http://www.mediaf!re.com/?ky12r2gydjtNo review, sorry.Berndsen - Lover In The Dark[2009]
(http://i49.tinypic.com/zjciee.jpg)Code: [Select]http://www.mediaf!re.com/?ky12r2gydjtNo review, sorry.
Supertime (http://www.youtube.com/watch?v=ysPcyOvNJew)
Hisspace (http://www.myspace.com/theberndsen)
http://www.mediaf!re.com/?dn5zmnrnrm2There's a lot of shit in the heavy music world. IMO it's pretty fucking recycled. This is not one of those bands. Although they did put a new one out in 2009, I feel this album is their finest moment. They really let their drummer shine in the production and that is always the foundation for a good rock album. Enjoy.http://www.mediaf!re.com/?mmxgmz2d2o4If you like Texas Is The Reason and Oasis you'll love thishttp://www.mediaf!re.com/?fw3qyymngkwIf you like Black Flag, Fucked Up, Cursed, ect you should have this.
http://www.mediaf!re.com/?zzzjzdv2y5nhttp://www.mediafire.com/?yjygednbm2n
http://www.mediafire.com/?ojgnx4mkydtIt's fitting that Patterson Hood, son of Muscle Shoals bassist David Hood, should record with his dad's Southern-soul peer, 64-year-old Stax-session kingpin Booker T. Jones. Add Neil Young and Hood's bandmates in Drive-By Truckers, and what might've been a generic awards-show jam turns out to be a badass set of MG's-style instrumentals. Jones' sweet, thick Hammond B-3 riffs are spiked with Truckers' roughneck (and surprisingly funky) Southern rock and some exceptionally lyrical, focused Young guitar leads. The originals feel like old standards. But the cover of OutKast's "Hey Ya" is the zinger: It's Southern race-mixing party music come full circle.
WILL HERMES
(Posted: Apr 30, 2009)
http://www.mediaf!re.com/?edymxmz22wnhttp://www.mediaf!re.com/?ynhtq0mhwky
http://www.mediaf!re.com/?ynhtq0mhwky
http://www.mediafire.com/?y5m0y2zj1rzAustralian quintet Dappled Cities (known as Dappled Cities Fly on their first album) blend the playful grandiosity of the Flaming Lips and Grandaddy with the chillier sonic explorations of Sigur Rós, for a sound that at times recalls the mixture of pop song smarts and progressive pomp that both Genesis and their former leader Peter Gabriel perfected around the turn of the '80s. The band's roots are in the suburbs of Sydney, Australia, where teenage school friends Tim Derricourt (guitar and vocals), Dave Rennick (keyboards, guitar, and vocals), Alex Moore (bass), and Hugh Boyce (drums) formed a quartet called Periwinkle that played neighborhood all-ages shows and school functions. Once the bandmembers were all of legal age in 2001, the group moved into Sydney's competitive club circuit, changing its name to the deliberately silly and pretentious Dappled Cities Fly. Several years of local and regional gigs, coupled with a handful of singles and EPs, led to the release of Dappled Cities Fly's debut album, A Smile, in the fall of 2004. Following that album, several changes took place within the band: adjunct touring keyboardist Ned Cooke was promoted to a full member of the band, the group signed to the Australian label Speak and Spell Records, and the bandmembers shortened their name to the somewhat less affected Dappled Cities. Their first release under the new name, Granddance, was released in November 2006 in Australia; Speak and Spell reissued A Smile on the same day. A U.S. release of Granddance was planned for March 2007.
http://www.mediaf!re.com/?zjnnjjnm5mdhttp://www.mediafire.com/?dynojq13jdtA Lot Like Birds is a troupe of seven kindred yet wildly different souls from Sacramento, California. Founders Michael Franzino and Michael Littlefield, multi-instrumentalist and bassist, after growing out of respective ska and punk rock scenes, collected an eclectic group of musicians from miscellaneous genres and projects: originally intended as guests on Michael and Michael’s debut album, “Plan B,” Cory Lockwood, screamer, and Ben Wiacek, guitarist (of post-hardcore project, Discovery Of A Lifelong Error), Athena Koumis, violinist (of folk-rock project, Life as Ghosts), Juli Lydell, vocalist/keyboardist, and Tyler Lydell, drummer (of experimental-folk project, The Dreaded Diamond), one by one, all unexpectedly became integral units of the project, banding around the Michaels.
Music on any kind of epic scale is not exactly America or the world’s cup of tea, but for those who get it, it’s considered an art form. If that the case here, I think A Lot Like Birds may just be the Rembrandt we’ve all been waiting for. Luckily for all of you, the band has made their debut record FREE FOR DOWNLOAD on their Myspace [link below]. Here’s my advice: Download it, find the finest pair of headphones you have, light a few candles, kill any room electric lighting, and allow yourself to be absorbed in this record. You won’t regret or forget it.
Black Moth Super Rainbow - The Autumn Kaleidoscope Got Changed [2009]Code: [Select]http://www.mediaf!re.com/?znizdom2jtn
The Autumn Kaleidoscope Got Changed was a bunch of songs the band distributed to friends and family in 2001 by burning CDR copies from Tobacco's dad's computer. It's a lot more acoustic than other BMSR stuff but no less awesome. Also features early versions of tracks off of the band's first two albums. Very delicious.
Find it hilarious that trying to look up "daft punk" in this thread brings up one result for daft punk and a ton of results for 'this band is like daft punk'.
http://www.mediaf!re.com/?2dqnzymyujdhttp://www.mediaf!re.com/?wmmjodqn4yb
http://www.mediaf!re.com/?mom32nbywniVampire Weekend - Contra (2010)\
256 isn't amazing?Big volume and big speakers will help you hear the difference.
Seriously, I can't tell the difference after 160.
I cannot tell what good music is.
http://www.mediafire.com/file/tg4i0mh2g2a/Nights out.rarThe breathless hype about Glasvegas may hoist their grandiose plod into the charts, but to my ears, there's no argument about which is the most entertaining and innovative of this week's young British contenders.
Fresh from his contribution to Roots Manuva's new album, Metronomy main man Joseph Mount has expanded his own project to a trio, his old Devon chums Gabriel Stebbing (bass, keys) and Oscar Cash (sax, keys) joining as full-time members to facilitate live performances.
They contribute little, however, to Nights Out, which Mount conceived as a concept-album about a night on the town. This would be fine, were one able to spend the night in question jaunting between London, New York, Louisiana and wherever else he draws his inspiration from. Because although Nights Out is yet another solo electropop album from a chap who probably spends more time than is healthy staring at a computer screen, it displays an ambition way beyond Metronomy's peers, and Mount clearly has the artistic and technical grasp to bring his plans to fruition.
"Nights Out Intro" opens the album on a bathetic electronic groan – as if the machines were waking up – further roused by a combination of bizarrely de-tuned guitar and a rasp of synth that recalls The Residents' wonky avant-rock. It's followed by "The End of You Too", an infectious blend of popcorn synth and sprung-heeled guitar which has no sooner established itself before it's shifting tempo back and forth between funereal melancholy and E-number urgency. Mount's arranging skills are at their best, though, on the single "Radio Ladio", where the various instrumental elements – the tart guitar figures, the skeletal funk bass, the endlessly syncopating drums – interlock with a zesty itch akin to New Orleans rhythm crew The Meters.
Lyrically, while few lines stand out as poetically adept or well-wrought, Mount has actually succeeded in conveying something like his intended narrative arc, with "Heartbreaker", a particularly impressive depiction of how two friends fall out over a girl – not because they both fancy her, but because her boyfriend is always complaining to his friend about her, to the point where a straight-talking response torpedoes their friendship: it's the anti-"She Loves You", a sentiment long overdue.
http://www.mediaf!re.com/?qli2otyd55mhttp://www.mediaf!re.com/?nyfi5ecnm2gReview from Can You See The Sunset From the South?
After hearing their widely-circulated demo it has seemed like almost everyone (myself included) was chomping at the bit for a full-length from the Algernon Cadwallader. So now that these Philly boys have delivered Some Kind Of Cadwallader, we can all go to sleep a little bit happier. Their bubbly and spastic mid-90’s Midwest emo diatribes are straight out of the schmap’n schmazz playbook but anchored by enough twinkling melodies and intertwining circular guitar lines that (despite the shouty vocals) Some Kind Of Cadwallader manages to escape sounding just like an Analphabetapolothology redux.
Some Kind Of Cadwallader is angularly infectious and overflowing with youthful, buoyant energy that makes me feel about a dozen years younger than I really am. It is a wonderfully refreshing album that has been in constant rotation here at casa de Sunset and really makes you believe that you can’t look at the sky without looking right through it. Somewhere, the Kinsella brothers are smiling.
I did a search on this thread but couldn't see this, so apologies if it has already been uploaded. However, I have been coming and taking and feel only proper to give.Listing the artist and album title in your post helps the search function work 100% better.
Hopefully I've done everything properly, and if there are no problems I'll maybe upload something Scottish later.
http://www.mediafire.com/?w4kcmain2bi
http://www.mediafire.com/download.php?xkmmxhmvvwmhttp://www.mediafire.com/download.php?ozniyjgxmtfhttp://www.mediafire.com/download.php?nyzymlgzmndhttp://www.mediafire.com/download.php?y0oygwuguythttp://www.mediafire.com/download.php?wkijjiyebemhttp://www.mediafire.com/download.php?ndenrznhydyhttp://www.mediafire.com/download.php?qtdzzm53zma
I'm a muppet and have fixed my previous post. I return to offer this, which isn't Scottish but I've only got Mearsault in MP4 format so if there's demand for some Scottish electro-folk I'll rejig it to mp3 and upload it tomorrow. Also, the search function is being a bit wank for me but I've only seen one other Native album posted and it wasn't this.
Native - Wrestling Moves
(http://i49.tinypic.com/vzxo0.jpg)
They're a 4-piece indie/math-rock band from Indiana.Code: [Select]http://www.mediaf!re.com/?w4kcmain2bi
http://www.mediafire.com/download.php?tz5yjnyzkdzNative sucks...not even worth a download...unless of course you like a rip off of These Arms are Snakes, and Minus the Bear, with a bit of a sceneness thrown it...but still not worth it!!!!!!!!!!
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
Assemble Head In Sunburst Sound are hell of rad.
http://www.mediaf!re.com/?zkjzwijjntjThe current Scottish music scene is healthily diverse, and now Sparrow and the Workshop bring another genre to the mix: country and western. Having only formed last year, the Scottish-Welsh-American trio’s debut EP opens with a brooding vocal harmony between singer Jill O’Sullivan (formerly known as Dead Sparrow) and drummer Gregor Donaldson, before Devil Song kicks into life with a Rawhide scuffle. That dustbowl-Americana sound is pervasive: O’Sullivan twists her vocals with a Tennessee twang, and tracks like The Gun and I Will Break You revel in olde world, hard-livin’ romanticism. But don’t dismiss this band as a dug-up musical time capsule; with this first release they have woven their unique strand into the fabric of the sound of Scotland in 2009.
Is there any chance someone could re-up the Ratatat Album posted a while back? The self titled album.
That would be much appreciated.
Thank ye.
(http://thefilmist.files.wordpress.com/2009/10/oldboy1.jpg)
Jo Yeong-Wook's Oldboy soundtrack (2003)Code: [Select]http://www.mediaf!re.com/?zzzjzdv2y5n
Native sucks...not even worth a download...unless of course you like a rip off of These Arms are Snakes, and Minus the Bear, with a bit of a sceneness thrown it...but still not worth it!!!!!!!!!!
as long as someone actually wants to do it
hehe (http://lmgtfy.com/?q=ratatat+self+titled+megaupload)
http://www.mediaf!re.com/?kowwmqcdyryactually fuck you have some very unhappy boarding native rules. go eat a chubby.
also you are being a total cock regardless of how much native rules.
Gosh really?actually fuck you have some very unhappy boarding native rules. go eat a chubby.
also you are being a total cock regardless of how much native rules.
you must be one of those faggots i see at their shows being all gay and thinking they're amazing. i hope they break up and stop making music all together... and you must be the one eatting a chubby, and it's Native's chubby...shitty band. and minus the bear is about 200000000000 times better. seriously. and so are these arms are snakes...in closing, native sucks, they try to hard to be scene, and they all suck...i see them out around in Valpo, and i hate them!
you must be one of those faggots i see at their shows being all gay and thinking they're amazing. i hope they break up and stop making music all together... and you must be the one eatting a chubby, and it's Native's chubby...shitty band. and minus the bear is about 200000000000 times better. seriously. and so are these arms are snakes...in closing, native sucks, they try to hard to be scene, and they all suck...i see them out around in Valpo, and i hate them!
actually fuck you have some very unhappy boarding native rules. go eat a chubby.
also you are being a total cock regardless of how much native rules.
you must be one of those faggots i see at their shows being all gay and thinking they're amazing. i hope they break up and stop making music all together... and you must be the one eatting a chubby, and it's Native's chubby...shitty band. and minus the bear is about 200000000000 times better. seriously. and so are these arms are snakes...in closing, native sucks, they try to hard to be scene, and they all suck...i see them out around in Valpo, and i hate them!
you must be one of those faggots i see at their shows being all gay and thinking they're amazing. i hope they break up and stop making music all together... and you must be the one eatting a chubby, and it's Native's chubby...shitty band. and minus the bear is about 200000000000 times better. seriously. and so are these arms are snakes...in closing, native sucks, they try to hard to be scene, and they all suck...i see them out around in Valpo, and i hate them!
HEY ZINGOLEB
FUCK OFF
http://www.mediaf!re.com/?m1wwziytzmlFor fans of Yeah Yeah Yeahs, The Verve, The Duke Spirit, ecthttp://www.mediafire.com/?wzcho2o5ynz http://www.mediafire.com/?qmhufiyqmyoThe band’s typically terrific LP, Ga Ga Ga Ga Ga, came out two years ago, which is a long time to wait for typically terrific LPs. Britt stopped the gap with the Got Nuffin EP and live debuts of new material with dramatic titles like “Is Love Forever?,” “Writing To You In Reverse,” and “Who Backs Your Money.” If you were into those turns, you’ll likely be into Transference: As P4K reports, the forthcoming Spoon album features those aforementioned tracks (some with revised titles) alongside seven more we haven’t even heard yet.
Sony/Legacy's 2008 four-disc Love Train: The Ultimate Sound of Philadelphia isn't the first box set assembled on Kenneth Gamble and Leon Huff's legendary Philadelphia International Records -- most notably it follows the triple-disc Philly Sound: Kenny Gamble, Leon Huff and the Story of Brotherly Love (1966-1976) by just over a decade -- but it is surely the best, covering more ground and painting a fuller picture of the Philly soul sound than any other similar compilation. This is largely due to how Love Train doesn't focus solely on singles released on Philadelphia International: it encompasses sides released on early, pre-PIR imprints like Crimson, Philly Groove, and Gamble but, more importantly, it weaves in outside productions by Gamble & Huff and their crucial partner Thom Bell. Adding all these non-PIR singles greatly expands Love Train, as does the decision to have this set run all the way into 1983, thereby emphasizing how Gamble & Huff's symphonic soul opened the doors for both disco and quiet storm. Part of the set's appeal is that it does offer some education, illustrating how the psychedelicized soul of 1967's "Expressway (To Your Heart)" led to the cool, soft grooves of 1980's "Love T.K.O.," a document of how rich and adventurous '70s soul was thanks to Gamble & Huff and Bell, and all their artists and associates, but this set never drags like a history lesson. It keeps moving from peak to peak, spending the first disc on early triumphs from the Delfonics ("La-La -- Means I Love You," "Didn't I (Blow Your Mind)"), Joe Simon ("Drowning in the Sea of Love"), the O'Jays ("Back Stabbers"), the Spinners ("I'll Be Around"), Billy Paul ("Me and Mrs. Jones") and Harold Melvin & the Blue Notes ("If You Don't Know Me by Now"), the songs that established the Philly Sound, then giving way to the glory days documented on the second disc, which opens with the O'Jays' "Love Train" and closes with "T.S.O.P. (The Sound of Philadelphia)," the singles that helped cement the Philly sound on a broader scale. The third disc finds Gamble & Huff and Bell expanding their lush signature, ushering in disco with singles like Harold Melvin & the Blue Notes' "Don't Leave Me This Way," then the fourth disc charts the aftermath through the Spinners' "The Rubberband Man," Lou Rawls' "You'll Never Find Another Love Like Mind," and Deniece Williams' "It's Gonna Take a Miracle." Although there are assorted lesser-known singles scattered throughout the box, this is by design hits-heavy, which is how it should be, as this showcases a body of work -- and as this superb set proves, Gamble & Huff's body of work ranks among the strongest popular music of the 20th century.
disc 1 http://www.megaupload.com/?d=XRZLI0LV
disc 2 http://www.megaupload.com/?d=Z2KAYIZ2
disc 3 http://www.megaupload.com/?d=AO0NW6YC
disc 4 http://www.megaupload.com/?d=XHQNNR7N
Okay, returning this time with something nice and new and I'd imagine relatively unheard.
