titled label. Two tracks of Deep House indebted to Detroit's Patrice Scott but with a robust, Germanic construction. Limited white labels.
http://www.M/F.com/?zdcy55vzmu87yb8
(http://img814.imageshack.us/img814/9946/333zd.jpg)
Move D feat. Fragment
Another little House tidbit for you, this one from the classicist Move D (who released an incredible Black Dog-esque lo-fi IDM throwback with Bedouin awhile back). Epic, at 11 minutes. Good study music, or dancing music. Picked from a collaborative EP for reasons I can't remember.
http://www.M/F.com/?t095wuwv056n65t
(http://img84.imageshack.us/img84/2632/333ql.jpg)
Policy - Specialty Party
I picked up Policy's last single on the dependable Car Crash Set some months ago and was really impressed by the density of the production, like a much less morose Burial circa Untrue. This single is as compelling as it is weird, swinging and twitching in the drums not unlike those great Planes EPs I put up a few months ago. Definitely check it out.
http://www.M/F.com/?xi6hooyyyceogwm
(http://img69.imageshack.us/img69/2733/333qy.jpg)
Pale Sketcher - Seventh Heaven
Justin Broadrick's inevitable-but-still-welcome foray into dubstep gets its second release a few months after its debut. The Bug (Broadrick's old partner from Techno Animal) and his King Midas Sound project provide a fuzzy dub remix.
Pale Sketcher is the result of Jesu and Godflesh's Justin K Broadrick experimenting with hybrids of shoegaze, swinging hardcore techno and metal dynamics. 'Seventh Heaven' fits Submerse-like garage patterns into an epic Jesu framework, whereas 'The Rainy Season' hits a melancholy hardcore breakstep vibe akin to his Tech Level 2 productions. The slow pulsing ambient techno of 'Resonanz Therapie Musik' is the towering highlight, strongly reminding of that classic Signer track whose name escapes me right now, and there's a typically dread-filled remix of 'Wash It All Away' from King Midas Sound.
http://www.M/F.com/?9bwwoz8xsq3669d
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Alex Winston - Sister Wife
(http://i.imgur.com/cZzyA.jpg)
http://www.mediafire.com/?4ffrzrc7mt7afid"Sister Wife" (youtube) (http://www.youtube.com/watch?v=hswGOQKRIeY)
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A Certain Ratio - The Graveyard & The Ballroom (1980)
(http://3.bp.blogspot.com/_vy4z0ulpRK4/Siymc28xA7I/AAAAAAAACTI/tBr2lSC7E2g/s400/R-1415169-1217766306.jpg)
Crack out yr whistles and let’s have a disco-funk dance party!
http://www.M/F.com/?z5nmjhyxddl
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It's been a little while since I've been around here. I see we've made some changes to the MumbleFumble thread. Anyways I thought this would be a good post to come back with.
Lone Pigeon - Time Capsule
(http://i55.tinypic.com/2i7akif.jpg)
Seven full albums from founding member of The Beta Band and current member of The Aliens, Gordon Anderson. Lots more info can be found here (http://groundsforappeal.ihookitup.com/the-very-singular-very-wonderful-lone-pigeon-7-disc-box-set-of-collected-material-due-in-april/)
Moses
http://www.mediafire.com/?1b69sjsd1284czr
Dr. Vampiranos And His Old Melodic Chest
http://www.mediafire.com/?exodb3xpmkbtdlh
28 Secret Tracks
http://www.mediafire.com/?ckn95vcr2r9r1yz
Glover Again
http://www.mediafire.com/?27pki4s0ifbqhik
Baby Piano
http://www.mediafire.com/?b3yys9yiuj8xhy9
Cakemonth
http://www.mediafire.com/?shegnakyxokaw4b
Honda Hedge
http://www.mediafire.com/?qy0h8p1qcvk9809
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Penpal - Penpal (2009)
(http://www.sputnikmusic.com/images/albums/67557.jpg)
Penpal take the best elements from indie, math-rock and emo, and fuses them into this nicely chilled-out and rather enjoyable album. Wanky as this sounds, if I was slightly hungover on a Californian beach, super early in the morning, and the sun was rising, and this album was playing, it would be the most perfect moment of my life.
http://www.M/F.com/?1qzmgjuenrh
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This is a great album that I found right here on the friendly QC boards, but that was a very long time ago so it's nice to see its reemergence for anyone new around here.
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I found this via my tumblr:
Fashawn - Higher Learning 2
http://www.xxlmag.com/uploads/mixtapes/2011.2-Fashawn-higher_learning.zip
It’s time for your ears to soak up some knowledge. XXLMag.com, in association with hotnewhiphop.com is proud to present Fashawn’s new mixtape, Higher Learning 2.
The disc, hosted by DJ Ill Will and DJ Rockstar, features 22 tracks with appearances by GLC, Tony Williams of G.O.O.D. Music, Gilbere Forte’ and fellow XXL Freshman alum J. Cole, who spits on two tracks and contributed three beats for the project.
Im only part of the way through listening, but it's pretty rad, and features John Legend and Common on track 16. I recommend it!
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google jdownloader
Jesus christ the ads on that website.
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Radiohead - The King Of Limbs (2011)
(http://gearpatrol.com/blog/wp-content/uploads/2011/02/Radiohead-The-King-Of-Limbs-Gear-Patrol.jpg)
You're welcome!
http://www.M/F.com/?i48lgac2k7lj8x2
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Echo Lake - Young Silence
(http://img84.imageshack.us/img84/8262/echospace.jpg)
No Pain In Pop introduce Echo Lake, the latest addition to a growing army of maudlin shoegaze mongers. Following initial acclaim for their demos from the likes of Pitchfork and The Fader, 'Young Silence' is their take on the dronier, dreamier side of psy-pop, starting out relatively upbeat on 'Sunday Evening' before heading to their pillows for the cloudily distanced 'In Dreams' and reminding of Forest Swords-come-Beach House in the reverb-laden swoon of 'Everything Is Real'. At their most serene in 'Memory Lapses', both the title track and the gorgeous 'Buried At Sea' pay homage to Cocteau Twins with a sleeping pill potency.
JUV - JUV
(http://img834.imageshack.us/img834/9451/333em.jpg)
*Limited double vinyl edition - comes with a download code redeemable directly from the label* Juv is the Norwegian duo of Are Mokkelbost and Marius von der Fehr. Miasmah present what is effectively their debut release, some 14 years after it was initially conceived. Between 1996 and 1998 the solemnly attuned duo created a dark metal variant with strong traces of bleak ambient and experimental doom, following a strict methodology within limited means. Sampler-derived minimalism, guitar abstraction and field recordings were key ingredients, slowly coalescing in the confines of their bedroom studio. Unfortunately, due to disagreements, work on the album abruptly stopped. Only two years ago Are Mokkelbost started compiling the album and rediscovered hours of music, rescued from tapes in a suitcase. Think Sunn O))) stuck with Svarte Greiner, Deathprod and Thomas Koner in a freezing log cabin in the Norwegian wilderness, and you're almost there. Recommended.
http://www.MF.com/?wor7xccgo6e8p7f
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Cut Copy - FabricLive.29 (2006)
(http://albums.ml-cdn.com/1034833_cut_copy_fabric_live_29.jpg)
Cut Copy?! FabricLive?! Why the hell are you still reading this shitty little description, you’re wasting precious download time!
http://www.M/F.com/?zg0tjwy2wz3
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Radiohead - The King Of Limbs (2011)
This file is currently set to private.
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Radiohead - The King of Limbs (2011)
(http://img412.imageshack.us/img412/3418/radioheadkingoflimbs.jpg)
http://www.M/F.com/?h9l24osq3bj4knd
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Hey, your picture is unnecessarily redundant because it's shown literally four posts above yours.
But I started uploading as soon as I heard the first source went down/private, so here's yet another alternate link:
http://www.M/F.com/?alv5i0pvr3ur23z
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(http://img163.imageshack.us/img163/6890/48195285.jpg)
http://www.mediafire.com/?z5hdazxz7leq7db
review (http://pitchfork.com/reviews/albums/15122-space-is-only-noise/)
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Radiohead re-up(s):
http://www.M/F.com/?231mij2jwiy4v0uhttp://www.M/F.com/?7fqgvjwt8zou4ai
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This is cool...
Divinyls - Boys in town
http://www.youtube.com/watch?v=DMSyumchMWA
but no link, sorry.
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Then maybe you could've posted it in the thread for music videos literally one below this one?
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Cut Copy - FabricLive.29 (2006)
Cut Copy?! FabricLive?! Why the hell are you still reading this shitty little description, you’re wasting precious download time!
I am so addicted to the FabricLive series. Some days I think they invalidate the need to ever listen to anything else.
That said, the Death In Vegas one (#23 I think) is shockingly disappointing, because DIV is amazing.
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I am posting this tonnage of music in anticipation of my other load of music.
(http://img87.imageshack.us/img87/97/333di.jpg)
The Deeep - Life Light
Once you get past Tri Angle and Salem, Witch House stops looking so bad. I've come around to Hype Williams, and next in line is the unfortunately named (aren't they all?) The Deeep, who are definitely aiming to tap into that Chris & Cosey synthwave sound, all chilly lady vox and humming synths and, yes, a "hard" hip hop beat on standout "Mudd". They don't do a bad job of it!
The Deeep very recently charmed us with their muggy avant-disco for 100% Silk, but 'Life Light', released on cassette in 2010, is a much darker, tormented affair. The mugginess is still firmly apparent but the disco is all but gone, save some blunted beats on 'Slow Coaster' and 'Mudd', but you'd hardly dance to them. The real mood of these six tracks is subterranean and slightly occult, thanks largely to the hypnotic catharsis and sub-Carpenter-esque synth drones, especially on the amazing two part 'Ballad Of The Abyssal Plain' and the much stranger 'Dream'. Really pushing the right buttons here. Another great, hugely rewarding album from Not Not Fun.
http://www.mediafire.com/?zeejmgx7djabskq
(http://img215.imageshack.us/img215/8557/333gn.jpg)
Ill Blu - Meltdown EP
Funky / Grime hybrids, focus on the Funky. For fans of Breach, Doc Daneeka, et al. The lead track could fit easily into another Trainspotting soundtrack. The computer-vox selector shout-outs are grating, but the music is prime dancefloor stuff.
The UKs most feted yet elusive Funky/House production duo drop the one we've been waiting for. Three tracks round and ten ton heavy, the 'Meltdown' EP is a rare instance of Ill Blu leasing material to ears outside their tight knit network of producers - to date they've only dropped one twelve on Hyperdub, the sophisticated ruffige of 'Bellion/Dragon Pop', and are best known for major label remixes of geordie gynoid, Cheryl Cole and Hot Chip, plus an underground banger for Shystie. Between the advanced tribal ruckus of 'Meltdown', the heat-seeking synth and siren blast of 'Overdose' or the sweet 'n sour flex of 'Chelt' this is one of the hottest plates on the table right now. Pure badness!
http://www.mediafire.com/?lhn2c4wewylvo2r
(http://img259.imageshack.us/img259/4333/333ks.jpg)
Photomachine - Technicolour EP
Anybody who can get Throwing Snow and Raffertie to pull remix duties has to be pretty great, and this doesn't disappoint. Excellent rave-flecked techno, not unlike Headhunter's recent stuff. I was surprised that the originals were as good as the remixes, given that I've never heard of Photomachine before. Throwing Snow's treatment is akin to Burial's poppier moments.
Brixton's PhOtOmachine have yielded a tidy crop of remixes for the likes of Mercury-cursed Speech Debelle (alongside El-B) and Unicorn Kid in the last few years. Their debut solo lands on the fledgling Super imprint, backed with remixes by Throwing Snow, Optimum and Raffertie. 'Technicolour' scrapes a kinky swing from micro-house style percussion and neat Garage bassline, while 'Sine Language' accentuates a deadly 2-step groove with dynamic synth patterning and a lovely synthetic accordion flourish. On a remix tip, Throwing Snow gives the vocals an androgynous Fever Ray treatment, twysting the rhythm between broken House and tip-toeing Juke, while Optimum goes on a driving deeper Tech-House mission and Raffertie scrambles the beat for a febrile garage scuttle.
http://www.mediafire.com/?6g90rn60y5f658a
(http://img502.imageshack.us/img502/7582/333qv.jpg)
Unicity - Distance EP
Really lovely synth soundscapes, like Geogaddi's more minimalist songs or Ash Ra Tempel's guitar-free stuff. Meticulously arranged, as well - these aren't tossed off or formless. Tracks are of easily digestible length, too. Awesome study music.
A charming suite of six ambient miniatures from Unicity, making a debut appearance on the Analog Quadrant. We could reference a ton of ambient practitioners but these are just pure and simple beatless synthesizer vignettes that express something that just can't be spoken. Quite lovely.
http://www.mediafire.com/?d6va2qn1799aawe
(http://img213.imageshack.us/img213/1325/333zem.jpg)
Miles Sagnia - Transmission EP
Sleek, beautiful melody-oriented modern House - the shimmering synth line that sort of serves as a "chorus" to the first track is getting constantly stuck in my head.
Autonomic's fifth release is a debut from two producers called They Live. 'Pure Palms' is among the most esoteric cuts in the label's short history, a cinematic side of mid-skool, Autechre-esque synth signatures, rippling percussive pulses and velveteen bass drones with a deeply evocative accentuation. 'Don't Know What To Say' nods to Modeselektor's school of percussive IDM dexterity, all sheer digital textures, scurrying micro rhythms and an awe-inspiring sense of space and wonderment benefitting from advanced spatialisation techniques. Comes housed in die-cut Autonomic jacket with color inner.
http://www.mediafire.com/?7zn1j7jy17542yz
(http://img703.imageshack.us/img703/6951/333bk.jpg)
Chaim - Alive
Latest LP-length release from the masters of all things Tech House at Bpitch Control. Pretty diverse stuff!
After a string of warmly received singles for the label since 2008, Chaim drops his debut album of Discoid-Tech-House on BPitch. Fans of skillfully crafted, pop-tinted and soulful House music will be in their element here, especially with the glorious single track 'U & Eye' featuring vox from Meital De Razon, and the deeper counterpoint of 'Wish' featuring Berlin's vocalist-about-town, Snax. The rest of the album is dedicated to stone solid dancefloor tracks, cuts like the uplifting old-skool meets new vibes of 'Runaway Frequencies', the piano-heavy chug of 'Naturalness' and the lush synth-driven tech-disco flourish of 'Popsky'.
http://www.mediafire.com/?zderv88arsw31hb
(http://img412.imageshack.us/img412/7180/333yy.jpg)
Duffstep - Getting to Sirius
After a surging Ravehaus EP for Saigon Recordings, Duffstep drops a full length of less Rave-y, more House-y tunes. They sound pretty different from everything else he's done. The Duff Disco remixes I posted awhile back are edits of songs from this album.
Up until now the name 'Duffstep' has been hidden in the seedy underground of inner-city London, from which Jeremy Duffy has spent years plotting a possible escape route, with those in the know watching his career unfold steadily in the meantime. His record label 'Join The Dots' was born along with his other moniker, the funk-producing Duff Disco. Club nights and festival appearances followed, which have seen the former High Barnet native share a stage with the likes of Flying Lotus, Commix and Kode 9, and with his own European Tour imminent, 2011 is looking like the year in which he may just escape.
Debut album 'Getting To Sirius' sets a marker for where the man wants to get to. Ancient Greeks believed that Sirius' appearance as the brightest star in the night sky marked the start of summer whereby all women became aroused. If Duffy's chat is as impressive as his production then don't introduce him to your missus any time soon.
The feel of the album is a down tempo future garage sound penned for the home rather than in a club. Coining the name 'Duffstep' was a smart move though whether it'll start a genre in its own right as Leftfield did in the 90's remains to be seen. Opener 'Free' sets the tone immediately with a broken beat sat underneath shimmering percussion and an echoed vocal stab. It's a head-nodder or foot-tapper depending on your preference and sets up the Laurent Garnier-supported 'My Kiss' nicely.
The production is faultless as the beat saunters forward like a drunk on his walk home from the pub. Purposeful yet in no hurry, the breakdown at the halfway point has a Balearic feel, before the beat is turned up once more. The album plays like a set with the driving baseline and hypnotic brass section of 'On & On' juxtaposing the funk-laden 'Love The Freak', before the warpy 'Backseat' bowls into view.
It is fair to say that with down tempo albums of this ilk, Crooks and Lovers for example, some tracks do not stand as tall when listened to in isolation, or on shuffle, and there are a couple on 'Sirius,' 'Tired' and 'Love' proving more filler than thriller.
Penultimate track 'The Way It's Got To Be' marries an incomprehensible druggy vocal with the cleanest sounding 4x4 beat on the album. It's all a tease to the live show as the soundscapes return and the beat goes back into hiding as quickly as it appeared.
'Happy days' is the pick of the bunch however, with it's Air-like melody and female vocal perfectly contrasting the 11 tracks before it. It is a perfect 7am festival tune, sun-drenched and smiling, thoughts switch to home before the most warped baseline on the album drops and you're left thinking where the fuck did that come from? Then, just as quickly as it smashes you on your arse, it disappears again, behind the thick layers of production, and the smile returns.
With 'Getting to Sirius,' Duffstep manages to create a personal sound constantly in flux, twisting and spinning around a central axis whilst managing to retain a pleasing unpredictability. If the album had been released when it was finished a year and a half ago then it would score higher as the sound would've been fresher still, as it is the bar has been set for the producer to better in years to come. The only limit for the Duffstep mission to Sirius is the sky.
http://www.mediafire.com/?62cqgy2ae7brca5
(http://img257.imageshack.us/img257/803/333lh.jpg)
Laura Gibson & Ethan Rose - Bridge Carols
Lovely, hypnotic drone-folk from Laura Gibson and Ethan Rose, like an engineered hybrid of Joanna Newsom and Grouper. The album's front-loaded with great songs but if you're not averse to more conventional folk the back half's pretty strong too. Had to commission a purchase from the_pied_piper due to the album's being locked off for USians on Boomkat, he might have some more things to say about it!
http://www.mediafire.com/?h4ilbab6cnx65qn
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Thank you for the beautiful music. It's always a pleasure to discover great artists and enjoy new experiences.
/
Reso - Valken EP
(http://img263.imageshack.us/img263/8160/333uz.jpg)
Reso brings an unsurpassed low-end density and textured sound that decidedly makes genres redundant. Wobble, hypercrunk, glitch, hip hop, dubstep, industrial and D&B all blend together
for a concoction that only Reso can create!
http://www.M/F.com/?67oyd4722fns6jz
Funkystepz Fuller / Hurricane Riddim
(http://img696.imageshack.us/img696/3971/333fwh.jpg)
Two future-rude Funky riddims from North London's Funkystepz on Hyperdub! Both tracks have received maximum rotation on the crew's Rinse FM show and from scene supporters Marcus Nasty and Kode 9, now it's your turn. 'Fuller' rides a tuff 4/4 bounce with some tweakin' radioactive lead keeping the energy strapped to the core for lean and heavily concentrated effect. The urgent mission strings, hard-arpeggiated synths and snare tattoo of 'Hurrican Riddim' is just gully-to-f**kery. A DNA test on this would find genes spliced from 8-bar Grime, Techno, Soca and tuffer US House, but essentially that's just Grade A Funky, no? Go hard or go home! TIPPED!!!
http://www.M/F.com/?5676hweguu9x09c
Eomac - EP One
(http://img827.imageshack.us/img827/9497/333mk.jpg)
Classy three-tracker courtesy of Dublin's Eomac, swiveling on a future garage flex. 'That Boy' has the dextrous rhythm touch of Cooly G, but suffused with darker mentasm licks and more abstracted R&B samples woven into the blend. 'Break Harp' is one for the after-hours crew, a whorl of slicing 2-step patterns synched around the delicate, titular harp, whilst the highlight 'You don't know what this means to me' sounds like a fusion of Zomby's irregular programming and Submerse's emotive impact.
http://www.M/F.com/?3ea1lt9p7a2plcm
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Bear vs. Shark - Terrorhawk (2005)
(http://upload.wikimedia.org/wikipedia/en/3/37/Bvs-terrorhawk.jpg)
This is just utterly brilliant post-hardcore - if you liked the Les Savy Fav I posted a few weeks back, then this is for you, and even if you didn’t, this is a highly accessible album.
http://www.M/F.com/?dmjt4t1y4ly
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as always: big up to KvP!
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On that note, how on earth do you get/listen to so much music? I might be looking at this through the eyes of a broke, endlessly preoccupied student but it's still pretty outrageous (in a good way)
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Bvdub - One Last Look At The Sea
(http://img840.imageshack.us/img840/8252/r27222911298110370.jpg)
"3 years ago I made an album titled "One Last Look at the Sea"... As many of you know, it was supposed to be released on Somnia, but the label closed. Then it was supposed to come out on 2 other labels, one of which also closed, and the other of which went on an indefinite hiatus."
"So what I have decided to do is to offer my humble thanks to all who have supported not only Quietus in the past, but my music in general both past and present."
"As some of you know, from China I am currently unable to run Quietus in its original form for a myraid of reasons, so I have decided to do a one-time digital release, and to show my thanks to everyone by giving it to you for free."
http://www.M/F.com/?m2qqqhtzzu24dss
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Let The Children Techno
(http://cdn.pitchfork.com/media/edbanger.jpg)
http://www.mediafire.com/?a9ba3kpqs06l1a4
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Guts - Freedom (2009)
(http://img225.imageshack.us/img225/1324/freedomm.jpg)
You're Living Like Pigs (http://www.youtube.com/watch?v=BzLKR-YiPTU)
http://www.M/F.com/?kbbhp317ldkop4u
RJD2 - Deadringer (2002)
(http://img29.imageshack.us/img29/5541/deadringer.jpg)
Ghostwriter (http://www.youtube.com/watch?v=rVqAdIMQZlk)
http://www.M/F.com/?87t0qv4rjg1p7l4
Thomas Fehlmann - Good Fridge. Flowing: ninezeronineight. (1998)
(http://img231.imageshack.us/img231/2323/goodfridge.jpg)
Schizophrenia (http://www.youtube.com/watch?v=urtEtC1aB28)
http://www.M/F.com/?xcubstzwe91fzmf
Thomas Fehlmann - One To Three. Overflow; ninenine/nd. (1999)
(http://img213.imageshack.us/img213/4594/onetothree.jpg)
I Wanna Be A Fishy (http://www.youtube.com/watch?v=U4IMF8wmzjw)
http://www.M/F.com/?m1ffouped1y41nc
John Oswald - Plunderphonic (1989)
(http://img198.imageshack.us/img198/9802/plunderphonic.jpg)
Dab (http://www.youtube.com/watch?v=BmJjXxbl2to)
http://www.M/F.com/?f80a04tfxl1bmb6
Wax Tailor - Tales of the Forgotten Melodies (2005)
(http://img257.imageshack.us/img257/3967/talesoftheforgottenmelo.jpg)
Ungodly Fruit (http://www.youtube.com/watch?v=NfOmEauyOss)
http://www.M/F.com/?ab7ndfa9muk4joe
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Thomas Fehlmann - Good Fridge. Flowing: ninezeronineight. (1998)
http://www.M/F.com/?xcubstzwe91fzmf
Thomas Fehlmann - One To Three. Overflow; ninenine/nd. (1999)
http://www.M/F.com/?m1ffouped1y41nc
Nice, any Thomas Fehlmann is definitely recommended.
Laura Gibson & Ethan Rose - Bridge Carols
http://www.M/F.com/?h4ilbab6cnx65qn
I still haven't worked out which female folk singer Laura Gibson sounds exactly like but KvP mentioned Regina Spektor in our discussion about this album and that's the closest either of us have been. Ambient Folk I guess is the classification but it's difficult to pin down for either category; the Ambient instrumentation is far too dreamy and ethereal for Folk music and the vocals very much belong to the Electronic music spectrum therefore the combination is probably dead on, in fact. Either way it's an excellent album and well worth a listen.
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NEW RADIOHEAD!!!!!!!!!!!!!!!!
(http://img696.imageshack.us/img696/429/1294614476688.jpg)
Little By Little is my jam thank you thank you thank you
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EL-P - weareallgoingtoburninhellmegamixxx3[2010]
(http://potholesinmyblog.com/wp-content/uploads/2010/05/El-P_cover_small.jpg)
http://www.M/F.com/?lvzo74hm06b2pyy
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(http://revhq.com/images/covers/250/nosr012.jpg)
LA DISPUTE - "Somewhere At The Bottom Of The River Between Vega And Altair"
http://www.M/F.com/?m0uhti1jx4gIn the non-major veins of Modern Life is War, surprisingly tight hardcore. Flossing the teeth of late nineties, enough grime to keep you crusty, but clean enough to show others.
Not my link, but turn off the lights and fuck it if it's wet.
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Digital, then some more digital, and then a whole lot more rips, later. Now, digital.
(http://img524.imageshack.us/img524/267/333vw.jpg)
A Quaint Freud - The Daily Lee Roy Ruben
This is seriously weird but surprisingly good stuff. "Intuit" is almost proto-techno, "Whyf" is a cracked-out sci-fi anthem, and "Nuun" is more discernibly "minimal" in its orientation, like one of AFX's earlier hardcore tracks. Reminds me of the more gonzo remixes that the FRKWYS series pulls out (specifically those involving Gibby Hanes). Fascinating!
Three oddball electronic grooves from the enigmatic German producer, AQF or A Quaint Freud as he's now known. 'Intuit' is like some weird, calcified version of Siriusmo's cheeky productions, part tropical electro melody and part martial techno groove. 'Whyf' is more eccentric, working dainty music box melody into padded, smoky Workshop rhythms, followed by the Hype Williams-esque hypnagogic wow & flutter of 'Nuun'. Check!!
http://www.mediafire.com/?ev5u1agrbxn3r5x
(http://img35.imageshack.us/img35/8128/333skm.jpg)
Virgo - Do You Know Who You Are?
Classic House music. The title track is perfect for a late 80's night on the town, "In A Vision" is more rhythmically textured, and marks a clear lineage towards the more recent House antics of acts like Jam City. "Going Thru Life" is textbook night music, all hi-hats and nightclub piano, and the handclaps and synth stabs of "Take Me Higher" make it something of an outlier, but an interesting one.
1989's "Do You Know Who You Are" might be one of the best deep Chicago cuts ever recorded, its monstrous kicks, bright wandering synths, and deliciously delayed guitars creating a blueprint for all true deep house to come, from the Burrell brothers to the almighty Kerri Chandler. Pile on synth buzz, near-subsonic bass, and watery harmonies, and there's no denying the piece's greatness, which makes it all the better that Trax and Rush Hour have just re-released Virgo's only eponymous album. Featuring new artwork and tracks remastered for maximum loudness, the release shows that Rush Hour is fast becoming the best archival house label in the world.
http://www.mediafire.com/?2l47a1p569u0bh8
(http://img830.imageshack.us/img830/7198/333pp.jpg)
Virgo - Free Yourself
Another House EP from the great Virgo. "Free Yourself" pulls out live drums in its back half, which is pretty cool for a House track, and the synths are evocative as always. "Under You" is a weird track with what sounds like a step rhythm, and it takes a bit to get going but it gets pretty good. "My Space" (heh) is classic electro, great for a Miami Vice car chase, and "R U Hot Enough" features some nice acid bass functions and some sampled drumming to augment the drum machine rhythm.
http://www.mediafire.com/?froegwpu9lkam7o
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... Reminds me of the more gonzo remixes that the FRKWYS series pulls out (specifically those involving Gibby Hanes)....
:-o
What is this and why haven't I heard of it?
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Dunno. Pretty sure I posted it in the last mediafire thread.
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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(http://img413.imageshack.us/img413/2999/333blq.jpg)
Headhunter & Djunya / Djg & Xi - Surefire Sound 002
More Techno / Dubstep hybridism from Headhunter, with nice Dorian Concept-esque pitch-shifted synths and a subtle wobble bassline. The B comes from (relatively) unknown quantity DJG, who seems to explore a lot of the same sorts of sounds that Headhunter does but emphasizes bass to a much greater extent. Should be a good dancefloor filler.
A confection of collaborations from Headhunter & Djunya and DJG & XI on the Surefire Sound label. The X side from Headhunter and Djunya is the one to pull for, twisting up technoid dub chords with a broken/funky dubstep flow to work the club in sophisticated style, while DJG & XI's 'Putney Says' rolls with a more broken percussion wound into a rollers dubstep format. Smart.
http://www.M/F.com/?5q7nfwt6kb4lpk0
(http://img140.imageshack.us/img140/6061/333ac.jpg)
Think - Private Universe EP
(Relatively) Classicist dubstep from Think. Chopped up diva vox throughout give it a more clubby feel than most artists in this vein usually produce. There are telltale elements of rave and even trance sprinkled throughout the EP. "Naked Voyage" is excellent.
Superb debut from Polish producer, Think and New Moon Recordings, b/w a dynamic Jack Sparrow remix. 'Private Universe' is one of five attention grabbing tracks here, a lean but spacious dubtech strider with lush aquatic sound design somewhere between Scuba and Phaeleh. 'Short Warm Moments' presents captivating vox from Novika sailing over a more laidback rollers rhythm akin to F productions, which Jack Sparrow reworks with impressively upgraded production values. New Moon have future records from Ruckspin, Jack Sparrow, Indigo and Hatti Vatti lined up, we'd recommend keeping an eye on them...
http://www.M/F.com/?g4rlc8gqp99elf9
(http://img132.imageshack.us/img132/2655/333nv.jpg)
Antena - Camino Del Sol
I don't know why I hadn't heard of this before... Truly amazing synthwave / tropicalia / pop fusion stuff from France, a lot of which wouldn't feel out of place in a Roger Moore Bond film. Production is incredible, particularly on the title track (http://www.youtube.com/watch?v=FJK-TuzV4Js&feature=player_embedded), a beautiful, bittersweet pop song with proto-16 bit synths. Just incredible.
Cult French band Antena were made up of Isabelle Powaga, Pascale Moiroud and Sylvain Fasy and were signed to the legendary Crépuscule label in Belgium. Those of you that know these kinda things will no doubt be aware of Crépuscule's notorious connection with Factory records, and indeed there's a similarly Factory-style sound and aesthetic beneath the breezy pop on this record. At times reminiscent of Kraftwerk and John Foxx (who incidentally produced their 'Boy from Ipanema' single) while at the same time drawing influence from Jobim and Gilberto, the sound on this album is a deeply evocative mix that is really hard to place into any kind of contemporary context. Alas, Antena hardly sold any records, and were allegedly a factor in the demise of Crépuscule, but listening now it's just obvious that they were just a victim of timing. Since then, this album has been hailed by more people than we could possibly mention as an absolute classic, blending a loungy Gallic charm with the most involving of synthesized production and the kind of perfect pop writing that just grabs you in the stomach on first listen. Think of it as a lo-fi, Casio pop amalgamation of Stereolab, Sade, Krafwerk, Antonio Carlos Jobim and Bjork and you might get some sense of what to expect - but regardless of whether or not that description appeals to you - you owe it to yourself to at the very least give this gorgeous album a minute of your time. Absolutely perfect summertime listening - a huge recommendation.
http://www.M/F.com/?lax1uybt7kdaj4g
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Link dump!
"Bastard" - Tyler, The Creator (OFWGKTA, 2009)
(http://i876.photobucket.com/albums/ab325/desolationrow10/bastardtyler.jpg)
Tyler, the Creator From OFWGKTA's solo effort from 2009, probably the best thing anyone from the collective has released. Check it out!
http://www.M/F.com/?a7a6xacaz5dri36
"Surrealistic Pillow" - Jefferson Airplane (RCA Victor, 1967)
(http://i876.photobucket.com/albums/ab325/desolationrow10/surrealisticpillow.jpg)
Excellent folk-tinged psychedelic rock. Yes, the band later became a parody of themselves (Jefferson Starship...*shudder*) but this album has plenty of great cuts that aren't played on dad-rock radio. ("She Has Funny Cars," "Today," "Plastic Fantastic Lover")
http://www.M/F.com/?yovhxxnetyd
"Songs The Lord Taught Us" - The Cramps (Illegal, 1980)
(http://i876.photobucket.com/albums/ab325/desolationrow10/songsthelord.jpg)
One of the first and best psychobilly albums
http://www.M/F.com/?0zmtg0zjmym
"Contact High With The Godz" - The Godz (Calibre, 1966)
(http://i876.photobucket.com/albums/ab325/desolationrow10/contacthighgodz.jpg)
The Velvets weren't the only New York band in the 60's churning out music that was challenging and primitive at the same time. Some of the strangest and best 25 minutes you'll ever hear/
http://www.M/F.com/?o6ize5ar2vs8zwq
"...For The Whole World To See" - Death (Drag City, 2009)
Punk before punk by three black guys from Detroit who turned from soul to rock after seeing the Stooges play. The songs were recorded for Columbia and rejected by the label in 1975, finally being released in 2009 on Drag City. Really amazing stuff
(http://i876.photobucket.com/albums/ab325/desolationrow10/forthewholeworlddeath.jpg)
http://www.M/F.com/?nimhgqmommy
"Kick Out The Jams" - The MC5 (1969, Elektra)
(http://i876.photobucket.com/albums/ab325/desolationrow10/mc5kickout.jpg)
If you're a fan of rock music and you don't own this record there's something wrong with download it now
http://www.M/F.com/?z3ltfmtinne
"Confusion Is Sex + Kill Yr. Idols" - Sonic Youth (Neutral/Zensor, 1983)
(http://i876.photobucket.com/albums/ab325/desolationrow10/confusionissex.jpg)
The first Sonic Youth record along with their Kill Yr. Idols EP. Definitely not for the casual Sonic Youth fan, but it's a must or devoted fans of the group, Glenn Branca and dissonant/noisy rock in general.
http://www.M/F.com/?ym3jm5zmydt
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Jefferson Starship wasn't the nadir of Jefferson Airplane, btw. That was Starship!
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Man way to go, I had successfully repressed my memories of Starship's existence deep in my psyche
Gotta go to therapy for this again
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I think that "We Built This City" is the best thing they ever did.
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Grizzly Bear - Horn Of Plenty (2004)
(http://img.noiset.com/images/album/grizzly-bear-horn-of-plenty-cd-cover-artwork-12218.jpeg)
Grizzly Bear’s debut album Horn Of Plenty is basically a solo effort from main man Edward Droste; the rest of the band didn’t join for another year, and in some respects the band is still primarily a front for Droste, who basically remains the sole songwriter seven years later. Consequently, because there is no backing band, Droste has been forced to use his voice as an instrument; he multilayers his vocals to create an almost-spectral sound, crafting a rather beautiful lo-fi album.
http://www.M/F.com/?jj5dm0ejd2t
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Brainfuck. I just realized that I follow you, AClickOfLight, on Tumblr. I realized that when I saw matching posts about Grizzly Bear.
Awesome.
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Brainfuck. I just realized that I follow you, AClickOfLight, on Tumblr. I realized that when I saw matching posts about Grizzly Bear.
Awesome.