Sparrow and the Workshop - Sleight of Hand EPCode: [Select]http://www.mediaf!re.com/?zkjzwijjntj
http://www.mediaf!re.com/?htmnmmjmtnhhttp://www.mediaf!re.com/?4ywjz5jo2rjhttp://www.mediaf!re.com/?ndmmmouyxichttp://www.mediaf!re.com/?nzymmtmyomchttp://www.mediaf!re.com/?uwwytqd1uu3http://www.mediaf!re.com/?yinknymryfohttp://www.mediaf!re.com/?3kjdctknkk2http://www.mediaf!re.com/?nun2no33kwt
http://www.multiupload.com/6WVPPDMTY0http://www.multiupload.com/AKF24MRHOLhttp://www.multiupload.com/OTSIS6KYNH
I came across a super-high quality rip (1.4 gigs or thereabouts) of the original German vinyl pressing of Tusk today.
http://www.mediafire.com/?do25eymzmnzI’ve been a fan of Troels Abrahamsen for quite a while. I’m impressed by his output with fellow electrorockers in VETO and excited about his electronica solo career under the monikers I Know That You Know, Mockin’ Bird and SuperTroels. This third solo release, the first under his real name, does nothing to change that. In fact, it reinforces my belief that Mr. Abrahamsen is one of the most interesting musical minds in Denmark right now.
Continues here (http://allscandinavian.com/765/troels-abrahamsen-wht/)
http://www.mediafire.com/?2x3nwkzjzkl
Any genre? Any level of popularity?
Stapleton - On The Enjoyment of Unpleasant Places
Scottish indie-rock of the highest quality. Brilliant band, brilliant album. For fans of Avast!, Tellison, Dartz!, and Jetplane Landing.Code: [Select]http://www.mediaf!re.com/?2x3nwkzjzkl
It started life as wma which was then converted to m4a and then to mp3 so I don't know if this would have had an effect on the kbps?
Berndsen - Lover In The Dark[2009]Code: [Select]http://www.mediaf!re.com/?ky12r2gydjtNo review, sorry.
Supertime (http://www.youtube.com/watch?v=ysPcyOvNJew)
Hisspace (http://www.myspace.com/theberndsen)
Just use this: http://www.foobar2000.org/ !Berndsen - Lover In The Dark[2009]Code: [Select]http://www.mediaf!re.com/?ky12r2gydjtNo review, sorry.
Supertime (http://www.youtube.com/watch?v=ysPcyOvNJew)
Hisspace (http://www.myspace.com/theberndsen)
Kind of a request, sorry. Anyone got this in a format other than m4a? My iTunes is screwed at the moment, I'm forced to use WMP.
Spoon - Transference
Spoon - Transference
Spoon - Transference
OK this is actually a terrible rip unless half the songs are supposed to suddenly cut out at the end. The good part of it is that it's convinced me that I absolutely need to buy this record.
http://www.mediaf!re.com/?qzq0yytymzwhttp://www.mediaf!re.com/?yubvqjwwaynhttp://www.mediaf!re.com/?etyzmzytynm“The Golden Archipelago”is the third album in a triptych of mindblowingly beautiful, dense and ambitious excursions about man’s impact on the natural world from Austin’s SHEARWATER. This
time singer/songwriter Jonathan Meiburg turns his attention to life on islands – a world of lushness and austerity, silence and sudden cataclysms. From rising sea levels to displaced populations, Meiburg travels from the Falklands to Madgascar, from the Bikini Atoll to the Tierra Del Fuego. The music matches the grandeur and melancholy of its subject matter. This is an ALBUMalbum. The first 10,000 CDs come packaged with a 50-page perfect-bound book of dossier of records, photos, regulations, and images on islands, displaced peoples, immigration records and more.
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us or http://www.imgur.com
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
Here is the actual good quality rip! Actually 320, not a transcode pretending to be.
Have some Steeleye Span; a UK electric folk band, somewhat like Fairport Convention and similarly successful in their day.
Somebody hold me steady, this record has me in convulsions! Not in a bad way either, Marnie Stern has done something with this, her debut album, that makes me rabid with childlike glee... she has combined two of my guiltiest pleasures - math rock and riot grrl. Okay I know I might not be selling it here but this works; apparently (or so her press release says) she only started listening to 'good' music at 23 years of age, when she chanced upon Sleater Kinney, picking up her guitar playing technique after seeing a video of Don Caballero... and that's exactly what 'In Advance of the Broken Arm' sounds like. Firstly, her guitar playing is simply incredible; apparently playing for at least three hours a day, she has perfected her technique into pure art in the same way Chris Corsano has perfected drumming. The fun doesn't stop here though, she is joined by none other than math rock prankster Zach Hill (of Hella) who lays down frenetic percussion to accompany Marnie's vocals and fretwork and then lends his hand to the production too. Phew, well I'm exhausted, even writing about this record is tiring, so imagine listening to it - from the minute it starts your senses are assaulted by Marnies' gorgeous (but lovingly abrasive) vocals, her abstract sense of songwriting and Hill's incredible barrage of drums. Maybe this is the first singer-songwriter math-rock album, it certainly sounds like nothing I've ever heard before and what's more, every second works perfectly. With the attitude of Sleater Kinney and the technique of Don Caballero she does something that many have tried and few have mastered - writes songs that are equally as listenable as they are technical, and somehow it still retains a punk spirit? I recently waxed lyrical about Hella's latest project which takes their sounds into bigger, brasher more poppy places, but where Hella shoot for late 70s prog rock, Marnie Stern manages something which sounds a lot more contemporary and a lot less comical. This is music with conviction, with honesty and with pure unadulterated character, and Kill Rock Stars have yet again struck a seam of gold. I am going to be spinning this record for a long time to come, and I highly recommend it to anyone with a penchant for the more unpredictable side of life. Blistering!
http://www.mediaf!re.com/?3mtizfdmloz
what irony is that?
This record became a part of Kning Disk’s solo piano series at the behest of Peter Broderick, who first heard Frahm’s exceptionally lucid and beautiful piano improvisations in much the same way I did; lying down and looking up. I thank him for having done so, Nils Frahm is a welcome addition to my life, reminding me of the first meeting I had with Gonzales’ phenomenal record Solo Piano.
Those who don’t find Broderick’s music annoying after the first listen (unlike myself) might well find themselves sharing the slither of the venn diagram where the two meet. Coincidentally Broderick was present at the recording of the album, which must have been a real treat. In his own words they “hired a beautiful old church in the heart of Berlin for two nights, with a wonderful old grand piano and the most amazing natural reverb I've ever heard.” Lucky for some eh?
Though fans of iconic improvising pianists like Keith Jarrett might enjoy The Bells, it should be noted that Frahm is devoted to the same kind of prettiness that drives contemporary classical/indie/folk crossover players like James Blackshaw, fans of whom should apply (and it even outswirls that good lads latest piano forays… review here). In other words: There’s no jazzmatazz. But don’t dismiss it just yet jazzficionados! Because Frahm is capable of playing with an immense, guttural power and when he does alight on the prettiest lillies he does so softly and moves on before sinking them with overemphasis and heavy handed repetition; the twee technique which has become the norm in much of that very indie/folk/classical genre that Broderick is perhaps an unwitting figurehead for.
When I began this review I had no idea that I would have so many cross-references to play with. Dude clearly digs Satie, but who doesn’t? It’s not ECM material (a Very Influential Label), but is that just marketing/who your mates are? In the record shop where I work this would end up in the indie/folk bed with quack piano doctor Hauschka (don’t get me wrong, he’s good too!) and the ever wonderful William Basinski (reviewed here), separated from the Chick Corea’s and the Gary Burtons (who you can have a little taste of here and here) by all manner of soul, gospel and electronica.
And this divide makes some sense, because they are growing from very different earth and being picked up by younger antennae (plural of antennae? Not so easy is it!). The improvisatory technique was wrenched from the hands of the jazzers and the Steve Reichers, or at least duplicated/borrowed/stolen, a long time ago. So fans of the what’s-gonna-happen-next chemistry can go looking all over the genre spectrum and find good results, be it Pocahaunted, Chris Corsano & Paul Flaherty or some punk band you’ve never heard of making up their songs on the spot. This has been going on a long time too. So a pianist like Frahm is not only absorbing all manner of non-improvised ear candy, he’s hearing the technique pioneered by his instruments forebears echoing out through the Devil’s music, and Buddha’s too.
But that’s getting a little too far out, and as soon as I let one of The Bells’ longer tracks loose again, in this case the melancholic ‘It was really, really grey’, my senses and my emotions are re-engaged, and the ideas of “why” fall by the wayside. The piano is not a dying instrument, but there is something of antiquity about it. It is an immensely articulate conjurer of images, but that goes for nearly all music, except for pale abominations like Mr Scruff.
So instead of using all manner of untranslatable images to explain my deep and sentimental interaction with this music I’m inclined to call the grand piano a unique kind of lens; it delivers the images with it’s own character, rather than devising them. The basic parameters of its sound can be replicated, but its inimitable soul is embedded in all those ever changing hammers and strings. Nils Frahm can speak to that soul, and The Bells is a beautifully captured conversation between two friends. Pieces like the truly striking ‘Said and Done’ embody something in music that can’t be achieved on other instruments, it is enlivening and uplifting. ‘Down down’ explores deep resonance and attracts a magnificent force without sounding like an “experiment”, ‘Over there it’s raining’ and ‘Somewhere nearby’ are both full of light, lyrical and at times painfully wistful.
The Bells achieves a depth by its contrast of fragility and strength, applied to welcome emotions as well as those of a more challenging nature. The record’s explorative nature flows well, these forty minutes were culled from five and a half hours of recordings. I’m intending to seek out more records by Mr Frahm.
http://www.mediaf!re.com/?ijdwoyjzmfzFloating Points' Vacuum EP sounds a bit like Motor City Drum Ensemble if Danilo Plessow, like, knew how to orchestrate a full band and stuff. Sam Shepherd, the man behind the project, likes the same sort of dusty soulful house sound as MCDE does on his Raw Cuts series, but it's smoother, less overtly loop-driven. The tracks on Vacuum flow, maaaan.
"Vacuum Boogie," as the title suggests flows upwards, straight into air. The melodies reach, reach, reach until you're nearly ready to dive into the track yourself and push them where they so obviously want to go. This sort of unresolved tension is where Points, AKA Sam Shepherd, excels. You're either hanging on to the edge of your seat or hanging on to your dancing partner waiting for the hit. The same goes for "Truly" and "Argonaute II," on a more muted scale. The groove is paramount, the instruments locked into a Bolero build that only rarely gets extinguished, only to be built up again. Like Plessow, Shepherd's talent on this particular EP is in creating glowing bits of soul and then simply letting them run their course. Both producers often create more challenging work elsewhere, but Raw Cuts and Vacuum Boogie are a classicist's dream.
http://www.mediaf!re.com/?yzdhjjqygmmThe Bug's London Zoo aged well over the past year: It still stands as one of the more exciting albums of 2008, a roots-heavy dubstep/dancehall crossover with rib-cracking rhythms and an amazing guest roster of singers and toasters that stands as a remarkably distinctive collection of voices. But there was a surprise harbinger in that album, a song that my original review actually completely overlooked due to-- or maybe despite-- a stripped-down, ambient eeriness that offset the rest of the album's aggro-beat feel. That song was "You & Me", a strikingly delicate yet powerful collaboration with the soft-voiced singer/poet Roger Robinson. And about three months after London Zoo dropped, the creative partnership of Robinson and producer Kevin Martin brought forth a deservedly lauded single under the name King Midas Sound: the ghostly "Cool Out", which rivaled the best of Burial when it came to the more desolate corners of dubstep.
One year later, "Cool Out" has reemerged as the lead track off the first King Midas Sound full-length, and it's retained its impact-- assuming you can refer to the feeling of becoming slowly enveloped in abandoned-high-rise ambiance and serenaded by quivering, sweetly voiced murmurs as an impact. It also stands as one of the highlights of Waiting for You, or at least one of the most chilling moments; the fact that this album can conflate the two is a sure sign of where it's coming from. Every strength this record holds draws off the symbiotic relationship between Martin's beats and Robinson's voice, which adapt to each other in a way that the last two people in a barren environment might. This is dub production rendered as the final reverberations of a deserted cityscape, infused with a crumbling low-end that does for bass what a single fluorescent tube in an underground concrete tunnel does for light. And the voice decorates it like a spiderweb-- fragile in appearance, but structurally resilient enough to hold strong against the rhythm.
Robinson's singing sells his idea of zero-gravity lovers' rock like a champ, filling in the evocative cracks that his mostly straightforward lyrics don't do much to cover. The title track's lovesick sentiments are familiar, but there's this pang to his voice-- a bit disbelieving, bitter, hopeful and agonized all at once-- that holds the deeper meaning. And he's just as powerful on the other songs where he's called upon to invoke that lonely brooding atmosphere-- "One Ting" (sonically bleaker than the nano-orchestral lavishness of Dabrye's remix from the "Cool Out" 12"); the misty-eyed take-me-back begging of "Darlin'"; "Meltdown" and its heavy-sighing pleads for intimacy. Robinson does have an intriguing vocal counterpart on a few tracks in the person of Dokkeki Q member Kiki Hitomi, at her ethereally malicious best on "Goodbye Girl" delivering spiteful reprimands and Elvis Costello quotes with a scalpel's agility ("I wish you pain 'til you can't ever feel joy/ I wish you luck with a capital F, boy"). But the more remote and abandoned Robinson's aching voice sounds, the heavier it hits.
Not all of Waiting for You has that same ambiance, though it rarely rises above the level of a soft rumble. Martin's production forgoes the stereotypical dubstep war of bassbin attrition to let the beats glow instead of flash, and even when it approaches an actual heavy knock-- like the underwater dancehall bump of "Outta Space" or the smothered Mantronix boom-clap of "I Man"-- it still resembles the starker moments of Mezzanine-era Massive Attack more than it does something along the lines of Bug tracks like "Skeng" or "Warning". Still, a little something is lost when things digress from the cutting isolation that made "Cool Out" work, especially when Robinson breaks from his singing to issue scoffing spoken-word holistic reprimands on "Earth a Kill Ya"-- a decent bit of preaching with a heavy scowl of a beat beneath, but oddly harsh and self-assured on a record that thrives on sounding vulnerable.
http://www.mediaf!re.com/?ndemtxi2kt1What does it mean to be a DIY artist in 2009? For one thing, it means you probably aren’t making a living off of music. One might think that Oneohtrix Point Never and other like-minded acts carry an anti-commercial agenda, content to release homespun music to only the most eager fans, happy to send a "fuck you" to the gloss of top 40 and a celebrity-obsessed culture. But surprise, surprise: unlike the oftentimes nebulous, nihilistic noise scene that dominated the DIY landscape early in this decade, the new underground is engaging every area of our culture, high and low — from the Billboard charts to your garage — with fascinating results. Almost anything can be appropriated under the "experimental" banner these days; just take the simple pop bands dripping in distortion or the multitude of nu-age acts releasing short-run cassettes while simultaneously getting name-dropped on Pitchfork. Yet one unifying factor among DIY sub-genres is a distance from monetary concerns, which should strike fear into the hearts of the Big Four CEOs: yes, music will survive one way or another, even if the industry is hemorrhaging money.(pt 1)
Daniel Lopatin, a.k.a Oneohtrix Point Never, is equipped with a pragmatic view of music’s call-and-response with the broader culture. Of our capitalist bubble, he says: "None of us are totally culture-free, and all of us, on some level, have been sentenced with having to relate to the ‘popular’ whether we side with it or not." Which seems more appropriate and less reactionary than several of America’s famous counter-culture head-spaces. And while it’s easy to view Lopatin’s attitudes through the prism of DIY culture in general, his music has many entry points. Listening to Rifts — a compilation of the albums Betrayed in the Octagon, Zones Without People, and Russian Mind — some will hear 80s soundtrack music, cosmic ambiance, or minimalist repetition, while others might pick up on the mishmash of noise and plastic, mystical new age music.
Indeed, as fellow TMTer Jon Lorenz pointed out, the sounds on Rifts look to past versions of unrealized futures for inspiration. Hearing the record in one sitting is like being in two times and places at once, like watching someone from another decade daydreaming. There is a calm certainty at the heart of these recordings that allows each track to paint a vivid and believable fantasy world through sound. Lopatin is also clearly aware of his music’s dialogue with the culture it sprang from. "I’m a sponge," he says. "I love culture and the process of soaking it in is just as rewarding as working from the inside-out and making my own ‘unique’ work — really I don’t see those processes as separate."
Perhaps most musically striking about Rifts is its pervading bareness, an aspect that, on the surface, disengages it from the pop canon. Oftentimes a song will appear shimmering and expansive, only to be revealed upon closer inspection as a single spare synth line arpeggiating to infinity. Other moments are filled with pure ambient texture, lending a variety somewhat rare amongst such peers as Caboladies and Emeralds. As well as providing entry points for a variety of listeners, the versatility and mobility of ONP’s sound also gives Lopatin an exit strategy if he needs it. That is, through the application of a synthesizer, almost any sound-world in recent memory can be conjured in facsimile. "I wanted to make an album that flowed seamlessly through this unspoken history of musics," Lopatin reiterates, "with the synthesizer as the primary engine for the discovery and marriage of disparate musics, which to me, feel like they really belong together."
And that’s really the beauty of Rifts and the movement of albums and artists it loosely represents. It’s as if the overt hybridization of 21st-century music has finally produced a strange, new singular vision, with various facets being illuminated by every new CD-R and handmade tape release. Rifts’ sleek digipack casing is perhaps both an unintentional laying down of the gauntlet and a nod backwards. Or maybe it’s just easier to ascribe an epic narrative to an equally epic slab of music.
http://www.mediafire.com/?witeol25mw2http://www.mediafire.com/?whymz551nyx
http://www.mediafire.com/?gqzmyg0tnajThe Magnetic Fields’ new album, “Realism,” will be released on Nonesuch Records on January 26, 2010. Swerving from the unrelenting feedback pop of “Distortion,” this record explores the various genres under the umbrella of folk. Stephin says, “I thought of the two records as a pair, and I initially wanted them to be called ‘True’ and ‘False.’ But I couldn’t decide which I wanted to be called ‘True’ and which I wanted to be called ‘False.’”
http://www.mediafire.com/?djtettmt52ePortland Stories is an effort made by Heather Woods Broderick (who is a member of the Efterklang live band and recently released her debut solo album on the Preservation label) to capture the simple beauty of some lovely musicians in her hometown of Portland, Oregon.
Portland is blooming with music. Music on the streets, on front porches, in venues around the city, in basements, coffee shops, record stores, etc. It's a city that is truly embracing music. And for this compilation Heather sought out to document a small, quiet corner of that music world in a very simple way. She road her bike to the homes of eight different people with a simple 4 track recorder and pressed record, whether in be on the front porch or in the living room.
The result is a strikingly beautiful set of nine songs (including one by Heather herself). Sparse, warm, touching, honest music. Songs that make a nod to the old world of simple folk music but stay true to the time we're living in now. (Peter Broderick)
Artist Info: (in order of appearance)
1. Kele Goodwin - Kite Strings
'Kite Strings' was written after a failed attempt to fly a pterodactyl shaped kite on windy spring evening in the middle of a busy street. The kite never did fly and now resides in the basement resting on top of Laurel's 4-track tape recorder.
myspace.com/kelegoodwin
2. Sarah Winchester - Northeast Kingdom
Sarah Winchester grew up in Vermont singing folk songs and church music with her family. Later, she would perform in various choirs and begin writing songs. She received her B.F.A. in Studio for Interrelated Media from Massachusetts College of Art, where she studied sound recording and performance, printmaking, painting, and writing. In addition to her solo work, Sarah plays drums and sings with Portland, Oregon band A Weather.
myspace.com/sarahwinchestermusic
aweathermusic.com
3. Michael Elias - Halfway There
Michael Elias wrote 'Halfway There' when his wife and son were away for a few weeks. He got to missing them, and this is what came out.
myspace.com/splitrailfence
4. Nicholas Archibald Marshall - Into the Night
Nicholas Archibald Marshall, originally from Northern England, now lives in Southeast Portland. He has an old brown dog, and went gray before his time.
arenarockrecordingco.com/bands/sabertooth
5. MayMay - The Fall
Laurel Simmons is the songwriter behind maymay. The project began as an ode to friends and family back home in Flagstaff, Arizona. Over time it has evolved to become a project played, at various times, with several fellow musicians. Among those included are Heather Woods Broderick, Raúl Pastor Medall, and Nicholas Archibald Marshall, all dear friendships found in a new place.
myspace.com/barbarramaymay
6. Rauelsson - Liebre
Rauelsson is the moniker for Raúl Pastor Medall's musical projects. Born in Spain, but self-considered adopted Oregonian, Raúl has spent the last years of his life living in between Portland, OR, where he resides currently, and his European motherland. He released a double ep on HUSH Records in 2008 and has two new albums to be out in 2010 on the same label.
myspace.com/rauelsson
7. Town Rill - My Park Bench
Town Rill is the musical pen name of a fella named Birger Olsen. He writes modern blues and secular spirituals with hope of soothing his soul and perhaps a few others along the way. He's currently at work on a new album of New Orleans blues and country folk.
townrill.com
8. Galveston - Never Ask Why
Galveston is the musical alias of Chris Ashby. The music is influenced by, and occasionally performed with, other musicians.
myspace.com/galvestoregon
9. Heather Woods Broderick - Behind Doors
Heather wrote and recorded 'Behind Doors' in her vacant bedroom in Portland, Oregon, shortly before moving. To her, the song marks the realization of changing times and the closing of an era. Heather's debut solo album, 'From the Ground', was released in 2009 on the Australia based Preservation label.
myspace.com/woodsmusical
http://www.med!afire.com/?hjtyonymq42If one stands back from the mayhem of life around them and will honestly realize what has been done on volume one of Low Level Owl, they will be floored. Here is a band who has, for the most part, orchestrated a symphonic masterpiece and glides effortlessly from one track into another. Odd for the average indie rock fan? Perhaps. Unapproachable? Hardly. Ambience and environment are the keys here. Through a number of experiments and hard work, the band has made a piece that is truly larger than what many people may be able to appreciate. A few drawbacks of the album, however, are to be noted. While the drumming is nothing short of superb, much of the guitar work seems trivial and uncreative. It almost borders on the needlessly repetitive, which leads to another point: It seems as though many of these tracks are almost used as filler. Three minutes of drums played backward is interesting for about the first 30 seconds. After that, it's kind of pointless unless it's integrated into some sort of song. Therefore, out of the 14 tracks, one can see that quite a few of these might possibly be tossed, although the final piece, "View of a Burning City," is hypnotically hallucinating in its drone. Regardless of the few drawbacks, the more this is played, the more there is to find to enjoy. The setting and time put into such a work shows how the whole is easily a sum of its parts. This is definitely not an album to be picked apart song by song. In fact, it seems a shame that both volumes weren't released at the same time. While it might take a while for a listener to realize the full implications of what Appleseed Cast has done here, at the least it's no worse than Mare Vitalis, which was a quality album. At its best, Appleseed Cast might be America's closest answer to Radiohead. ~ Kurt Morris, All Music Guide
Marnie Stern - In Advance of the Broken Arm
I suppose I could, like, contribute this decade.
The Appleseed Cast - Low Level Owl Vol. 1
Marnie Stern - In Advance of the Broken Arm
This owns.
Marnie Stern - In Advance of the Broken Arm
This owns.
I would marry Marnie Stern right now if she promised to never stop shredding
Marnie Stern - In Advance of the Broken Arm
This owns.
If that's how Marnie settled disputes, she would never lose.
Hot Chip - One Life Stand [224 VBS] (2010)
http://www.mediaf!re.com/?cmh0owmzfdnhttp://www.mediaf!re.com/?39n5wragj2nhttp://www.mediaf!re.com/?vzpeykgm1dzhttp://www.mediaf!re.com/?fz2ym1jqnd2
http://www.mediaf!re.com/?2gnlzndctnm
http://www.mediaf!re.com/?3twrqn1myjtGold Dust has teamed up with the Brooklyn-based Dutty Artz crew to present the debut album Buzzrock Warrior from Jahdan Blakkamoore. A vocalist extraordinaire, Jahdan is as comfortable over classic roots-style reggae as he is over cutting edge dancehall and tropical dubstep riddims. Hip-Hop heads might recognize the Boot Camp affiliate from his verse on Smiff N Wessun's 'Sound Bwoy Burreill'.
The album brings together many of the Dutty Artz crew's interests including dancehall, digital cumbia, grime, dubstep and other delicious tropical sounds. - The record features Modeselektor, grime super hero Jammer, Zizek Dutty Artz and 77Klash.
http://www.mediafire.com/?dghomnotbzw
Known as the first group to play dubstep music live with acoustic instrumentationSo it's dub music.
Rules:[/quote]
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?yzdzgjjwnot320kpbs CBR MP3American Heritage has tons of quick, angular riffs, but is backed up with some heavy thrash and a lot of loose bottom end crunch. A band like The Acacia Strain try for heavy by hammering down on their super detuned top string, playing monotonous breakdowns for half of an hour, but a band like American Heritage sounds as heavy as hell by just playing super tight, super intricate metal - but don't let their technical prowess lead you to believe these guys are "tech." The vocals take a background and the music itself just rides and carries the weight. But I don't mean this is like Pelican with some vocals, it's an integral part, but not the focus. I liken it to a band like Akimbo or Lords hanging out with the dudes and dudette from Kylesa or His Hero is Gone rocking out to Anodyne and playing some raging metal.
http://www.mediaf!re.com/?bmhhmuitjjz192kbps CBR MP3So what's the big deal? Why did this one record polarize so many of their fans? Well here's the thing; Blacklisted decided against everything and released a grunge album. Yup, you heard me, a grunge album. No One Deserves to be Here More Than Me sounds like it could have came out on Sub Pop in 1990 and no one would have batted an eye about. "Everything in My Life is for Sale" sounds like a Bleach-era Nirvana and the whole album just has a cold, rainy, flannel, coffee drinking feel to it with its heavy guitars, thundering beats, and good slathering of 70's rock growled yelled vocals propelling the tracks.
http://www.mediaf!re.com/?ukwdwtyg1wc320kbps CBR MP3The well worn familiarity that Cable's music exudes gives them an authentic air and screams working class angst. Still, the band seems in great form, adding nuances to their music that previously their music showed hints of possibility; well placed guitar leads cut through the morass of the steady rhythms adding a layer of subtle melody that just breaks through the haze. The storytelling style of the vocals with tales of crooked judges and going west makes the entire album sound like the band is some gang of desperate cowboys sitting on some barren plain in a post apocalyptic nightmare screaming their guts out at the moon. And song titles like “Gulf of Texaco” and “Running Out Of Roads To Ride” add to that imagery. I still am not used to the song “Outside Abilene,” but it works with the rest of The Failed Convict. There is just an initial shock that comes with hearing the song; the fade of the closing track to the line, “Pray for me, brother Bill…” is a great way to end the album.
http://www.mediaf!re.com/?dlayzmvzedj192kbps CBR MP3The OX EP is the companion piece to its stunning namesake LP, and as such it follows in the same vein of bass heavy Americana as OX. The OX EP contains five new tracks (not including the coupled opener and closer “Ox to Ore” and “Ore to Earth” that recall Sepultura's “Refuse/Resist”) of sludgy, moody, and downright pissed off metal. OX EP's first real song, “The Blind Eye”, hits like a Mac truck, as the band throw out groovy riff after groovy riff. “Through Sparrows I Rest” is an absolute beast. Sean Ingram's vocal chords work overtime, traversing a sea of tumultuous down-tempo bass and blues inspired lead work powerful enough to level a red wood. Coalesce also expand on the spaghetti western flair that was experimented with on OX, making “Joyless in Life” and “Absent in Death” sound like something from an Ennio Morricone soundtrack. Even though they act more as interludes than actual songs, they help add to the diversity and personality that ties the OX EP together.
http://www.mediaf!re.com/?zyymdtnyjqt320kbps VBR MP3Throughout the album The Catalyst hone in on the goal of creating an aggressive and loud record, of which they truly do succeed at doing. “Small Town, Big Mouth” is The Catalyst at their most chaotic. The vocals are belted out with great force to match the intensity of the music. Occasionally they mix in some Botch-esque angular riffing, which gives the song an added flair. Another great example is “Sterling is a Hole,” a bombastic gnarling of guitars and pounding rhythms partnered with scathing screams. If I had to choose a favorite track from the album, this would probably be it.
http://www.mediaf!re.com/?wzomyii0ukk256kbps VBR MP3Keelhaul's Triumphant Return to Obscurity is about as fitting a title for an album as I've ever heard. After laying dormant for a few years the band has returned with their fourth full-length release. In spite of high praise from fellow musicians and critics, Keelhaul has remained, for the most part, below the radar of even the most grounded music fans. Leading off with “Pass the Lampshade,” the four-piece outfit wastes no time lollygagging around. The band's fusion of technical metal, math-rock, and classic metal is yet again in full force, with drummer Will Scharf providing the backbone for this auditory assault. The rumblings of Aaron Dallison's bass and the guitar duo of Chris Smith and Dan Embrose complete the musical equation.
http://www.mediaf!re.com/?gcy42ynytyy256kbps VBR MP3Excoriating guitars and shouted vocals meet pounding drums and shattered cymbals here to make some pissed-off post-Flag aggro rock that will turn your head and then shred your eardrums. Born from the ashes of Wow! Owls and The SetUp, Mouthbreather released a demo a couple years ago that got a fair amount of attention. The five-piece promptly undertook a healthy touring regiment on the back of that buzz, eventually arranging for one of said tours to end in Louisville so that they could record their debut full-length with Lords drummer Chris Owens. They tracked a dozen songs in a week-long session at his HeadBangingKillYourMama Studios and claimed in Summer 2007 that they would be would be releasing the material imminently. Fast-forward to early 2009, and the Mouthbreather debut finally coming out courtesy of the good folk of Kiss Of Death. Coyly entitled Thank You For Your Patience, the debut Mouthbreather full-length pairs five songs from the demo with an equal number of new ragers, all ten of which peel paint at twenty paces.
http://www.mediaf!re.com/?1momh5tgzgz192kbps WMASo yeah, in short, this is some seriously dynamic noise metal. One part dirgey-sludge that would make AmRep proud, one part post-metal ala Neurosis, and one part Chicago skronk ala Jesus Lizard.
Taint's "ace in the hole" (I couldn't resist), is the vocal skills of lead singer JimBob. Managing to keep it gruff and gritty, but still swing with the song and offer melodic twists at the same time, he gives the songs an element and depth often totally missing in band's of this ilk.
I thought we would be using the 2010 thread from now on?
I thought we would be using the 2010 thread from now on?
This is the pre-2010 thread. It's better because it's longer.
Pantha du Prince - Black Noise (2010)
(http://www.auftouren.de/wp-content/uploads/2009/12/pantha-du-prince-black-noise.jpg)Code: [Select]http://www.mediaf!re.com/?dghomnotbzw
http://www.mediaf!re.com/?ydmamwmngly
One thread, one place to search; kind of obvious, really.
http://www.mediafire.com/?m4zuuqmtmtzMe, I do
http://www.mediafire.com/?w0ztyztmy2y
http://www.mediafire.com/?mmhylyadhwtSix Degrees Records, the indie label from San Francisco, has spent the last ten years producing good music in bad times. And to celebrate that milestone, the label looks ahead to the future by looking back, with a collection of surprising and distinctive covers: Backspin, a Six Degrees 10 Year Anniversary Project. Backspin features a dozen artists from the label's eclectic global roster, each presenting a new spin on an old favorite. Songs by Led Zeppelin, The Police, The Cure, and Pink Floyd, among others, are re-imagined by Six Degrees stalwarts including Karsh Kale, MIDIval PunditZ, Banco de Gaia, Ojos de Brujo, and more.