Yeah I post on my Tumblr then post on here - double trouble!
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Delicate Steve - Wondervisions - 2011
(http://img442.imageshack.us/img442/2928/delicatestevebutterfly.jpg)
So, this is my first post and I'm rather excited about it. These dudes are touring with Akron/Family, who by the way put on a less than stellar show imo. This instrumental band however have amazing stage presence, intricate, lyrical lines and a cool digital/analog feel. You will like them, I guarantee it* There's a lot of different styles going on here, and some remind me of what Vampire Weekend would sound like if they recorded in their mom's garage. Cool stuff.
http://www.m/f.com/?l1111g1b1ckeddr
*Not a guarantee
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While not a download, it's still a great cover that I had to share.
Harper Blynn covers Halo (http://www.youtube.com/watch?v=BMpQ2Ct0d34&feature=player_embedded)
THIS IS NOT THE THREAD FOR THAT
THE THREAD FOR THAT: LITERALLY ANY OTHER FUCKING THREAD
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As opposed to figurative any other thread?
/flees
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Brian Jonestown Massacre time
Give It Back! (Bomp!, 1997)
(http://i876.photobucket.com/albums/ab325/desolationrow10/giveitback.jpg)
http://www.mediafire.com/?agytg5tide2
Take It From The Man! (Bomp!, 1996)
(http://i876.photobucket.com/albums/ab325/desolationrow10/TheBrianJonestownMassacreTakeItFromTheMan-Front.jpg)
http://www.mediafire.com/?dtnvyzxzzm2
Their Satanic Majesties' Second Request (Bomp!, 1996)
(http://i876.photobucket.com/albums/ab325/desolationrow10/bjmsecondrequest.jpg)
http://www.mediafire.com/?tmtawuz5zmd
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Monkey - Journey To The West (2008)
(http://static.boomkat.com/images/150150/333.jpg)
An electronic opera written & produced by Damon Albarn, and performed by the UK Chinese Ensemble, a Chinese orchestra, as the soundtrack to a stage show also written by Albarn. It’s based on a sixteenth-century Chinese novel about a a monkey, a pig, a water monster and a Buddhist monk who travel on a pilgrimage from China to India having all kinds of wacky adventures. The book is probably a bit boring, so watch the 70s Japanese TV show Monkey instead, it’s fucking sweet; just like this album.
http://www.M/F.com/?zhyytnmhjnz
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Nails are good, but I feel like Trap Them are way better for that style. I can't wait for Darker Handcraft to come out.
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Tyondai Braxton - Central Market (Warp, 2009)
(http://i51.tinypic.com/2rhydqf.jpg)
Tyondai Braxton formed Battles in 2004 with John Stanier (Helmet, Tomahawk), Ian Williams (Don Caballero), and David Konopka. They released a string of EPs over the next couple of years, fostering greater notoriety with each subsequent record. Their full-length debut, Mirrored, arrived in 2007 and topped many critics’ year-end lists. Indeed, with Battles being a collective of such formidable talents, it's not hard to understand why few people know of Braxton’s work outside the group. Of course, part of the problem is that Central Market marks Braxton's first solo album since 2002's History That Has No Effect, but he makes good use of the album's seven tracks to shed light on just how much his vision contributed to Mirrored’s success. And from the sound of things, the guy had something to prove.
The mostly instrumental songs primarily showcase Braxton’s compositional skills, particularly in the minimalism of John Adams and the modernist techniques of Igor Stravinsky. While some tracks blast forth with a blissful cacophony, linking Braxton to his noisier days, many tracks are classically additive, starting with an original theme and then building in momentum through additional layers. Album opener “Dead Strings” is a perfect example of this: A digital metronome counts a standard 4/4 beat while a synthesizer teases in the background. Ghostly strings (courtesy of the Wordless Music Orchestra) join the procession, adding a frightening second layer, while the momentum simmers for a couple of minutes until a pattern eventually develops and repeats. Drums stutter at random, a perfunctory bugle yelps, and a feeling of dread builds, something akin to walking near a cemetery late at night, where tensions run high and every sound multiplies the paranoia.
Indeed, listening to Central Market can be a visual undertaking. You can see the pictures he paints with the music: clear, lucid scenes drawn with bold primary colors. Centerpiece, “Platinum Rows” launches a galloping Technicolor romp through the back lots of Disney’s Fantasia. After a prolonged mechanical surge and an odd keyboard belch, strings rush forward to establish a rolling tempo. A snare drum taps out a breakneck pace and the brass section signals a nonsensical charge. Braxton enters with distorted wah-wah vocals then switches to a synthesized kazoo. Somewhere Thomas Pynchon is cheering. It’s all well-ordered mayhem like a Stockhausen piece, majestic and soaring like Copland, and with a heavy dose of Ravel (the snare drum from Bolero, in particular).
The rest of the tracks feel somewhat misplaced: “The Duck and the Butcher” continues the Copland premise, but isn’t as adept at advancing an individual theme, while “Uffe’s Woodshop” and “Opening Bell” could be outtakes from the Battles sessions. In fact, “J. City” sounds like a second shot at “Atlas.” And there's the rub: the strongest tracks here make a case for Braxton’s compositional skills; the rest feel like recycled tales from his nights out with Stanier and Williams, an unfortunate byproduct of placing them within this context. Still, it’s all very affecting. In a word, vivid.
Part 1: http://www.mediafire.com/?5pjewur27ovpv2a
Part 2: http://www.mediafire.com/?wj4iz2wz771b1tz
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The Nichols Family Gospel Hour - Polemic EP (2008)
(http://1.bp.blogspot.com/_4chJL00Sz5M/SxKEvV5vitI/AAAAAAAAAL0/bhi1ElpaYIs/s200/m_d5a86d8afed144f294f7dbf052153ec7.jpg)
Sounds like Godspeed You! Black Emperor making country music.
http://www.M/F.com/?miinnmjjwz1
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Putumayo Presents - Puerto Rico (2000)
(http://i.imgur.com/Xpkaf.jpg)
1. Cafe - Eddie Palmieri
2. Me Voy Pa'l Campo - Andres Jimenez Y El Taller Campesino
3. Pa' Mantener Tradicion - Jimmy Bosch
4. Una Mujer En Mi Vida - Ramito
5. Homenaje A Caridad - Modesta Cepeda
6. Seis Milonguero - Edwin Colon Zayas Y Su Taller Campesino
7. Nadie Llore - Pepe Castillo & Cuatromania
8. Caramelo - Julius Melendez
9. Musica Morena - Atabal
10. La Naturaleza - Ismael Miranda/Andres Jimenez
11. Bembe De Plena - Plena Libre
http://www.M/F.com/?96wkwzaf6c6c7db
David - Check your caps lock; it might be broken.
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Saigon - The Greatest Story Never Told (2011)
(http://hiphop-n-more.com/wp-content/uploads/2011/01/saigon-greatest-story-never-told-cover.jpg)
BOOM! Four years coming and worth every damn second.
http://www.M/F.com/?molaz2uhjf92f4c
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Forgot the link!
(http://img832.imageshack.us/img832/2026/333ukx.jpg)
Hackman - Made Up My Mind / Bam Bam
Only the best in current UK house stylings, akin to xxxy, Julio Bashmore, etc. A-side veers into Funkier territory (ala Breach or Doc Daneeka), B is almost straight Funky, down to the percussive bass and synth stabs. Fun stuff.
Leeds' Hackman claims UK funky and garage as inspirations, but unlike earlier waves of genre soldiers, the way he pulls from different styles feels non-hierarchical: instead of pledging allegiance to a given set of rules and expectations, he's using whatever tropes happen to suit his needs at the time, turning out tunes as lush as they are tough.
Both tracks here feel more explicitly aligned with house and techno than do his previous records, easing off the broken beats and locking onto rigid kick/hi-hat patterns. It's what happens around those that gets interesting, with glowing chords and chirps throwing light over dense thickets of shakers and syncopated percussion, and an infectious chromatic bassline (shades of Dirtybird) taking over waist-winding duties. The track's centerpiece is the looped sample of a woman singing, "I've made up my mind," narrowly filtered and increasingly folded back upon itself, like a gleaming bronze rail to guide you through the zig-zagging groove. There's a "Hyph Mngo" feel to it, but slower and more lackadaisical.
"Bam Bam" is even more relaxed, with muted keyboards and a fairly straightforward house skip; the kick drum is harder and higher than you're used to hearing in house, though, which pulls things back toward bass music's corner. The chopped and looped vocals, which sound a little like Bakja from Beanfield's "Tides," feel more naturalistic than we've become used to lately, with so much pitch shifting afoot, hugging the register with a tender grip. But they're cut up just enough to render them abstract, draped like fabric over stabbing chords and tympani-like bass riffs. Like T. Williams' "Heartbeat," it's a refreshingly versatile fusion of two worlds, accommodating to both house and bass music without sacrificing force or nuance.
http://www.mediafire.com/?kfyeh0a1k4aurod
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G Love - Fixin' To Die (2011)
(http://img339.imageshack.us/img339/6230/glovel.jpg)
This is G Love's 14th studio album and one of the few where he isn't backed by his band "Special Sauce". I have to say that it blows anything else he's done out of the water. If you're into foot stompin' twang and blissful folk harmonies, this album is gonna be perfect for you. I'm not the first to note, however, that G Love's voice sounds different, almost strained on this album. Is he getting old or purposefully trying to change his sound? I'll leave that to you to decide.
Also of note is the fact that this album is produced by just-about-mainstream folk icons The Avett Brothers. You can hear a lot of their influences in there too so this is a must for any Avett fans.
http://www.m/f.com/?tmtkd8l6lmar7vu
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In addition to two boatloads of new music, I'll have a (partial) Swans discog up later.
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Convoj - "Exceptionnel" & "Convoj EP"
(http://farm6.static.flickr.com/5258/5473642613_7de25f6293.jpg)
These guys popped up on my Pandora a few years ago and I swore to find their records. It took me some time but I finally got 'em!
Convoj hails from Sweden. They play dark melodic indie rock. Twangy tube-driven guitars that are beautifully panned with a kiss of reverb, awesome bass grooves, and great songwriting overall. If Hard-Fi met and an angrier Strokes, they would sound like Convoj. I made a folder that has their first EP (2005) and their full length Exceptionnel (2008). When I first got their EP, it was my latenight-drunk-NYC-subway-riding soundtrack. As far as I know the band has been pretty stagnant since 2009. Who cares, they rip! Enjoy!
http://www.m/f.com/?1cj2km54j5j53ml (http://www.m/f.com/?1cj2km54j5j53ml)
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Random Jens Lekman
(http://userserve-ak.last.fm/serve/_/2131660/Jens+Lekman.jpg)
A collection of random Jens Lekman songs; some appear on studio albums, some from compilations he’s released; I’ve also got tunes from EPs, singles and B-sides, live tracks and covers etc. etc. There’s about 50 in total which I’ve split into a couple of files, based on year of release, running from 2002 to 2009. Nothing from 2006 though, he must have been taking a well-deserved break that year.
2002-2004
http://www.M/F.com/?hdktmzznywg2005, pt. 1
http://www.M/F.com/?yjiyq4hm4t42005, pt. 2
http://www.M/F.com/?0a4jtzml5tz2007-2009
http://www.M/F.com/?1agoejzmtzt
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Old Apparatus - Old Apparatus
(http://img832.imageshack.us/img832/1959/333an.jpg)
**Digital Exclusive - for a strictly limited time - any one who buys the FLAC version of this release will in due course be emailed with a special URL that will entitle you to a limited edition Old Apparatus foil print that will be sent to you by the label. Again - this only applies if you buy the FLAC version of this release, not the MP3. Please note that Side A and Side B each contain two tracks segued together as on the vinyl version** Dreader-than-dread dubstep abstractions from the much murmured-about Old Apparatus. Deep Medi have seriously opened the field with this 12", exploring a darkside realm of post-dubstep noise-sculpting/sound design posited somewhere in the midst of Chasing Voices, Burial and old-style Vex'd. Nobody bar the label knows who's behind it, but that only amplifies its enigmatic aura. The A-side builds from a squall of distortion into cataclysmic bassline worship sounding like Stephen O'Malley jamming with Mala while insectoid percussion etches skeletal surface patterns and the rhythm unfolds like something from the Anstam archives. The B-side is weirder still, a multi-sided geometric construction unstably morphing from ecstatic dubstep noise to Raime-like halfstep industrial dystopia, with an added welt of blackened distortion. This is f**king brilliant. Highly recommended!
http://www.M/F.com/?71rql5na4m6g9qv
Seiji - Seiji3
(http://img40.imageshack.us/img40/764/333rkw.jpg)
Killer third drop on Seji's eponymous imprint finds the UK bass veteran in boisterous form. 'More Of You' staggers in on drunken sea-legged synths with balance-correcting waves of subbass lurching dancers into a taut-muscled and shark-eyed garage swing groove. Test this at peak time for deadly results! 'Sticks' on the flip is jauntier, building a dextrous rave riddim around cartoonish hooks and daft noises, kinda like a Joy Orbison beat on a double blast of Nitrous Oxide, but still with more than enough heft and learned kink to tap any ass it's deployed on. Tipped!
http://www.M/F.com/?q29laanc1ov12m9
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Ekca Liena - Sleep Paralysis (2009)
(http://www.fluid-radio.co.uk/wp-content/uploads/2010/10/Ekca-Liena-Sleep-Paralysis.jpg)
Just some nice ambient drone for yr weekend.
http://www.M/F.com/?zomtzigvm4n
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Starfucker - Reptilians (Demos) (2011) (320 kbps)
(http://img513.imageshack.us/img513/4038/prc211reptilianscoverar.jpg)
The vinyl orders for Starfucker got messed up and delayed. As an apology to fans, the band has released a collection of unheard demo versions of songs from their new album Reptilians. They're unproduced and lo-fi but they're still epic and awesome, and a must-have for any fan of the band.
http://www.mediafire.com/?827c4kpsbq214bj
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(http://img5.imageshack.us/img5/3518/333wh.jpg)
Daniel Savio - Nekropolis
With Eero Johannes in some sort of suspended animation somewhere in Planet Mu's basement, Daniel Savio is currently the most compelling producer to crawl out the Skweee scene. Not too 8-bit-y, plenty of melodic sense, plenty of swagger.
Bijou Skwee offering from Daniel Savio, dropping a cool debut album. Savio has been a core member of the Skwee brigade since it's inception, and 'Nekropolis' reinforces the style, while attempting to advance it into the next decade. Over nine tracks he tweaks gurgling 8-bit synths and bottom-heavy yet brittle machine rhythms into cheekily cute and crafty formations, from the moody mooch of 'Lordoftheflies' through the endearingly electro of 'Pearly Gates' and finding a particular highlight in the warm machine soul of 'Sqoui Sweet Sqoui'.
http://www.M/F.com/?8way1vrgmfezw6f
(http://img834.imageshack.us/img834/2008/333du.jpg)
Peaking Lights - 936
Easiest thing to compare it to would be Forest Swords, with a healthy dose of psychedelia thrown in for good measure. Hazy, somewhat lo-fi but not half-assed in any way.
Properly immersive album of lambent kraut-dub groovers and fuggy psyche from the Madison, WI duo of Peaking Lights - sounding something like the bastard child of Forest Swords, Zola Jesus, Tom Tom Club and Nite Jewel. Their hauntingly melodic '936' is made of the stuff we could happily hear on loop all day. Like Pocahaunted or Sun Araw minus the noisiest elements, their trance mantras lasso the flightiest psyche essence and lets it guide them through ethereal other-zones, Indra Dunis' vox streaming echoic comtrails across dusted desert dub landscapes on 'Amazing And Wonderful' or like a distant cousin to Dadawah on the twinkly telepathic skank of 'Birds of Paradise Dub version'. 'Hey Sparrow' is more pastoral, with an effusive melodic nature warranting comparisons with Harmonia, while 'Tiger Eyes' bridges the gap between Forest Swords' loping dub repetitions and hand-built synth-pop. However, highlights have to be 'Marshmellow Yellow' and 'All The Sun That Shines', both using slinky House and minimalist disco rhythms to utterly sublime effect, kinda-like more dosed-up post-dancefloor versions of the 100% Silk releases. Very highly recommended - one of the albums of the year fo' sure.
http://www.M/F.com/?4hlqk1gq3ut18tt
(http://img535.imageshack.us/img535/9481/333lk.jpg)
Dustin O'Halloran - Lumiere
Yaaaay modern classical. Somewhere between Nest and Julia Kent. Gorgeous, and with a sterling pedigree. Great for some melancholy soundtrack somewhere. Get it.
Berlin-based American composer Dustin O’Halloran has proven himself to be something of a survivor in the disparate modern/post classical scene. His first solo record appeared way back in 2004, and instantly set him alongside Max Richter, Johann Johannsson and Goldmund as a purveyor of fine, melancholy piano compositions. Here however, O’Halloran has wisely filled out his sound, and with the assistance of Stars of the Lid’s Adam Wiltzie, Johann Johannsson and the ACME orchestra, ‘Lumiere’ reaches places I never thought his music could go. Firstly the compositions on show here are perfectly formed – even from the initial granulated notes of opener ‘A Great Divide’ it seems instantly obvious that the album is going to be something special. Slowly and patiently the piece (and album) builds into a flurry of piano notes, tempered drones and gorgeously recorded orchestral sweeps, and O’Halloran keeps everything masterfully restrained. Like Max Richter’s career-high ‘The Blue Notebooks’ there is the sense that the music could accompany some kind of cinema or other, and there is an audible narrative that changes with every listen. In fact adding images might defeat the point of ‘Lumiere’ (itself a reference to cinema) – these songs bring to mind fragments from our memory and fuse them with Kieslowski, Bergman, Tarkofsky and even Lynch. The resulting haze is the record’s deepest power – the ability to wake up the subconscious and bring it right up to the surface. ‘Lumiere’ is a beautiful, moving piece of music and one that is a clear high point in O’Halloran’s catalogue – don’t miss it.
http://www.M/F.com/?xa5woaz6jpduptl
(http://img59.imageshack.us/img59/6770/333tnf.jpg)
Beatloafe - Citizens' Rights
I can't quit you, L2S. This one is a bit of a departure - the shiny dancefloor feel is still there but where the blurb says "future garage" my mind keeps turning back to an old one-off 12" on Planet Mu from one "Hawerchuk". The beat sensibility is particularly uncanny. Infectious!
Debut drop for Beatloafe on L2S, rolling off two tracks of clipped and minimal future garage. 'Citizen's Rights' is breakbeat-infused, dubby and effervescent, one to get the crowd twitching nicely. 'Smudge' is techier, full of fake-out syncopation, sparingly-used stabs and and a writhing bassline sweetly knitting it together.
http://www.M/F.com/?ue6s1wlsy8y8a28
(http://img339.imageshack.us/img339/2914/sf5rbutterzlabel.jpg)
Butterz March Sampler
Got an email from the Butterz camp saying "feel free to spread the music" (seems like I got added to the list around the time I shared "Orangeade" :S), so I am. Prolly the label for instrumental grime, currently on a roll with Royal-T. The download contains a hodgepodge of WAV and mp3 files of unreleased remixes and the like. Worth it!
http://www.M/F.com/?f5d5b6nd4f1qilw
Rips galore, later.
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In addition to two boatloads of new music, I'll have a (partial) Swans discog up later.
YAY SWANS!
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I really like about half of that Tyondai Braxton album
which is more than I was expecting, since he was my least favorite part of Battles
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The Tallest Man On Earth – Shallow Grave (2008)
(http://2.bp.blogspot.com/_SROWbBdPlyQ/S2B9AluJCqI/AAAAAAAAAfI/oWCZBPHtl-A/s320/The+Tallest..jpg)
My University newspaper (which I’m banned from writing for, long story) recently described TTMOE as an ‘up & comer’ for 2011, proving that their knowledge of music is…well, they have no knowledge of music. I mean, this guy has been around for years, and not in the underground either. This is his debut album and it’s great, uplifting Swedish folk - what more can you want?
http://www.M/F.com/?lzijoc4nkwv
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Man, you should go in there and slap them right across the face for such bald-faced idiocy. 2 acclaimed albums and an EP does not make someone an "up & comer." The EP is somewhere in this thread (or the old one) already and so is the 2nd album The Wild Hunt which I may have uploaded myself.
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I did post this record in the old thread, it's really good. If you like it, buy it.
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Two albums from Good Stuff House
Good Stuff House is Matt Christensen and Mike Weis of Zelienople in collaboration with former Souled America guitarist Scott Tuma. Here we have their only two albums to date, "Good Stuff House" and "Endless Bummer." On both, Tuma leads the way, spinning out vast, bottomless guitar nocturnes. Weis and Christensen add complex atmospherics, decayed percussion, hidden vocals, all taking Tuma's guitar drone down dark corridors and out into sun drenched deserts. In some ways GSH is a haunted continuation of Souled America, a fog drenched, smoke filled take on Americana. Think of these as crumbling, droning country albums washed out almost to oblivion. At times this influence is more pronounced than others. On the band's first, self-titled album the opening track is propelled forward by an almost jauntily strummed banjo with layers of pulsing atmospherics in the background. Both albums here are culled from various tapes of improvised live sets and supplemented by studio work and it shows: both feel like explorations into far off places, acoustic guitars and banjos and piano and snarled percussion consumed and overwhelmed by vast undulations of white noise, oceanic echos, caverns of reverb, lost voices swimming out of the ether. And yet, despite how nearly annihilated it is, the Americana influence is undeniably there, sometimes lost altogether to the crumbling static and decomposing reverb but at others rearing up out welter. Haunting, fantastic stuff to be sure.
Self titled: http://www.mediafire.com/?d3lo4925oaph8duEndless Bummer: http://www.mediafire.com/?umz7wrwnqdquasu
hollowpress.blogspot.com
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Trap Them - Darker Handcraft
(http://img191.imageshack.us/img191/9853/trapthemdarkerhandcraft.jpg)
http://www.mediafire.com/?9ek94fvf4ywykf5FFO: Entombed, Converge, His Hero Is Gone, etc.
This band has yet to release a bad record, so if you're into hardcore or metal and the bands I mentioned, definitely check this one out.
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Man, you should go in there and slap them right across the face for such bald-faced idiocy. 2 acclaimed albums and an EP does not make someone an "up & comer." The EP is somewhere in this thread (or the old one) already and so is the 2nd album The Wild Hunt which I may have uploaded myself.
I assume that they mean "up and comer from the average listener's perspective." Sorta like the Grammy's "Best New Artist" can have 2-3 albums before getting that award (terrible example, I know, but the principle is the same)
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Trap Them - Darker Handcraft
You're my friend
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The Outs - We Are The Outs
(http://media.tumblr.com/tumblr_lh436kwuYz1qzabc5.jpg)
http://www.M/F.com/?cei23lmvi4fhfj4
This is the demo of a really rad hardcore band. Angry grrrrrl music.
XBRAINIAX - Deprogrammed
(http://i54.tinypic.com/122yh3a.jpg)
http://www.mediafire.com/?f2mrl6k5omcdup2Ignore the stupid name and download this. This is fast and vicious hardcore at it's finest.
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Fuck yeah! Rebel Girl cover!
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Bibio - Mind Bokeh
(http://img33.imageshack.us/img33/3725/25uipuu.jpg)
Bibio is to strike again in 2011, Mind Bokeh sounds like the night-time counterpart to Ambivalence Avenue's more pastoral, sunflecked tones.
http://www.M/F.com/?3fakp8x2s7sjcs9
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Good catch, didn't think it would leak this early.
Ripsin' time.
(http://img189.imageshack.us/img189/618/333cp.jpg)
Cult of Youth - Cult of Youth
This one, don't blame me, the mastering is pretty weird. Like, I turned my gain all the way down and it was still clipping most of the time. So it is an incredibly loud record. Anyway, with so many Witch House bros revering (or looting) the corpse of early 80's industrial, looks like Cult of Youth is jumping ahead of the curve and exploring the neo-folk sounds of the 90's. At least, that's what they say they're doing. What they actually make turns out to sound quite a bit like something out of Scott Walker 2, which, I don't have to tell you, is pretty fascinating in its own way. The vinyl came with pictures of the band and mm they are gothyyyyyy.
"Born out of a love for the post-industrial music and culture that had inspired him ever since he had first discovered music as a teenager, Cult Of Youth began as a series of home recordings by founder Sean Ragon. Ragon's solo Cult Of Youth project released a 7-inch and then one full-length on then fledgling Dais Records (also responsible for introducing the world to Cold Cave and releasing Genesis P-Orridge's pre-Throbbing Gristle recordings for the first time). The early recordings seemed to strike a chord with many people who felt alienated by the cultural irony and lo-fi slacker mentality that was ever present in independent music at the time. Adding three permanent members to the line-up: performance artist/director/painter/occult scholar Micki Pellerano on bass, machinist drummer Glenn Maryanski, and the violin virtuoso/goddess Christiana Key. (Key's brilliant string arrangements were recently featured on new Zola Jesus single "Poor Animal.") This is their first album as a proper band, produced by Chris Coady and mixed by Swans producer Kevin McMahon; it's an ideal realization of the amazing potential this new full band line-up. It is a neo-folk masterpiece, perhaps the first of its kind from an American band. Although still rooted in the acoustic guitar driven Teutonic chants of the early material, the focus has changed and the scope is broader. Cult Of Youth shifts from delicate pagan folk music reminiscent of Paul Giovanni's landmark soundtrack to The Wicker Man, to hazy Turkish psychedelic passages, and even to the rugged Americana of traditional country music. This debut is an unapologetic an unabashed search for a spiritual identity in an increasingly homogenized world. It serves as a clear and thorough introduction for all the burgeoning dark punks out there who wanna go a bit deeper but haven't yet figured out where to start."
http://www.mediafire.com/?rpyb51kp6a6ryi7
(http://img835.imageshack.us/img835/3931/333qo.jpg)
Rauelsson / Peter Broderick - Replica
Really gorgeous folk arrangements, with vocals in Spanish. Each side of the LP is a full track, so either get to know where you want to skip or set aside 20-minute periods to listen.
Sumptuous suite of introspective folk and strong but quiet string arrangements from Spanish-born, Portland OR-based Raúl Pastor Medall and Peter Broderick. After initially exchanging songs ideas via email for some time, the pair finally embarked on summer recording sessions at Raúl's home in SE Portland, resulting in two long works of a fragile, plaintive but arresting nature. Their quietly engaged dialogue features Raúl's eloquent Latin whispers hushed melodic lyricism layered around Peter's solitary string arrangements, meandering piano lines, embellished with occasional backing vocals and flute from Heather Woods Broderick. The track's delicate structuring feels like we're hearing a series of smaller vignettes breezing by in a refreshing wind. The pair feel enough at ease to conduct moments of near silence, elegiac interludes preparing the space for a new idea or phrasing. The exquisite mastering finish from Nils Frahm at his studio in Berlin only emphasizes the album's poignant nature.
http://www.mediafire.com/?7az5dkkn7o6xxan
(http://img11.imageshack.us/img11/5132/333ab.jpg)
Kowton - She Don't Jack / Drunk On Sunday
Expert future House sounds from Kowton, with some classic drum machine programming on the A and a deep warehouse roller on the B.
Kowton aka Joe Narcossist runs the fourth pair of riddims for the Punch Drunk-afilliated Idle Hands. This guy's standing in the post dubstep world is inversely proportionate to his number of releases, four in four years, roughly speaking, with drops rumoured for very exciting new imprints. On this one 'She Don't Jack' sticks with the sub-120bpm pace, furnishing his Bristol House with Terminator synth gazes, needly hi-hats and a beautifully restrained, offset bassline keeping his dark funk tucked firmly in the pocket. Staying minimal and menacing but with an acute dose of rudeness 'Drunk On A Sunday' sounds like Sleeparchive just got horny and decided to swing his hips for a change, inflating a fat-assed subbass under clinically crisp percussion and lights-out synth wipes. Just deadly UK House ruffige, well recommended!!!
http://www.mediafire.com/?zja8b8krt0207o2
(http://img220.imageshack.us/img220/9708/333cx.jpg)
Padang Food Tigers - Born Music
Split between field recordings and understated folk and electric guitar - almost post-rock at times, 'specially on "Chime Down the Lonely Monarch". Really good mood music, containing hidden depths.
An introspective and enigmatic mesh of field recordings and sparse instrumentation marks out this excellent album from Padang Food Tigers, now reissued on vinyl by Blackest Rainbow. The work of Spencer Grady and Steven Lewis from drone-folk heroes Ramses III, Padang is a project that finds the pair reducing the elements of their music right down to sparse guitar and banjo arrangements with piano, found sounds and drones etched into the mix. The guitar elements are especially effective, ringing in a beautifully mournful way like the finest work of Loren Connors. The use of field recordings is also notable, perfectly placed as a barely audiable whisper at the end of 'Chime Down the Lonely Monarch' or via the bed of traffic, birdsong and other found sounds running continously throughout. This is a highly structured record, reserved and meditative in its instrumentation, and all the better for it.
http://www.mediafire.com/?joi7n2vioqqkdgk
(http://img840.imageshack.us/img840/4816/333fr.jpg)
Factory Floor - Lying (Chris Carter Mix) / A Wooden Box
Industrial / darkwave, of the sort you don't hear very often anymore, with, of course, a great EBM-flavored mix from the legendary Chris Carter. The B is not as visceral but good for synth-punk kids.
Emerging in the wake of their brilliant Blast First Petite 10", Factory Floor have wrangled a remix from none other than industrial legend Chris Carter (Throbbing Gristle/Chris&Cosey) backed with a heavier pressing of 'Wooden Box' for the DJs. Carter takes the sparse source material and picks away at the surface to subtly illuminate Nikki Colk's vocals over black lit strobing synths while retaining the stoic but pacy drive of the original. 'A Wooden Box' on the flip is a sharp thrust of minimal industrial techno with despondant female vox. A tip for fans of Cold Cave, TG, Silk Flowers, Minimal Wave Tapes etc! - Essential twelve.
http://www.mediafire.com/?v9a4c98xv65s1pv
(http://img263.imageshack.us/img263/259/333ww.jpg)
Function - Variance 1-3
Sandwell District is quickly becoming my favorite techno-oriented label, specializing in dark, industrial-tinged UK variants. This one's from Function, who I follow pretty closely. The A-side feels like its elements are all moving at different speeds, creating a remarkable sense of movement, while B1 is more frantic and nervous, and B2 builds out of low-key percussive sounds. Good, cold techno.
No rest for the wicked as Sandwell follow the 'Feed Forward' LP with three prime numbers from Function. If we're not mistaken, a couple of these tracks have appeared in remix form on previous SD vinyls (and it even shares a catalogue number with the single-sided blue 12" from early '09), but this is the first time any of these original tracks have been pressed to wax. The A-side is a colossal Function special, propulsive 4/4 bass hits arranged within a dazzlingly cold and spacious 3D dub environment, while the flipside cuts alternately aim for warmer, wide-eyed Berlin techno atmospheres like the recent SD LP and a slab of sub-heavy, acidic, Plastikman-style techno. Ace.
http://www.mediafire.com/?8shlyr6z1k60ss7
(http://img28.imageshack.us/img28/4042/333my.jpg)
Distal & Hxdb / Mayhem & Distal
Distal and friends provide a great sub-bass heavy take blend of classic dubstep and Joy O-style rave dynamics. The B is closer to House, with a shuffling snare rhythm and a lot of pitch-shifted synths. Pretty great stuff.
Following an inclusion on Soul Jazz's 'Future Bass' comp, Distal links with HXDB and Mayhem for two post-Dubstep poses. 'Typewriter Tune VIP' slots neatly into the slipstream of Night Slugs or Hessle Audio with an electroid Funky skip at 130bpm, whereas 'Frozen Barnacles' is a thick swinger revolving around quaking half-timed subs and jazz-techy synth flourishes.
http://www.mediafire.com/?2n0rmc3nndnz03d
Naturally I have much more for tomorrow. For now, sleep!
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Trap Them - Darker Handcraft
Yussssssssssssssssss
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Múm - Finally We Are No One (2002)
(http://upload.wikimedia.org/wikipedia/en/b/bc/Finally_We_Are_No_One.jpg)
Icelandic folktronica = lush. I listen to this whenever walking around the countryside.
http://www.M/F.com/?z2dkm33yazc
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The Answering Machine - Lifeline(320kb/s)
(http://musicrocksoursocks.com/wp-content/uploads/2011/02/The-Answering-Machine-Lifeline-300x300.jpg)
http://www.mediafire.com/?5oo3fptu856ft61Lifeline (http://www.youtube.com/watch?v=V_q3IuD3HEI)
Conquering Animal Sound - Kammerspiel(320kb/s)
(http://i979.photobucket.com/albums/ae273/mikkisays/mikkisays1/ElectronicConqueringAnimalSound-Kammerspiel-2011MP3320kbps.jpg)
http://www.mediafire.com/?32uut917i7lhaudMaschine (http://www.youtube.com/watch?v=TMEIgXq8TrA&feature=related)
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Cult of Youth - Cult of Youth
This one, don't blame me, the mastering is pretty weird.
(hopefully!) better link:
http://www.M/F.com/?gf3y628d8h5o14y
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(http://img135.imageshack.us/img135/3410/matadoralternateversion.jpg)
http://www.mediafire.com/?xdaamybhtjqd6vb
(http://img823.imageshack.us/img823/1850/matadorremixed.jpg)
http://www.mediafire.com/?s2dyh32hy4vkvl5
(http://img101.imageshack.us/img101/3408/lautlos.jpg)
http://www.mediafire.com/?rg5di2wju31u510
(http://img690.imageshack.us/img690/1120/cinematique.jpg)
http://www.mediafire.com/?uzbwo7e1m50a1be
(http://img138.imageshack.us/img138/8241/blisswasit.jpg)
http://www.mediafire.com/?ul4ak71q34233qx
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Yiggity yo.
The Mountain Goats - All Eternals Deck (2011) (128kbps)
(http://www.brooklynvegan.com/img/music2/mtngoatsdeck.jpg)
http://www.mediafire.com/?8gnqqz6yr60fa4q
Yes.
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Is that just a stream rip from NPR?
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Yes, it's just a rip of the NPR stream.
EDIT:
Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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Probably
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Didn't it leak before the stream went up? P4k announces a streaming album and like 95% of the time it's label damage control over a leak.
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If there was a non-transcoded leak of it, I'm having a hell of a time finding it.
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Maybe it's the band just being nice.
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My University newspaper (which I’m banned from writing for, long story)
Having a bit of experience with shitty campus newspapers, I'd love to hear this.
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Campus papers are The Worst.
Anyway, Swans megapost keeps getting pushed back due to school and the constant accumulation of more more more music. This is stupid.
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Trap Them - Darker Handcraft
(http://img191.imageshack.us/img191/9853/trapthemdarkerhandcraft.jpg)
http://www.M/F.com/?9ek94fvf4ywykf5FFO: Entombed, Converge, His Hero Is Gone, etc.
This band has yet to release a bad record, so if you're into hardcore or metal and the bands I mentioned, definitely check this one out.