RjD2 - The Colossus (2010)awesome
(http://www.accesshiphop.com/images/covers/18000.jpg)Code: [Select]http://www.mediaf!re.com/?ydmamwmngly
This 2-CD set is a widely available reissue of two Russian collections released by Feelee in 2001: A Guide for Beginners -- The Voice of Silver and A Guide for Finishers -- A Hair of Gold. Only two of the 20 tracks, "A Cold Cell," and "A.Y.O.R.," were previously unavailable at the time ("A Cold Cell" soon turned up on The Wire Tapper, Vol. 6 released by the British magazine The Wire), although some were a bit hard to find. Seasoned fans will feel the repetition (after all, this is not the first Coil "best of" to hit the stores) but newcomers will be treated to a first-class tour of John Balance and Peter Christopherson's realm. Disc one focuses on ambient tracks, the melodic, murmuring, slightly frightening kind Coil do so well. It draws heavily on the two volumes of Musick to Play in the Dark (including the grippingly beautiful "Batwings"), but also goes back to early efforts like Scatology ("At the Heart of It All") and Horse Rotovator ("Amethyst Deceivers"). Disc two presents the flip side, throwing together more aggressive, noise-based pieces that are often upbeat. The rough industrial stance of "Panic," "The Anal Staircase," "Solar Lodge," and the like, make this disc more difficult to listen to, if only because it leaves little chance to breathe. The set concludes marvelously with "The First Five Minutes After Violent Death." Every fan will have one of his or her favorite tracks missing, but the casual listener will find in The Golden Hair With a Voice of Silver the perfect place to start. There is one downside to this collection though: the total lack of liner notes means that you will have to plough your way through the All-Music Guide database to find where each track was taken from.
http://www.mediaf!re.com/?jujo3twzl0eA Guide for Finishers: The Golden Hare (Disc 2)http://www.mediaf!re.com/?aqgmrmzjxdw It’s perhaps unavoidable, but every single phrase here comes steeped in prophecy; every melody line leads the listener inwards towards reflection. The first line of opener “Fire of the Mind”: “Does death come alone or with eager reinforcements?” Its chapel-organ-like tones bring an immediate air of finality, hanging heavy over this final Coil studio album. Ian Johnstone’s gorgeously funereal white card packaging, striking photographs, and his stark cover artwork (which is either an angry ape or a figure post-castration, depending on which way you look at it) gives a quiet, contemplative, eerie, peace to the contents, which veer from maniacal lunacy to spiritual deliberation.
It’s unclear what the late Jhonn Balance’s completed vision would have been for the posthumous The Ape of Naples, and this album is a gathering of unreleased work from his last days and earlier material culled from uncompleted sessions. It was an odd combination of Balance’s deterioration, Promethean genius, and human warmth that made him one of the most unique frontmen ever; this LP stands as a testament to those qualities. There’s something slightly peculiar about the album in that at times Balance doesn’t seem fully visible even when he’s in full voice. On several occasions, his vocals sound somewhat shrouded. Is there lassitude in Balance’s voice, or is there a purposeful remoteness on the performances of “Triple Sun” and “Amber Rain”? Or is it just the hindsight of what happened investing his vocals with foresight?
Some of the material here will be familiar to Coil fans from live releases and gigs, and “The Last Amethyst Deceiver” (as near an official Coil classic as its possible to get), “Triple Sun” (the version here is criminally short but elegantly detailed) and “Teenage Lightning 2005” are already well known in Coil circles. But their place on this album and excellent production cannot be undervalued, as each helps to show Balance at his visionary best. The many Coil affiliates (Ossian Brown, Tom Edwards, Cliff Stapleton, Mike York, Danny Hyde, and Thighpaulsandra) that have helped Sleazy to realize these performances into gorgeously disturbed beds of music should receive praise, too; The Ape of Naples sounds truly out of time and delicately beautiful in places. The poise of electronic sounds and beats with warm live instrumentation (such as marimbas) gives the music a human heart, making the atmosphere of loss all the more conspicuous. “Tattooed Man”, either a song of love for his current partner or a piece of ugly self loathing, features a hurdy-gurdy, lending the track both a Gallic and sea-faring feel. How did these so-called Industrialists end up somewhere as charmingly sweet as here?
In contrast, they punch out a version of “Heaven’s Blade” that is as untethered, drugged, coherently dark, and deliciously vehement as anything they’ve done previously, even during their Ecstasy-overdosing era. A track from their aborted Backwards sessions at Trent Reznor’s Nothing Studios, this is a jilting, buzzing, jittery furrow which wolves whisper, swirl, and snarl around in hopes of fresh blood. Balance is slyly conspiratorial and loosely clings to the thin line between angelic transformation and madness; coupled with a magnificently understated backing track, this is likely to be seen as one of their pinnacles.
“I Don’t Get It” is creepily damaged, sounding like the unwinding of some sick child’s melted toy as organic twisted sounds bubble under the surface. Balance’s torn up, sped up, and fucked up vocals are cast into the mix without a thought for their malign influence on the sweet string and horn arrangements. Like some sleep-deprived remake of Randall and Hopkirk: Deceased, this foggy detective-thriller theme shows glimpses into a mangled psyche through the spitting, screaming, snarling Balance. The song attempts to pulse and strain under its own tight structures, but somehow remains in one piece to its creaking, rubber-gagged end.
His vocals also strain at the walls of sanity on “It’s In My Blood,” where his yodeling screams and elongated, tortured vowels manage to speak up for the whole asylum ward with the high pitched whine of the title. An oil drum beat, war horns, and Thighpaulsandra’s descending string derangements lead to an off-mic quip from Balance (“Is that enough, Sleaze?”), as if his howls were as normal to him as fish and chips.
Ending with one of the most unlikely songs for anyone to cover, never mind Coil, who’d of predicted the theme to UK cheesy camp sitcom Are you Being Served? being used for anything other than a UK Hip-Hop sample? “Going Up” takes the original’s theme and loops it under a slow waltz, turning it into a very gentle, tongue-in-cheek, open-armed welcome to Death. Balance’s words are dropped low into the mix and Francois Testory’s choirboy vocals are a prayer to the bric-a-brac of everyday life and the escape skywards.
This album catches Jhonn Balance’s many guises in amber and traps them for a generation of explorers to swallow, follow, and then take down their own path. As one of their most unmagikal-themed releases, there might have been commercial avenues for this album that will never be followed up. The summing up of twenty-three years of Coil will be left for the future’s sure-to-come “best of” collection; The Ape of Naples stands as one of their finest albums ever, making it all the more gutting that this is their last.
http://www.mediafire.com/?hkzdfwz1u25http://www.mediaf!re.com/?vymgzdnwathThe title Horse Rotorvator is explained in the liner notes as a device large enough to "plough up the waiting world," created from the bones of the horses of the Four Horsemen of the Apocalypse. The Bay City RollersBalance shares the same haggard, mystic vocal delivery common to fellow explorers of the edge like David Tibet and Edward Ka-Spel, but he has his own blasted and burnt touch to it all. His lyrical subjects range from emotional extremism of many kinds to blunt, often homoerotic imagery (matched at points in the artwork and packaging) and meditations on death. As a result the cover of Leonard Cohen's "Who by Fire" isn't as surprising as one might think. Past guest Marc AlmondAlmond's then-musical partner Billy McGee, adding a haunting, sometimes grating, string arrangement to "Ostia," which is about the murder of radical Italian filmmaker Pasolini, and Clint Ruin, aka Foetus, adding his typically warped brass touches to "Circles of Mania." Paul Vaughan narrates the lyrics on "The Golden Section," creating a stunning piece that in its combination of demonic imagery and sweeping, cinematic arrangements holds a common ground with In the Nursery. All the guests help contribute to the album's overall effect, but this is Coil's own vision above all else, eschewing easy cliches on all fronts to create unnerving, never easily digested invocations of musical power.
http://www.mediaf!re.com/?5ojdfzvmmnz
http://www.mediafire.com/?wttnwmnzamt
At the end of its initial phase of operation, Coil had taken its music to a somewhat logical endpoint, a frigid coda where its jarring, industrial phase split between a love/sex/drug fascination and the hollow ring of metal-on-metal collision. Though traditional song structures and melodies shot through the underbelly of their most memorable work (anyone remembering their take on “Tainted Love,” Marc Almond inclusive, will have a hard time denying this charge), Coil thrived on the lurid dreams of the willing set against the chilling actualities of life itself. Our bodies begin and end at discrete points, in temporal, physical, and metaphysical situations, and the weight of this burden strikes a minor, ceaseless chord that resonates throughout Coil’s music.
Originally released around the turn of the millennium, Musick to Play in the Dark featured a restarted Coil at bay, with original members John (later Jhonn) Balance (R.I.P.) and Peter Christopherson joined by synthesist/bassist Thighpaulsandra, and Drew McDowall (replaced by Rose McDowall on the second volume). These are long-form works, collections of mood pieces in several modes, and what’s interesting (and somewhat predictable) is that the patience displayed while shifting in between these modes creates a tension and space that feels … almost removed from music by a step, as if the performance decided to slowly back away from Coil at a respectful, totality-fearing distance (or maybe it was the psychic force of their music that pushed it all back).
Musick the first peaks early on, with the Delia Derbyshire-esque sweep of the excellently-titled “Red Birds Will Fly Out of the East and Destroy Paris in a Night,” but does not sacrifice its ability to intone fear into the audience’s minds, as it does on the seemingly innocent “Broccoli,” its lyrical ramblings holding themselves in the round, turning from absurd to ghoulish as the track drones onward, pitched-down choruses adding to the overall effect. Vol. 2 is its own work entirely, more focused on a set of instrumentation and style that is smaller in scope than on the first volume. Tweaky, inner-ear synth squelch glides icily along its requisite sine waves, Balance’s vocals at first obscured by vocoding and electronic pincers but eventually ebbing back into its deep, reverberating pall. Even somewhat uplifting moments, such as the jumping-jack rhythms of “Paranoid Inlay,” collapse into interminable darkness given a few minutes of runtime. The bulk of what’s left is unreasonably cold, alone, and deadly serious, from the elegant piano tumble of “Ether” to the surgically imprecise puddle of “Where Are You?” leading into the album closer “Batwings (A Limnal Hymn),” a tour-de-force of Guignol imagery and the almost unavoidable, mantra-like denouement amidst electronic cycling and dulcet tones.
Not easy listening here, mind you, but then again, Coil never was. These records don’t merely deserve a full and unimpeded attention span; they require their own environments. Candlelight, blackout shades, red wine and intoxicants of choice are their demands. Anything less and you might laugh. You might still laugh on first listen. It’s just your nerves trying to avoid the inevitable. Listen again, until the cold, humid dusk of their finest hours truly sink in.
http://www.mediaf!re.com/?i0ct52nwezmvol. 2http://www.mediaf!re.com/?ymnv1mnmwmmPerformed, recorded, conceived, and titled before Coil founder / vocalist Jhonn Balance’s untimely accidental death in late 2004, this 2003 concert captures Coil in another of their various live incarnations. This recording sees the bearded Balance in his final incarnation as an Edwardian / Gallifreyan gentleman; the greatest Doctor Who we never had. As with much of Coil’s work out of the post-Industrial shadow, he seems somewhat out of time, coming across variously as scrambled, disassociated but always polite and erudite. He even takes time out to offer sensible advice on jam making before varispeeding his own voice and intoning word associations and eerie rhymes on the set’s closing track.
When Balance comments at the crowd’s request for more volume that “excess makes the heart grow fonder” he makes a valid point. As much as the band were / are loved for their music, his taste for altered states sometimes made him a poster boy for those who get their vicarious thrills through others’ cultural, chemical, and societal barrier testing. As with many artists’ posthumous releases, …and the Ambulance Died in his arms is invested with sadness—the darker, lonelier sections of sound seemingly portentous of his early passing. Balance’s parting comment (“Enjoy the rest of the day”) may have been a polite farewell from the stage at the time; now it’s advice for life.
Playing a set of (at this time still) unreleased songs, with the exception of closer “The Dreamer is Still Asleep,” Coil unfurl a dark phosphorus sound which slips insect chatter amongst the drones. Along with a few other tracks “Snow Falls into Military Temples,” suffers from an unwelcome overexposure of intrusive xylophone, but retains a heavy atmosphere with unsteady waves despite the boneshaker melodies. The crash and clatter of Sleazy and Thighpaulsandra’s digital banging provides an unstable bed for Balance’s wordless invocations which are part Knights of Nee part Samoan Rugby player part Diamanda Galás yelping. Where other vocalists search and find their voice Balance seemed happier investigating his voice, remaining open to experience and other less conservative singing styles. The piece’s title merges with the sonic static like a snow drift across the mind’s eye creating images of decayed crumbling armed forces bunkers.
The John Carpenter themed instrumental introduction piece “Triple Sun Introduction” is revisited with a vocal version entitled “Triple Sons And The One You Bury” which sounds a lot warmer as a result. The release’s centrepiece, however, is the sinister “A Slip in the Marylebone Road” which twists the tale of a fall in the street into the threads of a descent into mental illness. The building narrative progresses through ill-omened and distorted imagery of horses ill in a hospital and gaping splits in reality. The music reflects this loosening grip on the existing world as it’s pulled and pixelated along struggling to maintain the circling beat pattern and mini-pulses.
With this live performance Coil manage and manipulate their environment, in this case a cheesy holiday camp setting, fashioning their own rip in reality for over an hour. Since you won’t be catching them live again, this is a must-have document.
http://www.mediaf!re.com/?go1tkudezyi="Allmusic"]Though Coil's John Balance and Peter Christopherson were inspired by the acid house revolution of the late '80s, their drug-inspired "dance" album isn't quite as indebted to the style as the contemporary work of Psychic TV. The influence comes through mostly in the deranged effects and vaguely surreal air, though several tracks do increase the rhythmic wattage. For the most part, the duo retained the gothic synth pop of Horse Rotorvator, but with a special emphasis on stuttered cut-and-paste sections rather than organic instruments and environmental sublimation.
http://www.mediaf!re.com/?2yxzjywughw
http://www.mediafire.com/?j1ih3wyymmxBackwards was a studio bootleg recording by Coil. The origin of the source of "Backwards" is believed to have been a leak of the studio demo, in the form of a cassette. However, the entire demo was broadcast when Dutch Radio4, a radio station in Amsterdam, had Coil as in studio guests to coincide with a live performance on the date of 2001 June 01. The program was broadcasted on 2001 June 18 and a four disc CD-R set of the entire broadcast, made by the radio station, was released in an unknown quantity as Dutch Radio4 Supplement. Although part of the proposed album was eventually released as The Ape Of Naples, the material is so augmented that there are very few recognizable samples.
The album was the proposed release on Trent Reznor's former label Nothing Records. However, the release was continuously put off. The Ape Of Naples is considered to be the reincarnation of this demo as it features completely reworked versions of "Heaven's Blade", "A.Y.O.R.", and other songs that are believed to have been originally created around the time of Backwards. "Simenon" and "Bee Has Photos" are built largely on the foundation of the song "Protection" which was released on the single Born Again Pagans.
"Bee Has Photos" and "Eqyptian Basses" are not considered to be officially part of this bootleg as they were released as part of the Songs of the Week download series and not on the supposed original demo. However the version from Songs of the Week is an alternate version, much shorter in length.
On the live Coil album, Live Three, a song called "Backwards" is performed. This song is an incarnation of the songs "Simenon" and "Bee Has Photos".
This bootleg comprises the material for an album with several proposed titles, such as "International Dark Skies", "God Please Fuck My Mind For Good", "Fire Of The Mix", "The World Ended A Long Time Ago" and "Backwards". Other proposed titles are also possibly referenced by this material.
http://www.mediafire.com/?domvdjr2yttBackwardshttp://www.mediafire.com/?2wyydbndwmo
For years Thighpaulsandra has been an enigma. He's been Julian Cope's mohican haired keyboard player performing on most of the Arch Drude's output since Autogeddon. With Cope he formed the glambient supergroup Queen Elizabeth, filling their eponymous CD and subsequent Elizabeth Vagina CD with deep ambient drone. With Cope switching his attention to book writing Thighpaulsandra joined erstwhile Spacemen Three member Jason Pierce, in his space rock group, Spiritualized, initially as a replacement but now as a full-time member lending his keyboard wizardry to various Spiritualized releases including the Abbey Road EP and the Live at the Royal Albert Hall CD. He survived the Spiritualized schism and has contributed extensively to the forthcoming Spiritualized release with both his keyboard and orchestral scoring skills.
In 1998 he contributed to Coil's (at the time) ultra-limited Astral Disaster vinyl release. He forged an immediate psychic kinship with John Balance and as a result was invited, and duly accepted, John Balance's invitation to join Coil as their permanent fifth member. "Pentagrammatical. Complete," commented Balance. He's since recorded with Coil on the two volumes of the Musick To Play In The Dark series. Last year he debuted with Coil at their magnificent Time Machines performance at the Royal Festival Hall, London, as part of Julian Cope's Cornucopea event. The night before not one but three Thighpaulsandra's (work that one out) joined Queen Elizabeth to perform Temple of Diana.
On Eskaton, Coil's imprint, Thighpaulsandra released his debut EP, Some Head. Black Nurse unfolded through ambient drone, treated vocals, and touched upon world music in an almost 23 Skidoo fashion. Tudor Fruits, meanwhile, ranged from brass deconstruction, massed choirs to spoken words delivered in a random manner. Some Head was imaginative and confusing but gave scant indication of what to expect from I, Thighpaulsandra.
Encased in a lavish fold-out sleeve with a robed Thighpaulsandra brandishing a magickal wand on the cover, and an insert that curiously resembles Crowley's ,"Four Red Monks Carrying A Black Goat" is I, Thighpaulsandra. I, Thighpaulsandra is a sprawling double CD set bursting with inspiration, ideas and versatility. It eschews genre categorisation and is a testament to the imagination and musical dexterity of Thighpaulsandra.