This is an amazing records by some amazing dudes, They are just about to kick off a pretty expansive tour with some equally awesome dudes. i.e...
The Red Chord - Clients
http://www.M/F.com/?hmnhly1hq1db1g9
Gaza - He Is Never Coming Back
http://www.M/F.com/?kukjnwyzzed
Tour Info:
http://www.wecraftindarkness.com/2011/02/021111lets-fucking-die.html
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My University newspaper (which I’m banned from writing for, long story)
Having a bit of experience with shitty campus newspapers, I'd love to hear this.
I'd written for the paper for three years - one of my best mates was Music Editor, another mate was full Editor, all was good. We all left Uni, I took a year out, and then went back to Uni to do a postgrad. Went to the initial meeting and the ideas/vision they had were ridiculously stupid - ideas included a weekly feature in the 'Comments' section (which should/could be hard-hitting journalism right?) about which is better, City A or City B?, the two cities being the other side of a river from each other, and our Uni being in City A. This shit EVERY FUCKING WEEK! So I slagged them off on Facebook - well, I only called them douchebags, nothing major - got found out, and then the witch-hunt began. So, so, SOOO many e-mails from the new editor & loads of section editors criticisng me & banning me from EVERY INDIVIDUAL section of the paper. So I said 'meh' and moved on with my life and wrote for other local independent magazines etc., I'm content because most of the student body thinks the paper this year is one of the worst for a good few years - EVERY issue includes some kind of apology for insulting a group of people in the previous issue, and content highlights for what used to be a great, serious paper include a weekly blind date between the poshest, richest, douchiest kids at Uni, one article was called 'Ladies: how to jazz up your vay-jay-jay' (actual headline), and a music section which thinks The Tallest Man on Earth is new on the scene. Shudder.
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As a gift to all you fine people, here's a partial Scott Walker solo discography!
Scott Walker was originally a member of the 60s pop group The Walker Brothers, who are themselves an interesting counterpoint to the British Invasion bands (an American band that hit it big in Europe). Scott 1-4 are great 60s pop, gradually including fewer covers (although his covers are great) and more of Walker's own writing. The public tended to shy away from his stuff around Scott 3 because of the experimental tendencies. Since that quartet of records, Walker has become somewhat of a recluse and also a very sporadic recorder, having only released three records since 1984. His latest two, Tilt and The Drift, are chilling, and at times downright terrifying, works of art that are very exploratory and very avant-garde. Hope you enjoy! (If you like this stuff, David Bowie produced a very good documentary on Walker that I also recommend.)
Scott (1967)
(http://upload.wikimedia.org/wikipedia/en/6/6f/Scott_-_Scott_Walker.jpg)
http://www.M/F.com/?4l01d4xanw22sxs
Scott 2 (1968)
(http://upload.wikimedia.org/wikipedia/en/5/58/Scott_2_-_Scott_Walker.jpg)
http://www.M/F.com/?8338alm48gp97fk
Scott 3 (1969)
(http://upload.wikimedia.org/wikipedia/en/7/73/Scott_3_-_Scott_Walker.jpg)
http://www.M/F.com/?i2l3s6x7wc1xcij
Scott 4 (1969)
(http://upload.wikimedia.org/wikipedia/en/c/c8/Scott_4_-_Scott_Walker.jpg)
http://www.M/F.com/?98og4odrpkgt58a
Climate of Hunter (1984)
(http://3.bp.blogspot.com/_USnM5WTvgqk/SU7IYgqUHPI/AAAAAAAAArk/g7g1LR2RJeE/s320/Climate-Of-Hunter.jpg)
http://www.M/F.com/?zjog3pkphk9ppzp
Tilt (1995)
(http://upload.wikimedia.org/wikipedia/en/1/17/Tilt_-_Scott_Walker.jpg)
http://www.M/F.com/?u2g85z3p9ll5dp3
The Drift (2006)
(http://3.bp.blogspot.com/_qufYw-tEw94/TM3Dbkh1VwI/AAAAAAAAAU4/1sCpMBA-iY0/s400/1259896999726.jpg)
http://www.M/F.com/?l4d7pxhvih8373v
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J-Zone – Ign’ant Ass Rap Mix (2005)
(http://1.bp.blogspot.com/_4chJL00Sz5M/Sx0CGvpDzjI/AAAAAAAAAMk/PqSA4vK9cVE/s200/600615.jpg)
The most offensive hip hop collected together for your listening pleasure. Personal lyrical highlights for me include:
You’ve got more crabs than a seafood platter.
and
I may be a woman beater but I’m not a pussy eater.
Bliss.
http://www.M/F.com/?yrzyjeoniym
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More offensive than odd future?
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more offensive than said underage ODD FUTURE WOLF GANG KILL THEM ALL?
:psyduck:
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I'm not sure who you're talking about, but I think you might be referring to Odd Future Wolf Gang Kill Them All Don’t Give A Fuck Litter Life Bacon Boys Loiter Squad Butt Fuck Bitch Niggas
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That Trap Them record is really good, but I can't decide if I like it more than Seizures in Barren Praise and Seance Prime. Chris Maggio's drumming is insane on it, but I feel like Mike Justian was more groovy and well-suited to Seizures. He was so good on the last 108 record too.
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Moritz von oswald trio - Horizontal Structures
(http://img232.imageshack.us/img232/4785/333oi.jpg)
Following the almost unanimous praise for their previous studio masterpiece, Moritz Von Oswald (Maurizio/Rhythm & Sound), Max Loderbauer (Nsi./Sun Electric) and Sasu Ripatti (Vladislav Delay) present 'Horizontal Structures', the jazz-suave and rolling x-axis to the kosmische y of 'Vertical Ascent'. The curve of their projections becomes more complex with the addition of Paul St. Hilaire (aka Tikiman) on guitar and ECM artist, Marc Muellbauer's double bass infusing deeply instinctive jazz moves into the cats-cradle of organ, percussion and electronics. There's a more leveled spirit and cruising groove to this album, their deft interactions creating a deeply engrained blue moodiness and playful efficacy whose potential is beautifully rendered in Moritz's mixing desk. As the elements begin to fuse like condensed gas particles in the bell jar sphere of 'Structure One' its clear to hear the group's evolution as the groove subliminally coalesces with a looseness that wasn't there before, Tiki's Afro-lilting guitar swirling about like fragrant hashish smoke and Muellbauer's eyes-shut bass adding daubs of melodic colouration. 'Structure 2' is more urgent and soundtrack-y, melody stripped back while the rhythm section ripples away with infinite Krautrock essence, before 'Structure 3' reintroduces the dub with moonboot skank rhythm hinging on crisp snare punctuations and offset chords in the dreamiest headspace. The 20 minute 'Structure 4' is perhaps the craftiest, Moritz the mixing board illusionist deftly weaving the acoustic and electronic, the synthetic and the real with a sleight of hand that makes this music at once electro-acoustic jazz and dub concrète, yet with the fundamental grace and glide of deep techno. Highly recommended!
http://www.m/f.com/?75m5drml60c7cbs
Quantec - Imaginary Flight
(http://img6.imageshack.us/img6/7403/333zsk.jpg)
**Transparent Vinyl**Four tracks of plush Dub House on handstamped transparent vinyl. We could have sworn Quantec had released on MoM before, but aside from his Aaron Carl remix this is his 1st solo 12" for the label. No major change to his style, just thick, dreamy House rhythms rendered in spacious, minimalist dub style. Ace.**Transparent Vinyl**Four tracks of plush Dub House on handstamped transparent vinyl. We could have sworn Quantec had released on MoM before, but aside from his Aaron Carl remix this is his 1st solo 12" for the label. No major change to his style, just thick, dreamy House rhythms rendered in spacious, minimalist dub style. Ace.
http://www.m/f.com/?hon1m7s89xixjtq
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Yo! Majesty – Futuristically Speaking...Never Be Afraid (2008)
(http://4.bp.blogspot.com/_zEYfbTnE7zY/S5RiguzDnAI/AAAAAAAAAPM/qR_b9wUK3GI/s400/yo_majesty-futuristically_speaking.jpg)
The rappers on this album are two big black Southern Christian lesbians. Their live shows are manic - sharing three microphones for the two of them, they often rap topless - and their after-shows are even better; me and a friend crashed the backstage, and were rewarded with some beer and a litre of vodka. Nice. So, which bad-asses have they got to produce their fantastic debut album? Yep, two nerdy middle-aged English white guys. A stroke of utter brilliance.
http://www.M/F.com/?02m1oetnniv
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That's something I can't wait to get off of work and download. You've got me on board.
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My friend and I wanted to start a Rocky themed band called Yo! Adrian a few years ago. We heard about this group but still wanted to do it. But it turned out we were too lazy.
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(http://img4.imageshack.us/img4/8238/333fl.jpg)
D5 - Neutrino EP
Really thick, deep dubby techno that gradually builds into more melody-focused music. Pretty great dancefloor stuff.
D5, the artist formely known as Dimension 5, returns to the label where he started. Deep smooth funk is the order of the day in a classic Detroit fashion, with hints of Luciano and Aril Brikha thrown into the mix. Class.
http://www.mediafire.com/?dmekkfgch3qylyd
(http://img171.imageshack.us/img171/7968/333jo.jpg)
Marco Passarani - Colliding Stars Vol. 2
More jacking house from Passarini after his expansive Colliding Stars Vol. 1[/b]. For extended dancefloor sessions. The title track is particularly good.
Fine-tuned and cruising motorhythmic House from Marco Passarani. The 2nd part of his 'Colliding Stars' session for Running Back features the outstanding 'White Dwarf', a mid-tempo, subtly building and engrossing jacker with learned flourishes of Detroit synth and the kinkiest Italo/Chicago essence. Its 'Black Dwarf' counterpart on the flip is a more condensed and cooled version. 'Colliding Stars Pt.2' completes the groove on a superlative discoid House tip. Strong.
http://www.mediafire.com/?5f5bx58nrmfmb4z
(http://img97.imageshack.us/img97/6679/333ja.jpg)
Benny Tones - Chrysalis (feat. Sacha Vee)
Lurching jazz-influenced beat music, very similar to recent Floating Points Ensemble and Bonobo stuff.
http://www.mediafire.com/?n8f8nck9bk2qcy9
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The most offensive hip hop collected together for your listening pleasure.
More offensive than Vanilla Ice?
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(http://i165.photobucket.com/albums/u60/daschakal/e01874480072.jpg)
The History of the House Sound of Chicago (http://www.amazon.com/History-House-Sound-Chicago/dp/B001CPMXN4/ref=sr_1_1?ie=UTF8&qid=1297961358&sr=8-1) (320kbps)
Vol. 01: The Tracks That Built The House (1978-1985)
Vol. 02: The Tracks That Built The House (1977-1982)
Vol. 03: D.J. International — The Early Years (1985-1988)
Vol. 04: The D.J. Underground Tracks (1985-1987)
Vol. 05: D.J. International Classics (1988)
Vol. 06: Trax Classix (1988)
Vol. 07: The Chicago Independents (1986-1987)
Vol. 08: The Anglo-American House (1985-1987)
Vol. 09: The Anglo-American House (1988)
Vol. 10: The Lost Tracks (1985-1988)
Vol. 11: The House Remixes (1983-1988)
Vol. 12: International House — The Future (1988)
Vol. 13: Pop Goes The House (1988)
Vol. 14: The Acieed Trax (1987-1988)
Vol. 15: The Future — Deep House And More (1987-1988)
1.94 GB
For downloading ease, I've created DLC files. If you don't know, google jdownloader.
MU DLC http://www.megaupload.com/?d=8L7TGCM0
MF DLC: http://www.M/F.com/?lnow612rhgvycyx
And if that's too much of a convenience, you can download a text file of the links:
MU: http://www.megaupload.com/?d=K543BOMD
MF: http://www.M/F.com/?d6bakq7ky69ng81
@JD, below: There are lots of ways to block ads nowadays, so I never noticed them. JDownloader's a great program.
Ok, this hasn't gotten the recognition it deserves. It is SICK good. SICK. Thank you for posting it, my life has a new meaning since I got it.
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More offensive than Vanilla Ice?
http://www.gifsoup.com/imager.php?id=1035337&t=o (http://www.gifsoup.com/imager.php?id=1035337&t=o)
Excuse me, what?
(4.2MB Gif changed to link for sanity.)
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Raekwon - Shaolin vs. Wu-Tang (2011)
(http://www.rap-n-blues.com/wp-content/uploads/2011/01/Raekwon-Shaolin-Vs-Wu-Tang-Album-Cover-Tracklist.jpg)
Peep it!
http://www.M/F.com/?yy8bn543yo6d2dc
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The Dodos - No Color (2011)
(http://farm6.static.flickr.com/5060/5497995504_f33da8175a.jpg)
http://www.m/fer.com/?dssidtuqkgicbr4
ahhh been waiting some time for this beaut. its just as amazing as you'd expect it. enjoy!
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Okay, time for Swans. The always-dubious Sascha Frere-Jones called them "The ultimate all-or-nothing band", but those with any sort of penchant for dark and / or loud music should give them a shot. I don't have the full discog but I have enough to serve as an adequate introduction to the band.
First, text. Swans was (for awhile, and now again) the primary focus of Michael Gira, who grew up in the 60's and 70's in California and Europe, the son of an alcoholic mother and a businessman father who didn't have a relationship with his son that would allow him influence. He dropped out of high school his sophomore year. After being arrested for selling drugs in Jerusalem, he returned to Los Angeles, got his GED, and enrolled in art school, playing in punk bands but aspiring to be a visual artist, meeting a young Kim Gordon. He moved to New York in 1979, played in Glenn Branca's guitar ensemble, started up his first NY band, Circus Mort, and then broke it up to form Swans. As part of the short-lived NY No Wave scene Swans made fast friends with Sonic Youth, and they shared rehearsal space in Gira's apartment and toured together through the south and midwest, with Sonic Youth opening for Swans, who antagonized most of the people who showed up into leaving early (Thurston Moore later said "... we belonged together. Neither of us felt too much affinity toward any other contemporary bands.").
They broke in Europe and the UK press started to hype them as "the loudest band in existence", which perpetually pissed off Gira, up until the point where he cited the band's reputation as a reason for its dissolution in '97. He was also unhappy with the crowds - he disliked people walking out, but he also disliked the increasing numbers of metalheads who would show up to enjoy their music. During European tours he would sometimes have the doors to the venue locked after they started playing.
Gira and Swans were essentially misanthropic, and that came out in their music. It's not exactly metal and it's not really punk - it's certainly very loud and abrasive but there isn't any irony or sneer to the music. They were a humorless, confrontational, very caustic band, with no melodies to speak of (Gira would often strip naked, spit on the audience, bludgeon and throw himself against monitors, etc.) and lyrics inspired by Jean Genet and the Marquis De Sade. The first years of Swans would end up being a formative influence on a lot of extreme noise groups in ensuing decades. The mid-to-late 80's found Swans in more overt industrial mode, very rhythm-focused but still trading in jagged guitar feedback and Gira's bellowing vocals. Around this time, Gira's partner Jarboe joined the band and became an integral member, providing a less aggressive but no less dark element to the band on keys and adding her bluesy Joplin-esque voice to Gira's as co-lead.
In the 90's the band's sound palette considerably expanded, as did the track lengths (reflecting the marathon-length walls of sound of their live show). The music got less abrasive, included recognizable melodies, and Gira began to croon more than he yelled. Folk, drone and electronic influences creeped into their sound, and they essentially started making post-rock years before Godspeed defined the genre. After releasing the double album Soundtracks for the Blind and a double-live album called Swans Are Dead, Gira broke up Swans (as well as, presumably, his relationship with Jarboe). Gira founded Young God, an indie record label through which he first re-released older out-of-print Swans material, and then began breaking NYC-based bands he enjoyed, notably Akron/Family (his favorite band, reportedly) and Devendra Banhart, as well as releasing his own post-Swans project Angels of Light, which was explicitly in the dark folk vein of the Young God catalog (including several collaborative efforts with Akron/Family).
Sometime in the latter half of the 00's, while playing a show on tour with Akron/Family as his backing band, Gira abruptly decided that he needed to start Swans back up. In 2009 he brought together a number of long-time associates (including core member and guitarist Norman Westberg, but notably not Jarboe, who has had a robust solo career and has collaborated with seemingly every single metal band influenced in any way by Swans) most of whom were from the mid-to-late Swans eras and his Angels of Light rolodex and began recording an album. That album, My Father Will Guide Me Up A Rope to the Sky, was rapturously received for a "comeback" album, and they've been on tour ever since. I recently saw them in Denver and drank deep of the cult kool-aid at that point.
(http://img839.imageshack.us/img839/8054/cs161976002abig.jpg)
Swans - Cop / Young God / Greed / Holy Money
I don't have Filth, their debut LP, but I do have Cop / Young God / Greed / Holy Money, which collects the band's output from '84-'86. Cop and Young God, which make up the first disc, are akin to Filth in their feedback-scorched No Wave / sludge / metal sound. "Cop" (http://www.youtube.com/watch?v=I1JOf3QHvf4) is a classic (the band also courted some controversy over naming one of their songs "Raping a Slave"). Greed and Holy Money are more in line with the harsh post-industrial genre that was being explored across the pond by Coil and others - there's more use of empty space and a much greater focus on drumming, plus the fateful addition of Jarboe, who contributes Swans' first "quiet" songs (http://www.youtube.com/watch?v=Iabau_Nr244). Of the early studio albums, they are my favorite.
Cop / Young God
http://www.M/F.com/?xumcdckcy3k4dc2Greed / Holy Money
http://www.M/F.com/?qd62hb8jd9xan4t
(http://img15.nnm.ru/f/0/3/1/8/9307a8b5258b84ca73642ecca79.jpg)
Swans - Public Castration Is A Good Idea
This is the official document of the Swans live show circa Holy Money. I don't know if I'd call it "you are there" type stuff, but Gira's explosive intensity is on full display and it's easy to imagine how terrifying it would have been to attend such a show in '86 (though he was plenty intense in 2011). Video of the show was also recorded and released as A Long Slow Screw, some of which (http://www.youtube.com/watch?v=yHES9YAGGkU) is up on youtube (http://www.youtube.com/watch?v=YSRjYYUE-_c). One of the heaviest, darkest things I've ever heard.
http://www.M/F.com/?645fib8311q6976
(http://img25.imageshack.us/img25/4857/7646childrenofgod.jpg)
Swans - Children Of God
Widely considered to be a "breakthrough", or at least a ligament, between the abrasive heaviness of early Swans and the more adventurous late Swans, and recorded with probably the best Swans lineup - Gira and Jarboe, reliable axeman Norman Westberg, and drummer Ted Parsons, who would go on to drum in a number of highly-regarded metal bands. As an album it's still possessed of a lot of the aggression of the 80's period but more varied in terms of sound and texture. Heavily focused on religion in that classic metal way.
http://www.M/F.com/?4cbrqjo8z15bwc9
(http://img130.imageshack.us/img130/8153/swanstheburningworld1u.jpg)
Swans - The Burning World
An anomaly, considered by the band to be a misstep. Swans was a little bit ahead of the curve on the indie music trend of signing to a major label they were clearly not cut out for, and then returning to the indie camp wiser for it. Post-industrial hired gun Bill Laswell was hired for production duties and kind of made a mess of things. It is easily the least "powerful" of the Swans albums. If nothing else, "The River that Runs with Love Won't Run Dry" (http://www.youtube.com/watch?v=GrltAkwlsaA) anticipates Deerhunter a decade and change before they formed. Not really indicative of their sound from any other time, but it's still Swans, Laswell or no.
http://www.M/F.com/?63yn6vnnrjkrz08
(http://img713.imageshack.us/img713/3616/swans1991whitelightfrom.jpg)
Swans - White Light From the Mouth of Infinity
A great rebound from the (comparitive) low of The Burning World, and the album that really set out the direction for Swans in the 90's - less direct, confrontational rage, more expansive and majestic sounds beyond guitar feedback and metal drum assaults, and Gira's shift into a Johnny Cash-ish crooner ("Better Than You" (http://www.youtube.com/watch?v=IW9K0jazrbU) sort of plants the seeds for the Angels of Light project later on). They never really lost their power, but they found ways not to be staid in a particular place.
http://www.M/F.com/?t5gss6n5627rb6x
Next came Love of Life, which I don't have!
(http://img222.imageshack.us/img222/9891/51437696.jpg)
Swans - Omniscience
The official document of Swans' mid-period live show, from the Love of Life era. Allmusic has a better rundown than I could give.
Beginning with the surging, sweeping crunch of "Mother's Milk," with some great Jarboe vocals over it all, Omniscience is a live album which benefits from the inclusion of some otherwise unrecorded or unreleased Swans tracks. Taken from dates on the 1992 Love of Life tour, the album showcases a newly solidified touring lineup of Gira, Jarboe, Steele, returning veteran Kizys, and Vincent Signorelli, drummer on the two previous albums. The sound is clear and sharp, a distinct change from the sometimes muddy official bootlegs of years past. Most of the familiar tracks are unsurprisingly from Love of Life, including "Her," "The Other Side of the World," and that album's title track in an extended take with a wholly new and incredibly dramatic instrumental coda. However, interesting choices like a version of Nick Drake's "Black Eyed Dog," originally done by Jarboe and Gira for the third Skin album, appear as well. "Will Serve" is a fantastic number appearing only here, starting with a delicate guitar intro and swiftly turning into a cinematic, soaring piece -- a lovely demonstration of Swans now at their newly inspiring best. "Amnesia" gets a particularly fierce take on the disc, with woodwind-like keyboards providing delicacy as the song rips along with further sonic touches like howling winds and breaking glass. Ending with a fine version of "God Bless America" and the new, slow-grinding "Omnipotent," Omniscience is yet another excellent addition to Swans' body of work. As an extra note, illustrations by Deryk Thomas, cover artist for the two studio albums previous to this release, are included in the CD booklet; continuing the child/rabbit theme of those covers, the paintings here are at once shockingly, horrifyingly violent and perversely beautiful, as perfect a complement to the band's work as any over the years.
http://www.M/F.com/?twg5wmmun9h2w5k
(http://img5.imageshack.us/img5/6256/swansgreatbig.jpg)
Swans - The Great Annihilator
After a few years in the wilderness feuding with the Sky label they were previously on, Swans returned with Westberg and Parsons in tow to push their sound further forward, this time in a more grandiose goth rock direction. Songs like "Celebrity Lifestyle" could have been Smashing Pumpkins tracks without Gira's deep baritone, but overall the album really holds up. Gira's lyrics are typically dark ("Killing For Company" is famously about Dennis Nielsen, a serial killer who would murder gay men and have sex with their corpses) but his delivery is usually subdued. The band is more melodically-oriented than they had ever been.
http://www.M/F.com/?dbh774432j7ukie
(http://img822.imageshack.us/img822/2010/41t55eb4edl.jpg)
Swans - Soundtracks for the Blind
1996 saw Gira announcing the dissolution of Swans, to be kicked off by one last album and a farewell tour. Soundtracks for the Blind was a double album that found the band on the opposite end of the sound spectrum from where they started. Branca-indebted gutar drones, full-length ambient soundscapes, some weird proto-techno outings (courtesy of Jarboe) and extended passages of pounding drums and chords, plus scattered use of random found-sound recordings of interviews and the like that are often ridiculous before they start getting unsettling. Really sprawling and exhausting in one sitting, but there's a lot to explore, and the depth of the music is greater than much of their previous output. A pretty big influence on lots of post-rock and post-metal that would come after it, especially the work of Justin Broadrick and Jesu, whose sound fits seamlessly into the palette offered by this album.
Pt 1
http://www.M/F.com/?8dljb8jld5ahgpjPt 2
http://www.M/F.com/?p3cnbfft4x1o550
(http://img233.imageshack.us/img233/1552/swansaredead.jpg)
Swans - Swans Are Dead
The official document of The Great Annihilator and Soundtracks for the Blind tours, featuring different lineups (the latter with Phil Puleo, late of Cop Shoot Cop, who would return with Gira 13 years later). Allmusic's got me here.
Perhaps fittingly, given the huge amount of live CDs and recordings put out by Swans during their lifetime and even after, this, the band's final statement, captures performances from the last two touring lineups of the band, from 1995's Great Annihilator tour (the Mullins/Vudi/Goldring lineup also featured on Die Tür ist Zu) and the last tour from 1997, featuring recent Swans stalwart guitarist Steele, Bill Bronson on bass, and ex-Cop Shoot Cop drummer Phil Puleo on skins. The two-disc set is, unsurprisingly, split between the two lineups. The 1995 disc is taken wholly from a show in Norway, mixing a variety of then-unreleased tunes (including the two lengthy stunners surfacing on Soundtracks, "Helpless Child" and "The Sound," both played fantastically here) with both solo and Swans material. The thoroughly re-worked, Jarboe-sung version of "Your Property," aka "Yrp," gets another excellent airing, while her own track "Lavender Girl" also gets quite a lovely yet disturbing run-through. The 1997 disc, collects tracks from a variety of performances during the tour. Similarly, it mixes newer songs, including Gira's lengthy, style-shifting musical retrospective on Swans, "Feel Happiness," and "New Mother," which would eventually feature in much simpler form as the title track for Gira's Angels of Light project, although here it builds into a roaring, free-form explosion, with solo selections and at times drastically reworked takes on older Swans/Skin material. Most notable are two of the final tracks: a fantastic, utterly horrifying Jarboe-sung version of "I Crawled" from the untitled 1984 EP, and "Blood Promise," originally from The Great Annihilator. Throughout both discs the audiences are loudly and happily appreciative, and understandably so -- they were watching one of the greatest bands wrap up their astonishing career with fire.
Black
http://www.M/F.com/?vsettp4hl0jiphgWhite
http://www.M/F.com/?ws730v35zyz3xzr
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(http://img535.imageshack.us/img535/7888/swansmyfatherwillguidem.jpg)
Swans - My Father Will Guide Me Up A Rope to the Sky
After 13 years of recording dark folk and and blues under the Angels of Light moniker, Gira decided to bring Swans back with My Father Will Guide Me Up A Rope to the Sky (a reference to suicide by hanging), sans Jarboe, and at first listen it sounds more like a more aggressive Angels of Light than vintage Swans. But the truth of the matter is that AoL were in Swans before Swans was in AoL. Perhaps as a result of all that, it's a really good entry point for people who are new to the Swans oeuvre. Gira's voice isn't as deep as it used to be (he was 55 when he recorded the album), but he takes on the cadence of something like a pentecostal preacher throughout. Its only flaw is that it's too short. Guest turns from Bill Rieflin and Devendra Banhart included. Here's the announcement:
There was a point a few years ago during a particular show when I was on tour with Angels of Light, with Akron/Family serving as the backing band. It was during the song The Provider. Seth’s guitar was sustaining one open chord (very loudly), rising to a peak, then crashing down again in a rhythm that could have been the equivalent of a deep and soulful act of copulation. The whole band swayed with this arc. Really was like riding waves of sound. I thought right then, “You know, Michael, Swans wasn’t so bad after all...” - ha ha! It brought back – in a flood – memories, or maybe not memories, more a tangible re-emersion in the sensation of Swans music rushing through my body in waves, lifting me up towards what, I can only assume, will be my only experience of heaven. It’s difficult – and probably pointless – to try to describe this experience. It’s ecstatic, I suppose – a force of simultaneous self negation and rebirth. Really, I probably only experienced this a handful of times to such an extreme extent during the entire 15 year history of Swans. All the elements have to align perfectly, and you can’t force it, though you might constantly strive for it. I don’t mean to be too lofty here, but it’s a fact. I’m talking about my own experience of the music (though I’d hope people in the audiences along the way might have experienced a similar episode). When I ask myself if I believe in God, I start to say NO, but then I remember that sensation, and I’m not so sure. So I want more of that, before my body breaks down to such an extent that it won’t be possible any more. So I’m doing it.
THIS IS NOT A REUNION. It’s not some dumb-ass nostalgia act. It is not repeating the past. After 5 Angels Of Light albums, I needed a way to move FORWARD, in a new direction, and it just so happens that revivifying the idea of Swans is allowing me to do that.
Since the musicians live in different places on the planet, the idea of rehearsal for the recordings was both impractical and expensive. They had all heard the material in demo form, so were basically familiar with the material. In order to both allow time to work out the songs as a band with a distinct personality, and to ensure freshness in the performance, they recorded the basic tracks for one song per day over a period of 12 – 14 hours each day.
Once they’d reached a peak, having hashed the songs over (and over) and reconfigured them from their original demo form into something unique to the group, the engineer hit record. Basic overdubs were done at the end of the same day.
...
The recording of this record was made possible by the sale of a limited edition of 1000, handmade CD/DVD package exclusively at younggodrecords.com. The music CD consisted of Gira’s acoustic demos of several songs under consideration for the new Swans album and the DVD was 2 live shows of Gira solo. Gira hand printed the edition - named I Am Not Insane - (with wood block), hand colored each one individually, and assembled the 1000 copies himself. The expectation was that it would take 3 or 4 months to sell out through the limited venue of the YGR website. It sold out in 2 weeks.
http://www.mediafire.com/?wxg8br9y6d1j4rs
(http://img51.imageshack.us/img51/15/1274124867michaelgiraia.jpg)
Michael Gira - I Am Not Insane
A limited edition (of 1,000) hand-printed, hand-colored CDRs of MFWGMUARTTS demos, recorded solo by Gira, sold to finance the album's recording. Gira runs Young God records by himself, from his home, so he didn't have a lot of financial power to release his music.
http://www.mediafire.com/?0lil1k907x871k1
(http://img576.imageshack.us/img576/3559/9c493c7acce03a915ee1cb0.jpg)
Swans - Look At Me Go
The second disc to the MFWGMUARTTS Special Edition CD set, Look At Me Go is a contiguous mix of alternate versions of MFWGMUARTTS songs. The cover art looks to be from the "NO" zine that Gira published for a brief period in his art school / punk days.
http://www.mediafire.com/?iu22f56lhq85c3u
Yet more errata to come.
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Thanks so much for all the Swans stuff! They're a band I've always meant to get into but really never knew where or how to start so those posts are really helpful
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Thank you thank you thank you thank you.
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Swans / Young God errata!
(http://img716.imageshack.us/img716/7614/r22824151274272193.jpg)
Skin - Blood, Women, Roses
Skin (aka World of Skin) was Jarboe and Michael Gira's non-Swans collaborative project, undertaken in the late 80's. Blood, Women, Roses is essentially a Jarboe solo record, and it showcases Jarboe as a vocalist and arranger. It's split largely between dramatic, gothy balladry ("The Man I Love", "One Thousand Years") and post-industrial of various sorts (the strikingly Coil-esque "Red Rose", "Come Out").
http://www.M/F.com/?llpl3a7bf4cslpc
(http://img845.imageshack.us/img845/6724/r3887331167929063.jpg)
Skin - Shame, Humility, Revenge
The Gira-centric companion to Blood, Women, Roses, perhaps the first release to showcase his interest in less aggressive music. It's still very dark - Gira's monotone delivery juts out from the music like a cold slab of black rock. Production-wise it's quite similar to Musick to Play in the Dark-era Coil. Not to touch on that comparison too much, but it's often really pretty, even if it is unblinkingly dark. Contains a dirge-y, plaintive cover of "I Wanna Be Your Dog" that may be the only thing Gira's ever done that contains a modicum of winking humor.
http://www.M/F.com/?80i1kjo80b3ig4r
(http://s.dsimg.com/image/R-853269-1165569455.jpeg)
Flux Information Sciences - Private / Public
Flux Information Sciences was an industrial-punk / no wave outfit that kicked around the underground before releasing one album on Young God (this one) and breaking up in 2001. It's a really fascinating little record - full of fast, clattering noise rock. Young God claimed that it was recorded before a live audience that was stripped naked and blindfolded. There are electronic ("World Class Fuck") and post-rock ("Love") interludes among all the amphetamine rock vignettes ("Dollar Days", "Supermarket"). They kept the idea of good industrial rock alive for a scant few years longer than it had any right to be. Former member Chris Pradvica went on to play bass / jew's harp / "gadgets" on My Father Will Guide Me Up A Rope to the Sky and tour as a member of Swans, as well as play in post-Flux outfit SERVICES.
For those interested, it looks like the entirety of the band's discography (including previously unreleased material) up for free download on their barebones web page (http://www.fluxinformationsciences.com/). Private / Public is not included, presumably because Young God needs the money.
*Actually, it's worth noting that if you like Swans or Angels of Light, if you buy anything from Young God's website by those two groups, it will come signed by Michael Gira, because he has a vested interest in keeping the relationship between fans and the label close. It really is just him running the thing. Consider buying your favorite Swans record on CD or something.*
http://www.M/F.com/?58drw13hmy2cbqv
Angels of Light put out 5 studio albums, one live recording and one split (with Akron/Family) between 1999 and 2007, but I only have two of their studio albums :( If you're interested in Gira's folk pursuits, seek them out!
(http://img219.imageshack.us/img219/3826/r4534511238869133.jpg)
The Angels of Light - Everything Is Good Here / Please Come Home
The Angels Of Light's third album, released in 2003. Features Gira in high-energy mode, but with any semblance of metal or industrial erased and replaced with cacophonous folk and twang influences. "All Souls' Rising" (http://www.youtube.com/watch?v=HFKGpdVb10w) would become a live favorite, but "Rose of Los Angeles" also displays a restless, excitable spirit. Some of the quieter songs, like "The Family God" and especially "Kosinski", are perhaps the most affecting songs Gira has produced when not in Shock and Awe mode. It certainly proved that Gira could operate entirely outside the crushing sphere of Swans and still succeed musically.
To a certain extent, most of us are still living sheltered lives, insofar as we rarely confront our spirituality, reject our families, or cross our internal lines of social decency. Beliefs and codes vary from person to person like wardrobes, but very few people are willful, foolish or terminally self-aware enough to defy their own. Cultural expectations-- "absurd and malignant" or otherwise-- have sway, and the precious, indecent few who manage to outrun them are usually viewed as outcasts or criminals (though sometimes as prophets). Aside from whatever laws they break, criminals rob us of our conventions: Through acts of violence and upheaval, they force us to confront our boundaries. For some, ignoring the tenuous line between right and wrong is an easy feat, but for others, personal demons are as controlling as any backlog of cultural norms. From the sound of Everything Is Good Here/Please Come Home, Angels of Light frontman Michael Gira may yet have demons to master and boundaries to set.
Gira broached straightforward indecency long ago, via his most infamous and acclaimed project, Swans. In the mid-80s, when even the most ruthlessly earnest punks were only beginning to come to terms with a "responsible" definition of anarchy, Gira and then-partner Jarboe were speaking, sometimes literally, of masochistic torture and humiliating, brutal sex, over drastically compressed drones and industrial propulsion. When the decade closed in an alternative rock flourish, Swans thrust forward by leaps and bounds: Love of Life, The Great Annihilator and especially Soundtracks for the Blind predicted Godspeed You Black Emperor! and all manner of dark-ambient music, though thematically, Swans still seemed to equate God with a dominatrix. Gira's post-Swans (read: post-Jarboe) folk collective, The Angels of Light, matches his previous band's penchant for mythic grandeur with more muted dynamics, if not sentiment. Everything Is Good Here/Please Come Home is their third release, and it is both disturbing and wonderful.
According to Gira, the album is a response to various personal, historical and political disasters. In some ways, that cryptic declaration takes the edge off the songs, as without pretense there's vast room for interpretation in his lyrics. Where "Palisades" might read as a particularly bitter response to suicide ("Reasons won't come/ And no one will regret that you're gone"), it could as easily lament claustrophobic personal terror: "Do you see how they ruined your mind?/ Do you see how they ruined your life?" Gira's smoke-stained baritone barely carries the words over acoustic guitar and delicate bell-tones, though later, he verges on overtaking a serene arrangement of church bells and a children's choir. The altogether peaceful "Kosinsky", with its deft, gently strummed electric guitar and bright fiddle motif, initially reads as a tender love song; Gira's description of hair like "translucent, liquid light" and "the rhythm of your breathing" seem poignant, though he again blurs boundaries by admitting he looks on his love with "the eyes of an animal."
The textural range of Everything Is Good Here lends an epic, almost timeless quality that goes a long way toward fleshing out Gira's often-mythological way with words. "All Souls' Rising" features impressions of pagan ritual, and self-purification via "the cull of foreign bone" and forcing "the blue smoke in... [to] fill the sac of skin." The relentless hammer of drums and murky stew of bass, organ and guitar-- not to mention Gira's own droning war cries-- conjure scenes of violent sacrifice and the chaotic laws of a still-dominant Earth.
Contrarily, the midtempo, Beatlesque "Sunset Park" reveals little in its single repeated line, "She brings some/ She'll bring one," but betrays a brilliant optimism in Gira's simple, dignified melody and wall of shimmering guitars. Later, on "Wedding", an extended, gently strummed introduction is offset by ominous brass tones and the dissonant children's choir, giving way to Gira's rugged moan. The choir caps each phrase with angelic harmonies, quite removed from the intentionally grotesque sound of Swans, or even scattered moments on this album. As a whole, Everything Is Good Here is at once breathtaking and, like many Gira releases, simply too much.
The overwhelming impression is one of acceptance and redemption, despite repeatedly bleak (or at best, mysterious) narration from Gira. The production helps, but digging deeper into its lyrics, it seems that, rather than prolong an inner struggle, The Angels of Light seek salvation. "What Will Come" openly requests that God "save us... from what will come," though it's difficult to reconcile Gira's leap of faith after an album's worth of explicitly self-empowering, judgmental narrative, clouded by contradiction. Nevertheless, music that resonates with as much emotional weight and vital abandon is rare, and though I'm less inclined to look for answers in the mix than revel in its chaos, Everything Is Good Here/Please Come Home is a commendable, heady experience.
http://www.M/F.com/?1tff40l3voiocxg
(http://img98.imageshack.us/img98/6293/r10602431215501348.jpg)
Angels of Light - We Are Him
The last Angels of Light album before Swans came back from the dead and rendered the project dormant. You can definitely hear My Father Will Guide Me... in its embryonic form here, with "Black River Song" establishing a propulsive, repetition-heavy feel right from the start. As with all AoL, there are loud and quiet songs, but songs like "Good Bye Mary Lou" and "Promise of Water" bring the project closer to full-on country music than anything else they've done (though the latter is decidedly a gothic, workman's song sort of country). Many tracks entirely lack Gira's signature baritone.
"We Are Him is the most assured and relaxed Angels of Light album since the debut, and deserves to be considered alongside Gira's highest peaks. The frightening rage of old Swans surfaces several times, albeit in more bucolic clothing; the contrast is bracing. Lyrically Gira's constantly in-pocket, addressing his subjects with renewed agility, but
also in a very relaxed voice; if De Sade had lived long enough to tell folk tales around a campfire, some of them might have sounded like this. The genuinely playful orchestration - banjos? horns? chimes? slide? check – is by turns charming and perverse, and has a band-of-brethren feel to it that's both ominous and exiting. The title track is like a pure shot of adrenaline. An intimate, unexpected masterpiece." - John Darnielle/The Mountain Goats
"the moment I played -we are him- my heart exploded with the feeling 'that voice!!!!!!' and it has done it to me everytime I have ever heard it. From my first cassette of filth to this newest work, michael gira's singing is my favorite gentle violence and lovers strangulation. Now is the best he has ever sounded and I cannot without sounding insanely thrilled express how much this means to me. -we are him- is touching, frightening, wonderfully different and whole." - Jamie Stewart / Xiu Xiu
"What‚s a young turk to do when Michael Gira, at 52, is at the height of his powers? Everything I‚ve loved about his previous work ˆ the apocalyptic soundscapes, the window-shattering drums, the glistening acoustic passages, the voice like God speaking out of the whirlwind - is distilled and reimagined in these songs, and infused with an organic warmth that only makes them the more urgent and harrowing. By turns frightening, funny, cathartic, wise, even strangely sweet, "We Are Him" is a sprawling masterpiece by an artist whose muse seems more fertile than ever."
- Jonathan Meiburg / Shearwater
http://www.M/F.com/?ycldzxrwzgfi6o8
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Thanks for The Dodos!
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Swans / Young God errata!
What's the overlap on those Skin records with the World of Skin disc reissue?
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I'm pretty sure the World of Skin reissue is made up entirely of tracks from those two albums
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I'm surprised this hasn't made it to the thread yet. I've been listening to the new Eisley LP "The Valley" non-stop for the past 2 weeks. I like it more than Combinations, but not more than Room Noises. The Fire Kite EP from last year was really just a tease, the LP as a whole is beautifully crafted. Hands down, my favorite track is "Kind." Listen and love it. Please note, this is NOT the Deluxe version that contains 2 live tracks.
Eisley - The Valley LP (2011)
(http://img.photobucket.com/albums/v180/Punk930/The-Valley.jpg)
http://www.M/F.com/?iiq8cfci987ak86
I'm going to eat a Reptar bar now.
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Ok, so it's about time I start contributing. Here is some stuff from Boise Idaho, all recorded by one guy, but a pretty huge sound. His name has been spreading quite a bit over the past few months after he released this album. It's funky/psychedelic/dancy. Check it out.
(http://bandcamp.com/files/62/60/626046521-1.jpg)
http://www.MF.com/?dv0u002a5cws3q6
Stream the album at: http://brotherdan.bandcamp.com/
Here is an EP by the same guy. The first track is an amazing cover of Paint it Black.
http://www.MF.com/?vzr7d7u1dpp3i1b
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to the dudes creaming over the new trap them album - get your bad selves over to the hardcore thread, there's a whole vault of awesome similar stuff on there you'd love. i'm personally gonna hold off listening to that album until it arrives on my doorstep, but i've heard it's awesome.
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I'm pretty sure the World of Skin reissue is made up entirely of tracks from those two albums
That's how I remember it.
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The History of the House Sound of Chicago (http://www.amazon.com/History-House-Sound-Chicago/dp/B001CPMXN4/ref=sr_1_1?ie=UTF8&qid=1297961358&sr=8-1) (320kbps)
Ok, this hasn't gotten the recognition it deserves. It is SICK good. SICK. Thank you for posting it, my life has a new meaning since I got it.
Truth. This is an excellent compilation.
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Raekwon - Shaolin vs. Wu-Tang (2011)
Dude, that's awesome, thanks for sharing. I've been really curious about how this was going to turn out without the RZA.
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RUPS
(http://img145.imageshack.us/img145/3784/333hf.jpg)
Function - Variance 1-3
I posted this awhile back but the 12" was actually 45 on one side and 33 on the other, so I had to rerip.
No rest for the wicked as Sandwell follow the 'Feed Forward' LP with three prime numbers from Function. If we're not mistaken, a couple of these tracks have appeared in remix form on previous SD vinyls (and it even shares a catalogue number with the single-sided blue 12" from early '09), but this is the first time any of these original tracks have been pressed to wax. The A-side is a colossal Function special, propulsive 4/4 bass hits arranged within a dazzlingly cold and spacious 3D dub environment, while the flipside cuts alternately aim for warmer, wide-eyed Berlin techno atmospheres like the recent SD LP and a slab of sub-heavy, acidic, Plastikman-style techno. Ace.
http://www.mediafire.com/?73h96575ll6h7su
(http://img59.imageshack.us/img59/164/r27090291297516387.jpg)
Niggas With Guitars - Ethnic Frenzy
Latest thing off Digitalis, limited to 200 copies for the world. Pleasant synth composition. "Blacksnake" is fairly BoC-y. Check it out. I've got a few casettes of theirs headed this way as well. Can't really find anything about who these people are beyond the fact that they're from Oakland. Wouldn't be surprised if they're some white kids, with that name.
http://www.mediafire.com/?h24i43oibke06nq
(http://img219.imageshack.us/img219/4536/333da.jpg)
On Fell - Untitled 7"
Shiny glow-pop. The B is sort of Matthew Herbert / Notwist-y.
By the time Andrew Johnson and Craig Tattersall started recording as The Remote Viewer and The Famous Boyfriend back in the late 90's, they were both no longer active members of Hood, one of the most important bands of the day. In the years that followed both camps would cross paths fairly irregularly, the odd contribution here and there, but never anything more than just a fleeting meeting of old friends sharing ideas. "On Fell" is a new (most likely one-off) collaboration between Hood's Chris Adams and the Remote Viewer's Andrew Johnson, spread across three strictly limited 7" releases (the first of which is out this week), featuring contributions from a bunch of connected heads such as Craig Tattersall and Wedding Present guitarist Paul Dorrington. The music they make is quite different to anything you will have heard from either the Remote Viewer, Bracken, Moteer or Cotton Goods camps over the last few years, the emphasis being on pure, joyous, melancholy and unforgettable pop songs, and we just can't stop listening to them. It might be fuelled by the kind of nostalgia that's impossible to articulate, or maybe it's just because pretty much everyone involved in this project has had a hand in some of the music we've loved most over the last 15 years; but quite honestly we were almost in tears the first time we heard the first of the two untitled tracks here, and every time we listen to it we get that same bittersweet sense of joy. These are simple songs, produced and recorded with a rough-around-the-edges, almost naive aesthetic that is the polar opposite to so much of the music we listen to these days. It's true, there are electronic treatments on the vocals, there's a heavy low-end element and sonic trickery present, but it still feels like a momentary step back to another era, one we almost forgot. We can't tell you how much we love this 7" - if any of this means anything to you we urge you to grab one of the 300 copies available while you can, it's a keeper.
http://www.mediafire.com/?ktm7y534qz77ywi
(http://img69.imageshack.us/img69/7718/r3850471190946053.jpg)
13 & God - Men Of Station / Soft Atlas
The two best tracks from the supergroup's sterling debut, backed with an apparent remix of an unreleased 13&G track by WHY? and Alias, and the main course, a pair of incredible Hrvatski deconstructions. Man, have I really grown out of my WHY? fandom.
This is the killer introduction to the indi supergroup made up of Themselves and The Notwist : aka Jeffrey 'Jel' Logan, Micha Acher, Adam 'Dose One' Drucker, Martin 'Console' Gretschmann, Markus Acher and Dax Pierson with guests including Valerie Trebeljahr of Lali Puna and Steffi Böhm of Ms. John Soda who guest on the sooncome album. 'Men Of Station' features lonesome piano, acoustic guitar and strings behind Markus Acher's gorgeous politically fuelled lyrics - an incredible emotive track with excellent chorus duties shared with Dose. Why? & Alias remix the mysterious 'Into The Trees' where can I get the original version? Why's distinctive vocal is upfront against the dope beats of Alias and the glistening keyboard patterns. 'Soft Atlas' open's up Dose's mind to reveal his fears about the end of the world! Again beautiful piano chords, electronic loops and rustic percussion prevails. An amazing track that will be another highlight from the album. Last but very not least Keith Hrvatski abuses both 'Men Of Station' and 'Soft Atlas' utilising both his knack for improvtastic sounds and hyper mangled but deftly skilled drum programming - a seven minute blast! Essential purchase.
http://www.mediafire.com/?jtwuv90v3eerqu3
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Various Artists - Tropical Heat Vol. 2
Skweee clearinghouse MYOR music drops a compilation (do Skweee folk ever do anything other than comps?) EP. The first song is kind of a stupid joke, but the last track is Skweee done right - more dubstep than funk cheese.
Myor round up a second collection of laidback 8-Bit bounce and trippin' Skwee from Slow Hand Motëm, 1000names and co. The vibe is set with the screwed, Hyphy-like reduction of Slow Hand Motëm's 'Boom Respekt Boom' and a sparkling synth-boogie byte from Beem on 'Automan'. The excellent 1000names back up aces for Black Acre this year with the dub dreamy suspension of 'Cup Of Joy' and Pixelord puts dip in your hip with the splashing rainbow synths of 'Hypnofrog'. S.Y.Z's crafty bobbler 'Spirits and Demons' is perhaps a bit too rugged to be considered "Tropical", but Mother North's 'Butter Blues' keeps it comfortably heat-hazy and sluggish. F-r-e-s-h.
http://www.mediafire.com/?3gfrj5rfa5pfhka
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Glenn Branca - Lesson No. 1 (1980)
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In the 1980s, there began a massive restoration project to bring New York from its abject, whorish state to the super-capitalized, civilized state it is now in. Politics aside, it is clear that the New York that once was is long gone. It was that New York that was the New York of the Velvets, of Glenn Branca, of Sonic Youth, and of the best rap ever to come out of three Jewish kids. It was the heart of Travis Bickle's lament in Taxi Driver. New York's then miserable state was key for the music that would come out of it. It is perhaps why The Strokes, as hard as they try, cannot ever capture the essence of VU (what's cool about waiting for your man in the middle of Times Square drinking a Frappucino?), and why, perhaps, nothing will come close to capturing what Glenn Branca captured on his first few recordings.
The problem with any Glenn Branca recording, though, is that if -- and this is likely the case -- you've only heard Glenn's work after becoming obsessed with Sonic Youth, you're likely to comment on how much Glenn Branca sounds like Sonic Youth, instead of the other way around. "Lesson No. 1 for Electric Guitar" foreshadows the jangled, droning, oddly pop-like guitars of Daydream Nation, and the opening chord of "Dissonance” appears fit to kick off almost any SY song. The fact alone that a single two-song release would go so far in influencing so much of the experimentally-inclined artists to follow makes Lesson No. 1 an essential recording.
Like all of Branca's work, these aren't so much songs as they are symphonies, the classical music of the 22nd century. "Lesson no. 1 for Electric Guitar" sounds nothing like "Dissonance," yet they play off each other in a way that can only be described as harrowingly perfect. The former piece, as I have mentioned, is almost a pop song at times. Multiple guitars drone on without so much as a major change for the entire duration of the piece; a floor tom, whose accents are scattered on alternating stereo channels, occasional (and I use the term strictly) cymbal crashes, and a bass are the only instruments that bring forth any sort of momentum change. Yet it builds, and by the end of the piece it swells. It is but the exposition, however, of a story whose true monsters have yet to be introduced.
The complete disarray and brusqueness of "Dissonance" is only magnified by the relative-gentleness of what preceded it. If "Lesson no. 1 for Electric Guitars" showed you the gates of Glenn's mind, "Dissonance" takes you to the control room. Much like "Lesson no. 2" (off the equally astounding The Ascension), the sound is almost primal at times, like the deranged sounds running through the head of a man fleeing from his death by an unknown creature in the jungle. The first half could have easily been seen as an experiment in rock music, but to call "Dissonance" mere experimental-rock would be an understatement to say the least. More like a free-jazz piece gone wonderfully awry, it enters a realm of music that not even Sonic Youth has entered.
When asked about the milestone of jazz that was Miles Davis' Kind of Blue, drummer Jimmy Cobb said, "it must have been made in heaven." Such a response is certainly suiting, but as far as Lesson No. 1 is concerned, the hell that was New York could not have been done without.
http://www.mediafire.com/?rlxruq2hc9kbb66
Glenn Branca - The Ascension (1981)
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If one chooses to categorize the music on this recording as "rock," this is surely one of the greatest rock albums ever made. But there's the rub. While sporting many of the trappings of the genre -- the instrumentation (electric guitars), the rhythms, the volume, and, most certainly, the attitude -- there is much about The Ascension that doesn't fit comfortably into the standard definition of the term. Not only does the structure of the compositions appear to owe more to certain classical traditions, including Romanticism, than the rock song form, but Branca's overarching concern is with the pure sound produced, particularly of the overtones created by massed, "out of tune," excited strings and the ecstatic quality that sound can engender in the listener. Though his prior performing experience was with post-punk, no-wave groups like the Static and Theoretical Girls, it could be argued that the true source of much of the music here lies in the sonic experimentation of deep-drone pioneers like La Monte Young and Phil Niblock.
Happily, the music is accessible enough that one can jump right in, regardless of one's direction of approach. Branca's band, unlike some of his later enormous ensembles, is relatively modest (four guitars, bass guitar, and drums), so the sound is comparatively clear and each member's contributions may be easily discerned. The chiming notes that begin "The Spectacular Commodity" are allowed to hover in the air, awash in overtones, before being subsumed into a rolling groove that picks up more and more intensity as guitar chords cascade one atop another, threatening to, but never succeeding in, toppling the whole affair. "Structure" plays with sonic torque, whipsawing between two differently stressed voicings of the same theme, pulling them back and forth like taffy.
But the title track is both the consummation of the record and the surest indication of Branca's direction in later years. It begins with a marvelously dense haze of ringing guitars, feedback, and percussion, with a foreboding bassline contributing to the strong sense of disorientation. Midway through, it abruptly shifts to harsh blocks of sound over a rapid rhythm, the blocks differing in texture but played in alternating sections, smacking into each other and further heightening the tension. These disparate sounds eventually coalesce into a pure, ringing tone that, over the last minute of the piece, explodes into a spectacular cacophony, a seism of bell tones, microtonal eruptions, and near orgasmic guitar bliss. An absolutely stunning, jaw-dropping performance.
Branca's music has served as a major inspiration to many alternative rock bands that surfaced in the '80s and '90s, notably Sonic Youth; both Lee Ranaldo (who plays on this recording) and Thurston Moore were regularly members of his early ensembles. The Ascension, in addition to being an utterly superb album on its own merits, uniquely invites listening from both adventurous rock fans and aficionados of experimental electronic music. For years, the vinyl release on 99 Records, with its stunning cover illustration by Robert Longo, was a highly sought-after collector's item. It was finally issued to compact disc in 1999 by New Tone.
http://www.mediafire.com/?flfz1njyejsbjon
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I'm gonna roll the dice and say you read SA... I asked where to start with Branca and those were the two albums suggested. Lesson 1 is pretty awesome so far.
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Thank you so much for the Variance rerip. Nice and dark, edgy techno with deep bass sounds. Love it!
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Overcast Sound - Beneath The Grain
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Beneath the Grain is the result of three months Canadian artists OVERCAST SOUND spent in Berlin last year. A deeply personal album, Beneath the Grain reflects the impact of the city's contextual significance, both historically and as the modern nexus of creativity.
Each track investigates a particular place or theme discovered during their residency, drawing from the textures and sounds unique to those experiences. The ethereal vocals in Devil's Mountain make reference to the crumbling Cold War listening station on the outskirts of the city, while Lackadaisical bubbles and meanders with the reflected sounds of inner city parks and neighbourhoods.
Beneath the Grain marks the group's debut full-length album, showcasing OVERCAST SOUND's distinct cinematic style and delivering a compelling sonic diary of a city.
http://www.m/f.com/?88tm9m2ie9xddnw
http://www.discogs.com/Overcast-Sound-Beneath-The-Grain/release/2672686
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Raekwon - Only Built 4 Cuban Linx (1995)
(http://upload.wikimedia.org/wikipedia/en/thumb/1/17/Raekwon_only.jpg/220px-Raekwon_only.jpg)
Raekwon’s debut solo album, and the third of the many brilliant Wu-Tang solo offerings which began to emerge in the mid 1990s. But like many of the Wu-Tang solo albums, it isn’t truly a solo album, as it features Ghostface Killah prominently, and was entirely produced by Wu-Tang puppet master RZA, who, after reading his Wu-Tang Manual, has convinced me that he is some kind of utterly mad genius who has a twenty year plan to take over the world or something. However, Raekwon is still able to step out of the Wu-Tang limelight and craft an individual album that focuses on the mafia rather than kung-fu, and one which is simply astounding. You need this in your life.
http://www.M/F.com/?yzizmnnx3z2
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Holy balls!! Niggas With Guitars - Ethnic Frenzy This record is amazing! Thank you :)
Tunnidge - Dark Skies/Tribe
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Tunnidge steps onto his 2nd plate for Deep Medi with the dread sci-fi killah 'Dark Skies' and the intriguing outernational vibes of 'Tribe'. The ascending synthlines and Rutger Hauer samples lend a brilliant tension to 'Dark Skies', only exacerbated by droning, eyeball quivering subbass. We can't pinpoint the source of the samples on 'Tribe' but it's surely one of the most esoteric tracks Deep Medi's catalogue, ripe for set-starting dramas. Mad tings.
http://www.m/f.com/?tdh7f3xq7w14fl0
Orphan101 - Into You EP
(http://img848.imageshack.us/img848/4121/333p.jpg)
Odder Dub-Tech from Bristol's Orphan101, following an acclaimed drop for Apple Pips. With relentless intentions 'Into You' jacks Electro-House elements into a charging 140bpm framework, whereas 'Barraca' is proggy-tinged Techno riding quasi-speed subs and we're not sure what the feck 'Typical' is, perhaps some kinda spliced creature formed from sped-up Rhythm & Sound records and woozy ambient? Grab this if you were into the last Illum Sphere 12" on Tectonic.
http://www.m/f.com/?pcq5sm5v75vd225
James Blake - The Wilhelm Scream
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Arriving shortly after his extraordinary, eponymous debut LP, James Blake drops one its many highlights, 'The Wilhelm Scream' backed with two new and exclusive songs 'What Was It You Said About Luck' and 'Half Heat Full (Old Circular)'. If anything, the pristine electro-acoustic dynamism of 'The Wilhelm Scream' sounds even more dazzling given it's own side and pressed to 45rpm, his intentions coming through super crisp and clear. His new song, 'What Was It You Said About Luck' is perhaps more minimal and nuanced, slyly harmonised vocals moving around the artificial space with vivid, depth perception-realigning effect, before 'Half Heat Full (Old Circular)' displays him at his most tortured, bruised with distortion and seemingly singing from inside his grandad's shed. Tip!
http://www.m/f.com/?d78lta1tezh62r0
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Here are two EP's by my new favourite thing, Sepalcure. They fit right alongside my other favourite things, James Blake and Mount Kimbie, and are routinely described with the same "post-everything" or "post-dubstep" tag which, although are horrible genre names, do indicate how hard they are to pin down. Apparantly they are the project of Machinedrum and Praveen, who admittedly I've never heard of. The Fleur EP and in particular the song No Think are incredible.
Sepalcure - Fleur EP
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Spellbinding release from Sepalcure, aka electronica veterans Machinedrum and Praveen. They unveiled a sumptuous new sound with the 'Love Pressure' EP back in the summer of 2010 but if anything this delivers an even greater emotive impact. Maybe it's because they're American, but there's definitely an instinctive feel for R&B elegance and graceful suspension at play here, something alluded to by reams of UK producers, but rarely achieved with this kind of tingling sensibility. The standout track is easily 'No Think', a near side-long swinger built from ethereal, yearning vocals, viscous 2-step patterns and droning subbass looming from their densely lush atmospheres. Complementing the vibe, the enchanting 'Inside' closes the side with a shorter, beatless piece of electronic ambience worthy of Tim Hecker. Meanwhile on the A-side we're in thrall to the crisp drums, smudged chords and sun-heated strings of 'Fleur' and another surefire spine-tingler, 'Your Love'. Full colour picture sleeve + four stunning productions = Well recommended.
http://www.mediafire.com/?zsubixtghouubqg
Sepalcure - Love Pressure EP
(http://img576.imageshack.us/img576/6320/lovepressure.jpg)
Deeper soul burning dubstep and dreamy broken beats from Sepalcure aka Machine Drum and Praveen. It's a massive diversion from both operators previous styles, using their combined wealth of production knowledge to create four tracks of effervescent, kinetic and slightly unstable grooves marked with convective chord progressions and classic vocal lifts. 'The Warning' previously appeared on Scuba's Resident Advisor face off with himself, conducting a submerged ambient skipper with nods to Mount Kimbie. Their 'Love Pressure' cut is certainly the highlight though, sweeping us up in a heart-in-mouth swell of wide-open atmospheres driven by a Joy Orbison-tuned rhythm motor. Nearly as effective is the synths-driven thrust and vocal streaks of 'Down' while the pace of 'Everyday Of My Life' takes some getting used to if you're familiar with the original pitch of the sample, but once you're in, it's lush. Recommended sweetnuss for fans of Blue Daisy, Joy Orbison, Ramadanman or James Blake.
http://www.mediafire.com/?4poa2uyg8yc1ad3
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GZA – Liquid Swords (1995)
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I’d go so far as to say that this is my favourite album out of the ENTIRE Wu-Tang back catologue, Clan or solo. It’s seriously that good.
http://www.M/F.com/?n4jrjotm3wy
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Various Artists - SMM: Context 2011
(http://img687.imageshack.us/img687/2919/smmcontext.jpg)
SMM: Context is the first release in Ghostly International’s new yearly compilation series of evocative, exploratory music.
In 2003, Ghostly International introduced SMM, an unknown acronym used to evaporate the already-unspooling musical boundaries between classical minimalism, electronic and drone composition, film soundtracks, and fragile imaginary landscapes.
SMM: Context features a hand-picked selection of some of the world’s finest musicians from Poland, Germany, Denmark, Norway, North America and the UK who traffic in SMM’s slow-moving, texture-focused compositions, simple in instrumentation, but infinitely complex in execution.
01. Goldmund - Motion
02. Leyland Kirby - Polaroid
03. Svarte Greiner - Halves
04. Christina Vantzou - 11 Generations Of My Fathers
05. Jacaszek - Elegia
06. The Fun Years - Cornelia Amygdaloid
07. Manual - Three Parts
08. Aidan Baker - Substantiated
09. Rafael Anton Irisarri - Moments Descend On My Windowpane
10. Kyle Bobby Dunn - Runge's Last Stand
11. Peter Broderick - Pause
http://www.m/f.com/?17c7mjpc78740n4
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Drums Off Chaos & Jens-Uwe Beyer
The latest from Magazine, who are sort of a little krautrock / kosmische revival in themselves. Long, winding texture'n'drums workouts. "4 of 7" would make an excellent piece of level music for Diablo 2. Rhythmic!
Sterling new release from Cologne's Magazine label, presenting the first substantial recordings from Jaki Liebezeit's Drums Off Chaos percussion ensemble. For their debut album they're also joined by Köln lynchpin Jens-Uwe Beyer, who's best known for his Popnoname productions on Kompakt's Pop Ambient series and as a member of future kosmiche group, Cologne Tape. Despite being in operation for nearly 30 years, the group have only committed their sound to tape on a handful of rare instances including a mail-order CD from 1985, preferring to keep their tribal anarchist sound in the live domain. So the addition of Beyer has more than revitalised them, it's actually got the trio in the studio to record their music! Together they've consolidated the inter-generational gap between the classic Can sound and the updated techno romance of Wolfgang Voigt's Gas project, resulting in a plush and expansive, yet lean and focussed linear style propelled by interlocking tribal polyrhythms and surrounded by sumptuous synthetic scenery of drifting melodies and radiant symphonic flushes. The accent of their precise, dynamic rhythmic codes is enhanced by self-constructed drums and carefully selected sounds from Beyer who innately understands their cadence, placing this album close to recent efforts from the MvO Trio and Mark Ernestus, but firmly grounded with a regional Ruhr dialect of their own. Entrancing stuff.
http://www.M/F.com/?qf83rw8o6x2g4zh
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Fxbip - TAL Acid
Some guy doing a very, very convincing AFX acid impression (The Analogue Quadrant specializes in this sort of thing). Nearly as good as the real thing!
Rephlexian acid manoeuvres from FXBip on his debut for The Analogue Quadrant. Five track very much int he vein of Ceephax Acid Crew, AFX or Ovuca, from the midnight acid burn of 'TAL Acid' to the rushin' patterns of 'Reaper 3' or the haunted pads and squirming 303 squiggles of 'Chimera'.
http://www.M/F.com/?dz6nuxlgqm6m2s4
(http://img708.imageshack.us/img708/8433/333uj.jpg)
Siriusmo - Mosaik
Sprawling, goofy post-Justice electro with twisty IDM arrangements. Plus, someone trying out an actually-pretty-decent Tom Waits impression. Mental. From the Monkeytown camp (Modeselektor, et al).
'Mosaik' is Siriusmo's much anticipated 2nd album, and the first artist LP release on Modeselektor's Monkeytown label. The pair of acts have a longstanding relationship, with Modeselektor effectively setting up the Monkeytown label in order to release their mate's like-minded hi-tech party music. And like his brethren, there's no clear parameters for Siriusmo's sound, which twitches between IDM electronics, lounging jazz musicality, Techno propulsion and dadaist sample structuring. Aside from the previous single tracks, the jagged Electro thump of 'Feromonikon' and the twinkle-toed cartoon techno of 'Signal', the highlights have to be the Dubstep-aping, Jahcoozi-like 'Bad Idea', the harmonious disco of 'Nights Off' or the fractal Techno-Pop of 'Goldene Kugel' and 'Einmal In Der Woche Schreien'. Wickedly scatter-brained but forcefully fun. Check!
http://www.M/F.com/?xh2m929qctftztc
(http://img716.imageshack.us/img716/5878/333tw.jpg)
Kahn - Like We Used To
From Peverelist's Punch Drunk imprint comes some expansive, Joy O-style rave techno complete with pitch-bent synth chords and bass. Thrilling and uplifting the way the best rave stuff is.
Dazzling debut from Kahn, a new talent discovered by exceptional minds at Punch Drunk. 'Like We Used To' is a powerfully built 130bpm swinger, stroking fragrant female vocal into orgiastic glossolalia over clipped 2-step and seasick subs copulating like Zomby and SBTRKT. 'Helter Skelter' is more exothermic, radiating stereo spirals of cascading lazer synths on a halfstep bump and grind akin to the recent Objekt 12". Huge, frankly.
http://www.M/F.com/?iif1jv5xutu50rv
(http://img5.imageshack.us/img5/7763/333jx.jpg)
Pangaea - Inna Daze
An old hand in the dubstep / techno scene comes back with some classic rhythmic style. Loving the warped strings on "Won't Hurt".
Pangaea, lad, what are you doing to us?!?! Over a year after his eponymous Hessle EP, Kevin McAuley augments his sound to a 130bpm (or thereabouts) style of deep Technoid ruffige compatible with label brethren Elgato or more recent 2562 beats. Squaring up to 'Inna Daze' we're faced with a rugged rollers figure, broad, shoulder swinging bass with a Monolake-esque finish synched to hip-tucking, fake-out drum programming pecked with feverish diva yelps and siren stabs. On the flip, 'Won't Hurt' starts out pensive but soon enough brings the bass weight like some 2005 DMZ classic, only at 130bpm and with hair-raising Detroit techno strings delivered like a true badman. Don't f**k about. This is essential!
http://www.M/F.com/?sljtewng3mh2ng7
(http://img822.imageshack.us/img822/6799/333jnf.jpg)
Bunny On Acid - Oxygen
Like the bastard child of Planes and Slugabed. Laid back, shuffling hip hop beats and overstuffed, swooping synth chords. The title track is like vintage Ital Tek.
http://www.M/F.com/?q4dlbqkds3t5irc
(http://img683.imageshack.us/img683/4302/333gr.jpg)
Various Artists - Super Vol. 1
Rave iconoclast Raffertie's homebrewed imprint releases a (prospective, given the few releases on the label so far) compilation featuring some old and new favorites. Raffertie starts off with a roaring warehouse-filler, Morris Cowan comes out of nowhere with an stunning early 90's Warp epic, Subeena contributes a club jam in line with her more recent output, Photomachine brings out the handclaps on a nervous techno track, and Throwing Snow pushes his bass into the red to clinch it. Looks like we've got a baby Planet Mu on our hands.
http://www.M/F.com/?u41agnxaywvgfzw
(http://img855.imageshack.us/img855/6569/333c.jpg)
Wagawaga - Hyper Typewriter
A good week for Warp-indebted IDM, as Wagawaga (who I have never heard of, plus their name is kind of dumb) releases a full album of really, really excellent hip hop / acid techno hybrids, in classic 90's style. Like a marriage of Luke Vibert, Plaid and The Tuss, without all the overt goofiness that would entail. This comes with my highest recommendation.
pt 1
http://www.M/F.com/?zfyiq4u99oexv3upt 2
http://www.M/F.com/?bf6wj23pkib385s
(http://img651.imageshack.us/img651/185/333dqf.jpg)
Move D - Workshop 02
Warm, cosmopolitan house from the amazingly consistent Move D, probably my favorite House DJ. I can imagine rolling around Miami in the 80's blasting "Computer Flop". Incredible.
Following on from his killer set for Modern Love, Move D returns again this week for the elusive Hardwax-affiliated Workshop imprint with a crushing twelve of tracks lifted straight off the Moodymann/Theo Parrish school of thought. Quite unlike any of his other recent material, this limited twelve revolves around a muted jazz-funk pallette that sounds like a classic Theo production ripped-apart and re-assembled with that distinctive Moufang edge. The squashed percussion and shimmering Rhodes work a treat and the production here is so tight that it needs to be heard loud to be believed. Move D really seems to be operating at his peak right now - this twelve is sure to disappear in double-time. KILLER!!!
http://www.M/F.com/?i47f8ttv80mey2w
(http://img580.imageshack.us/img580/7672/333hr.jpg)
Move D - Drøne
One-side single from Move D for Modern Love, a house / techno label that gained notoriety recently for releasing all of Demdike Stare's goth-dub-ambient albums. This one's a more atmospheric track, with a greater focus on the light, skittering rhythm.
Move D returns with the latest limited one-sided 12" on the Modern Love label - and it's an absolute KILLER!. Based around one long, forever mutating drone, the track comes from David Moufang's hallowed KM20 vaults, the place were he keeps his most devastating, vintage analogue material. Spiritually linked with his masterful "Sweet Heini" cut for the Philpot imprint, this is precisely the kind of tackle that finds Moufang at his most immersive, producing supremely smart and layered Techno that works on more levels than it's possible to elucidate verbally. What starts out as a rugged, heaving wheeze of machinery slowly develops into a scattered chug of fearless percussion and frayed engineering of the highest calibre. After astonishing work for the likes of the Workshop, Uzuri and Smallville imprints, Move D's stock is at the highest its ever been - and that's saying something for an artist who has been releasing music since 1994, and who has never lost form. Strictly limited pressing - ESSENTIAL PURCHASE!
http://www.M/F.com/?5sx7ljxqh84u43x
(http://img197.imageshack.us/img197/4857/333djl.jpg)
Sunken Foal - Mother of God
How did I miss this?!?!?! Fuck. This came out in January and I only just came across it researching that Wagawaga LP. Sunken Foal returns, scaling back the folk aspect of his electro-folk a bit, but his music is just as charmingly shamblotic as ever. "Colloidal Glass" and "A Row of Gods" are more like his older stuff, but "Platforms" and "Gift Knee Pads" show off the more beat-centric side of Sunken Foal. PICK THIS SHIT UP.