A flickering guitar scale, and the operatic tones of his mother, Dorothy Lewis, opens the album amidst various tinkering tones and ambient drones. It's idiosyncratic, obtuse, and gives way to the rampant funk of The Angelica Declaration. With its abusive anarcho vocal over brass derangements and excited mellotron stabs it announces the arrival of Thighpaulsandra. It's followed by the electronic manipulations of Optical Black featuring a heavily processed John Balance vocal with oppressive keyboard flourishes, aggressive rhythms and deep bass. After the scratching/scraping strings, marimba and clarinet of Abuse Foundation IV, the first of several lengthy tracks appear. Opening with electro buzz it gradually seeps into the space rock of Michel Publicity Window, with funk guitar, bass throb and a Thighpaulsandra pop vocal (sounding not dissimilar to Cope) before dissolving in a haze of electro feedback.
Terrible opens the second disc with the sound of lapping water (recorded by Cyclobe's Simon Norris), a piano and, a moody melodic vocal. We The Descending is another 'out there' pop song, all keyboard beats, soaring guitar fuzz and the occasional bleating sheep. Perhaps the squealing acid rock of Home Butt Club is an oblique reference to the Butthole Surfers. It's certainly as warped. Nestled between is the otherworldly minimal vapour trail of Limping Across The Sky, a sole Thighpaulsandra composition - that originally appeared on the giveaway Cornucopea CD. It then dissolves into the cosmic jam of Beneath The Frozen Lake of Stars with Cope's doubleneck guitar, a theremin and a full-on rhythm section.
I, Thighpaulsandra straddles so many styles of music - experimental, krautrock, space rock, classical, jazz - but ultimately exists in its own universe. It's a shimmering kaleidoscope of sound, as unique as its creator. With Thighpaulsandra's use of Hammond Organ, Synthesizers, Vox Organ and such like it'll take a lifetime to unravel the layers of sound herein - that this review only hints at. Adventurous ears will delight in what Thighpaulsandra has created here, it is truly wonderful. There's little chance of there being a more adventurous CD all year. "A fanfare of trumpets herald my arrival," he boasts on The Angelica Declaration. Perhaps he's right.
http://www.mediaf!re.com/?jcuiimjnymw(part 2)http://www.mediaf!re.com/?zznjmeylu42"Choir" is a bit of a misnomer; the only voices on this recording are sampled and digitized. Still, if the literal existence of the choir is questionable, the pedigree of its conductor is not; The Threshold HouseBoys Choir is the new project of Coil co-founder Peter Christopherson, and marks his first new work since the 2004 death of former partner Jhonn Balance. It's hard not to draw comparisons. The arrangements on Form Grows Rampant, especially the use of marimba on "A Time of Happening" and sustained hurdy-gurdy on "As Doors Open into Space," recall the understated majesty of late-period Coil; on a less concrete level, so does Christopherson's uncanny ability to wring a deep sense of bittersweetness from seemingly simple synth arpeggios. The Threshold HouseBoys Choir is its own animal, though; make no mistake of that. An essential part of Coil - Balance's voice - is unmistakably absent, and in its place, exotic chants, ranging from the buzzy, psychedelic monotone to ethereal operatics. There's an obvious ethnic vibe, inspired by Christopherson's new home in Thailand, but this isn't world music by any stretch of the imagination. Form Grows Rampant was originally created as a film soundtrack, not an independent music piece, and it's when the accompanying DVD is viewed that the scope of Christopherson's achievement becomes apparent. Christopherson shot the video footage at the Vegetarian Festival - which has a lot fewer tofu products and a lot more extreme body piercings and self-mutilation than you might expect - in southern Thailand's Krabi Town, and despite the seeming violence of the flagellated bodies, pierced cheeks, and razor-sliced tongues, there's a sense of tranquility in the imagery that's brought out by the gentle bass lines and airy piano chords. Rather than portraying the brutality of the rituals as seen by outsiders, Christopherson's music brings the viewer into the heightened consciousness of the ritual participants. Form Grows Rampant is beautiful; even people that ordinarily shy away from experimental music can appreciate these gentle bass thrums and otherworldly religious chants. Perhaps more valuable though, is this work's ability to communicate to the listener some small sense of that transcendence which inspired it.
http://www.mediaf!re.com/?ihmitcfhzynThe set looks pretty special; the four 3” CD-Rs are enclosed in a clear, plastic amulet with a gold band holding the container closed. Also inside is a small, signed piece of paper with the tracklisting and a sticker. A black velvet-like bag keeps the whole thing safely snug. Once I had pried the amulet open and had a listen, I was immediately impressed. While the note with the set clearly states that these are sketches for a new soundtrack Christopherson is working on for a film he intends to shoot about temple tattooing in Thailand, the pieces hang together particularly well.
Overall, Christopherson has continued with the post-Industrial exotica style (to borrow a phrase from Jonathan Dean’s review of the first album) but things are less hectic here. The mutated Thai boys’ voices are again a key feature and Christopherson’s beloved string samples make another appearance but a far calmer course has been taken by this choir. Of course, it is impossible not to compare Christopherson’s current work with the music of Coil and fans of Coil will not be disappointed in his current direction. There are nods to Coil classics, the mood is similar in vein to the Musick to Play in the Dark albums and "Distonto" on the fourth disc is very much reminiscent of “Chaostrophy” (on Love’s Secret Domain). The strings and liquid, nocturnal mood capture the same nightly essence of the LSD album.
However, it would be a mistake to simply write off The Threshold HouseBoys Choir as Coil Mk.2. Christopherson is clearly being affected by his new life in Thailand and this shows in the music. This collection and the Form Grows Rampant album have a far more languid and tropical vibe to them compared to the pastoral and urban directions that Coil went in (and I get the feeling that Christoherson’s exotic side is tempered in SoiSong by Ivan Pavlov’s colder approach to music). What is most striking about this music is the joy that shines through it. “The Hangman’s Ball” starts off as being quite restrained in tone but before long a powerful and undeniably ecstatic trumpet erupts from the heavens (albeit the trumpet sounds programmed but the sentiments still ring true).
Although initially only available at the Brainwaves festival, a further 155 copies are to be made available online for those unfortunate souls who missed out on a rather extraordinary live performance by Christopherson. Those despairing of the limited numbers can take solace in the fact that this music is intended to be finished and (by my reckoning) most likely will appear in a similar fashion to Form Grows Rampant. Completists can head over to the Threshold House store and start hitting the F5 key now...
http://www.mediaf!re.com/?miztzzygyem
Coil - Ape of Naples
Jay ups the the voltage on his Screamers/Devo synths for a manic and terrifying burst of energy. Irrestistable beats, scuzzy wall-of-sound guitars, and pitch-bent sinewaves, ready to fight.
http://www.mediafire.com/?j2mzwjlnlgjQuality punk craftsmanship, punk riffs, manic energy and juvenile sci-fi aesthetics.
http://www.mediaf!re.com/?1zznmlnynvw
Why is it called indie rock thoughMarnie Stern - In Advance of the Broken Arm
This owns.
No doubt.
http://www.mediafire.com/?djzfzqzil5aIT'S THE BEST FUCKING ALBUM EVER MADE, YOU CUNTS
http://www.mediaf!re.com/?wtrzuzr2n2thttp://www.mediaf!re.com/?mdqzignymgd
Man Man - The Man in the Blue Turban with a Face
oh hey oh hey oh HEY everyone! I was just wondering if anyone knew where I could perhaps purchase The Unicorns merch, specifically a t-shirt. I've been looking for a bit yet can't seem to find one. I miss them a lot.
Wu Tang acapellas over beats made with samples of Beatles songs. Produced by Tom Caruana(http://imgur.com/C10Jc.jpg)
I like to think this shirt is the unofficial band shirt.
Unicorn: Sexin' Unicorn
How can hip hop be dead if Wu Tang is forever?
http://wutangvsthebeatles.bandcamp.com/QuoteWu Tang acapellas over beats made with samples of Beatles songs. Produced by Tom Caruana
I like to think this shirt is the unofficial band shirt.
Unicorn: Sexin' Unicorn
hahaha
oh god wow
I am wearing that shirt right now
I already think you're guy.
http://www.mediaf!re.com/?dzorynnywmnDiamond Rings (http://www.youtube.com/watch?v=3MF1SibXOQY)
http://www.mediaf!re.com/?5gxj9prjyihhttp://www.mediaf!re.com/?eztdmydn3w0http://www.mediafire.com/?tyinrztn3zlIt is a wonderfully varied collection of Irish jigs and reels with some other less traditional but still lovely tunes mixed in.
Kim Robertson does a lovely harp piece called Molly on the Shore which has White Coral Bells hummed in the beginning - may sound unusual or even weird, but it really works and it ends up going through my head all day it is so lovely. There are some pieces by John Whelan included as well that get my toes tapping each time I listen to them. What I like best is that none of the songs sound repetitive with one another since there are various artists and music styles presented.
http://www.mediafire.com/?j2yj5wzcmyfhttp://www.mediafire.com/?m02lwt12hknPart 2http://www.mediafire.com/?mjrztkynweqPart 3http://www.mediafire.com/?xcblzmiaqnhPart 4http://www.mediafire.com/?ymoiwj14jomPart 5http://www.mediafire.com/?d5nwtyhzjzyPart 6http://www.mediafire.com/?znjm0riuomzPart 7http://www.mediafire.com/?yzwljez1f5m
Rapeman
here's an album from a band started by some kids i go to school with - they're very folk-y/old time-y, and put on some of the best shows i've been to. they're called The Dapper Cadavers and if you're in the portland, oregon area then you should try to see them live.
The Dapper Cadavers - The Fall of the Dapper CadaversCode: [Select]http://www.mediaf!re.com/?flemd9rw4xx
pantha du prince
http://www.mediaf!re.com/?jynmnmjyniz(http://img709.imageshack.us/img709/4500/dc1dc220fb02e2ee2a4264d.jpg)disc 1 is corrupt.
Thighpaulsandra - I, Thighpaulsandra
http://www.mediafire.com/?d3gzzzum0nyTrucker's Delight (http://www.youtube.com/watch?v=ozl4c2hyA9o)http://www.mediaf!re.com/?mizod2hnylzhttp://www.megaupload.com/?d=LX9WQYM5http://www.megaupload.com/?d=AUCYPGYBhttp://www.megaupload.com/?d=41AMDP3N
I just downloaded and had no problems.(http://img709.imageshack.us/img709/4500/dc1dc220fb02e2ee2a4264d.jpg)disc 1 is corrupt.
Thighpaulsandra - I, Thighpaulsandra
http://www.mediafire.com/?3zm1jxy2im3Julie Christmas has one of rock's most versatile voices. Technical range does not necessarily equal emotional range, and Christmas is one of a select few who have both. Like Björk, Jarboe, and Diamanda Galas, Christmas can plummet within seconds from sweet nothings to feral growls. Even at her lightest, she retains an edge. Her voice is tart and taut, and her screams feel more like inevitabilities than conscious extensions of range. Unlike her counterparts in heavy music, who often replicate male roles, Christmas' presence is quite feminine; Babes in Toyland's Kat Bjelland comes to mind.
A vocal instrument as magnificent as Christmas' requires a suitable context. She has had problems finding one. Her main band, Brooklyn's Made Out of Babies, has been hit-or-miss. At best, they coalesce into fearsome heavy metal thunder. At worst, they devolve into aimless, plodding sludge. Christmas' other band, Battle of Mice, often has the same problem. Battle of Mice's last record, A Day of Nights, was musically earnest, lyrically honest, and virtually unlistenable. Christmas' projects have tended to over-emphasize her voice's abrasive side.
The Ruiner is the first record that truly harnesses Christmas' range. This is because it's the first that truly harnesses Made Out of Babies' range. Due to time constraints, the band's writing process fractured, with members working individually or in small combinations. This produced their most varied, nuanced record to date. For the first time, Christmas has a backing palette with colors to match. Guitars unspool jangly curlicues; drums and bass joust with the suppleness of Jesus Lizard. "Stranger" dangles eerie dewdrops of melody over abstract chords. The song perches precariously between dark and light, as Christmas lashes it with throat-shredding howls. "Peew" likewise plays with balance. Wordless cooings course over chugging riffs, which burst open with punishing percussive flurries. "The Major" recasts Björk as a doom metal diva, while "Invisible Ink" is a tour de force of melisma and major thirds à la Trent Reznor.
Noise-rock and metal comprise much of The Ruiner, but it's really the heir to PJ Harvey's Rid of Me. That record's Led Zeppelin-esque bombast (recorded by Steve Albini, who also engineered The Ruiner's predecessor, Coward) appears here in big, boxy drums and Christmas' dramatic vocals. Like Harvey, she sings, screams, and seduces all at once. In "Cooker", the words "Run, run for your life" repeatedly erupt from her throat like napalm. They feel like something Charlie McGee might have said in Firestarter before she set the world alight.
http://www.mediafire.com/?uzmt2zlajwmFrom the soundtrack to O Brother, Where Art Thou to his work on the Robert Plant/Alison Krauss collaboration, T-Bone Burnett is the top producer for country and Americana “event” recordings. His latest event is the soundtrack for current awards show darling Crazy Heart, co-produced by the late Stephen Bruton.
The two movies couldn’t be more different, but the soundtracks have some striking similarities. Like the O Brother soundtrack, the songs here are split among classic recordings, originals from contemporary artists and a spattering of material performed by the actors themselves. Songs like “Hello Trouble” by Buck Owens, “My Baby’s Gone” by the Louvin Brothers and “Are You Sure Hank Done It This Way” are classics in every sense of the word and should be a part of any country fan’s library. Added to that are tracks from Townes Van Zandt, Sam Phillips and Lightning Hopkins to represent the Americana side of the music.
Ryan Bingham, who also appears in the movie, chips in a couple of songs. The bouncy “I Don’t Know” is probably the most instantly accessible song that Bingham has ever recorded. There are two versions of it, with Bingham’s version trumping Jeff Bridges’ more laid-back take. “The Weary Kind,” written with Burnett, is deservedly getting the most notice, and the amount of awards it’s received have all but guaranteed it an Oscar nomination for Best Song. Perfectly suited to Bingham’s gravelly voice, the song captures the life of the hard-living troubled soul that’s central to the movie. More importantly, it stands on its own as a moving ballad, independent of any movie.
The bulk of the songs are left up to the vocal abilities of Bridges as main character Bad Blake. Bridges–who does have an album under his belt–has a warm, gruff voice with a bit of a soulful tinge to it. He’s ably backed by a band that’s more Americana than mainstream country (When was the last time you heard an accordion on country radio?), but the songs like “Hold On You” and “Fallin’ & Flyin’” are so instantly catchy that they might have become hits in the Outlaw Era. Bridges does a solid job on them, but the overall success of his songs are due more to the quality of the songwriters and the band than the singer.
The biggest surprise on the album is that Colin Farrell, who gets a song and a half on the soundtrack, could be a country star if the whole actor/international sex symbol thing doesn’t work out for him. His performance on “Gone, Gone, Gone” is better than most of the songs released by actual country singers over the past year.
Bruton, who had made a name for himself as a musician, songwriter and singer, died after a long bout with cancer in 2009. He co-wrote most of the original songs along with Burnett and a few others. It’s a fitting finale for a career that stretched more than 40 years and hopefully will shed some light on a man who spent too much of his career flying under the radar.
http://www.mediafire.com/?mdcecnmngz5The Magnetic Flowers, who have to be near the top of nearly anyone’s list of best bands in Columbia, recently released their excellent second full-length, and in doing so raised the bar pretty damn high for the rest of this year’s releases.
The band plays a kinetic brand of literate indie pop with disparate folk, cabaret and psychedelic threads. Featuring a surfeit of talent in its four vocalist line-up (all of whom seem to pop up in the background, singing multiple parts, on pretty much every song) and the songwriting talents of Patrick Funk, Jared Pyritz and Adam Cullum, the group is nonetheless more than the sum of its parts. When playing together, their music seems to drip with endlessly layered melodies, hyper-literate wordplay and song structures that seem to positively burst from the seams.
The new record, entitled What We Talk About When We Talk About What We Talk About [a play on the title of a Raymond Carver short story collection], sees the band delivering on the promise of their debut in spades, with potent versions of songs that have already become staples of their live show.
Opening up with the tribal thump of the band’s twisted adaptation of the traditional “I’ll Fly Away,” this scratchy, rough-and-tumble introduction still manages to immediately capture the essence of what makes the group so great: Every vocalist contributes to the layered sing/shout-a-long, with words and melodies offset to give the listener the feel of a tumbling, shambolic free-form exercise that magically makes perfect musical sense. Later the band will come full circle in a inverted, lush reprisal of the opening cut.