Two years after their well-received Planet Mu album, Sunken Foal return with six tracks for Acroplane. 'Mother Of God' finds their sound at a juncture of Alex Smoke-like, Autechre-referencing electronica in 'Low Mountain Light Socket' and the mercury fuming synths and quickstep syncopations of 'Gift Knee Pads', while 'Colloidal Glass' is a glassy IDM configuration and 'Platforms' like some swaggering Gescom beat. Ace.
http://www.M/F.com/?74d0qtfqbrn2pht
(http://img715.imageshack.us/img715/204/333gh.jpg)
Ana Caravelle - Basic Climb Re-Imagined
The run-of-the-mill-if-not-for-the-beautiful-production indie harpstress Ana Caravelle turns to LA's Low End Theory scene for an expansive collection of remixes. If you like the LA Beats scene (Flylo, etc.) you'll love these. But I got it for the Julia Holter remix, which is odd and fuzzy and somber and perfect.
‘Basic Climb Re-Imagined’ sees harpist and singer Ana Caravelle’s gorgeous ‘Basic Climb’ record stretched, moulded and somehow re-invigorated by a whole host of hand picked artists. Remix compilations always run the risk of being simply a hodge-podge of ideas, but somehow LA label Non Projects have managed to keep things reigned in well without losing that important sense of experimentation. The tracks go from the beat-driven (Shigeto, Dibiase and DNTEL) to the delightfully strange (Dakim, A.D.L.R) but the high point comes from local LA artist Julia Holter. Holter takes Caravelle’s delicate vocal and process it to sound like a voice from another world, adding a host of unusual elements to the mix creating a veritable symphony of ideas and unexpected harmony. Very good stuff indeed.
http://www.mediafire.com/?96atfrahadc8984
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I'm gonna roll the dice and say you read SA... I asked where to start with Branca and those were the two albums suggested. Lesson 1 is pretty awesome so far.
No, actually. I do read the SA forums often, but I didn't see that post until just now. I've just been on a Branca kick lately and thought I should share. Glad you enjoy it, though!
Now time for some more Raster-Noton.
Alva Noto - Unitxt (2008)
(http://i52.tinypic.com/50jn9f.jpg)
A curious dichotomy exists in Unitxt, the latest album from Carsten Nicolai, a.k.a. Alva Noto. Nicolai’s work relies on mathematical processes to govern rhythm (rather than traditional sequencers), utilizing machine noises — modems, telephones, and fax tones — for most of its sounds. On Unitxt, Alva Noto applies these frigid clicks and blips to an innate form of human expression: each track is about 120 bpm, and the rhythms, though often heavily obscured or syncopated, are entirely in 4/4 time — the basic ingredients for a dance album.
Clearly, Unitxt plays differently from Nicolai's previous efforts. It lacks the spacious ambience that characterized For (2006) and Xerrox (2007), and while these albums harbor clear melodies (or at least the semblance of them), the melodic passages on Unitxt are almost entirely absent. Consequently, it sounds more like an extension of the ideas Nicolai explored on his earlier, rhythmically-oriented Trans- EPs, with the droning, granular clouds replaced with pummeling bass, short beeps, and atonal static. It’s all a little colder, more sterile.
Which is ironic, as the album is one of the few (if not the only) Alva Noto releases that feature vocals. French sound poet Anne-James Chaton intones in a robotic manner on two tracks, including opener “U_07.” He reads the contents of Nicolai’s wallet (credit cards, driver’s license, receipts, etc.) in a constant outpour. This only furthers the album’s harshness, reducing personal information about the man to mere information, data to be processed.
None of this is to say that Unitxt doesn’t deliver musically. The rhythms are complex and engaging, and the sound sources he uses are refreshing, especially considering the ever-prevalent 808 and 909-ish software sounds of the dance world. But without significant variation, the album ultimately sounds redundant. Had Nicolai included more melodic elements or varied the structures, this could have been a great release. He has indeed provided a fascinating, innovative approach to dance music — one that I would like to see him develop — but it’s just not quite compelling enough to garner full-fledged attention.
http://www.mediafire.com/?l88ch2f6ogy051h
Byetone - Death Of A Typographer (2008)
(http://i51.tinypic.com/2gvkec7.jpg)
It turns out Byetone’s recent Plastic Star EP (Raster-Noton) was only a prelude to another big event — the release of a solo album. Though he’s part of Raster Noton’s pre-history and has been involved in electronic music since the early 90s, a solo release from Byetone (Olaf Bender) is a rare event indeed. Byetone is a member of live performance group Signal with Carsten Nicolai and Frank Bretschneider, and has appeared on various compilations over the years, but his primary contribution to Raster-Noton thus far has been as the mastermind behind the label’s striking visual identity. A graphic designer by profession, Bender’s been responsible for the minimalist, understated graphics and packaging from the earliest days of Rastermusic.
Byetone’s first solo release was the May installment of the 20” to 2000 series on Raster Noton in 1999. His minimalist aesthetic was translated into twenty minutes of static, sine tones and rhythmic clicks that were extremely austere. It was followed by a similarly stark production for Bine Music in 2003. Structural reductions continue to occupy Bender on his new album, but his method has changed dramatically. Noise and depth now play an integral role. He’s broken with the hermetic, clinical laboratory aesthetic and begun to allow something of the real world in: not just environmental noise, but layers of tone with sounds that sometimes resemble real instruments and make reference to rock and other music. In parallel with label mate Alva Noto’s recent work, Bender plunges deeply into an immersive, textured world on the fantastically titled Death of a Typographer.
Solid bass and tight percussion pin down weighty textures with the precision of an entomologist on the album’s eight variations. Could it be that each track infected Bender, keeping him from his graphic design work — earworms that made it impossible to for him to concentrate? Maybe this album is his surrender; the designer in him supplanted by the musician. Death of a Typographer is informed more by his work with laptop group Signal than his earlier solo work — ‘Grand Style’ is driven by Bretschneider funkiness and the degraded remains of reggae tropes. In other places Bender takes obvious cues from rock and pop. On ‘Straight’, his flattened percussion is draped with lush synths, while the truncated ‘Black is Black’ surprises with a Bender-esque drilling rhythm holding up a warm bassline and a synth melody that sound almost new wave. ‘Capture This (I)’ drones Phill Niblock style into ‘Capture This (II)’ where swooping Fennesz-like guitar drone/feedback affirm the rock intentions.
The one oddly weak point is the intro/outro bookending. Environmental sound recordings frame the album: the intro – a person’s footsteps walking into a club where ‘Plastic Star’ is being played; the outro – the sounds of someone, probably the artist, stepping outside to smoke. They are distracting and intrusive. But interesting. They fit thematically with Bender’s new inclinations to let the world in, and also hook in to the grand rock music tradition of staged-drama intro/outros from Pink Floyd to David Bowie to Kraftwerk.
For fans of Signal and Alva Noto’s recent work, Death of a Typographer is a fascinating insight into developments at Raster Noton HQ.
http://www.mediafire.com/?db8z3evuadp3n2t
Kangding Ray - Automne Fold (2008)
(http://i51.tinypic.com/2ca2ro.jpg)
On Stabil, his 2006 debut for Raster-Noton, Kangding Ray (David Letellier) took the label's signature high-end frequencies and precise digital rhythms, and added traces of acoustic tones and melodies. The album largely retained the label's cool austerity, but touched on something warm beneath the surface. Automne Fold, the Berlin-based artist's sophomore effort, goes further in exploring this combination of digital and organic sounds, incorporating more acoustic instrumentation (such as violins and a detuned piano) and even vocals, creating what is one of the label's warmest and most openly emotional releases.
Perhaps reflecting Letellier's background as a guitarist and drummer, there's a pop sensibility at work here, with the longest tracks clocking in at a little over five minutes. "Idle," one of the album's many highlights, is actually a song, complete with verses and a chorus. Other tracks also have a song structure, such as "A Protest Song" (where the warm wall of hiss is reminiscent of what some bands do with guitars) and "World Within Words." The CD case even includes lyrics.
Readers concerned that this all sounds like too much of a departure from the Raster-Noton aesthetic needn't worry. Letellier still uses many of the hallmarks of the label's sound, deploying crisp digital beats and flickering rhythmic bursts of hiss and static to create an album that feels clean and pristine, yet also warm and organic. It's this contrast that makes Automne Fold so engaging and compelling, with the acoustic tones softening the edges of the sharp digital rhythms. And it's here, where these seemingly opposing sounds meet, that real feeling is found. For Letellier the heart of the machine is not cold and analytical, but is instead human and emotional.
Automne Fold is largely introspective (although not melancholic) in mood, despite its pop leanings. This is due to Letellier's sombre melodies and choice of organic instruments, such as the sonorous bowed guitar on "Apnée," the violins on "Parallel" and the contrabass on "Palisades." That Letellier can so deftly and consistently merge these sounds with a digital palette is impressive; in fact the album has only a single misstep, "Apnée. Part II," which features a spoken word monologue about eyeballs and ice cube trays that tries a little too hard to say something profound. (In Letellier's defense, somebody else wrote the lyrics in question.)
Of course, melodies and organic instruments are no strangers to Raster-Noton, having most notably appeared on Alva Noto and Ryuichi Sakamoto's collaborations. Yet the extreme restraint of those releases made them difficult for some listeners to approach. With Automne Fold Letellier has crafted an album that is extremely moving, expressive, and accessible from beginning to end. Highly recommended.
http://www.mediafire.com/?vrec8bkrfwheaqg
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
Nas – Illmatic (1994)
(http://stefisdope.com/blog/wp-content/uploads/2010/08/nas-illmatic.jpg)
Not only is this one of the greatest hip hop albums of all time, I also think it is one of the most important albums of the past fifteen years, regardless of genre. It marked a transition in the popular perception of hip hop in the early 90s, from the West coast gangsta rap to the East coast’s more artistic style, that also saw acts like the Wu-Tang Clan (who else?!) and Gang Starr emerge as well.
http://www.M/F.com/?lm2kn0lmjje
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Everyone should have Illmatic.
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Here's a bunch of stuff. Most of it is old stuff that I found from samples in more recent music. There's also a decent soundtrack EP from the FX show Sons of Anarchy (which I found surprisingly awesome once I got over my initial doubts about a show heavily focused on the exploits of an outlaw motorcycle club), and another album I found due to use in the show as well. I'll let you figure out which are the biker tunes and which are the oldies.
Aphrodite's Child - 666 (1972)
(http://img251.imageshack.us/img251/4485/666it.jpg)
Babylon (http://www.youtube.com/watch?v=jWYL4dlZQw0)
Loud, Loud, Loud (http://www.youtube.com/watch?v=78656nwE8pY)
An amazingly bombastic concept album about the Apocalypse of St. John seen as a rock spectacle. Demis Roussos wails the lyrics in a frantically operatic falsetto, while the band pound fiercely through Vangelis' furiously complex music.
http://www.M/F.com/?7neeu5yqm95syzl
Black 47 - Home of the Brave (1994)
(http://img852.imageshack.us/img852/2936/homeofthebrave.jpg)
The Big Fellah (http://www.youtube.com/watch?v=GFsTrvJGiDc)
Larry Kirwan devotes himself to a strange mixture of Irish nationalism, American civil rights advocacy, and working-class infidelity on New York's Lower East Side. He sings with equal passion about 1920s Irish patriots and lovers' triangles, and when he loses his girlfriends to better-employed sanitation workers and dentists, he buries his misery in six-packs. It's a worldview of sorts, especially because Kirwan sees it in such heroic terms, and because he adopts music that reinforces those terms: an earnest, if slightly self-mocking singer emotes over martial rhythms, traditional Celtic folk instruments, a horn section, and dabs of rock guitar.
http://www.M/F.com/?ku7s8av38hu8816
Christine McVie (as Christine Perfect) - Christine Perfect (1970)
(http://img690.imageshack.us/img690/1096/christineperfect.jpg)
Crazy 'Bout You (http://www.youtube.com/watch?v=biF9OVEQ_S0)
And That's Saying A Lot (http://www.youtube.com/watch?v=cnZuJ0nbX9E)
1969 was a magic year for music. The Beatles in their prime, Jimi Hendrix, The Who, and the Stones embarking on mammoth tours, the rise of new wave bands like Yes and King Crimson; and '69 also witnessed the first steady solo steps of one of the most incredible female performers to ever grace a studio, Christine Perfect.
Christine, who's earlier stint with the near legendary Chicken Shack had already gathered her a sizeable following in Britain, as evidenced by her back to back #1 female vocalist,honors in Melody Maker, penned five of the twelve selections found on the LP, and covers considerable musical ground in the process.
From "Crazy 'Bout You Baby", the up-tempo classic which opens side one, Ms. Perfect maintains strong control over a varied selection of tunes, including: "Close To Me" a soft rocker evocative of the US west coast sound, "Wait and See", a blues ballad, and "I'd Rather Go Blind", the Jordan/Foster classic which catapulted Chris to the top of the charts. Also contained on the album is the fine, orchestrated "When You Say", written by Danny Kirwan, guitarist for Fleetwood Mac.
Her powerful delivery on each cut makes this LP striking a full seven years past its original issue, and her career with Fleetwood Mac has shown Christine as a woman who has lived up to her name.
http://www.M/F.com/?w1e43hp8249bslc
Galt MacDermot - Shapes of Rhythm (late 60's?)
(http://img14.imageshack.us/img14/4950/shapesofrhythm.jpg)
Coffee Cold (http://www.youtube.com/watch?v=iCwGQXJqu5s)
Field of Sorrow (http://www.youtube.com/watch?v=d8ViKrEWFYw)
MacDermot's best remembered for the faux funk he delivered via the soundtrack to Hair. This record is a sterling example of what he does, or did best. The effect is a lot like what the Ramsey Lewis Trio might have sounded like if they stayed up all night listening to Slim Whitman records. This is some seriously unfunky music. That being said, is that necessarily a bad thing? Not at all. This music is so earnest and so heartfelt it's impossible not to be taken in by its charm. If you like soundtrack music, this is the perfect album to throw on while jogging. It'll make you feel tough.
http://www.M/F.com/?60350t2glxa8eb1
Galt MacDermot - Up From the Basement Unreleased Tracks Vol. 1 & 2 (Recorded 1967-1973, released 2003)
(http://img534.imageshack.us/img534/3800/upfromthebasement.jpg)
Ripped Open by Metal Explosion (http://www.youtube.com/watch?v=5r9dfZlrcdU)
Come Away Death (http://www.youtube.com/watch?v=S12SB6ASD-w)
While known mostly for his work on the '60s Broadway sensation Hair, accomplished jazz pianist/composer Galt MacDermot was far more prolific than a one-hit wonder. Proof positive is this collection of some of the progressive musician's funkier leanings, culled literally from the maestro's extensive cache of basement recordings. None of the album's 24 cuts (circa late '60s/early '70s) was originally meant for commercial consumption, but the final six tracks were lifted wholly from reel-less acetates (hence the lack of post-production polish). MacDermot's ivory tickling is aided by a host of relatively unheralded sessionaires (including funky drummers Idris Muhammad and Bernard "Pretty" Purdie, guitarists Charlie Brown and Billy Butler, and bassist Jimmy Lewis). Various soulful corners are explored throughout, from straight-ahead funky jazz ("Ripped Open By Metal Explosions," "Prison Life") to Age of Aquarius aesthetics ("Never Die, Desire Not," "Lost Dreams") to more frenetic flourishes ("Ghetto Suite Melody," "Flurry"). Tempos and vibes are shifted with regularity, giving the collection a herky-jerky feel, but the overall strength of the music generally overrides the haphazard sequencing. The album reaches its pinnacle with an alternate take of "Let the Sunshine In," one of Hair's more memorable overtures. MacDermot's revival was likely influenced by the new-school vinyl generation's interest in his music's sample-friendly elements.
http://www.M/F.com/?1v2d28jwe6112qt
Galt MacDermot - Woman Is Sweeter (?)
(http://img25.imageshack.us/img25/9256/womanissweeter.jpg)
Cathedral (http://www.youtube.com/watch?v=PmpLRR4HA2k)
(talking about both this album and Shapes of Rhythm)
Remember the musical Hair? Remember the groovy rhythm tracks on "Let the Sunshine In" and "Where Do I Go?" Yeah, well, this guy here, Galt MacDermot, expatriate Canadian funk meister, is the cat who composed those jams -- and in fact the music to the entire play. This CD brings together two of MacDermot's original LPs, both of them released in the '60s -- one pre- and one post-Hair, one a session album and one a soundtrack, and both greasy in the future funk with cats like Idris Muhammad and Bernard Purdie laying down the beats behind the band. MacDermot is a driven pianist and organ grinder who sought one thing on these records: funky grooves. And he got them. Here's what's scary though: "Coffee Cold" (from Shapes of Rhythm) was recorded in 1966 -- prefiguring the rhythmic changes of James Brown's "Cold Sweat" in sequence and in key a full two years before Brown laid down his track. The feel of "Coffee Cold" is a bit whiter and smoother, but the jam is still an anthem, even with its cheese factor. MacDermot was a prophet of the groove that would overtake the late '60s and early '70s, and, were he a proud man, could have argued that more young musicians heard and took to heart the grooves he laid down in Hair than heard Allen Toussaint and Red Allen or Eddie Bo. The true feel of Shapes of Rhythm is like Vince Guaraldi's Schroeder laying out the piano funk, seeking the groove inside the rhythm section and laying it out there. It's tough if ornate and it shimmers with real heat. The other disc, a soundtrack for Martine Barrat's movie Woman Is Sweeter, is a much dirtier, rawer affair altogether, and would have been worth the price of the CD alone. Here guitars chunk up in the cut with the bass, and the piano floats in the accents as drums and bass reign supreme. This was recorded immediately after Hair, and MacDermot wasn't in the mood to simply lay out some incidental music to a hippie flick. He took it down to its essence: rhythm, polyrhythm, drums, bass, and filthy nasty funk at insanely fast -- for the time -- tempos that were in fact symbolic of the orgiastic nature of his compositions. This wasn't just sex music, this was group sex symphonic music made with only a handful of instruments. These two albums comprise 26 tracks of pure groove-driven genius, with a bonus vocal version of "Coffee Cold" that the producers go hog-wild over in their notes, but it pretty much sucks compared to the rest of this -- thank the gods they left it until the end. Yeah, you need this if you care about the influence of '60s groove at all. After all, Busta Rhymes did -- check out the sample of MacDermot's "Space" on the rapper's "Woo-Hah!! Got You All in Check."
http://www.M/F.com/?swwxy9s0we6ebc6
Sons of Anarchy: North Country - EP (2009)
(http://img844.imageshack.us/img844/7344/northcountry.jpg)
This Life (http://www.youtube.com/watch?v=Qd9ULJf2jqU)
John the Revelator (http://www.youtube.com/watch?v=b6NDdF-R2uk)
The North Country EP kickstarts with the infectious theme song by Curtis Stigers & The Forest Rangers, who balance hard Americana with twangy Southern rock that's wrapped in all the warmth and familiarity of vintage guitar tones culled from those bygone ‘70s AM radio jams. Anvil & Franky Perez’s “Slip Kid” sparks new life into old-school biker rock with some boozy, rootsy, Leslie West-inspired singing under heavy cheeseburger-chomping riffs played loud through new amps. Curtis Stigers & The Forest Rangers return with a haunting take on the old blues standard “John the Revelator,” and a couple of solid Dylan covers bookend the EP. Audra Mae loans her endearing farmer’s-daughter voice to the Rangers on a beautifully sparse country-folk version of “Forever Young,” though Lions’ ambitious reworking of “Girl from the North Country” is surprisingly tasteful even though it sounds squeezed through a commercial indie-rock filter somewhere in between the Shins and Rogue Wave, sounding maybe more appropriate for the soundtrack to Garden State or Juno.
http://www.M/F.com/?yxr6xwngny828ya
The Poppy Family - Which Way You Goin' Billy? (1969)
(http://img98.imageshack.us/img98/8280/whichwayyougoinbilly.jpg)
Of Cities and Escapes (http://www.youtube.com/watch?v=HI3-Lwpu2QM)
Which Way You Goin' Billy? (http://www.youtube.com/watch?v=6nnlWGBLeyc&feature=related)
While in recent years dozens of would-be hipsters have written about the dark undercurrents to be found in the music of the Carpenters, anyone looking for a truly great bummed-out soft rock experience needs to dig up the long out of print debut LP from Vancouver's Poppy Family. While producer, arranger, songwriter, and general straw boss Terry Jacks later found fame for his hit adaptation of Jacques Brel's "Seasons in the Sun," his greatest work was with his then-wife Susan Jacks and their group, the Poppy Family. Blending moody soft pop with light psychedelia, the group hit a rich vein of gorgeous melancholy that made sadness sound positively sensual (the album's token "upbeat" tune, "Happy Island," is significantly also one of the set's weakest moments). The album's two international hit singles, "Which Way You Goin' Billy?" and "That's Where I Went Wrong," are both tales of lovers on the run that sound as desperate as Del Shannon and as lonesome as Brian Wilson's worst nightmare, and such lost classics as "You Took My Moonlight Away" and "Beyond the Clouds" are every bit as strong, boasting clear but emotive vocals from Susan Jacks, brilliant if oddball Indian percussion from Satwan Singh, and melodramatic string arrangements from Graeme Hall. And the two side-closing "freakouts," "There's No Blood in Bone" and "Of Cities and Escapes," manage to be cheesy and powerfully effective at the same time. If the '70s were supposed to be about having a nice day, Which Way You Goin' Billy? shows the Poppy Family were one band waiting for a cloud to blot out all that annoying sunshine; at once kitschy and marvelously sincere, it's a great record worthy of rediscovery.
http://www.M/F.com/?uq65q2m3afco6jq
William Sheller - Lux Aeterna (1970)
(http://img826.imageshack.us/img826/1791/luxaeterna.jpg)
Introit (http://www.youtube.com/watch?v=3uclxW5WS-M)
In 1970, for a friend's wedding, William Sheller wrote a psychedelic mass for orchestra, rock and choir which he called "Lux Aeterna". This work was brought out in 1972 and was therefore his first album. But it is an instrumental album, since song was still not his target.
http://www.M/F.com/?5vzjfudkvrh8v12
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(http://i.imgur.com/klupK.jpg)
http://www.mediafire.com/?ids608qcz0foc9k
Couldn't find the bonus track from Amazon's release, "Skeleton Swoon". I'm sure this link will be down by the time I wake up.
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Hey guys. I'm looking for a record that has the Möbius strip on the cover (white on dark blue background I think) and it is probably from the Fabric series... Does anyone know what I'm talking about? I checked the discography already and couldn't find it, so I could be wrong. It got deleted when my pc crashed..
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Hey guys. I'm looking for a record that has the Möbius strip on the cover (white on dark blue background I think) and it is probably from the Fabric series... Does anyone know what I'm talking about? I checked the discography already and couldn't find it, so I could be wrong. It got deleted when my pc crashed..
maybe you're thinking of a warp records comp?
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Yes! I am.. Thank you
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Celer - Brittle (2009)
(http://www.allflac.com/covers/b_61488_Celer-Brittle-2009.jpg)
DROOOOONE!
http://www.M/F.com/?uzmidztry0m
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Raster-Noton is great! I really like Kangding Ray releases..
Kangding Ray / Alva Noto / Ben Frost - Pruitt Igoe
(http://img703.imageshack.us/img703/825/333pf.jpg)
Enhanced and incredibly produced bass music from the Raster Noton camp courtesy of Kangding Ray, reinforced with stunning remixes from Alva Noto and Ben Frost. With 'Pruitt Igoe' Kangding Ray augments his sound to Raster's current avant-techno agenda, logging onto the 'floor with the burly swing of 'Rise' and 'Fall', both echoing Dubstep's move into slower tempos and elevated groove technology like some uncompromising Teutonic cousin to Pinch's 'Croydon House' sound or a steel-plated Shackleton rhythm trip. Of course this is all in line with Raster's overriding agenda of intense, considered minimalism, striving to eke the optimised impact from every sound and eschewing the need for any unnecessarily conventional melody or harmony. On the remixes, Alva Noto continues a streak of rhythmically charged form, following remixes for Greie Gut Fraktion and Vladislav Delay with a colossal remodel of 'Rise', filtering the original's distorted field recordings of street singers from Uttar Pradesh into something like an inverted version of Ancient Methods' stentorian techno funk. Finally, Ben Frost returns Kangding Ray's programming favour on his 'By The Throat' album with a gripping refix of 'Fall', placing kicks like boulders strewn on arctic tundra while dynamically contorting the ghoulish synths into nightmarish figures looming from the inky blackness. As you can probably tell, this is pushing our buttons, hard. So good.
The Alva Noto Remodel is incredible. Check!
http://www.M/F.com/?kcm12cgun30bh42
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Wow the above is super sick
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Last Post - 27 Fotos
(http://zonapunk.com.br/res_cd_up/lastpost.jpg)
So my friend moved back to Brazil and started a pop-punk band. Here's a google translated review! If you download it from the site in the review, they get monies, but you have to register (I don't think they'd get more if anyone used my account).
Unlike other bands trying to make music out there, the Sao Paulo Last Post has veterans from the indie scene and it becomes clear when you hear the instrumental in this extremely well executed first EP, "27 Pictures".
The disc has a clean sound and radio, which makes it very easy to listen to it till the end ... Once, twice, three times without seasick.
The extra ingredient is the responsibility of the shares of Koala, the Hateen, in "Rare" and Carox, the track "Far From Evil." Incidentally, besides the chorus stick in the head, there is a (different) special touch to this last song by pop radio and among adolescents: the female voice.
"Unstable" and "The Moment You Want" should be highlighted, either by letters, by the guitar riffs, is the battery, even in impeccable setbacks.
Altogether there are seven tracks, all with the guy hit. If you enjoy a lighter rock, pop rock, be sure to hear "27 Pictures" available for download at http://tramavirtual.uol.com.br/lastpostoficial
http://www.M/F.com/?j5pn6spn388abhb
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Sounds good, I HATE when I get seasick listening to records.
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Some more post-dubstep. Here are a couple of EP's/singles by XXXY and Kähn.
XXXY - Every Step Forward EP
(http://img405.imageshack.us/img405/5081/xxxym.jpg)
Continuing a run of exceptional form, XXXY drops four tracks of techy post-garage on Fortified Audio. The Manchester-based producer's name has been everywhere this year and this 12" should only serve to heighten his ubiquity. 'This Much' smoothly sails in with warm chords and precisely itchy garage patterns anchored with fluid subs while 'Just For Me' perches itself between gentle house motifs and more ragged rave signifiers atop bustling 2-step rhythms. 'Turn' follows on a Zomby-fied flex with calculated bleeps precipitating a swollen bottom end, with euphoric keys and Detroit-inspired synth washes to levitate the soul, before 'Flew' goes back under the spell of dub techno with aquatic dub chords and frisky garage/house rhythms. A must for fans of Spatial, Indigo, Synkro, Narcossist etc.
http://www.M/F.com/?zr5vdletnq234x5
XXXY - You Always Start It/Ordinary Things
(http://img195.imageshack.us/img195/715/00xxxyyoualwaysstartito.jpg)
Ten Thousand Yen push the proverbial boat out with a fittingly resplendent screen-printed sleeve for xxxy's mighty 'You Always Start It'. Riding a wave of adulation from Fact Magazine and his label boss, Doc Daneeka, xxxy has arrived at his most substantial, emotionally arresting single to date. The title track is a proper Bobby dazzler, swinging with a sussed deep garage groove but taken in any direction you need to go through judicious use of a cascading arpeggio that envelopes the whole track and turns it into a twirling double helix of mutant Techno and anthemic Garage. 'Ordinary Things' is a little simpler, relaxing into a plump, subs driven roller with MDMA-triggering euphoric builds like a more sensitive cousin to the all-together-now rave of Hot City. Fans of Joy Orbison, Roof Light, or Julio Bashmore - this one is massive!!!
http://www.M/F.com/?e76m6h3vweetv9q
Kähn - Altar EP
(http://img837.imageshack.us/img837/4545/cs165618402abig.jpg)
No boomkat review for this, but it sounds one hell of a lot like Maxinquaye era Tricky - that is to say awesome.
http://www.M/F.com/?8e0d0g9mpezppif
Kähn - Like We Used To/Helter Skelter
(http://img541.imageshack.us/img541/4348/productimg123500x500.png)
This is even better, the A Side is absolutely killer.
Dazzling debut vinyl from Kahn, a new talent discovered by exceptional minds at Punch Drunk. 'Like We Used To' is a powerfully built 130bpm swinger, stroking fragrant female vocal into orgiastic glossolalia over clipped 2-step and seasick subs copulating like Zomby and SBTRKT. 'Helter Skelter' is more exothermic, radiating stereo spirals of cascading lazer synths on a halfstep bump and grind akin to the recent Objekt 12". Huge, frankly.
http://www.mediafire.com/?eg06xbdcvmpvkdw
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Pssst, I want to listen to it but you forgot to actually post the link for that last one...
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Blargen tiredness. Posting those 4 took me far longer than it should have. Fixed now.
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Actress - Harrier ATTK / Gershwin
(http://img135.imageshack.us/img135/2073/333aur.jpg)
Actress drops his first release since the milestone 'Splazsh' LP with two killers for Nonplus. It follows last years surprise entry 'Machine & Voice' with a similar dancefloor slant, especially on the hard swinging archival track 'Harrier ATTK'. Like much of his gear it's practically devoid of discernable bass (compared with your average dubstep tune), but like his idol, Drexciya, much of the energy comes from uniquely programmed syncopation and textures that bite and graze instead of punching you in the stomach, while the lead riff is just pure electro emo. On the flip 'Gershwin' is more akin to something from his Thriller sessions, a squashed and smudged underwater R&B number warped with coruscating filters and with the surfaces of his one-man submersible about to buckle under the deep sea pressure. Killer!
http://www.m/f.com/?y7s4h8t7p10fhe1
Egyptrixx - Bible Eyes
(http://img703.imageshack.us/img703/9291/333ss.jpg)
Nights Slugs' foreign correspondent, Toronto resident Egyptrixx, comes very correct with his second album 'Bible Eyes'. It's also the first solo artist album to be released on the label, and represents the more synth-based side of their oeuvre in fine style. He's been a member of the crew since his early 2010 12" 'The Only Way Is Up', but has been orbiting the mutant electro/Bass scene for a few years already. Ten tracks deep, the cryptically titled 'Bible Eyes' cycles through a neon spectrum of club killers interspersed with poppier and slightly more esoteric grooves. The undoubted highlight for many will be his achingly sharp pop piece 'Chrysalis Records' featuring the nonchalant female vox of Trust over his signature detuned synthlines and clipped Funky drums in sensuous, synthetic copulation. Those seasick synths form the basis for much of the album, in the two parts of banger 'Recital', to jelly-limbed effect on 'Bible Eyes' and to screwed Trance effect on 'Naples', the most melancholy and experimental moment. If you thought Egyptrixx was just all about club bangers, then this album should widen your expectations of him and Night Slugs in general. Highly Recommended.
http://www.m/f.com/?pn1bdh9f1em71xk
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Have A Nice Life - Deathconsciousness (2008)
(http://averyisland.files.wordpress.com/2010/05/haveanicelife-deathconsciousness1.gif)
I’m in a big shoegaze mood […] this could just be the pick of the contemporary bunch. Ambient, woozy, considered shoegaze. No massive speaker-exploding noises. If you felt so inclined, you could apply the term ‘post-shoegaze’ to them to be pretentious. Up to you.
How my mate described this album. He’s probably right y’know.
http://www.M/F.com/?aemkq2ynzwg
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Felt it was time to give something back:
(http://3.bp.blogspot.com/_8Yl6uhyizYo/TDeFGZno9sI/AAAAAAAAE-s/wgbAghMxOsU/s400/broken_water_whet.jpg)
http://www.mediafire.com/?u4ioyyemzmu
Tucked within the psychedelic lo-fi of the Night People label is a band as anomalous to the overall NP aesthetic as it is analogous in its reinvention of classic sounds. Broken Water, a trio from Olympia, Washington, tap into their region's roots, their songs spilling over with the distorted crunch once recognized as the Northwest's calling card. Whether taking cues from Cascadian trailblazers Unwound, invoking the spirit of prime 1980s Sonic Youth and Dinosaur Jr., or slowing melodic noisemakers My Bloody Valentine, Lush and Black Tambourine down to a molasses-like pace, Broken Water take the scraps of old and build a style anew. Although the touchstones are immediate, nothing created by Broken Water seems disingenuous, and the wave of nostalgia that initially greets the ears is soon overwhelmed by distinction. Broken Water's sound seems to resound in the rainy coastal woodlands that they are surrounded by, with dense walls of swirling distortion breathing into syrupy magma and reverb drenched beauty. Heaviness and noise are well-balanced, with droning bass grooves building foundations for constantly evolving guitar and spooky vocal harmonies; a subtle, psychedelic sound as dark as it is colourful. Broken Water's dreamy take on hazy, pastoral sonic exploration provides endless amounts of transcendent listening.
This album has really grown on me, if you are a fan of any of the bands cited above, this is probably worth your time to check out.
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Oh dang I was gonna post that.:C
You guys should download that it's really rad.
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Inside - My Funeral (1999)
(http://farm6.static.flickr.com/5215/5509965233_fd1cba99f4_m.jpg)
http://www.m/f.com/?yd1zjy1zedm
Inside - Seven Inches to Wall Drug (1998)
(http://farm6.static.flickr.com/5099/5509965255_90dd754cfa_m.jpg)
http://www.m/f.com/?5ynjjicy4ny
I’d like to highlight a band that greatly impacted my high school years. I spent countless hours making cassette recordings of their 7 inches and records and used them as my crutch for the long walk to high school (actually it was only a 3/4 mile walk, but still). This band is Inside. Inside, based out of Lindenhurst, NY on Long Island, was a late 90’s emo band compared favorably to Mineral and Sunny Day Real Estate. Powerful and impressive vocals, thick guitar work, panning in and out of both ears beautifully, and some of the most well written emo lyrics I have ever found myself singing outloud in my car. I know the “emo” word is a label people stray away from these days, but Initial Records cited these lads as single handedly introducing the genre to the underground masses that eventually took over the late 90’s early 2000’s.