The first original on the record and a highlight of the band’s recent live shows is “Southern Baptist Gothic,” which showcases Pyritz’s spitfire vocal style that has gradually emerged from its near-mimic of Conor Oberst to become an assured, unique presence in its own right. This track also establishes the sonic template from which most of the songs on the record are derived from: interlocking electric and acoustic guitars, integral walking bass lines from Albert Knuckley, and over top of it all, the hyper-melodic keyboard lines (or accordion parts) provided by Cullum. Drummer Evan Simmons has his hands full just trying to keep all his bandmates together, but he still manages to give each song the dynamic tug and pull that keeps the listener on the emotional journey of the singer. Although the song features a lyric-heavy stream-of-conscious narrative, its power comes from the sheer confidence Pyritz exudes on the mic and the seemingly effortless fills and pick-ups the entire band engage in as the song sways from fast to slow and low to high across its five minute running time.
Another highlight, and the soulful center of the record, is the emotionally wrought “Northern Lights,” a ballad that exquisitely captures the jumble of confused thoughts and concerns that make up the average twentysomething’s psyche. The song, centered around a few simple guitar chords and a mournful accordion melody, is a coming-of-age song pushed ahead ten years, addressing all of the insecurities, demands and questions that life holds once you are actually suppose to start living it. It’s a beautiful, touching anthem that has the power to strike a chord right in the heart of the band’s intended audience.
Another song of note, “Talk Talk Talk Talk,” is Cullum’s first turn at lead vocals for the band and where the record’s title is pulled from. Whereas Cullum rarely shows the kind of restraint and control of the two frontmen, but he makes up for it by putting his all into every lyric he utters, from breathless exhalations to uninhibited hollering. The song is allusion-heavy, with provocative twists on both T.S. Eliot and Raymond Carver and ironic name-checks of Donnie Darko and Charles Bukowski. The song is built on a jazz-like vamp that suits the poem-song approach the band takes with it. It aims to be a “Love Song of J. Alfred Prufrock” for the modern-day hipster set, and hits it fairly well on the nose.
The album ends with “Reprise,” a wholly different adaption and take-off of the gospel number of the beginning. The original take is the shortest and most minimalist song on the record, with the band sounding slightly unhinged. The reprisal is the longest and most sonically lush, with every vocalist aiming for their tenderest performance. Chants of “Hallelujah” are repeated over and over with the upmost sincerity. It is the perfect way to end this roller coaster of a record, with a band utterly at peace after the musical, lyrical and emotional twists and turns that precede it.
On the whole, this is an impressive record that clearly draws upon much of the national indie scene of the past ten or fifteen years, yet forges a unique identity for this seriously talented group. However you feel about the state of music, locally or nationally, you should feel proud to have a band like Magnetic Flowers making music in your town.
Made Out of Babies- The Ruiner
http://www.mediafire.com/?wsdjgk0bno0(Track 6 is a little wonky. I may try going into Audacity and fixing it up)Smackin' Isaiah - The Champagne of Bands... We Know Sexy
(http://userserve-ak.last.fm/serve/252/886972.jpg)
The amazing melodic hardcore/punk rock band A Wilhelm Scream from New Bedford used to be known as Smackin' Isaiah. This is one of the EPs they put out under that moniker before the 2003 change. This is while they were still developing the wonderful sound they currently employ.Code: [Select]http://www.mediaf!re.com/?wsdjgk0bno0(Track 6 is a little wonky. I may try going into Audacity and fixing it up)
Is that band where you got your name?
http://www.mediafire.com/?iyymq2kmxm2
Made Out of Babies- The Ruiner
http://www.mediaf!re.com/?x1jd2jyjntthttp://www.mediafire.com/?0niwnhyjjijhttp://www.mediafire.com/?nyyzi5qtnlzhttp://www.mediafire.com/?hnyzxyqmzn4
Last and definitely least Philosophy of The World by The Shaggs
(http://i.imgur.com/67XgR.jpg)Code: [Select]http://www.mediaf!re.com/?hnyzxyqmzn4
Recently featured on octopus pie, this music is truly terrible, I mean really really bad. The kind of band that really puts all the nickelback/whatever hating into perspective. It makes Brokencyde look technically competent.
http://www.mediafire.com/?wzg40mncnxySo after a year of legal disputes this was finally released on iTunes. Underworld wrote a couple beautiful ambient tracks ("Capa's Last Transmission Home" & "Mercury") and close the record with a pinch of industrial/noise. John Murphy ain't no slouch either. Just listen to the "Adagio In D Minor" tracks; they're as epic as they come. Highly recommended even if you're not into soundtracks.
http://www.mediaf!re.com/?xzctwylytdmIn January of 2009, five of us locked ourselves away in Chemical Sound Studios in Toronto with the goal of writing, arranging, and recording an EP from scratch in one marathon session. When we stumbled out the door in the wee hours of the next morning, we found ourselves with what we're now calling NOVELS.
http://www.mediaf!re.com/?nhmzlnmllzz
http://www.mediafire.com/?2vdky4yzdmh
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?ydt3tmmzummDisc 2http://www.mediafire.com/?nmogmjzijj5Tom Moulton is both a legend and an anomaly in the dance music scene. Arguably the inventor of both the remix and the 12" single, it'd be hard to pick a figure more important in breaking ground with regards to the way dance records are actually made. However, his lack of direct involvement in the discotheque scene that he helped provide a musical foundation for has kept him from the Legend status bestowed upon Larry Levan, Frankie Knuckles, Ron Hardy, Walter Gibbons, et al. Never a DJ, not even much of a dancer, Moulton actually had an intense dislike for clubs. What he loved (and loves) is music, with a purity and a passion rarely seen even amongst those for whom it is their life's work.
UK-bred dance variants tend to be magpies, marked by a cheeky tendency to beg, borrow and steal where necessary: witness hardcore’s breakbeat-driven rewiring of imported house and techno sounds, the clipped rasta soundbites of jungle or dubstep’s procurement of dub reggae’s expansive headspace. Indeed, what’s proving to be the most interesting facet of the current explosion in as-yet-undefined bass music – future garage? funkstep? flexstep? – is its typically promiscuous nature. The likes of Untold, Brackles, Shortstuff and Roska craft tracks that shamelessly incorporate elements of every major dance trend of the last 20 years. The result has been a surprisingly swift reconfiguring of dubstep’s DNA, unifying each disparate strand into a willfully awkward hybrid - and one that stubbornly resists categorisation.
The people at Fabric tend to be on the ball when it comes to these things. Attempting to keep up with developments in a scene where the majority of tracks only see vinyl release is an expensive business, and Fabric's Elevator Music Volume 1 compilation can take credit for acting as both a welcome primer for newcomers and an impressive collection of unreleased material for devotees.
If any one producer can take more credit than any other for the injection of a welcome sense of fun into dubstep’s darker regions, it’s Untold. His contribution here, ‘Bad Girls’, picks up where his recent ‘Flexible’ 12-inch left off, paring away the softer elements of the Gonna Work Out Fine EP until all that’s left are sheer edges: grimy bursts of bass and a melody played out on a misfiring glockenspiel. He’s also the closest the scene’s come to nurturing a true individual - after wrapping dancefloors in ‘Anaconda’s serpentine coils, he’s fast honed a signature sound that lands somewhere in the sparse hinterlands where classic house meets early Wiley.
Indeed, despite typically being mentioned in the same breath as dubstep, the common traits shared by many of the tracks on Elevator Music owe at least as much to grime. If forward-thinking releases in the past year from the likes of Joker, Tempa T and Terror Danjah have gone some way towards showing that there’s life left in that genre beyond dodgy electro collaborations, Shortstuff’s clipped eight-bar stylings and the blitzkrieg bass of Doc Daneeka’s ‘Drums In The Deep’ suggest it’s still a region ripe for plundering.
But if typically urban influences ground Elevator Music’s better-established names, the ghosts of house and techno prove to be the glue that binds together the lesser-knowns, from Hot City’s bassline-style sliced vocals to Julio Bashmore’s spacey Europhilia. It proves a potent brew - on ‘Pistol In Your Pocket’ Hackman takes London’s emergent funky sound and runs amok, lashing layer upon layer of tropical colour like a four-dimensional Jackson Pollack, and Xxxy’s noirish ‘Sing With Us’ is animated in Sin City greyscale, complete with sudden splashes of cell-shaded red.
But best of all is Mosca’s tack-sharp contribution, which ought to immediately elevate him toward the kind of wider attention currently being enjoyed by Joy Orbison. ‘Gold Bricks, I See You’ is far better than anything Orbison’s yet put his name to, a masterclass in melancholy euphoria that builds in three successively greater stages - shapeshifting from warm house pulse to supple, spacious garage, before a burst of brass and vocals evacuates the space where your brain was comfortably resting. So it goes.
Elevator Music’s real success is that it vindicates the notion that the music emerging from this axis is more than just dancefloor fodder. Innovation is driven by group interactions and friendly one-upmanship, rather than by any one producer. Anyone’s only as good as their last release - a forceful creative motivation, and one which makes each track on here as rewarding in this context as in a longer mix. It’s probably a bit early to be throwing around ‘compilation of the year’ accolades in January, but Elevator Music Volume 1 has thrown down one hell of a gauntlet. It’ll take some beating.
http://www.mediaf!re.com/?ogdezqdumm4Like so many synthesizer-based dance bands, Ministry doesn't do anything you haven't heard before. The rhythm tracks, sprinkled with Latin effects à la Thompson Twins, are built around the same synthesized bass lines that have been filling dance floors since the disco era. The instrumental tracks recycle the same burbles and beeps that you hear on Yaz or Berlin records, while occasionally relying on guitars and saxophones for additional weight, like Heaven 17. And vocalist Al Jourgensen even manages the same nasal delivery and, from time to time, fake upper-class accent as Marc Almond of Soft Cell (an especially odd touch, considering that both Jourgensen and the other half of Ministry, Stephen George, hail from Chicago).
But this lack of originality is hardly worth complaining about, because Ministry manages to do something many far more innovative bands neglect: they write catchy dance songs. "Work for Love," which preceded the album as a twelve-inch single, proved that George and Jourgensen were canny enough arrangers to get mileage out of a melody without running it into the ground. "Effigy," "She's Got a Cause" and "Say You're Sorry" offer more evidence of the duo's writing ability. Jourgensen's sturdy melodies can stand on their own; a ballad like "Say You're Sorry" packs no less punch than a steamer like "Effigy." Nor does it hurt that Jourgensen's singing is charged with anger, passion and glee–real emotions instead of the vocal posturing so common in synth-pop. In all, With Sympathy provides the valuable service of demonstrating how well synth pop's mannerisms worked before they solidified into cliché.
http://www.mediaf!re.com/?yyyymzmommkTechnology changes everything. For instance, technology made it possible for Julian Fane to trade stocks minute-by-minute on the NASDAQ from Vancouver, just like the big boys at Morgan Stanley's proprietary trading desk...though maybe minus the cigars. Then technology also made it possible for him to say, "Fuck day trading...I want to make music full time," turning the same computer firepower into a home recording studio. He made underground electronic music under pseudonyms like Aardvark Interface and Taoist Blockade, then released his first full-length Special Forces in 2004. It was a completely solo, home-produced effort that drew comparisons to Radiohead and Sigur Ros. Now with Our New Quarters, his sound has grown even more lush and orchestral, embellished with grand sweeping crescendos and achingly melancholy acoustic breaks.
All of which is maybe a roundabout way of saying that Julian Fane's second album Our New Quarters doesn't sound like a bedroom recording...not at all. It's large in scale, immaculately produced and extravagantly ambitious.
The album starts in restrained frenzy, its title track opening with a furious build of vibrating electric guitar and, underneath, a nearly placid series of guitar chords. Fane's voice - and this is where most of the Radiohead comparisons come from - is high and a bit thin. The cut sounds completely organic and rock-based, though supernaturally clean and clear; it's high-end, producer-driven rock music, very similar to the kinds of sounds that Bono and Thom Yorke pay tens of thousands a dollar a day to record. "The Moon Is Gone" plays the same tricks but with even better results, building arena style climaxes out of heavily reverb'd vocals and synthy, Cure-like keyboards. Only a certain dreamy indistinctness keeps it from sounding completely live and collaborative; it the best big rock song on the disc. "Among the Missing," late in the album, shoots for the same grandeur, but doesn't quite achieve it. The climaxes feel forced and distorted, the soft romantic string intervals too sweet.
Other cuts are more overtly electronic. "New Faces" is built on a cool, minimal techno-beat, skittering over piano chords and synthesized sound washes, while "Youth Cadet" has an eerie, not-quite-naturalistic sheen to it, a slush of cymbals rasping over something that sounds like a calliope crossed with steel drums. "Rattle"'s heavy beat spits and stutters, machine-like, a much-needed brace to Fane's high, drifting vocals.
There is one song that fits reasonably well into the bedroom recording genre. The lovely "Downfall" strips down to just piano and Fane's keening, emotionally expressive voice. Fane does amazing things with technology...and he's even pretty good without it.
http://www.mediaf!re.com/?qzdkjmwotmk
http://www.mediaf!re.com/?yezntg50xim
http://www.mediaf!re.com/?5ijnmzt53nmhttp://www.mediaf!re.com/?4mny25mhctjhttp://www.mediaf!re.com/?znayydg0gmmA killer album! The Harold Johnson Sextet were an incredible little LA soul jazz combo during the late 60s. Johnson was a very soulful pianist, and he had a heavy soul style that was similar to Ramsey Lewis' Cadet work -- but which was also tinged with the lyricism of Horace Silver, and the emerging modal sound of Stanley Cowell. This first session by the group was originally issued on a small label, became a local hit, and was picked up by the Revue label for national distribution. It's got an incredible sound, and is very very catchy. The band features Johnson's piano in a very strong lead -- plus flute, alto, and tenor. Billy Jackson plays a hard rolling conga behind the whole thing -- and tracks include "House On Elm Street", "Watts '67", "Something Mellow", and "Yeah Uh Huh". A great one -- and one that we never stop grooving!
http://www.sendspace.com/file/4etn32Man, you weren't kidding about that Zombie Zombie video...
(http://img64.imageshack.us/img64/6620/sunshinep.jpg)
Sunshine: Music From The Motion Picture (2008)Code: [Select]http://www.mediaf!re.com/?wzg40mncnxySo after a year of legal disputes this was finally released on iTunes. Underworld wrote a couple beautiful ambient tracks ("Capa's Last Transmission Home" & "Mercury") and close the record with a pinch of industrial/noise. John Murphy ain't no slouch either. Just listen to the "Adagio In D Minor" tracks; they're as epic as they come. Highly recommended even if you're not into soundtracks.
01 - Welcome To Icarus II (John Murphy)
02 - Capa's Last Transmission Home (Underworld)
03 - Mercury (Underworld & John Murphy)
04 - Kanada's Death (Part 1) (John Murphy)
05 - Kanada's Death (Part 2) (Adagio In D Minor) (John Murphy)
06 - Searle Finds The Crew Of Icarus I - Floating Free - Searle's Last Blast (Underworld & John Murphy)
07 - Freezing Outside - Harvey (John Murphy)
08 - Trey's Fate (John Murphy)
09 - Pinbacker Slashes Capa (John Murphy & Underworld)
10 - Corazon Finds The Seedling (Underworld)
11 - Cassie Searches - Dead Corazon (John Murphy & Underworld)
12 - Freezing Inside - Mace (John Murphy)
13 - Capa Suits Up (John Murphy)
14 - Sunshine (Adagio In D Minor) (John Murphy)
15 - Capa's Jump (John Murphy)
16 - Distortions (Underworld)
17 - Capa Meets The Sun (To Heal) (Underworld)
18 - Peggy Sussed (Underworld Riverrun Version)
19 - Avenue Of Hope (I Am Kloot)
That sounds too funky not to download, Cathy.
(but do you have something smaller than FLAC? I'll be up til 5 AM at this rate)
http://www.mediaf!re.com/?twllnyyew5thttp://www.mediaf!re.com/?gnnddtwnzvyThe Hungry kids of Hungary is a band made up of four gents whose musical inspiration touches on Blues, Rock, Soul, R&B and 1960 style pop-rock. On the surface, their songs are catchy, rhythmic and well balanced with fetching guitar chops and contempory stylings. But also employ light and shade, and sweet vocal harmonies that'll knock the pants of you. It's basically fun and energetic music that anyone can get into...Even Grandma!
HKOH have played a massive run of shows in the last couple of months and are set to play a string of supports including The Boat People, The Seabellies, The Devoted Few, Washington and Kid Confucius.
Here's what some peeps have to say:
''Drawing on a broad range of influences including a hefty drawing from the blues, soul and rock classics of the later ‘60s, the kids provided an eclectic and soulful set of sonic surprises. You could still make comparisons to acts such as The Cold War Kids and The Shins, and while these comparisons would certainly be no crime, Hungry Kids of Hungary seem to stake their claim in a musical spot that is quite refreshing in its difficulty to pin down to an obvious, clichéd derivation of something else.'' -Live Review Oct 08- FASTER LOUDER
''seamless, intelligent shimmering pop with instant appeal '' - Pat Whyte, The Courier Mail
For the past 8 months, the Keep Watch Series delivered some of the best mixes from the best artists in the world. But long before Keep Watch, Dubstep or Grime there were the artists that influenced generations of the darker side of dance music, and carved out the path that the contemporary darkwave scene is currently taking. Our longtime friend Passions created our first ever mixes (I Like Your Poems But I Hate Your Poetry Vol.1 & 2) under his old moniker “Math Head” and we’re stoked that he’s been able to come through with his newest mix… Music Without Tears!
Passions was formed in the summer of 2006 by Brooklyner Ben Deitz, originally incorporating influences as disparate as early 80’s punk and industrial to the dance music culture from which Deitz made his name (as former Trouble & Bass wunderkind Math Head). Passions’ explosive debut single “Emergency”, for French tastemaker label Kitsune, swept the dance charts instantly, gaining acclaim from artists, magazines and blogs worldwide, and earning praise from Girl Talk, MSTRKRFT, Simian Mobile Disco, Fischerspooner and more. After perfecting a riotous style of Electro Punk with a multitude of remixes and chaotic live shows, the sound of Passions has evolved into an outlet for hauntingly bleak post punk explorations that evoke Cabaret Voltaire and Joy Division.
http://www.mediafire.com/?g0ngqumwlmwTracklist for Music Without Tears:
1. UK Decay – Unexpected Guest
2. Micron63 – No Divide
3. Joy Division – Means To An End
4. Pylon – Danger
5. Public Image Limited – Annalisa
6. Nitzer Ebb – Join In The Chant
7. Nine Inch Nails – Ringfinger
8. Passions – Sentiment (Instrumental)
9. Death In June – Fields
10. Cabaret Voltaire – Landslide
11. SPK – A Heart That Breaks (In No Time And Place)
12. Ulterior – Weapons (Zlaya Remix)
13. New Order – 586 (Peel Sessions Version)
14. Death In June – The Calling Mk II
15. Black Strobe – Innerstrings (No Shuffle Mix)
16. Micron63 – Death Is Colder Than Love
17. Huoratron – Corporate Occult (Passions Remix)
18. Section 25 – Looking From A Hilltop
19. Throbbing Gristle – Adrenaline
20. Alien Sex Fiend – Get Into It
21. New Order – Ecstasy
22. Suicide – Mr. Ray
23. Sonic Youth – Killin Yr. Idols
24. Ipso Facto – Baulderdash
25. Damn Arms – The Cormorant
26. Wire – On Returning
27. Oto – Anyway
28. Bauhaus – Dancing
29. The Cure – Primary
30. Passions – Composure (Instrumental)
31. Radiohead – Climbing Up The Walls
32. David Bowie – Subterraneans
Ever floated in a sea of swirling guitar melodies, pumping beats and ethereal electronics? Well "Been Meaning To Tell You" will sure as hell get you close to feeling it. Ernest Gonzales knew he was onto something when he decided to mix his love for diverse music genres into one big electro-indie-hip hop melting pot. Raised in Texas, USA, Ernest’s dream started when he earned enough money to buy his first drum machine. This spawned a massive interest in music production, and eventually developed into his own hip hop and electronic label, Exponential Records.
“Been Meaning to Tell You” is an excellent achievement musically. So many have come and gone, trying to create a “new” sound by mixing clashing styles / genres. But none have ever really had that much of an edge. This is where he wins, hands down. From the haunting ‘Dancing In The Snow’ to the club-crowd pleasing ‘I’m Here You’re There’, there’s so many levels to "Been Meaning To Tell You", you almost feel like you’re in a lift when a kid has pushed all the buttons!
The artwork plays a role unto its self. Ernest picked thirteen international illustrators/artists, one for each track, and asked them to create an image evoked from that song. And the end result is what made the final spiralling image for the front cover. It definitely suits the otherworldly feel of the album. Its title certainly gives you the impression that there were a lot of different emotions being poured into each track. ‘Psychedlic Bellhop’ has some great old school Nintendo sounding fills then it grows even more interesting as it develops into almost New Order territory with driving but mellow guitar riffs. My favourite song would have to be the opening track, ‘Dancing In The Snow’. It’s such a mellow song, but at the same time has such a punch, especially once the skilful beat-boxing oozes in. Layer after layer is added – drums, guitar, organ - without ever feeling over-crowded. I especially can’t help smiling when I hear the innocent tinkling of the xylophone!
And so my opinion of "Been Meaning To Tell You" has definitely grown over the past week. I never thought my guitar-laden, verse-chorus-verse-chorus brain could enjoy this experimental journey, but my eyes have now been well and truly prized open. It will be very interesting to see where Mr Gonzales goes from here, I know I’ll look forward to hearing some more of his experiments....more beautiful electronic lullabies to drown out the rain and melt the ice.
http://www.mediaf!re.com/?qjvm2x2dijrAs can be gleaned from the cover of her one and only record, Linda Perhacs was a stunning, beautiful love child. Anyone who spent the $200-400 necessary to obtain copies of the original vinyl could attest that the music she made was comparably stunning and beautiful, infused with all the trappings of being a late-sixties love child (in the best possible way).
Ace of Discs reissued her album after unsuccessful attempts to track her down, mastering from a poorly pressed vinyl copy. For whatever reason, the first issue on CD was completely unlistenable on headphones, although delightful in the open air. Since that first go-round, Perhacs has come out of her obscure Pacific Northwest woods with quarter-inch reels of the sessions, and now that Ace of Discs comes round again with a vindicating, expanded reissue, the tray card photo reveals: she's still a babe.
Anyway you eye it, this is a magical, sublimely singular piece of gentle folk-psych that belongs with those lone album classics by folks like Skip Spence or Vashti Bunyan (or the countless other souls that only released one record before disappearing into history's communal farms or funny-farm madness, like Elyse). It is a sound so personal and intimate that I can only hear it in the privacy of my own room. Although it's been near-impossible to gain biographical information about her, the experience of hearing her music reveals so much about her soul and mindset at the time that I really don't think I could share it with anyone else.
As mentioned above, she's a love child in every sense, a young woman blossoming into her sensual world. Of the elements, every song culls its images from her forest environment, permeating down into her own physical core. "Chimacum Rain" is not only the forest's silence and that sound of rain washing over her, but the palpable sexual presence of her lover, too. In almost every evocation of a tactile natural image, there is a mysterious man who physically embodies these characteristics, a tension courses through her body as she sings about these near-deities. And as she reaches the bridge with lines such as "I'm spacing out/ I'm seeing silences between leaves...I'm seeing silences that are his," her voice begins to echo within itself, and her sung notes assuage open the aural synesthesia of the words. The diaphanous taste of lysergic acid creeps to the fore, and what was once a moderately played acoustic song about the forest expands into a hallucinatory clearing as her multi-tracked held tones meld with the infinite. As her voice dilates, so does the background, now all electrically-processed source sounds like xylophones and wind chimes, and all is enveloped by a low, distorted drone that would one day sound like Phill Niblock, created by-- as the liner notes so baldly state it-- "amplified shower hose for horn effects."
It's nothing compared to the album's peak, "Parallelograms". Perhaps you fantasize that Joni Mitchell teaches painting and pottery at your high school, or that Chan Marshall mumbles about the Apocalypse poets during English class, but Perhacs teaching geometry is tantrically hot for teacher. To just read the lyrics of "Quadrehederal/ Tetrahedral/ mono-cyclo-cyber-cilia" is to miss how she and producer Leonard Rosenman assuredly layer her heavenly-sung rounds in concentric circles over a cycling guitar-picked figure, a cumulative effect that reveals a dimension scarcely achieved anywhere else in the world of music. Closer to the Mysterious Voices of Bulgaria or Tim Buckley's cellular self-choir "Starsailor" than Melanie or Linda Ronstadt, Perhacs drops us into drifting clouds of reverberating bells, echoing flute, and ghostly effluence, her throat outside of time. That a dental assistant in Northern California could more effectively convey the psychedelic experience through the use of the technology of experimental effects, be it early Pink Floyd, Fifty-Foot Hose, or Buffy Saint-Marie's electroacoustic Illuminations, is, in every clichéd use of the word, mind-blowing.
Other songs deal with girly things like brawny mountain men, dolphins, moonbeams and cattails, the pastel colors of dawn, and the recently-unearthed "If You Were My Man" reveals that she could've gone pop with a Karen Carpenter wispiness. Listening to her home demos and studio notes to Roseman though show that she was cognizant of the sound and vibration she wanted. The tape collage lobbed from "Hey Who Really Cares?" is competent-- if in hindsight, passé-- all disembodied, television voices and a telltale heart beat leading into its pastoral prettiness. Her most folky tunes stand up to the times too, but it's the fact that Linda Perhacs' entire cosmos (and whatever those times entailed) could inexplicably fit inside the confines of Parallelograms that remains the true testament to her beauty.
http://www.mediaf!re.com/?yuo0iwzm2km
It’s all very fast and blurring and tight and fun. It’d be dizzying if the songs actually gave you a chance to stop, breathe and look around, but the ride, from the flexing guitars to the unremitting clack kick and pound of the drums, is … well, pick your cliché, like a stitched in, eye-popped roller-coaster, from fast to faster to slow-ish to up to down, but the harness of those hooks never loosens.
http://www.med!afire.com/?t5nmznwyznwThat sounds too funky not to download, Cathy.
(but do you have something smaller than FLAC? I'll be up til 5 AM at this rate)
Sorry, I dunno how to convert FLAC files! If someone is able to or can point me towards something I can download to do this, I'd be grateful. (I use Windows 7, have WMP, VLC.)
http://www.mediaf!re.com/?zmtmvkmzjwm(http://i26.photobucket.com/albums/c120/OrcusMars/DODv2.jpg)http://www.mediafire.com/?yjutyzrxrzqPart 1http://www.mediafire.com/?ny2gwy3oz5nPart 2Hell I'll fuck anything once
http://www.mediaf!re.com/?nkrtgmzmvaihttp://www.mediafire.com/?mitarjztgtyAwesome band from Victoria. Lead singer went to my high school.I have Fluke for OSX, it's just that my connection's a bit dodgy and it would have literally taken all night for the FLAC file to download.
Jets Overhead - No Nations[2009]
http://www.mediaf!re.com/?dnmjzzajmkyhttp://www.mediaf!re.com/?vtku5izzkjnhttp://www.mediaf!re.com/?2cmz1tztz1t
A drunk guy on the metro told me to listen to The Hold Steady and that he'd see me the following weekend at their concert. I didn't do either, and am going to see how I feel about that decision.
http://www.mediaf!re.com/?0tzmwom0ginhttp://www.mediaf!re.com/?mznmmcrxydthttp://www.mediaf!re.com/?r5zt0nmqwyghttp://www.mediaf!re.com/?cjzymotznzw
http://www.mediafire.com/?zmmzzmuztuzhttp://www.mediaf!re.com/?4wumqnhi2tjBeside The Fountain (http://www.youtube.com/watch?v=D4e3ScN-ZWE)There were few voices that articulated the anxious, fractured state of America in the 1970s and early 80s as well as the clear baritone of Gil Scott-Heron. As a spoken-word artist and poet, he could pinpoint the fissures in the American dream and exorcise them with a wit that blended righteous anger and arch sarcasm. As a singer he could envelop those same uncomfortable confrontations in a rich, emotional tone that brought out the empathetic face of unrest. Yet except for a chorus cameo on Blackalicious' "First in Flight" and a memorable shout-out on LCD Soundsystem's "Losing My Edge", he was rarely heard or cited in the early years of America's great post-traumatic decade, even if his pained depiction of "a nation that just can't stand much more" in "Winter in America" rang as true in 2002 as it did in 1975.
Instead, Scott-Heron spent much of the 00s in and out of prison on drug charges, adding onto a long hiatus that saw him turn away from the record industry in favor of live performance and writing. Between 1983 and 2009, he released only one studio album, 1994's Spirits, so issuing his first in 16 years could've been rife with potential for a pent-up analysis of everything that's happened in the process of race relations and American culture over the last couple decades. Yet I'm New Here sees an incisive political voice turning inwards, not protesting the doings of the greater world but crafting a frank confessional over the state of his own. He does this allusively, through cover songs and short soundbite interludes and original compositions that feel like sparse flashes of a deep, once-dormant creative impulse. Yet it still feels honest, like something said out of necessity instead of opportunity, and the result is an album that engages with the idea of loneliness in exceptional ways.
I'm New Here is bookended with a two-part spoken-word track that sounds like a metatextual stunt: the quintessential hip-hop prototype discussing his upbringing over a loop of the intro to Kanye West's "Flashing Lights", returning the nod towards "Home Is Where the Hatred Is" that underpinned Late Registration's "My Way Home". But "On Coming From a Broken Home" is a powerful mission of purpose that sets the tone for the rest of the album, a reflection of his upbringing that made him the man he is today. "Broken Home" pays homage to the women in his family and the strengths they passed on to him; other interludes hint at darkly comic acknowledgements of wrongdoing, modest but defiant statements of enduring survival, and an admission that even his less desirable personality traits are an inseparable part of his identity.
Those brief interstitial statements link pieces of brain-wracked guilt and anxiety that rank as truly haunting moments: "Where Did the Night Go", a study in lonely insomnia and the inability to communicate with someone he loves, and the confession in "New York Is Killing Me" that the city that held him in an alienating grasp for so long-- "eight million people, and I didn't have a single friend"-- only makes him long for the home in Tennessee he left at 13 after his grandmother died. It's an interesting contrast to the sentiment of his 1976 song "New York City", where he sang of a metropolis he loved because it reminded him of himself. Either the personalities of the man and the city have diverged too much, or they've gotten too close for comfort.
But the most noticeable thing about Scott-Heron on this album to anyone familiar with his work is how worn his voice sounds. It's raspier and age-weathered, less agile, and occasionally prone to letting words slur and melt into each other instead of leaping out as they did back in the 70s. But Richard Russell, the album's producer and owner of XL Recordings, hit on the idea of recasting a man who came up through soul-jazz as a grizzled blues performer, and setting Scott-Heron against sandblasted folk and heavy, borderline-industrial beats augments the rawness of his voice well. Three songs reveal him as an adept interpreter of three generations' worth of roots music: Robert Johnson's "Me and the Devil" rendered as vintage Massive Attack, a minimalist, piano-driven orchestral reworking of the Brook Benton-written Bobby "Blue" Bland classic "I'll Take Care of You", and the unexpected but deftly claimed title track, sourced from Smog. And two spare, static-textured cuts late in the album, "Running" and "The Crutch", give his equally-gritty voice a fitting place in the post-Burial strain of bass music.
For an album that comes so far after its creator's last trip to the studio, it's a bit of a relief that the only cause for disappointment is its brief length. I'm New Here is less than half an hour, though in that short span it does the impressive job of reviving an artist that's been out of the spotlight far too long and setting him up for a new incarnation as an elder statesman of modern roots music. Comparisons have been made to what Rick Rubin did for Johnny Cash in the 90s, and the parallels are there: I'm New Here and American Recordings are both cover-heavy, starkly-produced releases where rebellious icons become reflective as they hit their sixties. If Gil Scott-Heron's creative resurgence continues after this reintroduction to his poignantly aging voice, we could be looking at one of the most memorably resurrected careers of our time-- a man renewed.
http://www.mediaf!re.com/?xnnig2anykmGil Scott-Heron, Brian Jackson, and the Midnight Band take a slightly different approach with their 1977 effort, Bridges. With less of the gaping and world-infused sound prevalent on previous albums, the songs are more concise and Scott-Heron comes into his own as a singer depending less on his spoken word vocal style. This album may not be one of his better-known releases (the long out of print LP is slated to make it's CD debut in the fall of 2001), but the excellent songwriting exposes Scott-Heron at the height of his powers as a literary artist. The social, political, cultural, and historical themes are presented in a tight funk meets jazz meets blues meets rock sound that is buoyed by Jackson's characteristic keyboard playing and the Midnight Band's colorful arrangements. Scott-Heron's ability to make the personal universal is evident from the opening track, "Hello Sunday! Hello Road!," all the way through to the gorgeous "95 South (All of the Places We've Been)." The most popular cut on the album, "We Almost Lost Detroit," which shares its title with the John G. Fuller book published in 1975, recounts the story of the nuclear meltdown at the Fermi Atomic Power Plant near Monroe, MI, in 1966. This song was also contributed to the No Nukes concert and album in 1980. Along with the two records that would follow in the late 70s, Bridges stands as one of Scott-Heron's most enjoyable and durable albums.
http://www.mediafire.com/?q2gfqfqg4dh
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?gz5yzoyjzin
http://www.mediafire.com/?m2is1w2v2xihttp://www.mediaf!re.com/download.php?jmmyktzi2nmhttp://www.mediaf!re.com/download.php?njzn4hzyinkhttp://www.mediafire.com/?elooznm3mgihttp://www.mediaf!re.com/download.php?nxmkywcidnnDisc 1 http://www.mediaf!re.com/download.php?2dkjhm3krzm
Disc 2 http://www.mediaf!re.com/download.php?yxygzb4zmtdhttp://www.mediaf!re.com/download.php?neqmljmqmzchttp://www.mediafire.com/download.php?2jtjmd3cj2jhttp://www.mediaf!re.com/download.php?mttlnih1fjm
http://www.mediaf!re.com/?vghnzzniocyThis sounds just like the black eyed peas! I am totally lying. But,http://www.mediaf!re.com/?lm9nwmcx9mxHunky-dory lo-fi-ish post-pop/garage rock.http://www.mediafire.com/?dyz2gnmwnydALABAMA IS DOOMED! Garage rock, thick synth leads, bonked out vocals,Where should I start with BassNectar.First off, you make sure your hair is blonde. Then you grow it out real long and dread it. Then you read a little Marcuse, act like you understand it when you really don't, smoke a lot of dope and you're ready.
http://www.mediafire.com/?wnemomgoqkk
Aren't you a treasure trove of knowledge.Where should I start with BassNectar.First off, you make sure your hair is blonde. Then you grow it out real long and dread it. Then you read a little Marcuse, act like you understand it when you really don't, smoke a lot of dope and you're ready.