“7 Inches to Wall Drug”, released in 1998, was a compilation of their 7” releases spanning the first three years of the bands birth. The second I spun “Stumbled on a Penny” on my record player I was hooked. That song still gives me chills. The recordings arent the best quality but you can feel it. Inside’s last release, “My Funeral”, was the band’s swan song before disbanding in 1999. I still look to this record for inspiration because it’s just a gem. Production, guitar work, vocal tones, ups and downs, balads, breakdowns… it has it all. After the breakup, Inside went on to form bands like Blood Red, Babyteeth, Tinsips, Dearly Departed, The Movielife, and Taking Back Sunday. If you’ve never had a chance to check out Inside, please do now. Enjoy!
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Polymaths - So Long Castle Road EP
(http://b1.ac-images.myspacecdn.com/02096/18/55/2096785581_l.jpg)
In case some people didn't get the superb pop-rock record from this Canadian band, featuring the wailing of JohnnyC if I remember correctly.
http://www.M/F.com/?25fi6n5l5zknn30
Some more post-dubstep. Here are a couple of EP's/singles by XXXY and Kähn.
XXXY - Every Step Forward EP
This XXXY thing is pretty good.
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DAN! o/
I had that on my old laptop and could never track down another copy when it went kaput. IIRC, Johnny's on the track about being a lumberjack or something.
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[Polymaths snippage]
What ever happened to them? All I found was a reference on their Facebook page to them being "now defunct."
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Red Sullivan - The Bridge EP
(http://img.photobucket.com/albums/v322/azurasstar/1006383628-1.jpg)
Some young dudes in NYC apparently have nothing better to do than to make some decent tunes and publish them on Bandcamp (http://redsullivan.bandcamp.com/album/the-bridge).
http://www.M/F.com/?q6u83i3u6dzbre3
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fuck that Polymaths album is really good
don't know why i didn't listen to them sooner
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Angels of light = mind blown/in some sort of fugue state
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40 Watt Sun - The Inside Room (2011)
(http://cdon.eu/media-dynamic/images/product/music/vinyl_lp/image0/inside_room-14001374-frntl.jpg)
http://www.M/F.com/?wj91pv2gb89lp42
Sounds like: Absolutely incredible melancholic doom metal. Very stripped down, much like classic doom, but saturated with intense emotion. Pretty amazing stuff, I highly recommend it to fans of metal, or rock music, or music in general, or I guess any kind of audible sounds
Here is a youtube link (http://www.youtube.com/watch?v=5IEvmtSxfuI) to convince you
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O'Death - Head Home
(http://ecx.images-amazon.com/images/I/51qgG4Li%2B3L.jpg)
Excellent, furious, fairly lo-fi, foot-stomping folk.
http://www.mediafire.com/?x0wr5135v3366l4
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seems i've fallen out with you, uploady thread, but here's a couple things i've uploaded for friends that you could use
the minders - it's a bright guilty world (2006)
(http://youaintnopicasso.com/images/minders.jpg)
classic elephant 6 shit. this one is my favorite minders
http://www.M/F.com/?e2ywaudti3rs6fa
the golden dogs - coat of arms (2010)
(http://stickymagazine.com/contentmedia/images/album-covers/2010/the_golden_dogs-coat_of_arms.jpg)
the golden dogs are awesome. this album features some incredibly precise, well-balanced, finely tuned arrangements. they're not quite "pop" since they can let their guitars rip when they want 'em. very well-crafted, lots and lots of energy. i put up their older albums too in past threads and well okay i'll just put up big eye little eye too because it is my favorite
http://www.M/F.com/?41zq6h63eg94agh
the golden dogs - big eye little eye
(http://upload.wikimedia.org/wikipedia/en/b/b0/Beye_leye.jpg)
this is the shit they destroyed the troubadour with when i saw them open for sloooooooaaaannn in 2008. changed my life
http://www.M/F.com/?dizdnxztjze
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O'Death - Head Home
[img width=300 height=300]http://ecx.images-amazon.com/images/I/51qgG4Li%2B3L.jpg[img]
Excellent, furious, fairly lo-fi, foot-stomping folk.
http://www.M/F.com/?x0wr5135v3366l4
You sir, i love you.
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That Golden Dog stuff is pretty rad, thanks
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Low - C'mon
(http://assets4.subpop.com/assets/images/main/8501.jpg)
http://www.M/F.com/?7harjb6tu1r7zxp
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oh my
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Have A Nice Life - Deathconsciousness (2008)
(http://averyisland.files.wordpress.com/2010/05/haveanicelife-deathconsciousness1.gif)
I’m in a big shoegaze mood […] this could just be the pick of the contemporary bunch. Ambient, woozy, considered shoegaze. No massive speaker-exploding noises. If you felt so inclined, you could apply the term ‘post-shoegaze’ to them to be pretentious. Up to you.
How my mate described this album. He’s probably right y’know.
http://www.M/F.com/?aemkq2ynzwg
There's definitely shoegaze influence, but it's not shoegaze. I feel like simply labeling it as that really undermines what they do on this album. Anyway, band is amazing and so creative, and if you enjoy this record, get Voids and Time of Land too. The former is two of their older EPs compiled, and Time of Land is a newer one.
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oh my
Is it the webrip?
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31Knots - Trump Harm
(http://i.imgur.com/zeTmx.jpg)
http://www.mediafire.com/?htda8h0z465lf5h
Bonnie "Prince" Billy & The Cairo Gang - Island Brothers
(http://i.imgur.com/Lfdxf.jpg)
http://www.mediafire.com/?1as5lxuc7fo5dmz
Computer Magic - Electric Fences
(http://i.imgur.com/7phiJ.jpg)
http://www.mediafire.com/?1v09ikbsw26ssjf
The Mountain Goats - All Eternals Deck (234 VBR, 70MB -- dunno, assuming it's better quality)
http://www.mediafire.com/?5vap8mvvej36abw
Felix Cartal - The Joker [EP]
(http://i.imgur.com/1PQbz.jpg)
http://www.mediafire.com/?835tivelgicn0w6No idea why, but I've had "The Riddler" in my head for like 2 days.
(http://i.imgur.com/Rjrpg.jpg)
?*cough*
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Tape - Revelationes
(http://img852.imageshack.us/img852/2493/333m.jpg)
Since 2008's gorgeous 'Luminarium', Swedish troupe Tape have been holed up in their Summa studio in Stockholm, studiously busying themselves hand-crafting a follow up. And what a sequel it is; 'Revelationes' is everything you would hope for from the band and more, finding the well-worn sound of brothers Andreas and Johan Berthling pushing into darker, more downtrodden territory. The overwhelming prettiness of Tape's back catalogue has been pushed aside; echoes of Slint's genre-defining 'Spiderland' haunt the opening notes of 'Dust and Light', but when the signature organs and electronics finally make an appearance it is a markedly more subtle and melancholy affair than we might have expected from the band. 'Revelationes' is somehow deeply sad and incredibly affecting, but is a record flecked with hope - the curiously uplifting vibraphones, wavering theramin and jazz-tinged drums offering an occasional and much needed counterpoint to the mood. The band have refined their craft over an enviable selection of full-lengths, and 'Revelationes', which clocks in at an economical thirty-two minutes, is easily their most focused to date. No song drags or outstays its welcome, instead their pieces are pointed and enjoyable, bringing to mind Tortoise at their very best. A beautiful album - Highly Recommended
http://www.m/f.com/?r5uqk3se59h7d2e
Mandelbrot & Skyy - OD - Axis
(http://img864.imageshack.us/img864/1323/333ju.jpg)
Mandelbrot & Skyy is a new horizon for Jeffrey Witscher (Rene Hell) and Daren Ho (Raccoo-oo-oon), a pair of busy heads with a stack of ace releases for NNA Tapes, Type Records and Yellow Swans in the last year alone. We'd imagine 'OD-Axis' is the kind of horizontal, skyward-gazing gear you're meant to listen to after imbibing the cyber disco of their recent, and very, very ace Cuticle 12" on 100% Silk (don't sleep on this one!). These four tracks form their take on the kind of patched harmonic cross-hatching and bubbling rhythmic cadences of the neo-Kosmiche sectors, only with a more melted, malleable construction and richness of detail that escapes many of its practitioners. Frontside they gently depressurise with the glowtone cadence of 'System R' before suspending us in a hybrid simulation of OPN and Belbury Poly-like harmonic dissonance with 'Sirocco' and lolling out to the lysergic synth noise of 'TT Races'. B-side 'Monte Carlo' is more substantial, an intrepid multi-dimensional voyage navigating through the Schulze constellation via E.M.A.K style electromagnetic pulses and eventually being consumed by an epic black hole and spat out somewhere in the skies over the North Rhein. Excellent.
http://www.m/f.com/?88tm9m2ie9xddnw
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R.E.M. - Collapse Into Now
(http://img.photobucket.com/albums/v322/azurasstar/REM_-_Collapse_into_Now.jpg)
http://www.M/F.com/?mzf9bbwyytxc1p4
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The Fags - E.P. (2002)
(http://3.bp.blogspot.com/_aNTsUIQhmf0/SLb95-Z7XbI/AAAAAAAAA30/S39KLSFtKL4/s320/The+Fags+-+The+Fags+(EP)+-+2002.jpg)
http://www.M/F.com/?docfk05jjhoy4qq
This is such a guilty pleasure. 5 songs. Set aside your music snobbery. It's absolutely worth it. You will not be able to help liking these songs, at least that's been my experience - even if there is a part of me that wants to resist their pull. They all have incredibly infectious melodies, and Ms. Take in particular has this ridiculously large chorus that you can't resist shouting along to.
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Parts and Labor - Constant Future (320 KBPS)
(http://consequenceofsound.net/wp-content/uploads/2011/03/614fzJJkXML._SS500_1-260x260.jpg)
The band has a fun, physical sound, and they never once move away from that sound on Constant Future. That's a formulaic approach to writing an album, but it's an approach that works; every one of this band's albums is worthy of hard-drive real estate. Constant Future doesn't much build on previous albums, stylistically or qualitatively, but it displays a group of now-veteran dudes who know their strengths and who never stop playing to them. There's a lot to be said for doing one thing and doing it well, and that's what Parts & Labor do here.
http://www.M/F.com/?h2o56b4m3i0toh3
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Ancient Methods - First Method
(http://img864.imageshack.us/img864/5193/333cn.jpg)
Well, we truly have been blessed this year with some new classic emissions from the Berlin techno epicentre and here's yet another set of tracks reminding us just why this music has us all so rapt, week in week out and so shamelessly addicted. Killer squashed techno, music for underground spaces and resonant chambers, apparently sourcing from two shadowy associates of the mighty Tresor, appropriately enough. After some deliciously spooked soundscaping on the intro, one rude assed rhythm just lands squarely dead centre, as huge warehouse ready sounds are allowed to interfere and then amplify the drive and flow of this truly large piece. Drop the needle on the b side and instantly fond memories of classic Dynamo productions spring to mind, not that this is the work of the Erosion maestro, but still the level of production is right up there - dirty, militant techno with bass capable of dismantling buildings, The second cut is crispier and royally crushed, a wicked track for cutting up - all round essential purchase.
Ancient Methods - Second Method
(http://img151.imageshack.us/img151/4332/333vs.jpg)
Supreme industrial techno heavyness from the shadowy Ancient Methods imprint. Following in the leaden footsteps of the first 12" on the label the well cloaked techno figure behind the series continues to produce some intensely dark and underground techno gear strictly for the purest heads with four tracks ranging from pitch black mechanical 4/4 to Female style polyrhythmic shakers and onto floor smacking Surgeon alike standards, all edited in line with the Berlin minimal commandment of less is more. This is quite possibly some of the heaviest gear this particular producer has come up with in a long time and most definitely his most club/floor dedicated tracks in an age so you know you really can't be missing out on this sick slab of wax. Awesome.
Ancient Methods - Third Method
(http://img705.imageshack.us/img705/5273/333vv.jpg)
Pitch black techno war funk from the Ancient Methods crew, enlisting the help of darkside uberlord Regis (or is it Female??) on a Ugandan Method mix. A little digging around has recently revealed the AM crew to be affiliated to Berlin's Tresor club, updating the legendary spot's heritage of darker-than-thou teutonic techno with a grimier and modernised production palette, but still resolutely sounding like it could only come from Germany. The Ugandan Methods mix of 'Else' is pure darkside punishment of the variety you'll come back to time and again like a gimp begging his mistress for a beating, reconfiguring the pummeling flow with slanted snares and a darkly funked flavour. The original mix is what the ogres from LOTR listen to on their iPods before mooching off for a slay, oppressive and brutally irresistable techno boshment of the highest order. 'White Flames' on the flipside is an experimental edged pain inflictor for fans of Kareem, Downwards, or the Pom Pom crew, rousing kinked rhythms, forged with a serrated metallic edge of heavy industrial atmopsherics. Think studs, sandpaper, and strong drugs. Tip!
Ancient Methods - Fourth Method
(http://img847.imageshack.us/img847/5669/333f.jpg)
It's hard for anyone into harder techno to contain their feelings about Ancient Methods right now. In the space of four releases they've become the most talked about and exciting act operating in that resolutely underground style, delivering an uncompromising dose of the tough stuff for those that need it. 'Fourth Method' continues their trajectory into the nether regions of techno with three brutally funky doom rhythms, from the extended siege on the A-side forging skull smashing snares and boulder rolling kicks, to the plague of rhythmic noise and final march to victory on the B-side. You know what you're getting into. Exceptional stuff. Highly Recommended!
Ancient Methods - Fifth Method
(http://img864.imageshack.us/img864/120/333k.jpg)
An absolute masterclass in PROPER industrial techno from Berlin's Ancient Methods. Following their mindblowing Fact mix, Baeks and Trias don't muck about, dropping the sort of totemic techno tools that make grown men and women dance like they mean it. The A-side unloads ballistic kicks with overtly funky reverse edits and of course, lashings of barbaric noise, while the flip churns up martial marching beats pecked with the stentorian command of "Groovy" followed by another slamming heavyweight full of twisted metal riffs and pneumatic rhythms. You know what you're letting yourself in for, and it'll make you grin like a loon.
Some pretty amazing Productions by these guys.. Deep, dark (industrial) techno. Enjoy!!!
http://www.m/f.com/?k5663w8kg1nfckv
http://www.m/f.com/?kpn5zllcjq2g8zj
Function - Immolare / Falling The Same Way
(http://img96.imageshack.us/img96/923/333ir.jpg)
*Marbled white vinyl* Function serves two masterful live mixes of tracks from Sandwell District's majestic 'Feed Forward' album, recorded in Japan last year. Captured in Osaka, the A-side features the three sections of 'Immolare' dynamically shuffled and resequenced with a deft sleight of hand, while the flipside bears a rework of the elegiac 'Falling The Same Way' recorded in Tokyo's legendary Dommune club, it's dramatic impact enhanced with extra spacious, layered detailing and gracefully augmented rhythms. The label have pushed the boat out some for this one, too, with special die-cut sleeve and label artwork, not to mention the marbled vinyl!
http://www.m/f.com/?6wnjwcxb81p8xw8
Sandwell District - Feed Forward
(http://img863.imageshack.us/img863/2692/333b.jpg)
FINALLY! Sandwell District unleash the most anticipated techno album of the last twelve months, an inspirational double clear vinyl plus bonus 7" and fanzine affair executed to the highest standards. If you're of a technoid persuasion the label and its co-conspirators Karl O'Connor (Regis), David Sumner (Function), Juan Mendez (Silent Servant), and Peter Sutton (Female) will need little introduction, but if you're not au fait, they're basically the vanguard of contemporary, dark and electronic dance music. 'Feed-Forward' was originally conceived by Juan Mendez as a fanzine showcasing his artwork found on the SD tumblr site, but the idea expanded into a full length LP (never to be released digitally) featuring contributions from each of the label's core members, whose collective work has formed one of the most important, principled, and disciplined bodies of techno music in the last decade. The scope of their mission is divulged in the three opening movements of 'Immolare', gliding in from blank-eyed coldwave ambience to a passage of body-throbbing bunker techno and fading out to glacial strings. Those strings are a prominent feature for much of the set, adding an elegant balance to the robust, ERP-on-2CI sweep of 'Grey Cut Out' and imbuing the album's emotive peak 'Falling The Same Way' with an utterly sublime sense of dancefloor suspension. We'll leave the rest for you to discover but we've gotta be a little bit sly and say that two of the best tracks appear on the limited edition 7" included. The two sides of 'Readymade' drop the beats to leave awe-inspiring feats of resonant kosmic 2010 ambience, the likes of which you're never going to hear anywhere else. Sorry! In all, this is a milestone for pure and uncompromised electronic music and comes strongly recommended - blink and you'll miss out.
http://www.m/f.com/?3upa1uttjjy7gim
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A little bit of Acadian Hip-Hop. I've been listening to these two albums a lot these days.
Cliché Hot - Radio Radio
(http://img146.imageshack.us/img146/2394/8607300c.jpg)
http://www.mediafire.com/?gd8uguko57owp8yFirst LP by this hip-hop quartet. Very electronic. Instrumentation is basically just synths and drum machines. Standout tracks: Forme Elliptique, Cliché Hot, Baisse Les Lights.
Belmundo Regal -- Radio Radio
(http://img850.imageshack.us/img850/865/belmundoregal.jpg)
http://www.mediafire.com/?g0asbb0jhe7a3avLatest LP by this group, now a trio, with MC Timo's departure. More variety in the sounds. Unlike the first one, which was more party-oriented, this album is much more chill. Standout tracks: 9 Piece Luggage Set, Dekshoo, Sur La Galavante, Kenny G Non-Stop.
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Mogwai - EP+2
(http://i.imgur.com/dDhhc.jpg)
Way more interesting to listen to if you've already scooped Young Team, since it touches on the same sounds and themes. This is the American distro copy, without the other four bonus tracks on EP+6.
http://www.mediafire.com/?n74tkusf0n6kogq
Mogwai - Government Commissions: BBC Sessions 1996-2003
(http://i.imgur.com/GY9Rr.jpg)
Really phenomenal sound in these "live" radio versions. You can actually hear the dudes twiddling pedal knobs for effect, really gives the album an analog feel.
http://www.mediafire.com/?u6ruku578j6cyxz
Mogwai - Kicking A Dead Pig + Mogwai Fear Satan Remixes
(http://i.imgur.com/xX3Wo.jpg)
Mostly hit-or-miss here. Kicking A Dead Horse is generally pretty good to splice with the rest of yr post-rock collection, but a few of the Fear Satan mixes are downright awful. This was burned from the Jetset-issued release, which has a few more tracks than the earlier release and is a lot harder to find.
http://www.mediafire.com/?jwjvi2325n75fju
Mogwai - Ten Rapid
(http://imgur.com/exdGV.jpg)
Really quiet mixing, but Helicon 1 & 2 are easily some of Mogwai's best work.
http://www.mediafire.com/?n66dbnddtanhj9o
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Ancient Methods
These are absolute quality. Cheers 8-)
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Parts and Labor - Constant Future (320 KBPS)
(http://consequenceofsound.net/wp-content/uploads/2011/03/614fzJJkXML._SS500_1-260x260.jpg)
The band has a fun, physical sound, and they never once move away from that sound on Constant Future. That's a formulaic approach to writing an album, but it's an approach that works; every one of this band's albums is worthy of hard-drive real estate. Constant Future doesn't much build on previous albums, stylistically or qualitatively, but it displays a group of now-veteran dudes who know their strengths and who never stop playing to them. There's a lot to be said for doing one thing and doing it well, and that's what Parts & Labor do here.
http://www.M/F.com/?h2o56b4m3i0toh3
Really been enjoying this one.
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Dinah Washington - Dinah Jams (1954)
(http://4.bp.blogspot.com/_gll7QOKMt3o/TTTv0kTOKyI/AAAAAAAAAWU/-2TX2Le64tM/s1600/albumcoverDinahWashington-DinahJams.jpg)
I love spending lazy Saturdays reading and listening to jazz, and this is such an incredible album; the arrangements are perfect, and that voice will just blow you away.
http://www.M/F.com/?d1m34zhao0o9agj
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Ready To Die(Remaster) - The Notorius B.I.G.
(http://3.bp.blogspot.com/_5O3j7IGet7M/TTtl-jx3ptI/AAAAAAAAAhs/5zjxFRnk1qg/s1600/BIG.jpg)
http://www.mediafire.com/?vq663j5vn6audua
Have some Biggie Smalls to go with your Nas
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Yoshimio- Bor Cozmik (2009)
[img width= height= alt=Yoshimio Bor Cozmik]http://img24.imageshack.us/img24/4816/yoshimioborkozmik.jpg[/img]
Yoshimi of Boredoms fame occasionally releases solo albums in addition to her side-work in OOIOO. The last two came out under the moniker: Yoshimio, and this is the second one of them, which was released at the same time as Super Roots 10. There's about ten minutes of tribal drumming and chanting, followed by 25+ minutes of field recordings overlayed with electronic ambience. Not the most accessible thing, but if you're in the right mood it's fairly transporting. This disc has proven very hard to come by on the net. I imported it from Japan, and present it to you as an apple lossless file. I know lossless is a bit of a pain to download, but as this file and cd are not commonly available, I wanted to provide it in format that can ultimately satisfy everyone who wants it.
good review here:
http://www.jrawk.com/Content/Y/yoshimio/bor.html
part 1http://www.m/f.com/?35i7u5226ee53g2part 2http://www.m/f.com/?9p7ucd0540s6jcypart 3http://www.m/f.com/?h7nitiys6l83m4v
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The Fags - E.P. (2002)
If that's the pre-Gogol Bordello band with Eugene Hutz, I've got a full LP on iTunes.
I was uploading this mostly for Scarychips, but here, the rest of you:
Mikey Erg - untitled EP
No album art, no title. Just a heart-shaped 12" with two songs on it.
http://www.M/F.com/?t58i5lyqdj7dne8
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Explosions In The Sky - Take Care, Take Care, Take Care (2011)
(http://www.post-rock.ro/images/cover/explosions_in_the_sky-take_care.jpg)
This will make Monday morning so much more bearable.
http://www.M/F.com/?hme0vhqpav9c0hp
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good page break
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I'm pre-ordering this and I really fuckdamming hope I get colored vinyl.
edit: and ladies and gentlemen, as a refresher course...THE RULES
Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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OH SHI
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I'm pre-ordering this and I really fuckdamming hope I get colored vinyl.
If you do it soon, you will. The way the TRL website works, when colored vinyl sells out they remove mention of it from the release page. Since the page for this still mentions colored vinyl as an option it's still in stock. I'm on the fence after hearing this. I wasn't going to get the vinyl since I can't really spare $30 but it's actually really good so I kinda want it now...
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man i preordered it at like, 9am right before class the day the preorder went up. +10 dork points wutup.
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wow, nice surprise
Childish Gambino - Freaks and Geeks EP
http://www.M/F.com/?g84qp6gjc5xec33
This is actor/writer Donald Glover's latest EP as his hip-hop moniker. This is seriously good shit and far beyond novelty like I was partly expecting. Some amazing word play with really nice singing and a bunch of sick synth breakdowns, it's got it all. Give it a shot and be surprised.
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YEAH WELL I LITERALLY WAITED UNTIL 1AM WHEN THE MONTHLY UPDATE EMAIL WENT OUT TO PREORDER IT AS SOON AS POSSIBLE I am the worst person
In other news, this is a really great album.
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hah, people always flip out over TRL colored vinyl for some reason, as if it's going to sell out in a matter of hours. 500-1000 copies is a lot for most bands out there. The new Grails vinyl which came out weeks ago is still around in color, for example.
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yeah, I have noticed that the colored versions of most of their new stuff sticks around for at least a month or two if not more. I was just already up when they posted it. lol
Let Me Back In is a SONG you guys. It is a serious jam.
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(http://img855.imageshack.us/img855/6855/333t.jpg)
Point B - Off The Beaten Track / Three Colour Vision
New Point B from the oddly named Frijsfo Beats imprint, which seems to be a meeting ground on the IDM / garage borderland and home to singles from PB, Sully, and (most recently) Geiom. PB keeps it pretty close to the classic dubstep sound, all sewer-dwelling bass and harsh, snappy percussion with a niftily understated eastern IDM melodicism. The A is really brilliant.
Minimal dread steppers and electro carvings from adopted Londoner, Point B. 'Off The Beaten Track' is a dread derivé into subterranean Reese bass and suspended, Raime-like rhythmic programming. 'Three Colour Vision' is an icy slab of body-grappling future electro funk.
http://www.mediafire.com/?4bwh3mapkp33ypj
(http://img703.imageshack.us/img703/4691/333g.jpg)
Sorrow - Existence EP
L2S was one of the first labels to win my continued support and their strain of garage futurism has always been a lighter pleasure for me. Sorrow makes busy and lush grage, like FaltyDL in his prime with little bits of vintage Future Sound of London sewn in. Bewitching stuff, in the running for the best the label has ever provided...
L2S present the debut single from Birmingham's Sorrow. The four tracks of his 'Existence EP' are defined by intricate, scissoring 2-step syncopations and a taste for richly jazzy melodic textures, augmenting the aesthetics of Burial or old skool MJ Cole to his own melancholy agenda.
http://www.mediafire.com/?01dsaq9azfly7zn
(http://img850.imageshack.us/img850/2248/333l.jpg)
Boxcutter - Allele
Boxcutter was making jazz-leaning dubstep back when the scene was dominated by greyscale urban minimalism, and he continues to follow his passions well past the point at which his style became fashionable. The production on these tracks are just insane, really deft dubby programming (BC's always had a way with reverb but he outdoes himself here). These are definitive statements.
Preceding his killer new LP (trust us, it's ace!), Boxcutter drops album highlight 'Allele' backed with the exclusive 'Other People'. The title of the lead track is a reference to gene mutation and that's exactly what he's doing inside, splicing and morphing strands of bobbling Footwork toms with dubbed out techno stabs and jagged hardcore jungle breaks in classic Boxcutter style, only this time he's removed the polished veneer to reveal a rugged, sinuous mass of dancing muscle and bone. 'Other People' is also shy of any overworked post-production adornments, but it's a mellower affair, an archetypal BassJazz fusion freed to do elegant swan dives and move around the sound sphere with a spectral elegance. Ace!
http://www.mediafire.com/?pvoz8opzujp2s79
(http://img96.imageshack.us/img96/6499/333aym.jpg)
Angel Eyes - Dire Dish
Australian lo-fi dub guitar work that immediately brings to mind Forest Swords, but distinguishes itself over time with distinctly desert-hued texture.
Magical transmission from Melbourne's Angel Eyes aka Andrew Cowie. Sourced by the relentlessly fascinating NNF label, 'Dire Dish' originally appeared on cassette sometime in 2010 loaded with 36 minutes of slow-droning, bluesy synth and twanging desert guitars, occasionally with vocals like a more solemn Forest Swords, Sun Araw, or Ian Curtis on too much codeine, and always with heavily evocative loner vibes. Funnily enough for someone from somewhere so hot, he's really got the drizzly, northern hemisphere ambience of Forest Swords (but then again, he's got the southern desert guitar thing going), and the warbly, tape-degraded synth fluctuations of BJ Nilsen, all bathed in an eternal twilight vibe regardless of geography. Because eventually it turns to night everywhere. There should be some more of this stuff coming out on Totem Tapes by now. You'd do very well to keep an ear out for that - this is very very good.
http://www.mediafire.com/?5dy6pjndizl0319
(http://img508.imageshack.us/img508/161/333cc.jpg)
Jon Lemmon & Coco Bryce - Furrr
Noted skweee operator backs up some guy named Jon Lemmon for some pulse-pounding motorik IDM surprisingly light on skweee quirk. Like Nathan Fake at his poppiest, or Alias at his least florid.
New Zealand's Jon Lemmon links with Dutch producer, Coco Bryce for a melodically charged indie IDM-meets-electronic HipHop session. Lemmon's original 'Furrr' is a curious thing of indie ecstasies spun with some cooler groove control on the Coco Bryce remix, while Bryce's own 'Lights' is like some spiraling downbeat Kraut-hop cut and 'Turquoise' consolidates their two worlds with equal doses melodic energy and woozily compressed Hip Hop drums.
http://www.mediafire.com/?0msp3djqooecok1
(http://img696.imageshack.us/img696/6280/333ex.jpg)
Emanuele Errante - Time Elapsing
Gorgeous electro-acoustic symphonic compositions, akin in tone to Nest or Eluvium. "Leaving the Nowhere" is the Town music to a new Diablo game, "Dorian's Mirror" is like slow-motion Lexaunculpt (which is to say, very slow, somewhat glitchy melodic IDM). Incredibly deep and sonically varied. Absolutely beautiful. So, so good.
Italian musician Emanuele Errante’s debut album ‘Migrations’ was something of a revelation, taking the shadowy template thrown down by Deaf Center and Marsen Jules and giving it a blissful, almost-hopeful focus. It’s been four years since that debut, and in the interim Errante has been busy collaborating with Dakota Suite and crafting this, his sophomore solo work ‘Time Elapsing Handheld’. Those of you enamoured with his earlier work will likely be pleased that he hasn’t switched things up much, but rather he has focused and honed his talents to create a work of pastoral, cinematic beauty. Fellow member of the drone elite Simon Scott also pops up for album highlight ‘Made To Give’, which adds a viscous low-end to Errante’s light string-laced textures. Scott’s involvement fills out the song and gives it a weightiness that provides a welcome counterpoint to the album’s fluttering acoustics. Elsewhere ‘Memoirs’ brings echoes of Steve Reich and Harold Budd with it’s delicate repeating phrases and haunted piano sounds. Gorgeous.
http://www.mediafire.com/?0dtd1b6dtl1zf71
(http://img713.imageshack.us/img713/6446/333ls.jpg)
Indigo - Zero Point EP
At the intersection of dub techno and dubstep goes Indigo, reminding me a lot of Distance in his prime, minus the mightily bro-ful guitars. Harsh percussion, bottomless reverb, the perfect soundtrack for a night out in your major city's deserted industrial district, lit up by cold, yellow lights. Approaches Tri Repetae-era Autechre machine beauty on "Connections".
Indigo returns to the fray in fine style with a double pack of robust new material including two Synkro remixes. 2010 was a quiet year, release wise, for Indigo, but in the last few months alone he's appeared on Exit's excellent 'Mosaic' compilation and remixed Illum Sphere for Tectonic, both building anticipation for the 'Zero Point EP'. Inside, you'll be glad to know, he's as versatile as ever, stepping between tempos and vibes with a beautifully overarching and deeply soulful agenda. The first plate scans uttural, clinically arranged halfstep on 'Creep' and dextrous, darting Dubtech on 'Connections', before launching into dBridge mode for 'Zero Point' featuring the ethereal holler of Poppy Roberts and the turbulent Tech-Funk of 'Event B'. On the 2nd platter he brings the real TECH-House on 'Fallen', and deepest Northern cyber-soul on 'Tears VIP', both backed with Synkro's agile 2-Step remakes. Ultimately, in a scene sometimes stifled by homogeneity, Indigo's non-standardised and passionate music stands out a mile. TIP!
http://www.mediafire.com/?zwzui2obfgo0m21
(http://img856.imageshack.us/img856/8079/333a.jpg)
Millie & Andrea - Temper Tantrum / Vigilance
Irresistible (for some, anyway) jungle-y garage, neatly foretelling Andrea's foray into Footwork and Juke later on. Great, hard rhythmic dance tracks. Great use of iconic tubular bass sound in both.
Third limited edition transmission from the Daphne label, once again finding covert operators Millie and Andrea nudging the controls further into the red with two squashed and deadly killers primed for the dance. Andrea takes charge of the A-side with a raved-up low-end wrecker complete with big f*ck-off sunset strings and a tumbling break that's one half junglist hardcore and one half peak-time dubside anthem. Millie, meanwhile, delivers a spacious woodblock destroyer on the flip, channelling Martyn and T++ with radiant blue chords and murderous stabs before a frenzied analogue bassline lets itself loose nudging towards the end. Pure dancefloor ruffage with a funked up heart - Massive twelve!
http://www.mediafire.com/?e022bbbp4ir332b
(http://img64.imageshack.us/img64/283/333iyz.jpg)
Baobinga / Hyetal - Anything For Now / Trouble
Curious and exciting collaboration between old Breaks hand / current UK Funky devotee and Hyetal, aka the best thing Bristol's short-lived "Purple Wave" ever produced. "Anything For Now" gets the best of both worlds here, with infectious island drum patterns married to crayon-bright synth oscillations and 8-bit arpeggios, with plenty of rave-ready bass to go around. "Trouble" is a heady garage rush, with a ramping call-and-response synthline and bulbous, staccato bass. Just as awesome as everything else Hyetal touches.
After sterling drops with Shortstuff and Peverelist respectively, Hyetal goes in hard with Baobinga for Build records. Both tracks bear his signature light show of lazered synth excesses, alloyed with heads-down charging tribalism on 'Anything For Now' and coating the Beat mechanisms of 'Trouble' with technicoloured electro-static funk. Fierce tunes - big twelve.
http://www.mediafire.com/?fllxke2zp2jahbe
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(http://img232.imageshack.us/img232/3269/zencd163.jpg)
Wagon Christ - Toomorrow
New Vibert aaaaaaaa! Most of the time it's a little too similar to the stuff Vibert releases under his own name and tends toward too-cuteness and Avalanches-esque sampling, but the best tracks here (particularly the "proper" album closer "Mr. Mukatsuku") really capture that strange bittersweetness of classic Wagon Christ. Worth a listen in any case!
Like a good cup of tea or a Crunchie, you always know what you’re in for when you’re lucky enough to get your hands on a brand new Wagon Christ album. This is Luke Vibert’s umpteenth record under the moniker, and since the classic ‘Throbbing Pouch’ all those years ago he’s had a certain section of the listening public literally weeing themselves for fresh material. It’s no slouch either, within seconds the avalanche-like tumble of samples sets ‘Toomorrow’ up to be everything you want from a Vibert record and more. Vocal snippets and familiar boom-bap references form the album’s rusty anchor, but Vibert manages to shoehorn in so many genre nods it’s hard to keep up at times. I can here Drexciyan tones in the creepy acid standout ‘Manalyze This!’, the kind of disco goodness last heard on Vibert’s Kerrier District records on ‘My Lonely Scene’ and Isaac Hayes-influenced Blaxploitation groove on ‘Respectrum’. It’s almost hard to keep up with Vibert’s ADD, but with his keen attention to detail, and most importantly his attention to solid grooves ‘Toomorrow’ proves to be a consistently rewarding sesh.
http://www.M/F.com/?99asnb57ktjbj44
(http://img571.imageshack.us/img571/9269/333iv.jpg)
Pearson Sound - Fabriclive 56
I generally prefer to have Fabriclives cut up into their tracklistings, but even as a solid block of music, the Pearson Sound (aka Ramadanman aka Maurice Donovan) Fabriclive session is pretty incredible. Dude's been at the forefront of leftfield juke / house / bass / whatever electronica for a year or two now and he brings his considerable talent to the fore here. Most of the work is divided up between Pearson Sound's many aliases, cutting edge UK House (Julio Bashmore, Joy Orbison, Girl Unit) and a sprinkling of classic dubstep. Get it.
http://www.M/F.com/?sswb55jkvbwk68r
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Boris - New Album[2011]
(http://i.imgur.com/DFunH.jpg)
http://www.mediafire.com/?nkq7m2g7w8k8uw6
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aw yiss
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Cool art
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This new Boris album is like...j-pop, Minus the Bear sounding shit, shoegaze, and dream pop. All at once. I love it.
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HEE-YEAAAAAAAAAAAAHHHHHHHH
Oh yeah hey, more Boris:
Boris w/ Merzbow - Klatter
(http://ihrtn.com/wp-content/uploads/2011/02/Boris-Klatter-300x300.jpg)
http://www.mediafire.com/?x5ay7e5giiwq3nr
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There's a new version of 'Naki Kyoku' on this? oh. oh. shit. this is big.
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(http://img30.imageshack.us/img30/1964/333ff.jpg)
FaltyDL - You Stand Uncertain
After some time in the wilderness, releasing a few albums' worth of same-y singles and EPs and dozens of remixes that seemed to indicate a certain level of creative stagnation, FaltyDL takes a great leap forward with his second LP for Planet Mu. It's as if the last two years never happened - Drew Lustman is really at the top of his game here, bringing back the jazz and IDM influences of Love Is A Liability / Bravery and even letting his secret love for jungle shine through a little bit (on the great "Lucky Luciano"). An absolutely thrilling and deeply varied comeback if there ever was one.
From beginning to end, Drew Lustman’s second album as FaltyDL draws you in and swallows you whole, submerging you into a world full of emotions, hidden meanings, flashbacks to times gone by and possible futures. In a recent interview with Martin Clark, Lustman discussed at length the emotional process behind this album, and evidence of this is clear from the first listen.
You Stand Uncertain is many things: a coherent album of dancefloor-minded electronic music (no mean feat in this day and age), a statement about the past, present and future of rave and its continuum and an insight into the mind of one of the most interesting producers to have emerged from dubstep’s worldwide rise to popularity. By this last statement I don’t mean that FaltyDL is a dubstep artist per se; rather that his music, for me, seemed to originally owe much to dubstep’s rekindling of its 2step roots and still does. The ghostly swing of classic 2step is still present on You Stand Uncertain, albeit in a more mitigated way than on his debut, Love is a Liability – this time round, the swing co-exists with more percussive, at times harsh, drum programming and break chopping as well as mellower, soothing 4×4 house vibes. Also present is another ghost of dubstep’s past, its often overlooked roots in jungles. Maybe the uncertainty hinted at in the title refers to the album’s shifting influences and hints of classic hardcore, rave and junglistic moments. It’s the kind of uncertainty modern music needs more of.
A particularly fascinating aspect of You Stand Uncertain lies in its use of classic samples, and the references these create in the listeners mind, willingly or not. Martin Clark called it a “Russian nesting doll of samples and signifiers”, in the interview aforementioned. Let’s (jokingly) call it post-post-modern; after all, there was always going to be a time by which the academically discussed post-modern element of sampling would itself become prime material for a new generation of producers to pillage. If sampling helped create feelings of euphoria and post-modern significance in the first generation of sample-based music, then what about the feelings evoked by the output of a new generation of producers who grew up with sample-based music and feel comfortable pillaging it for their own needs? How do you explain the feelings that Falty’s recontextualisation of old hardcore records, the Apache break, classic rave stabs and the Reese bassline, among others, evoke? Rave has come and gone, yet its impacts are still far reaching. It’s probably more than the average listener might think of, but it bears considering when evaluating Uncertain against the myriad of other music out there today, churned out faster than you can Google it.
‘Open Space’ is a prime example of what I mention above, a track that crams in a large amount of references while remaining perfectly enjoyable as a piece of music, with no need to further analyse it. At first I thought Falty had relifted Massive Attack’s flip of the Mahavishnu Orchestra vocal sample, yet after some research, it turns out to have been from a hardcore record called ‘Hold Me’. In some ways, this mistake speaks volume about the potential of sampling in post-rave dance music, and how effectively Falty exploits it on this album.
‘Lucky Luciano’ might well be the record’s finest moment, a percussive love letter to the halcyon days of rave and early jungle which Lustman admits to still being fascinated by. With more than a hint of the Reinforced aesthetic to it, if some post-jungle tag were to emerge, then it could do a lot worse than to take this track as its template. The reality, of course, is that there is no need for further post-anything to emerge, rather a need for education and understanding of the roots that producers like Lustman find inspiration in, and how these can be transposed to today and used to create beautifully enjoyable moments such as ‘Lucky Luciano’. And then you have ‘Voyager’, a haunting slow-mo house jam that wouldn’t be out of place in a Theo Parrish set.
Despite its title, You Stand Uncertain holds many certainties; the main one being that producers like Lustman are needed more than ever today to help map out electronic music as it emancipates itself from its late ’80s and early ’90s roots and continues to connect with a generation of listeners’ whose points of reference are often wildly different to those of the people making the music. There’s a potential for timelessness in this album, but that will only be ascertained by those making this judgement 20 or 30 years from now. What’s more important is the emotional potential this record holds thanks to its author’s attempt to place himself within the shifting sands of modern electronic music, looking at the past for inspiration and comfort while at the same time hinting at possibilities that make me shiver with anticipation.
http://www.M/F.com/?m6zpwpxcwbwmotw
(http://img864.imageshack.us/img864/7338/333hgi.jpg)
Joy O - Wade In / Gels
Joy Orbison exploded the UK dance scene with the delirious Hyph Mngo and proved to be immediately willing to leave that sound to the many imitators and admirers that followed in his wake, instead focusing on mining the resurgence of UK House music. This 12" is no exception. "Wade In" is a hard-hitting 4/4 stunner that jolts into a horror/cowbell breakdown before coming back with O's signature surging melody. "Jels" is a more atmospheric, handclap-driven affair, with a sumptuous early 90's house synth arpeggio and a gargantuan, vibrating kick drum. The best House from this guy yet.
The artist previously known as Joy Orbison ushers in an abbreviated name change on this killer 12" for HotFlush. Following the House-charged lead of his 'Ladywell/BB' disc earlier this year, 'Jels/Wade In' augments classic Chi-town and Detroit templates with a spunky fresh bin load of bass in hard-bodied style. Face up, 'Jels' drives nut-crushing kicks, industro-Funky cowbells and 'floor quaking infrabass under sprightly keys and persistent shuffles for that perfectly poised balance of pout and snarl, or sweet and light. Face down, 'Wade In' comes off like Kassem Mosse meets Green Velvet, downtown Chicago styles, where thunderous kicks entwine with pupil-dilating synthline in a teasing, gripping arrangement adept at rocking the biggest main rooms and sweatboxes alike. Oh, no doubt it's recommended!!!
http://www.M/F.com/?eeq2rlg4zpugd19
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There's a new version of 'Naki Kyoku' on this? oh. oh. shit. this is big.
It's just with Merzbow noising over them...but god that song is amazing.
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Burial, Four Tet & Thom Yorke - Ego / Mirror (2011)
(http://cdn.pitchfork.com/media/thom.jpg)
The Holy Trinity.
http://www.M/F.com/?ah1utanamdaf1wz
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Boris yes.
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Alex Winston - Sister Wife (EP)
(http://i.imgur.com/MAEQZ.jpg)
Listen to Locomotive right here (http://www.youtube.com/watch?v=1g_T1h62ybo), read a review right here (http://www.shutyourfuckingfaceandlisten.com/album-review-alex-winston-sister-wife)
http://www.M/F.com/?3njohn8pvch0i45
Tennis - Cape Dory
(http://i.imgur.com/oqUfJ.jpg)
Listen to Marathon here (http://www.youtube.com/watch?v=LsbXcJT8yfE), read a review here (http://www.prefixmag.com/reviews/tennis/cape-dory/45589/)
http://www.mediafire.com/?zojjg4t7598y4cl
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Boris - New Album[2011]
(http://i.imgur.com/DFunH.jpg)
http://www.M/F.com/?nkq7m2g7w8k8uw6
Does anyone else think this sounds like 30 Seconds to Mars?
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The Fags - E.P. (2002)
http://www.M/F.com/?docfk05jjhoy4qq
This is such a guilty pleasure. 5 songs. Set aside your music snobbery. It's absolutely worth it. You will not be able to help liking these songs, at least that's been my experience - even if there is a part of me that wants to resist their pull. They all have incredibly infectious melodies, and Ms. Take in particular has this ridiculously large chorus that you can't resist shouting along to.
Thank you for this fantastic EP.
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Do 30 Seconds to Mars sound like "...j-pop, Minus the Bear sounding shit, shoegaze, and dream pop?"
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Absolutely not!
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Does anyone else think this sounds like 30 Seconds to Mars?
You make that comparison again and I'll rip your nipples off.
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Architecture in Helsinki - In Case We Die
(http://cdn.pitchfork.com/media/441-in-case-we-die.jpg)
http://www.M/F.com/?58dwfd7b1o9x94x
I know this has been posted before, but I uploaded it for a friend tonight so I thought I'd throw it up here in case anyone didn't have it. Great album!
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Liars - They Were Wrong, So We Drowned (Mute, 2004)
(http://i55.tinypic.com/21dju5u.jpg)
http://www.M/F.com/?3nwt9ml9rrcxvso
In my opinion, this is Liars' best album. If you were turned off by it on its initial release, give it another chance. I would post a review, but the response was overwhelmingly negative, and the only positive review I could find was terribly written. So instead read this piece on Stereogum (http://stereogum.com/654462/double-take-liars-they-were-wrong-so-we-drowned/top-stories/lead-story/) about why the album should be reconsidered.
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Breton - Counter Balance EP (2010)
(http://www.ifmusic.co.uk/images/product_images/breton.jpg)
There's internetz rumours that Tom Vek is involved somehow with this project, just listen to the vocals...
http://www.M/F.com/?b9qb57zb5wwta29
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Burial / Four Tet / Thom Yorke - Ego / Mirror
(http://img843.imageshack.us/img843/6425/333vt.jpg)
*One per customer only.* Here it is, the one you've all been waiting for since, errrr, it was announced on tuesday! Thom Yorke, Four Tet and Burial have collaborated on two tracks, 'Ego' and 'Mirror' for Kieran Hebden's Text label. It's the second time Hebden aka Four Tet has appeared with Burial, again on a black-on-black vinyl/centre label/sleeve combo, and actually the 2nd time Burial has appeared with Mr Yorke, following his remix of 'It Rained All Night' a few years back. At a guess we'd say Mr Hebden had a larger hand in 'Ego', judging from the tinkled marimbas and purring beat, while Burial's influence is clearly apparent on the defined 2-step pivot and emotive impact of 'Mirror'.
http://www.mf.com/?c9uc9c2z3uiexib
Addison Groove - Work It
(http://img696.imageshack.us/img696/1808/333kdp.jpg)
Addison Groove (aka Headhunter - as if you didn't know) drops his 2nd 12" of Juke, Dubstep and Electro hybrids for Loefah's Swamp 81 label. 'Work It' deploys straight-up 808s in a straight-up Electro framework, shelltoes and Adidas ziptop almost included. Flip it and 'Sexual' rolls on a Jukin' vibe with plumper subs, flickers of hi-hat rhythms and an altogether more senuous vibe than the turbonator bounce of the flip. 180g vinyl comes housed in a head-turning sleeve of typical Swamp 81 quality.
http://www.mf.com/?f63cuign8oalld3
TRP - CS E.P
(http://img140.imageshack.us/img140/940/333dzh.jpg)
L2S drop yet another debut release this time from 4 piece group TRP.
TRP have exploded from the ether with a sound that will simply blow you away! Smoothly fusing Detroit Techno with Garage in such a way as to create an entirely new approach to Future Garage! Truly a collective to make your speaker smile!
“Tear Gas” has been gaining support from Whistla and Blackmass to name just a couple of high profile backers, with its smooth build and intense bassline this is a dancefloor smasher! Followed by “D’roaming” a more chilled and funky affair perfect for late night sets for the stamina clubbers. Third is “Outlaw” skirting as close to house and techno as possible whilst still retaining a “garage swing” this is a track you will hear all year in clubs the world over! Finally is “Squiggle”, a fusion of intense funky beats and bass with distinctive TRP overlays of outrageous melodies and soundscapes.
This release will break boundaries right across the “Bass Music” world, TRP have arrived!
http://www.mf.com/?sa0bt24q3k9tdje
Instra:mental - Resolution 653 LP Sampler
(http://img62.imageshack.us/img62/5942/333qn.jpg)
Nonplus maintain a relentless streak of form with this stunning sampler 12" for Instra:Mental's forthcoming debut album 'Resolution 653'. The duo's production values have never been in doubt but this time executed to a fierce degree. Face up, 'Thomp' operates like some Cyborg funk ritual, deploying Untold-style, cone-folding kicks and grazing percussion with earth-moving subs and minimalist splashes of airlock pressure synths. Face down, 'When I Dip' is a certified future rudeboy anthem (by the international association of future rudeboys, don't u know), a double 'ard electro rocker intensifying original New York, Miami and Detroit memes with a 2012 production palette. Check the samples - just so good. Highly recommended!!!
http://www.mf.com/?76n66a98d142cfp
Four Tet / Caribou - Pinnacles / Ye Ye
(http://img8.imageshack.us/img8/7609/333bd.jpg)
Finally here, the highly anticipated split from Four Tet and Caribou's Dan Snaith under his new Daphni alias! It lands on Four Tet's Text imprint, the label he reserves for specials such as this and his acclaimed Burial collab. In typical multi-tiered style, Hebden's 'Pinnacles' finds its groove in a shark-eyed spy funk intro before lurching into a swung 4/4 with multiple layers of bristling polyrhythms all rubbing against eachother in frictional harmony with an overarching, dextrous jazz looseness. Working as Daphni on the flip, Dan Snaith seduces us with a stomach-fluttering intro of tentative, padded bass and zither, kinda like Michael Mayer jamming with Larri G, before the bass takes control and your body is given to the darkly tinted jack. Basically, everyone is going to want a copy of this so act fast.
http://www.mf.com/file/seqmf835gsbxxxd/Caribou.zip
Lowtec - Wonderkidd - Looser
(http://img717.imageshack.us/img717/8573/333nos.jpg)
Workshop's Lowtec licks up two deeply dipped grooves to follow recent Nonplus heat from Actress, Boddika, and Kassem Mosse. He's an unexpected name to crop up on this label for sure, but the clip of his grooves makes total sense considering the label's current agenda. A-side features burnished, beatdown-vibing chords and samples alloyed to a crumpled 4/4 with a proper Berlin backroom meets smoky Detroit basement feel. Flip it for the killer, grumbling groove of 'Looser', maintaining a deadly tension with hovering, Shake-style string edits and a welting 4/4 jack guaranteed to shake the walls wherever it's deployed. So baaad! TIP
http://www.mf.com/?h8mgxt11082wehp
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grabbing eits, Alex Winston and Boris + Merzbow right now. Pretty great page!
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that Joy O 12" is the bomb! electronic music is happening in england at the moment!
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Yes, yes it is.
edit: Bonus upload as well as snarky comment! Here's Ramadanman's EP.
(http://img861.imageshack.us/img861/7868/cs155020902abig.jpg)
Ramadanman's self titled doublepack is his first of 2010 and only his second for his Hessle Audio imprint. Coming in quick succession after Pangaea's tremendous double EP and the smoking James Blake record it marks a maturity in the label, a confirmation of their status beyond purveyors of strictly dancefloor anthems. Ram's offers six tracks showing the breadth of his tastes and abilities, ranging from hardcore/jungle twisters - the emotive rush of 'Don't Change For Me' and the rugged 'A Couple More Years' - to craftily concatenated experimentalism on 'Bleeper' and a pair of fluidly futuristic riddims in the style of Untold on 'No Swing' and 'Tumble'. The jungle cuts are stylishly classic, lifting elements of Foul Play or Omni Trio and updating them with the Hessle polish, while those Untold-style tracks are just supreme, nailing that dynamic flex between maleable subs and cheeky blocks of percussion. There's a very good reason why everyone from Villalobos to Francois K and Oneman play Ramadanaman records, click the samples and realise!
http://www.mediafire.com/?3f8fuvjgi3mfvyp
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Funkadelic - Maggot Brain (1971) - 320kbps Vinyl Rip
(http://i.imgur.com/n7JDM.jpg)
Maggot Brain is the peak of the Funkadelic experience. The songs jam harder, the way out stuff is way fucking out there. Seriously, how many dimensions is Hazel traveling through on the instrumental title cut? His 10-minute guitar soliloquy is a spiraling model of the blues filtered through a psychedelic lens, and almost single-handedly places him in a realm with Hendrix, Jimmy Page, and Eric Clapton as one of the great classic rock guitarists. But it got better: "Super Stupid" was the tale of a dumbass junkie set to a tune Black Sabbath would have been proud of; "Hit It And Quit It" is a funk anthem where keyboardist Worrell gets his licks in and the beat turns around a dozen times before we hit the chorus; "Can You Get to That" is honest-to-whoever pop that showed Funkadelic could be serious from time to time, especially when it came to social commentary (and also featured Isaac Hayes' female background singers, giving it a classic soul sheen), and "Wars of Armageddon" (recently, wisely used by Optimo on the Psyche Out mix) is a knock-out-drag-down fight to the death between the world's best rhythm section and paranoid, psychedelic sound effects and crowd sounds. Maggot Brain was an explosive record, bursting at the seams with exactly the kind of larger than life sound a band called Funkadelic should have made.
According to legend, George Clinton, under the influence of LSD, told Eddie Hazel during the recording session to imagine he had been told his mother was dead but the rumor wasn't true.
The result was the 10-minute guitar solo for which Hazel is most fondly remembered by many music critics and fans.
Though several other musicians began the track playing, Clinton soon realized the power of Hazel's solo and faded them out so that the focus would be on Hazel's guitar.
Critics have described the solo as "lengthy, mind-melting" and the ending as "an emotional apocalypse of sound."
The entire track was recorded in one take.
http://www.M/F.com/?jlg3c6623c2zn2w
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J Mascis - Several Shades of Why (2011)
(http://onethirtybpm.com/wp-content/uploads/2011/03/J-Mascis-Several-Shades-of-Why-300x300.jpg)
http://www.mediafire.com/?id5n1109ci1y6gd
It's his first solo album of all original material and it's almost entirely acoustic. Here, the grey-haired 45 year old's weathered husk of a voice is close-mic'd, as if he's drawling mere inches away from your head at all times. And while he was rightfully dubbed "the first American indie rock guitar hero" by Michael Azerrad in Our Band Could Be Your Life-- and has backed that claim up with countless memorable solos-- the songs on Several Shades of Why are marked by background strums and finger-picking rather than spotlit wails. By using his own name and going with such bare sonics, it's reasonable to suggest that this album could be Mascis' most knowingly personal yet.
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Fabric - A Sort Of Radiance
(http://img844.imageshack.us/img844/3918/333km.jpg)
*First release on this hugely exciting new label from Emeralds' John Elliott and Editions Mego.* Chicago-based, Ohio-bred multi-instrumentalist, Matthew Mullane inaugurates the Spectrum Spools label with the spellbinding voyage of 'A Sort Of Radiance'. This is his debut album, and first release on vinyl but he's previously released cassettes in small runs on Fairchild Tapes and Stunned Records. The fact that he's skipped much of the ferric initiation/screening process should tell you that his music is of a more distinguished character than many trapped in the tape dream. He's capable of initiating vast astral dialogue between his machines of choice (we're not quite sure what he uses here - guitar and computer, possibly?), inviting us in to a "multi dimensional organism of sound that has perplexing depth and astounding detail" according to the label, and sublimely immersive if you ask us. Its structured around five longer compositions and slightly fewer vignettes, or palette cleansers for the epic sections. Those epic sections rove from dense, skin-tingling ultraviolet fog and cascading arpeggios of 'Leaving The House' to the HD synaesthetic phenomena of 'Light Float' and stereo-spiralling columns of synth movement on 'Soft Disconnect', all vividly rendered and deeply detailed while the shorter pieces allow for more condensed, dynamic ideas like with the woozy stereo swirl of 'Control' and the abrasive space-grit textures of 'Left'. Cut by Rashad Becker at Berlin's D&M, January 2011. RIYL Emeralds, OPN, or Rene Hell - don't miss!
http://www.mf.com/?4agua39c5gb1nj5
Sven Laux - Homesickness or Nostalgia
(http://img405.imageshack.us/img405/4149/33333jv.jpg)
You can always rely on Ezekiel Honig’s Microcosm imprint for some high-grade 4/4-based sounds. That said, the pulsing beats that form the backbone of many Microcosm releases are only part of the story, as these artists merely use techno as the starting point for their compositions. ‘Homesickness or Nostalgia’, the debut album from Sven Laux is no exception to this rule, and while the beats are prominent and pronounced throughout, the melodic content is more comparable with Shuttle 358 or even Tim Hecker (under his Jetone moniker). Just flip over to ‘Jackson’s Modern Bakery Coffee Shop’ and you’ll hear what I mean, while the pulse and urgency of minimal techno is present there is an emotional core that defies the initial sound and buzz. ‘Homesickness or Nostalgia’ is a complex, deep record that sounds almost obsessively composed and pieced together. Beats rarely repeat themselves and melodies are gloriously refined – needless to say fans of Ezekiel Honig’s productions or other Microcosm releases should buy on sight but I can also see this appealing to Kompakt heads, especially those of you who had your senses tickled by The Field’s debut. Highly recommended.
http://www.mf.com/?3czwwy1xpca0dr8
Bee Mask - Canzoni Dal Laboratorio Del Silenzio Cosmico
(http://img607.imageshack.us/img607/4160/333333g.jpg)
Bee Mask's mind-melting 'Canzoni Dal Laboratorio Del Silenzio Cosmico' was released in 2010 on a c30 cassette through Gift Tapes. Editions Mego's John Elliott-helmed Spectrum Spools label has given it a vital vinyl reissue, faithfully remastered by Rashad Becker at Berlin's Dubplates & Mastering. To say we're excited by the potential of this label is a given, but let's deal with the incredible album in question first. Chris Madak aka Bee Mask's music exists in a continuum of musique concrète and tape experiments stretching back to the earliest emissions of Pierre Henry through more recent sounds captured on The Lovely Music label and the present day hypnagogic/synth noise of Emeralds, Rene Hell or Oneohtrix Point Never. However, unlike the improvised, "one-take" stream-of-consciousness approach preferred by many today, 'Canzoni Dal Laboratorio Del Silenzio Cosmico' has been meticulously sculpted from a range of sounds (listed here as Synthesizers, percussion, piano, tape, and voice) recorded, mixed, and edited between 2006-2010 in Cleveland and Philadelphia. The result is a highly structured and often breathtaking confluence of contrasting sounds arranged with a magnetic mystery and a cryptic logic which will reveal itself in due course. Bee Mask already counts the likes of Autre Ne Veut (who included a large chunk of this LP in his Altered Zones mix) and Will Bankhead (who released 'Frozen Versioning (Hyperborean Return)' on his The Trilogy Tapes label) as big fans, and no doubt your good selves, soon enough. Frankly, this release is unmissable for anyone on the hunt for exceptional new electronic music - Essential Purchase.
http://www.mF.com/?5t5vcdvueaektro
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Does anyone else think this sounds like 30 Seconds to Mars?
You make that comparison again and I'll rip your nipples off.
(http://img189.imageshack.us/img189/3752/vlcsnap2010093021h48m34.png)
COME AT ME BRO
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(http://img823.imageshack.us/img823/5479/coveryl.jpg)
dl for free
http://liquidskulls.bandcamp.com/ (http://liquidskulls.bandcamp.com/)
2 guys making some ambient shoegaze. sounds like boards of canada meets beef terminal. great for nursing the st paddy's hang over. i'm getting old.
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That Fabric mix by Pearson Sound is the cat's tits
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(http://bandcamp.com/files/39/77/3977344964-1.jpg)
http://www.mediafire.com/?k0na43i63fa247uJapanese Women - "order"
Hardcore/Noise
tell me if you hate it b/c i don't like good reviews.
9 Songs in 18 Minutes.
Cassette Tape - Tapes of a Neon God #2
Songs about being a depressed antisocial scumbag.
(That's a first in music!)
Recorded at DankWave Studios - Montgomery Alabama
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Pearson Sound - NSWL007
(http://img854.imageshack.us/img854/9314/333sd.jpg)
Super-limited white-label waist winders from Pearson Sound! Two remixes built for the club from one of the dancefloor's hottest properties. Nuff said. They're gonna fly so act fast...
Two hot refixes by Pearson Sound on the Night Slugs White Label series.
http://www.mf.com/?u7pwqcrc2qpi2ur
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(http://img40.imageshack.us/img40/8810/333sm.jpg)
Vampillia - Alchemic Heart
Japanese post-rock / -metal / -whatever. Two looooong tracks, the first of which, "Sea", features prominent contribution from Jarboe (!), and is essentially a Soundtracks for the Blind cut with more modern production techniques. The B-side is something like a lost Jonny Greenwood soundtrack cut, all pastoral violins and end-of-the-century piano and skittering digital noise (I'm assuming that's courtesy of Merzbow). Great home listening stuff.
At times sacred, elsewhere profane, it’d be cliché to call Alchemic Heart a study in contrasts. But then again, that’s pretty much precisely what it is. For starters, the disc is split right at the midpoint. The first track, “Sea,” clocks in at 24 minutes and some change. Likewise, so is the second (and last) cut, “Land.” It’s a tidy demarcation, to be sure, as so much is happening at any given grain that more macro notions like form and gestalt would inevitably be lost without multiple listens and some studious note-taking. Save for duration and single syllable titles though, that’s about it with regard to samesies. Like any good high school contrast prompt, it’s all in the dichotomy: “one if by land, and two if by sea,” Longfellow once wrote.
Based in Osaka, Japan, this self-professed “brutalist orchestra” was already, itself, a weirdly bifurcated entity before Jarboe, Merzbow and some Boredoms showed up to help record the new one. Fussy opus Sppears made that abundantly clear in 2009 to anyone who took a chance on an über-modern Japanese pit orchestra with an admittedly campy name. But if alchemy is all about transforming and heart is just another word for determination, then this Vampillia disc has to be considered a modest success — gold or not, win or lose.
Again, it’s all about the partition. In “Sea,” classically beautiful string and piano sonorities turn into sinister swathes of distortion almost on a dime. Similarly, Jarboe’s chesty alto recitations (“I breathe in the darkness / I breathe in the fear”), quickly acquiesce to her trademark coloratura jabberwocky. To wit, it’s some of her finest work since that 2008 collaboration with Justin K. Broadrick — heady, a bit sexy and square on the fucking nose.
“Land” is perhaps slightly less stratified in texture, but it too pays little mind to subtly and gradient. Yet, because it starts bigger, “Land” runs out of real estate faster than “Sea.” Thresholds being what they are, we’re thus left holding a louder total sound for a longer composite time. And while that’s not necessarily an inherently bad thing, it’s not exactly sound business practice for Alchemic Heart. Too many lace-meets-leather records skimp on the frilly stuff, much to the detriment of the leather itself. After all, all-leather, all-the-time can quickly become a fetish. And as far as this critic can tell at least, Vampillia is much too pretty for that.
http://www.mediafire.com/?ljou1e4zclj1372
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(http://bandcamp.com/files/39/77/3977344964-1.jpg)
http://www.M/F.com/?k0na43i63fa247uJapanese Women - "order"
a little bit grimier than i usually like my hardcore, but good shit all the same. you should re-post this up in the hardcore thread, there's motherfuckers in there who'd dig the hell outta this.
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That Fabric mix is really good.
The J Mascis album is really kind of beautiful.
Have a new Metronomy album:
Metronomy - The English Riviera
http://www.mediafire.com/?bgpjob2z19hcx8y
Basically kinda relaxed chilled out but still poppy electronic music, a bit in the same vein as the XX, but less boring.
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Pusha T - Fear Of God (2011)
(http://www.yk2daily.net/wp-content/uploads/2011/03/Pusha-T-Fear-Of-God-Art-500x500.jpg)
BOOM! Proper swag mixtape from half of Clipse, production from Yeezy & Neptunes among others.
http://www.M/F.com/?6c1yd1d548rb73s
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Dude, you're a saint. Totally forgot about this record.
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I don't think anyone has uploaded this yet, so...
Baths - Pop Music / False B-sides (2011)
(http://img141.imageshack.us/img141/170/popmusicfalsebsides.jpg)
Seaside Town (http://www.youtube.com/watch?v=CXlZXihIz-w)
The Vapors (http://www.youtube.com/watch?v=Chvt3NnHGyI)
For this tour I have something called Pop Music/False B-sides which is a 13 song digital download. I have download codes for that I’ll be selling on tour for $5. It’s original songs that happened after Cerulean. It’s sort of like an umbrella release for all those different things.
So not quite a real album per se, but it's got some good stuff on it. If you liked Cerulean, give it a download.
http://www.M/F.com/?b3bwdvpz9vje9l9
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The Pains of Being Pure at Heart - Belong
(http://cdn.pitchfork.com/media/painscov452.jpg)
http://www.m/f.com/?wucl2xr7nil0hdx
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"heart in your heartbreak" and "my terrible friend" are fucking amazing.
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RE: TPOBPAH's Belong: seems to have a sameness sound to me. Flood just amped up their sound making the same song over and over. and now i realize what i disliked about their first disc--the whiny singer's androgynous voice gets REAL annoying
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
Also, that new EitS album is excellent. I particularly like the last track.
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Tan Bajo - Davila 666 (In the Red, 2011)
(http://i876.photobucket.com/albums/ab325/desolationrow10/tanbajo.jpg)
Wild Black Lips-ish garage rock from Puerto Rico. It's their newest record and utterly fantastic
http://www.M/F.com/?sdgpegyyz8uyu5t
The Last Pale Light In The West - Ben Nichols (Rebel Group, 2009)
(http://i876.photobucket.com/albums/ab325/desolationrow10/thelastpalelightinthewest.jpg)
This stark alt-country debut is a concept album about Blood Meridian and it's badass. Think Springsteen's Nebraska written by Cormac McCarthy
http://www.M/F.com/?3w22nnoambt
Live Chevy Chase Community Center (1985) - The Rites Of Spring (Bootleg, 1985)
(http://i876.photobucket.com/albums/ab325/desolationrow10/RitesOfSpringlive.jpg)
Live Rites of Spring bootleg with awesome sound quality
http://www.M/F.com/?dzyonz4t2yj
The Queen Is Dead - The Smiths (Rough Trade, 1986)
(http://i876.photobucket.com/albums/ab325/desolationrow10/queenisdead.jpg)
It's one of the best Smiths records, what else can I say
http://www.M/F.com/?ztwfzhejhdv
Richard D. James Album - Aphex Twin (Warp, 1996)
(http://i876.photobucket.com/albums/ab325/desolationrow10/richarddjames.jpg)
If you don't have this album what is wrong with you my God download it immediately
http://www.M/F.com/?7z0lgyddvjt
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yes, i love your posts
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I've been meaning to give that Davila album a listen. Should really get to it.
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"heart in your heartbreak" and "my terrible friend" are fucking amazing.
That album is so goddamn catchy.
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This Will Destroy You - Tunnel Blanket (2011, V2 VBR)
(http://26.media.tumblr.com/tumblr_lh34d8aluD1qaz8kmo1_500.jpg)
Dense, mysterious, subtle, massive, crushing, awesome shit. Get it inside your ears.
http://www.M/F.com/?a0ym5cype0kl34v
Side note: Hand Powdered is supposed to be Powdered Hand. Leak tags are always terrible.
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Which rip is that? I think I'm gonna stop listening until I get the actual record. I need to turn all the lights off in my house, light candles, get baked, and listen to it then.
If you guys liked the new TWDY, you should buy it
http://suicidesqueeze.bigcartel.com/product/this-will-destroy-you-tunnel-blanket-2xlp-pre-order
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You can get it on 180g black vinyl from the link above, and possibly some cassette tapes and such if you're in the first 200 orders (which are likely already gone).
OR for the same price, you can get the Euro pressing on 180g clear vinyl with black streaks, the CD version, and some pins/stickers: http://www.monotremerecords.com/products-page/albums/this-will-destroy-you-tunnel-blanket-vinyl/
I went with option 2.
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The Low Anthem - Smart Flesh
(http://popstache.com/wp-content/uploads/The-Low-Anthem-LP-Smart-Flesh-Cover.jpg)
Part 1 http://www.mediafire.com/?n87wyxobwbjap1vPart 2 http://www.mediafire.com/?76twpu43kvn6ezh
(The reason for two downloads is because the files are in FLAC format)
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P. Laoss - Bamboo Mat EP
(http://img692.imageshack.us/img692/4396/r26995351297097375.jpg)
Limited to 300 hand-numbered copies.
The music on this release, and this goes for both sides, is pure, sweet, affectionate, comfy, warm, fire-side inspired brilliance.
Excellent deep/dub house EP...
http://www.mf.com/?07lod8u9f7s8ldu
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Brave Irene - s/t EP
(http://img689.imageshack.us/img689/5898/braveirene.jpg) (http://img689.imageshack.us/i/braveirene.jpg/)
http://www.mediafire.com/?e2kumordge29o2d
Rose Melberg's latest project, so you can probably guess what this sounds like. Hint: more Tiger Trap than Softies.
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This Will Destroy You
Holy crap is that good.
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Mark Fell - UL8/Multistability (Editions Mego, Raster-Noton; 2010)
(http://i53.tinypic.com/2py2iiw.jpg)(http://i51.tinypic.com/2ue3bpi.jpg)
UL8: http://www.M/F.com/?fv8sc97psxl141jMultistability: http://www.M/F.com/?o6lad0766x6x4yoIn 1985, conceptual composer and experimental DJ Christian Marclay released one of the earliest documents of glitch music, Record Without a Cover. It was an LP sold without any sleeve and with strict directions not to “store in a protective package.” Even by the time it reached record store shelves, the LP bore signs of the handling of the commercial supply chain, and the composition itself continued to change over the course of the record’s life, developing chance pops and skips as its surface wore. It involved the listener in its compositional process, even if just as a threat to shred their record player’s stylus. Marclay’s release was as much about the medium of the sound as it was about the sounds contained on the record — as Marclay put it, it was “a record about records.” In the same way, the glitch music made by 90s pioneers such as Yasunao Tone, Pan Sonic, and Oval undertook an exploration of the fallibility of digital sound — they made CDs about CDs. Sounds of skipping CDs, glitches, clipping, distortion, quantization noise, and sound card background noise were the raw material for their often heavily cerebral compositions. Glitch was a sort of process music that endeavored to make the process of producing, retrieving, and reproducing digital information audible in the final recording. Recently, glitch musician Mark Fell recorded a series of audio documentaries for Barcelona’s Museum of Contemporary Art entitled “Composing with Process” that explores ways of writing music that takes the composer out of the driver’s seat through the use of fixed systems, algorithms, and random operations. The documentaries present music such as Thomas Brinkmann’s pummeling minimal techno produced from Fibonnaci numbers, Iannis Xenakis’ computer music generated by computerized algorithms, and a 1912 composition by Marcel Duchamp that emerges from chance operations involving numbered balls falling through funnels.
Mark Fell’s process music, both on his own and as half of the glitch duo SND with Matt Steel, has resulted in some of the most austere and challenging electronic music of the past decade. His recent pair of releases, the albums Multistability (on Alva Noto’s Raster-Noton label) and UL8 (on Editions Mego) are quietly engrossing, made of patient, repeating sequences of clicks and tones that overlap, but not in any traditional counterpoint. Instead, each sequence retains its own distinct, unchanging shape, and bumps against the others like Tetris pieces. Both albums have the same rigorous algorithmic construction, but Multistability has a lushness and cohesion that makes it the more inviting of the two. One happy byproduct of the process-approach to music is the discovery of novel compositional forms when the control is taken out of the musician’s hands. When the composer sets up a process that is independent of their control, new logics can arise to organize the track. In an interview with The Wire, Mark Fell talks about attempting to subvert the expected “narrative” of a piece of music — he compares it to attempting to play chess without a board. On Multistability and UL8, musical passages produced by what Fell describes as “extremely basic” pattern-generating systems are manipulated into variations and arrangements that are related to one another but do not repeat. (One of the songs he features in “Composing With Process” is the Manchester duo Autechre’s “Flutter” from 1994, which also experimented with a constantly shifting rhythm as a protest against a national anti-rave measure that prohibited any gatherings where music was played that featured a “succession of repetitive beats.”) To further complicate the simultaneous similarity and difference of the tracks, in Multistability each permutation is developed into a sister composition that takes the original process and develops it into a different direction with different sounds, leaving each unresolved.
Most tracks on Multistability are composed of shifting lances of tone shadowed by dry drum machine sounds. Standout track “10-A/ 11” is the densest and most gripping song on the album and a triumph of digital deconstruction. It streams linear circuits of classic Chicago house piano chords and synthesized handclaps into a digital Mondrian. Its companion track puts the original into a blender, speeding the sounds into chattering splittercore. “4-B” is perhaps the most tastefully composed song, with deep bass drops rounding out Fell’s characteristic tinny drum slaps and stuttering melodies. The sounds on UL8 are, to an even greater degree than on Multistability, flat and highly-synthetic oscillations — it is music of sustained test-tones chopped into stark, inscrutable armatures that twist like a Calder mobile. This is not full music in any sense, but you feel as if you could trace the course of each of the two-dimensional waveforms through stark, empty space. Indeed, much of this music comes from Fell’s sound installations; “Vortex Studies” consists of excerpts of an art installation that synchronized a flashing blue light with variably modulated square waves. This CD is much more demanding of the listener’s attention and reasoning than Multistability, but offers its own pleasures, such as the tantalizingly tinny spazzcore of “The Occultation of 3C 273,” and the final movement to “Acids in the Style of Rian Treanor,” which has the heft and force of a much fuller song.
The stage of the digital era that made glitch music necessary has surely passed. Composer Kim Cascone declared, in “The Aesthetics of Failure: ‘Post-Digital Tendencies in Contemporary Computer Music,” that the ubiquity of digital technology means that “[t]he medium is no longer the message; rather specific tools themselves have become the message.” CDs are retro by this point; we instead manipulate pure digital sound through a variety of programs and platforms. Glitch’s signature micro-editing of digital information is available to anyone who puts their iPod on shuffle. The ubiquity of Auto-Tune might present an example of the current direction of post-glitch experimentation. The overt misuse of that digital pitch-correcting application is a type of process music, in that it highlights its own artificiality, its status as something that was manipulated by human intervention through a digital tool. James Blake’s distorted R&B samples, the chopped-and-screwed vocal sounds of witch house, and the DIY phenomenon of “U Smile 800% Slower” all seek out this intersection of human and process-as-tool. Mark Fell declares that ever since childhood, for him “there was something much more beautiful (and perhaps more emotionally-charged) about a sustained square-wave than any guitar solo.” Traditional beauty and emotionalism is hard to find on either album, but Fell doesn’t hold back on the mysterious final track “Death of a Loved One,” which features a stunningly lyrical glitch lament that really sounds as if it is a singing voice. This is also the only moment on either album that offers no clue as to the process of its composition. Upon repeated listens, it remains as mysterious as death, and yet it communicates just as much as the other tracks, with their exhaustively documented processes, about our relationship to the technologies through which we know ourselves.
Colin Stetson - New History Warfare Pt. 2: Judges (Constellation; 2011)
(http://i51.tinypic.com/2lbc2he.jpg)
http://www.M/F.com/?68drk90cn4vnodwOnce in a while, I can convince myself that it's impossible to say anything truly new in music. There has been so much music made and documented in the last 50 years, my thinking goes, that the best we can hope for is an artful re-combination of elements of the past (which seems like more than enough, most of the time). But then I'll come across a new record that sounds like nothing else I've heard: I can't quite place it, but its appeal feels so organic and easy to understand, I don't really feel a need to place it, either. Such is the case with the second solo album from Michigan-born, Montreal-based saxophonist Colin Stetson, New History Warfare Vol. 2: Judges.
A few things about this record make it highly unusual. First, Stetson generally records his pieces solo, live, and in a single take. Some of these tracks have so much sound, so many cross-crossing and overlapping elements, it simply doesn't seem possible that one musician is making them in real time. "Judges" has clattering percussion, a menacing bassline, and a growling lead element that sounds like an anguished voice processed in a strange way. Well, the percussion turns out to be a close-mic'd recording of the instruments' keys being manipulated, the low-end comes from the fact that Stetson plays the enormous bass saxophone and has a good sense of how to underpin a tune with a deep pulse, and the lead voice is indeed his voice-- Stetson vocalizing through the horn as he blows. That all of these things come together at once in a piece that is compelling and highly musical is nothing short of miraculous. The key to Stetson's approach is that he uses an array of microphones placed in strategic places-- on the horn, on his neck, on the other side of the room-- and then mixes everything down into a churning cauldron of sound (engineer Efrim Menuck from Godspeed/A Silver Mt Zion and producer Shahzad Ismaily had their work cut out for them, and they succeed brilliantly; Ben Frost is equally great on the mix). Stetson has also mastered the technique of circular breathing-- playing continuously with his mouth while breathing through his nose-- so that the sound can unspool unencumbered by his body's need for respiration.
The record does bring certain reference points to mind. When Stetson really gets the circular breathing going and unleashes a torrent of notes the climb up and down the scale, fans of free improv might think of solo material by players like Peter Brotzmann and Evan Parker, whose mind-boggling technique is put at the service of in-the-moment expression. But Warfare Vol. 2 doesn't sound much like improv or even jazz, despite our associations of the genre term with the solo horn. These pieces sound composed and carefully ordered, often closer to the precision of classical minimalism than the expressionism of fire jazz. And compared to someone like saxophonist/composer/bandleader Anthony Braxton, with whom Stetson has worked (if you are a virtuoso on bass sax, you're going to wind up working with Braxton, who greatly expanded the context for unusual reeds in jazz), Warfare feels less cerebral, almost like a "pop" version of some of those heady compositions.
So there's no prior experience needed here. You can dive in and immerse yourself in the swirl of musical color that is "From No Part of Me Could I Summon a Voice", in which Stetson's blast of notes, many per second, are recorded as though from across a vast stone space, each one vanishing into the air in a cloud of natural reverberation. Or marvel at the way Stetson makes a track like "Red Horse (Judges II)" sound almost as if it had a breakbeat, the slap of the keys on the instrument so pronounced in the mix you focus on the rhythm first and the texture of the air coming through the horn later.
Reinforcing the music's connection to both minimalism and pop, several tracks here feature the vocals of Laurie Anderson, whose approach is a natural fit with this material. "A Dream of Water" features her clear and hypnotic voice articulating memorable imagery ("There were those who lived in the crawlspace/ There were people lighting candles") over a grinding and relentless arpeggiated figure from Stetson. "All the Colors Bleached to White (ILAIJ II)" begins with Anderson's vocal and a swelling chorus of voices and then shifts gears to a hard, noir-ish stomp whose deep tones can easily shake an entire room. Shara Worden from My Brightest Diamond joins the proceedings on a powerful and affecting cover of Blind Willie Johnson's "Lord I Just Can't Keep From Crying Sometimes", a mutant, arted-up blues that reminds me of the overlooked album of Ekkehard Ehlers, A Life Without Fear, the way it abstracts a folk idiom and boils it down to a central emotional idea.
Like the rest of the record (and Vol. 1 is also excellent, if not quite as varied or powerful), "Lord I Just Can't Keep From Crying Sometimes" feels like music I've been subconsciously craving without even knowing it exists. And though New Warfare Vol. 2 is easy to enjoy on a purely musical level, as sound, without bothering about the underlying ideas or any notions of how it's made, it's also a gratifying reminder that horizons of musical expression are so much more vast than prevailing trends would indicate.
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Kind of surprised it took them the ~5 months it did to review Multistability. It's like a more elegant mid-period Autechre album, abstract and delicately marvelous in equal measure.
Anyway, it's the end of the month and that apparently means that instrumental grime label Butterz is releasing more free stuff (http://www.sendspace.com/file/x9st36). Terror Danjah, S-X, SRC and TRC, the gang's all here. Check it out.
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Kind of surprised it took them the ~5 months it did to review Multistability. It's like a more elegant mid-period Autechre album, abstract and delicately marvelous in equal measure.
I have tried many, many times and I just cannot get into Autechre. Based on the other electronic music I listen to, I should probably like them, but there's just something about it that I can't get behind. I keep trying to find that one release that will make it all fall into place and suddenly open my eyes to their brilliance but it's not there. :|
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I put up a primer a thousand years ago. I would point you towards Amber, Tri Repetae or Oversteps. Confield seems to be their best-regarded hardcore glitch record.
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The Weeknd - House of Balloons
(http://illroots.com/wp-content/uploads/2011/03/The-Weeknd-House-Of-Balloons.jpg)
http://www.mediafire.com/?6kx66pin8p3378o
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Yes, yes it is.
edit: Bonus upload as well as snarky comment! Here's Ramadanman's EP.
(http://img861.imageshack.us/img861/7868/cs155020902abig.jpg)
Ramadanman!
http://www.M/F.com/?3f8fuvjgi3mfvyp
This is probably the single most boring album I've heard this year. I do not get it.
Enjoying new Boris, this Liars album seems interesting. Also, trying to get into that Pearsons set. It's... ok.
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I have tried many, many times and I just cannot get into Autechre. Based on the other electronic music I listen to, I should probably like them, but there's just something it that I can't get behind. I keep trying to find that one release that will make it all fall into place and suddenly open my eyes to their brilliance but it's not there. :|
Same here - I bloody love electronic music but with Autechre I'm just all like :?
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I put up a primer a thousand years ago. I would point you towards Amber, Tri Repetae or Oversteps. Confield seems to be their best-regarded hardcore glitch record.
I would go for Move Of Ten
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(http://img199.imageshack.us/img199/3300/anjunadeep.png)
http://www.M/F.com/?4cvgfaa16gf8pl4
The Proff/A42 tune is sweet.
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I put up a primer a thousand years ago. I would point you towards Amber, Tri Repetae or Oversteps. Confield seems to be their best-regarded hardcore glitch record.
I don't know if I'd start with Oversteps, but Amber and Tri Repetae are fantastic. I have a fondness for Untilted, but critical consensus of it seems pretty lukewarm. Helluva lot better than Venetian Snares and such, I'd say.
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Dark Sky - Promiscuous Gyal (Dark Sky Remix)
(http://img864.imageshack.us/img864/1251/333lwn.jpg)
Dark Sky turn a modern pop soul classic inside-out on a 1-sided session for Erca. Last year it was Brandy and Erykah abused by Fantastic Mr Fox and Pariah, this time Nelly Furtado is flipped by Dark Sky with and abundance of tricky triplet programming and screwed vocals lashed to massive, undulating subs.
http://www.mf.com/?6uvy61d8qu02j9l
Boddika - You Tell Me / Breezin
(http://img543.imageshack.us/img543/9306/333pm.jpg)
Supremely dynamic, Technoid futurism from the studio of Boddika aka Instra:mental's Alex Green. Boddika is the name he uses to exercise those areas of his production palette which are possibly too freaky for his better known alias, so here we get the dazzling architecture of 'You Tell Me' with its highly individual torsion and detuned lead riff, while 'Breez'in' jams on a fruity House tip, albeit a fruity flavour spiked with genetically modified enzymes and programmed two steps ahead of anyone else you'd care to mention. This label is hard ON IT at the moment!
http://www.mf.com/?lposb1d1uc1dc58
2562 - Aquatic Family Affair
(http://img560.imageshack.us/img560/5938/333ic.jpg)
*300 COPIES FOR THE WORLD* Dave Huismans (AMUS/2562) launches the highly promising When In Doubt label with two idiosyncratic Bass killers pressed on sky blue vinyl. Its his first official 2562 drop since the low key Blackout 12" in early 2010, further refining his inimitable grid patterns with smudged and heavily swung syncopations. 'Aquatic Family Affair' is the more reserved side, occurring somewhere between Broken Beat chord progressions, cantering swing rhythms and a brooding subbass depth charge. Meanwhile, the rhythmic relief of 'This Is Hardcore' slides between the hard digital drums of Raster Noton's Kangding Ray and the organic shuffle of Theo Parrish, all twysted with that deft 2562 signature. Deep, rugged and rude.
http://www.mf.com/?dw62i82rr9568kp
Icicle - Breathing Again / Redemption
(http://img534.imageshack.us/img534/6718/333oy.jpg)
Icicle's darkside aesthetic melts a little on two vocal dubstep tracks featuring Robert Owens and Proxima. With a blazing holler from Proxima, 'Breathing Again' finds a canny balance of dread heft and molten street soul on a halfstep tip, while 'Redemption' places legendary House vocalist, Owens over an uptempo roller akin to something from Von D or Skream.
http://www.mf.com/?91t04c0fwi011y2
Unknown - Miss Fatty (D&B RMX)
(http://img22.imageshack.us/img22/2086/3ba8f89f.jpg)
OIOI! Love goes back to its roots with an ESSENTIAL rework of M.S's Miss Fatty.. This one is soaked in some of lushest jungle youll ever set your ears on. A lot of people have tried to rework this mighty classic but this is THE version no mistaking it.. So when you see some Fatty Fatty women on the floor roll it out and pull it up ASAP. This one will be demanding rewinds in a matter of seconds. So make sure this one is in your arsenal if your bound for some festival spots!
http://www.mf.com/?l568uw1wcklce7l
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Amber and Tri Repetae indeed.
but better than venetian snares? just different. much less human. more cerebral in a lot of cases far too cerebral.
anyway
NEW BURIAL EP
you heard me.
no sleeve - no review yet
let's just say he ain't felt the need to reinvent the wheel
3 tunes - it's what he does. done well
http://www.M/F.com/?9tmky0279djy3qy
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A-1 - After School Special
(http://bandcamp.com/files/58/61/586137748-1.jpg)
http://a-1music.bandcamp.com/album/after-school-specialAs established, hip-hop is not my biggest point of musical knowledge. While I am one of those whiteboys that loves Wu-Tang, and I have in fact met and conversed with Chuck D, I’m just not as up on the genre or its history as I should be. That said, I do occasionally browse around for stuff and have been stoked on a Milkcrate Breaks comp lately.
But I digress. A while back, this free tape popped up on Tumblr. The concept sold me immediately: A-1 pulls the classic “5 more minutes” routine, then gets to play hooky and watch all the best Nickelodeon and other kids shows if you were that age in the early/mid-90s. Through this conceptual lens, he flows fluidly about growing up, youth, and relationships over the album’s nine songs. “All That!” of course sees A-1 rapping over a beat taken from that show’s theme song, and damn if it don’t sound pleasantly familiar after something like 15 years off the air. “Black Ranger” is more a speed trial, but is still plenty entertaining as that wimpy guitar and corny synth of our favorite stolen Japanese superheroes rev up behind A-1’s voice. The songs are short enough that the simple “take a TV show theme, rap over it and draw parallels to my own life” doesn’t get aggravatingly repetitive.
Throughout After School Special, A-1 is vibrant , humorous and most definitely not trying the tuff routine. This isn’t the next Flockaveli by any means, but it’s a fun (and maybe slightly nostalgic, depending on how much Nick you watched as youngin’) bunch of tunes.
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tUnE-yArDs - w h o k i l l (2011)
(http://img43.imageshack.us/img43/2973/whokill.jpg)
Bizness (http://www.youtube.com/watch?v=sPNc2cbTm10)
Powa (http://www.youtube.com/watch?v=e31dpx-XGfI)
http://www.mediafire.com/?as6iwt9z0o18so4
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P.S. Eliot - Living in Squalor 7"
(http://deadbrokerecords.com/store/media/ecom/prodlg/pseliot.jpg)
http://www.mediafire.com/?99ltj5pefo7h1lx
The vinyl pressings of this just ran out so the band put it up as a free download. If you want, you can use paypal to send them donations through here (http://[email protected])
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Fucked Up - Couple Tracks (2010)
(http://www.punknews.org/images/covers/fucked-up-couple-tracks-7-inch.jpg)
Epic comp featuring songs from 2002-2009.
http://www.M/F.com/?wwdtenzl2jr
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Jamie Woon - Mirrorwriting
(http://www.femalefirst.co.uk/image-library/square/250/j/jamie-woon-mirrorwriting.jpg)
http://www.mediafire.com/?5an47ygp2xij3ychttp://www.youtube.com/watch?v=EL0pTo9Z_XU (http://www.youtube.com/watch?v=EL0pTo9Z_XU)
http://www.youtube.com/watch?v=BvsfGhEqnXE&feature=relmfu (http://www.youtube.com/watch?v=BvsfGhEqnXE&feature=relmfu)
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Will Sheff covers Charles Bissell (and vise versa)
(http://i.imgur.com/aDhVg.jpg)
http://www.mediafire.com/download.php?ztt5jlnmreu
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A-1 - After School Special
Okay. Awesome.
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As stated previously, Parenthetical Girls are releasing their next album, Privilege, as a series of five EPs. I and II are available here. (http://forums.questionablecontent.net/index.php/topic,25859.msg1003307.html#msg1003307) This is Privilege, No. III: Mend And Make Do.
(http://i54.tinypic.com/11b66a1.jpg)
http://www.M/F.com/?u9ku20iyp9a4ibn
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Song, by Toad Records Sampler 2011
(http://bandcamp.com/files/42/28/4228487696-1.jpg)
song, by toad (http://songbytoadrecords.bandcamp.com/album/song-by-toad-records-sampler-2011)
Some things brewing in Scotland, there's some excellent stuff here, and it's free!
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A-1 - After School Special
Okay. Awesome.
I know right? I can't stop listening to Family Matters.
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Privilege, No. III: Mend And Make Do.
YES
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Fleet Foxes - Helplessness Blues
[img width= height=]http://blahblahblahscience.com/wp-content/uploads/2011/01/helplessness.jpg[/img]
The first track has a little hiccup towards the end, but other than that...here it is!
http://www.M/F.com/?8z2o8vtvucck1l8
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Fleet Foxes - Helplessness Blues (2011)
http://www.mediafire.com/?2h0vxz53x3mf6in
The first song should be working right on this version.
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THANK YOU
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TV On The Radio - Nine Types of Light (2011)
(http://img38.imageshack.us/img38/6046/tvontheradioninetypesof.jpg)
http://www.mediafire.com/?mv2vbn6r5uirt3a
HOLY SHIT
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shit's getting serious, y'all.
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Alright, here's to hoping for some ratios.
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BEST MUSIC DAY EVERRR
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Gridlink - Orphan (2011)
(http://img688.imageshack.us/img688/8397/39981gridlinkorphan.jpg)
http://www.M/F.com/?k1z565gefgpqe8c
Amazing grindcore with members of Discordance Axis, Hayaino Dausuki, and the Kill the Client/Phobia drummer who is insane.
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Timber Timbre - Creep On Creepin' On [2011]
(http://www.galleryac.com/media/catalog/product/cache/1/image/5e06319eda06f020e43594a9c230972d/a/c/ac061-2_1.jpg)
http://www.M/F.com/?873x728n13yop07
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Young Widows - In And Out of Youth and Lightness (2011)
(http://img816.imageshack.us/img816/7133/youngwidows.jpg)
http://www.mediafire.com/?xpcfiii1ezww5eo
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hdagfahgafghagvf young widows ohmygosh
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New Young Widows, new Timber Timbre, New TV On The Radio and new Fleet Foxes all in one day?
shit.
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Fleet Foxes leaked before, but it was the shitty rip.
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Also, there's a new, higher quality rip of Low's C'mon going around.
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So I'll be mildly bored in higher quality, yay.
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Rules:
The first rule of this thread is you do not mention MF. I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.
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 MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF 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. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Repost the rules at the top of each new page.
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The Appleseed Cast - Middle States (2011)
(http://img29.imageshack.us/img29/8412/tumblrlhp90dvmqd1qznzm4.jpg)
http://www.mediafire.com/?8vkrvqs9ojjruaj
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So I'll be mildly bored in higher quality, yay.
Hey, it's no American Analog Set.
/
:mrgreen:
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Yo, hol' up.
I downloaded this when it was first posted here, and gave it TWO good, hard listens. The only Low I think I'll ever really, entirely enjoy is their Christmas album.
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I am so glad my post can be interpreted both in favor of and against AAS.
(Hint: I like them too.)
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I figured it was just snarking on me for posting about AmAnSet in the thread about Cmon. No harm, no foul.
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Ludicra - The Tenant
(http://roadburn.com/wp-content/uploads/2010/10/Ludicra-The-Tenant1.jpg)
http://www.mediafire.com/?g933ozgtm8if3qb
Really really solid Black metal with female vocals, though you can't tell because she growls pretty much all the time.
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Ludicra fucking owns. The Tenant was maybe the best metal album of '10. Get it, cunts.
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Young Widows - In and Out of Youth and Lightness (2011)
(http://www.punknews.org/images/covers/young-widows-in-and-out-of-youth-and-lightness.jpg)
http://www.M/F.com/?kd4phzgdt1nusy5
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I posted that a page back.
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well now it's on this page so people don't have to dig. Everyone wins.
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so a little while back there was a whole pile of SWANS stuff
I was gonna add these to that.
and then forgot.
but here you goes
BODY TO BODY, JOB TO JOB
(http://img508.imageshack.us/img508/6162/swans004.jpg)
odds and sods round up of early stuff, loops, live etc - pretty much for the commited only if i'm honest
http://www.M/F.com/?baj6s5qsbbb0syk
LOVE OF LIFE EP
(http://img843.imageshack.us/img843/1997/swans005.jpg)
I love this. The long version is one of my favourite things they ever did.
http://www.M/F.com/?xoaycar3uucmbd0
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Muy bien!
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So I've been getting stuff from you guys for quite a while now, so here's some stuff I didn't get from you:
(http://i1195.photobucket.com/albums/aa391/bschwabe/51oNM8RPCrL_SS500_.jpg)
The Flys - Waikiki Beach Refugees (1978)
Classic early British punk
http://www.M/F.com/?84aardn9jwda3o2
(http://i1195.photobucket.com/albums/aa391/bschwabe/GreenandBeigecoveredit.jpg)
Guns, Guns, and Guns - Green and Beige
Bedroom psychedelia
http://www.M/F.com/?xd1uhinaeyd0iri
it's also pay what you want on bandcamp if you want higher quality
www.gunsgunsandguns.bandcamp.com
(http://i1195.photobucket.com/albums/aa391/bschwabe/url.jpg)
Of Montreal - The Controller Sphere
Noisier and creepier than anything else he's done. Altogether not particularly enjoyable but maybe worth a listen.
http://www.M/F.com/file/05xe9hhakpvs4fw/control%20ball.zip
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The Submarines - Love Notes/Letter Bombs (2011) (192kbps)
(http://img98.imageshack.us/img98/1799/submarineslovenoteslett.jpg)
http://www.m/f.com/?s505g57jl647hq0
As far as husband-wife indie pop duos go, The Submarines are possibly the best. Really solid album at a pretty decent quality.
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Matt & Kim are married?
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For some reason I thought I read that somewhere, it is not true. That probably explains why they don't suck!
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Going to see them live on April 23. Thank a lot for that album, eh!
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For some reason I thought I read that somewhere, it is not true. That probably explains why they don't suck!
Damn straight they aren't. Trying to ruin my Blake Hazard fantasies. I think not!
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Sly & The Revolutionaries - Black Ash Dub
(http://img560.imageshack.us/img560/4723/coverpfr.jpg)
Fronted by 2 of reggae's most venerable sidemen, (drummer Sly Dunbar and bassist Robbie Shakespeare) the Revolutionaries were a conglomeration of many of reggae's finest studio musicians, brought together with producers ranging from legends like King Tubby and Prince Jammy, to lesser known ones, to create some of the finest dub of the late 70's.
"Black As Dub" is a wonderful example of the group at its peak. Sly's drumming prowice is at its best on this lp, complete with his famous crash cymbals on the 4th beat in 4/4 time versus the 1st beat. His skills are legendary due in large part to the bass playing of Robbie. His grooves are intense, yet very supple, and perfectly augment Sly's grooves. (Robbie also plays great lead guitar on this lp, as well.)With its 2 major club hits- "Marijuana" and "Cocain(e),", "Black Ash Dub" is a fine example of late 70's dub, and a wonderful addition to any fan of Sly and Robbie. Well worth the investment..
Killer early 80s reggae with futuristic dub - One of the best dub albums i've ever heard - Great stuff !!
http://www.mf.com/?c6nxkkqetghptmn
Jeremiah Jae - Rappayamatantra EP
(http://img171.imageshack.us/img171/1693/333ftc.jpg)
Some fresh blood for the Brainfeeder label, Jeremiah Jae is a Chicago native who somehow manages to blend the cut-and-paste of the LAFMS, the synthetic pulse of the BBC Radiophonic Workshop and rare groove of Madlib and emerge with something effortlessly engaging and shockingly coherent. Madlib might just be the best reference, but this is far from an exercise in second-rate ‘Unseen’ pastiches, just flip over to the Delia Derbyshire-esque ‘Stones Passage’ and prepare to have your brain cells frazzled by Jae’s genius-level of control over his unexpected, pulsing rhythms and the kind of bleeping, synthetic textures the Ghost Box set would be dribbling over. Elsewhere ‘$easons’ (which has been floating around the net for a while now) shows off Jae’s wordplay, and while it might be the straightest track on the EP is still undeniably peculiar with Jae swathing his low-key raps with a glorious sludge of noise, choppy rhythms and stuttering vocals. With ‘Rappayamatantra’, Jeremiah Jae has put more ideas into the mix than most artists inject into an entire album, and there’s no reason I can think of for any followers of post-rap, wonky or whatever the media is labeling this stuff right now to grab this without any further delay. Seriously one of the most exciting EPs I’ve heard in ages – a huge recommendation.
Mind-blowing well-constructed squashed beats :-D
http://www.mf.com/?tn7ch6ws8vk8ekg
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Jacques Greene - Another Girl
(http://img808.imageshack.us/img808/2337/333wg.jpg)
LuckyMe drop one of the most anticipated dancefloor 12"s of the last 12 months, backed up with remixes of tracks from 'The Look' by Rinse FM's Braiden and UR's Mark Flash. There's no need to bang on about 'Another Girl', it's straight anthem material combining ohrwurming vocal, a a rolling emotional topography and dancing neon melodies in beautiful style. Flip it and Braiden gives a tough rework of 'Holdin' On', full of titanium cowbells, rampant R1 Ryders style bass revs and chopped vocals, but UR's Mark Flash steals the show with a Hi-tek, carnival-killing remix of 'The Look'. Very large 12"!!!
http://www.mf.com/?dao347co6dl22hd
Burial - Street Halo
(http://img684.imageshack.us/img684/9858/00burialstreethalo.jpg)
'Street Halo' is the first solo Burial 12" in four years. It's a peach. A-side 'Street Halo' is a yearning 4/4 roller tucked with all the hallmarks of his finest and usefully cut at 45rpm in case you want some slopped and screwed fun. Flipside, we find the slowdown soul-tugger 'NYC' featuring a more prominent vocal in the style of his songs from 'Untrue', but best of all is 'Stolen Dog', hankering after a twoc'ed mutt through a beautiful, Roedelius-like lead refrain, barely-there rhythms and swarming spectral shapes. Worth the wait? Indeed.
Digital release directly from the Hyperdub website.
http://www.mf.com/?y3fkx3kgeq9afr1
Coki - Boomba / Carbon Aliens
(http://img155.imageshack.us/img155/7359/333hgc.jpg)
What the f**k has Coki been smokin'? His latest platter for Tempa is by far his weirdest to date. Featuring an ecstatic ass on the centre label, 'Boomba' sounds like chamber music for hydro-toking bass aliens, with warped, harpsichord-like melody and irregular, obtuse bass quakes crumbling the walls of halfstep to leave behind a surreal and abstract rhythmic framework. Flipside, 'Carbon Aliens' staggers on a drunken-master halfstep style, knees buckling under successive subbass onslaughts and head reeling from psychotomimetic synths sounding like the garbled rantings of a dubstep lifeform sent to earth to p*ss off the keepers of "good taste". Wickedly done!
Crafty dubstep rave cuts...
http://www.mf.com/?h1jfgz890hm330p
Panda Bear / Actress - Surfer's Hymn (Actress Mix)
(http://img52.imageshack.us/img52/5364/333pd.jpg)
Following a flurry of 7" activity in 2010, Panda Bear prepares for his full length with sterling remix support from Actress. Prostrated on the beach, waves crashing in the background, 'Surfers Hymn' is a delirious pop ritual revolving around cascading, rainbow-coloured melodies struck on some kind of treated marimba or xylophone and refracted against the sand's heat haze shimmer into glorious harmonies, crucial points accentuated with the sound of overheard planes and squawking gulls. Dazed and washed up after a day in the waves, Actress' 'Primitive Patterns' remix views the original though clogged ears, the tinkling, melodic polyrhythms sounding like they're played back through a conch shell while the percussive grooves are corroded to a sand-stomping tribal jack reminding of Ra.H's 'Time' 12" for Morphosis. This is one irresistible bit of wax - strictly limited and Highly recommended
Not a huge fan of Panda Bear, but this remix is amazing!
http://www.mf.com/?itbfnzjfsa2eth3
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The Submarines - Love Notes/Letter Bombs (2011) (192kbps)
(http://img98.imageshack.us/img98/1799/submarineslovenoteslett.jpg)
http://www.m/f.com/?s505g57jl647hq0
As far as husband-wife indie pop duos go, The Submarines are possibly the best. Really solid album at a pretty decent quality.
How does it compare to Honeysuckle Weeks? Saw them live when that album came out, and it was the cutest show ever. Holy shit, please tell me "Just Like Honey" is a cover of The Jesus and Mary Chain...
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New Young Widows, new Timber Timbre, New TV On The Radio and new Fleet Foxes all in one day?
shit.
They are all shit, yes. Well pointed out.
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Funny guy.
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heyoooooo
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How does it compare to Honeysuckle Weeks? Saw them live when that album came out, and it was the cutest show ever. Holy shit, please tell me "Just Like Honey" is a cover of The Jesus and Mary Chain...
It doesn't have any one song as singularly striking as "You, Me, and the Bourgeois" but I'm really enjoying it so far.
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(http://img846.imageshack.us/img846/2708/okkervilriveriamveryfar.jpg)
Okkervil River - I Am Very Far
I Am Very Far represents the sixth album from Will Sheff's Okkervil River, which released its previous album, The Stand Ins, in 2008 to a warm reception from critics and fans. It stood as the band's highest charting record thus far as it reached number 42 on the Billboard 200. But Sheff opted to take some time off from recording with the band as he looked to produce, such as Roky Erickson's True Love Cast Out All Evil in 2010. That same year Sheff appeared on the New Pornographers' Together, which made plenty of sense considering he and A.C. Newman delivered a killer take of The Stand Ins highlight “Lost Coastlines” in a YouTube series. Their friendship didn't end there, though, as Newman appears as one of many guests on Okkervil River's I Am Very Far. The album also features the Austin band expanding its sound even more, as it includes string and horn sections along with choral arrangements. The goal for Sheff, he has said, was to push his brain to places it didn't want to go while recording the album.
http://www.mediafire.com/?nim6p24oixfhxr5
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You are a damned bastard, sir.
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shit how the fuck did I let that fool me even for a second
maybe it is because I will literally shit a brick when that thing does come out
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(http://i284.photobucket.com/albums/ll37/Geesaroni/RageFace.png)
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Okkervil River - I Am Very Farg the album.
http://www.M/F.com/?nim6p24oixfhxr5
Thanks for the up.
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Foo Fighters - Wasting Light
(http://eveningbox.com/wp-content/uploads/2011/04/foo-fighters-wasting-light2.jpg)
http://www.mediafire.com/?lzjnyaeo3p3utl0
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(http://eveningbox.com/wp-content/uploads/2011/04/foo-fighters-wasting-light2.jpg)
omigod thank you
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Bill Callahan - Apocalypse (2011)
(http://img684.imageshack.us/img684/6650/apocalypsey.jpg)
http://www.mediafire.com/?a1sjdn5jr32075b
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so the link to the Of Montreal album up there, actually took me to the album right above it...just saying.
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Oops, try this.
Of Montreal -The Controller Sphere
http://www.M/F.com/file/05xe9hhakpvs4fw/control%20ball.zip
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Swans - Filth
(http://ihrtn.com/wp-content/uploads/2010/11/Swans-filth.jpg)
http://www.mediafire.com/?lcg51i335l08ul3
Anything else missing from that swans megapost?
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Just Love of Life, really
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boop
Swans - Love of Life
(http://ecx.images-amazon.com/images/I/51Pq0GVtkeL.jpg)
http://www.mediafire.com/?0iba6g5pqetb3id
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Happy late April Fool's Day! (the April Fool's here is that I'm wasting a post because nobody else cares about this shit.[it is not a very good April Fool's])
Cyclo. - id [raster-noton;2011]
(http://i52.tinypic.com/2rpsach.jpg)
Ryoji Ikeda and Carsten Nicolai first premiered their collaborative Cyclo project a deacde ago on Raster Noton. Relaunching in 2011 they're just as intent on creating a synaesthetic visualization of sound that "...seeks to create a new hybrid of visual art and music". Essentially the sounds on 'Id' are inextricable from their visual corollary. They're the unmastered sonic illustrations of detailed graphical data, and vice versa, developed from a database of sounds composed to produce visual responses when analysed in real time with the help of stereo image monitoring equipment. Most importantly, the sounds are subservient to the image, hence the record remains purposefully unmastered in order to retain the waveform's original integrity when visualized through an XY phase scope, transcending the usual sound>image dynamic. But that's not to say that the music doesn't possess its own heightened, strangely affecting quality - within 30 seconds of listening through headphones this reviewer's eyes were watering, a physically visceral effect if we've ever felt one. A man-sized Kleenex later