Precious little new Deaf Center material surfaced since Pale Ravine was released back in 2005, and what did lurked in dank and sinister shadows. With Erik Skodvin continuing to spiral into ever deeper circles of hell with his increasingly abstract dark-ambient Svarte Greiner solo project, what became of Deaf Center's other half?
It was genuinely refreshing to stumble across a netlabel like Serein that took such pride in its digital releases, and that went out of its way to produce excellent quality supplemental artwork that allowed individuals to create their own packaging. There's really no substitute for a physical copy of an EP or an album and it seemed that Serein understood this.
Fast forward two years and Huw Roberts has reforged Serein into a fully commercial label intent on putting out high quality physical releases, and the first of these certainly delivers on that promise. Enter Nest, the collaborative project of Serein label-owner Huw Roberts and that self-same other half, Otto A. Totland.
The eponymous EP by Nest was released by Serein in 2007 and was not only the great statement piece for the label but also a hugely successful digital release in it's own right. Now, a gorgeous matt-laminated six-panel digipak lovingly wraps those six original tracks (though "Cad Goddeu" appears in a revised form) up with five newly recorded tracks to form Retold, and the result is a true benchmark in the field of ambient and modern classical composition.
The reasons are manifold: it feels effortlessly natural and free from pretension; the composition is meticulously measured, emotionally charged yet never manipulative or sentimental; the atmospheres and ambience are subtle but utterly transporting; the pacing, arrangement and structure are pitch perfect. And Retold achieves all this with an elegant restraint that borders on the minimalist whilst simultaneously creating a deeply nuanced, layered and richly cinematic experience.
Links to the influential Deaf Center sound are still most prominent in "Lodge" and "Kyoto" (echoing Pale Ravine and Neon City respectively), the former led by repeated, chiming piano phrases and rustling effects, the latter a painting a watercolour picture of a redolent, morning dew covered Japanese landscape as metronomic piano keys lend further structure to plucked harps and dusty percussion. "Marefjellet" established a tense and almost surreal atmosphere as a maudlin piano waltz is haunted by suspenseful undercurrents of vibrato strings, while "Charlotte" occupies more romantic territory with lush and bright piano keys, warm, hazy pads and eastern bell chimes.
A direct comparison of the two versions of "Cad Goddeu" provides a perfect example of the application of Nest's precision and reductive attention to detail. The heavy processing of the originals quavering strings has been pared back, the dramatic, windswept atmospherics reigned in considerably. The result is altogether more subtle but no less powerful. And as proof that the structure and pacing of the original EP was also quite deliberate, the five new tracks that Retold adds all appear in a quite deliberately narrative sequence after the original EP's final track, "Trans-Siberian." Quite wonderful, really since, as more of a collection of field recordings than a drifting, layered ambient piece, it didn't work particularly well as a closing track in the first place.
So is there a jarring difference between the original and new compositions? You'd be forgiven for expecting that there would be given that these were recorded some two to three years later. Happily, though the new material may be more brooding and multi-layered, it integrates seamlessly with the originals, building even further on their drifting quality, interwoven quality.
The possible exception is "Wheatstone," which at first exhibited warring traits of sentimentality in its rather folky Goldmund-esque piano melodies. This cosy, homespun warmth is slightly at odds with the rest of the material, and it consequently draws a little too much attention to itself. "The Helwick," on the other hand, is a perfect example of how evocative such a minimalist approach can be, as both deeply affecting mood and melody are borne out of the carefully timed layering of many simple but meticulously produced acoustic and electronic elements.
"Far From Land" beams a surprising ray of pure magical energy into the proceedings, as pulsing drones and long, sweeping strings build to a staggeringly rich choral middle-section before melting away into coruscating piano phrases, and there appears to be an ever increasing density to the new tracks that culminates with the sensual, creamy abstract textures of "Amroth."
Any album that contains a track as strong and as moving as "The Twelve" deserves every plaudit it receives. It is the distilled essence of cinema and Retold's moment of post-tragic reflection. It is also one of its stillest moments: the underpinning monotone of a bass string drone; the irregular and mysteriously muffled peal of a lone bass horn or the swell of a subterranean chime; a lone violin that repeats a single, sustained note while another provides harmony and counterpoint; the delicate piano phrases that describe opulent, austere surroundings that provide the dreamlike backdrop to soul-searching introspection. This could be the backbone of a thousand different cinematic moments and is as moving as it is achingly beautiful.
It is difficult to imagine how Serein could have been more magnificently reborn than with the release of Retold and I hope it is the beginning of a radiant future for the label. The bar has just been raised ladies and gentlemen.
http://www.mediaf!re.com/?h0jhiy0zy2y
Smith Westerns are touring with Girls? Lame
I am a motherfucking scientist.
http://www.archive.org/download/ca355_tc/ca355_This_Co__Untitled.zipThis Co. - "S/T"http://www.archive.org/details/ca355_tcorhttp://www.archive.org/download/xiuxiu2006-05-17.dpa4061.flac16/xiuxiu2006-05-17.dpa4061.flac16_64kb_mp3.zipThe Internet archive has so many daycare services. This one, a smooth melody, also available in .FLAC. Xiu Xiu is my favorite. I am a motherfucking scientist.
or someone shitting up a thread.
there should be an addition to the rules post that says something like "No making fun of what people post, it's free music you cunts".
Remember when you/your brother kept stopping into the mediaf!re thread on multiple occasions to describe how you/he was going to fuck your/his girlfriend, who was also a member at the time? I sure do. Those exchanges weren't exactly contributory. Except in terms of nightmare fuel, of course.I am a motherfucking scientist.
or someone shitting up a thread.
Also I forgot the other requirement for enjoying Bassnectar - a robust trust fund.
http://www.mediafire.com/?gdnzdln1itz
Also I forgot the other requirement for enjoying Bassnectar - a robust trust fund.
http://www.mediafire.com/?meunkjbw2nmhttp://www.mediafire.com/?mtwmmfxzzkn
http://www.mediaf!re.com/?kzm3mfyuiuzhttp://www.mediafire.com/?run5y0nioyzLike you how you are (http://www.youtube.com/watch?v=zmQI-hiluB0)http://www.mediafire.com/?x1nknndttju
http://www.mediafire.com/?dvdkxnjdka4lfgalbraith (3 weeks ago) Show Hide
+1
Marked as spam
Reply
I orgasm every time I hear this.
I mean it is a really good song O.o
The companion piece to director Tony Palmer's documentary of the same name, Irish Tour 1974 was recorded that January in Belfast, Dublin, and Cork at a time when precious few performers -- Irish or otherwise -- were even dreaming of touring the trouble-torn island. Northern Ireland, in particular, was a rock & roll no-go area, but Gallagher never turned his back on the province and was rewarded with what history recalls as some of his best-ever gigs. Irish Tour 1974, in turn, captures some of his finest known live recordings and, while it's impossible to tell which songs were recorded where, across nine in-concert recordings (plus one after-hours jam session, "Back on My Stompin' Ground"), the energy crackling from stage to stalls and back again packs an intensity that few live albums -- Gallagher's own others among them -- can match. Highlights of a stunning set include dramatic takes on Muddy Waters' "I Wonder Who" and Tony Joe White's "As the Crow Flies," a raw acoustic rendering that is nevertheless totally electrifying. A frustratingly brief snip of the classic Shadows-style "Maritime" (aka "Just a Little Bit") plays the album out in anthemic style and then, of course, there's "Walk on Hot Coals," a marathon excursion that posterity has decreed Gallagher's most popular and accomplished statement -- a status that Irish Tour 1974 does nothing to contradict.
http://www.mediafire.com/?gdtmglflzmz
BassNectar's music does not require whiteboy dreadlocks, trust funds, reckless pill and alcohol abuse, feigned understanding of Marcuse, an anal fetish, or even a lot of pot smoke to be enjoyed (although that last bit can often help). All it really takes is enthusiasm for bass and breakbeats, and the motivation to move your body accordingly. If you've got that, you'll probably get into BassNectar.
The best place to start would probably be Mesmerizing the Ultra or Underground Communication, although Cozza Frenzy is absolutely your best bet if your tastes tend towards the heavier and slower side of dance music. It's not exactly "dubstep" but the comparison could be made because it's just so big.
Anyone who shits on BassNectar just proves themselves unable to have honest fun. It's one thing to listen to it and be like "meh, this is too (heavy/indulgent/politically explicit/whatever) for me, I'll stick with my (guitar-based/singer-songwriter/shitty trance/whatever) music," but if you try to state that BassNectar's music is somehow objectively lower quality than really just about anything (or that you can only enjoy it if you exhibit some sort of objectionable quality), all you're really saying is "I desperately need to feel as if I'm cooler than everyone else in order to enjoy myself when I go out" and there's nothing attractive about that at all. If, on the other hand, you think of a party as a place where the main objective is to throw down and dance, this music is your shit.
Thanks for the Handsomeboy Technique, Wolfgang Gartner, and Beyond the Wizard's Sleeve! I'm looking forward to checking them all out.
http://www.mediaf!re.com/?zj1zmt2my5o
Just because I don't like something doesn't mean I'm purposely not liking it to feel cool. In fact, I feel uncool for 'not getting it'. I have been going out and having fun and dancing my face off for years and have never encountered this genre of music because to me it's kitsch but if it's your thing have at.
Soulja Boy is the fuccin shit. trust.
http://www.mediafire.com/?m4njimzjkzxcrunchmatch (3 weeks ago) Show Hide
0
Marked as spam
Reply
fuuuck.. listen to the skills !
Soulja Boy is the fuccin shit. trust.
Soulja Boy is the most ridiculous thing I've ever seen passed off as music in my life.
http://www.mediafire.com/?ennmnjjwfqyRules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
The Black Eyed Peas are the worst act of the 21st century. I am not talking in hyperbole here.Least deserving of their success anyway.
No, i am saying that taking everything into account there is not currently a music performer famous or otherwise who is as bad as The Black Eyed Peas. There are artists with worse songs and maybe even one worse record but when analysing their career span, The BEP are literally the worst act operating in the aural spectrum.Yea its sad what they became but their debut "behind the front" was a good album and after that it got worse and worse, now I can't stand them.
http://www.mediafire.com/?jmmufaiwyefhttp://www.mediafire.com/?wjtgjm4zjyt
http://hotfile.com/dl/27394381/b970144/The_Strange_Boys-Be_Brave-Advance-2010-404_nled.rar.html
Just because I don't like something doesn't mean I'm purposely not liking it to feel cool. In fact, I feel uncool for 'not getting it'. I have been going out and having fun and dancing my face off for years and have never encountered this genre of music because to me it's kitsch but if it's your thing have at.
Great first post!
http://www.mediafire.com/?mmw0nyormi1http://www.myspace.com/slowsignal (http://www.myspace.com/slowsignal)Just because I don't like something doesn't mean I'm purposely not liking it to feel cool. In fact, I feel uncool for 'not getting it'. I have been going out and having fun and dancing my face off for years and have never encountered this genre of music because to me it's kitsch but if it's your thing have at.
Great first post!
Great attempt at a beard.
Just because I don't like something doesn't mean I'm purposely not liking it to feel cool. In fact, I feel uncool for 'not getting it'. I have been going out and having fun and dancing my face off for years and have never encountered this genre of music because to me it's kitsch but if it's your thing have at.
Great first post!
Great attempt at a beard.
Can we make this thread off-limits to people who have less than 400 posts or something? this is getting ridiculous.Hey now, I contribute a lot! Let's not allow one bad apple...
http://www.mediaf!re.com/?xnh2okyzt3eFrightened Rabbit - "The Winter of Mixed Drink" http://www.myspace.com/frightenedrabbit
Scottish indie rock, thick instrumentation and accent, pure melodic dissonance, a cool breeze of folkish flavor
https://www.yousend!t.com/transfer.php?action=batch_download&batch_id=RmNCUXV0bThGOFR2Wmc9PQIt's Johnny Cash, the real king. This is his newly released material, 2010.http://www.mediaf!re.com/?mjlnyn5lzinWestern Fifth - Stand Like a Thief http://www.westernfifth.com/http://www.mediaf!re.com/?vzxgwz4njyxMaylene and the Sons of Disaster - "S/T" http://www.myspace.com/mayleneandthesonsofdisasterhttp://www.mediaf!re.com/?memlwjdnlceModern Life is War - "Witness" http://www.myspace.com/modernlifeiswarhttp://www.mediaf!re.com/?nlvczdqnyyuJulian Casablancas - "Phrazes for the Young"http://www.mediafire.com/download.php?xy2k1hdhmwahttp://www.mediafire.com/download.php?ym1nxmizhn2buttsex
http://www.mediaf!re.com/?j22jmjoel4y
http://www.megaupload.com/?d=74TCCU79http://www.network54.com/Forum/188020/thread/1266836694/last-1266861092/Joanna+Newsom-+Have+One+On+Me
http://www.mediaf!re.com/?ymnqzdqhdnthttp://www.mediaf!re.com/?mayqe2zzmzyhttp://www.mediaf!re.com/?dxzmmzygzvu
http://www.mediaf!re.com/?mz3t2tlmzjchttp://www.mediaf!re.com/download.php?t1ndfktjngmhttp://www.med!afire.com/?nyo0tk5foknElectric President is made up of Ben Cooper and Alex Kane from Jacksonville, Florida and The Violent Blue is the duo's third long player. The record is direct evidence of a band that has matured over the last six years and has evolved their sound into what you hear today. Gone is the bedroom pop of their debut and the inconsistency of direction that held back Sleep Well [2008]. Their earlier song structures have now been replaced with a more focused album that blends the group's electronic backgrounds with an overall shoegaze vibe, while still retaining engaging melodies that make The Violent Blue memorable. What really stands out here is that Electric President seems to have made a permanent commitment to their style, as each song feels complete and transitions well into the next. It has moments where the strong chorus holds your attention like on "Safe And Sound", while other tracks let you dive into the instrumentation, such as the over eight minute closer "All The Distant Ships". It is this balanced combination that makes The Violent Blue Electric President's best album to date and should garner them increased interest on the indie scene.
http://www.mediafire.com/?dkm2fmqyg3ghttp://www.mediafire.com/?i2zmznz2gmb
First time I heard anything from the Radio Dept. it's quite fantastic actually.
http://www.mediafire.com/?2zwnfdtikmzhttp://www.mediaf!re.com/?ojhmowdcunmhttp://www.daytrotter.com/dt/ganglians-concert/20031055-3738225.html
Where Damage Isn't Already Done is one of the best pop songs i've ever heard. Clinging to a Scheme fell a little short of expectations, tbh.
http://www.mediafire.com/?tzmnmmynnoj
Just wanna say that this album is amazing. Been listening to it for the last week or so.
Burzum - Belus (2010)
The album Shoulder To Shoulder was a collaboration between the industrial group Test Dept. and the South Wales Striking Miners Choir, recorded in support of the UK miners’ strike of 1984-1985. The album combined harsh industrial rhythms with traditional songs sung by the male choir, and also included poetry and speeches from the strike.
http://www.mediafire.com/?nzijhjwmfmyMORE TO FOLLOW AT SOME POINT
Just wanna say that this album is amazing. Been listening to it for the last week or so.
Burzum - Belus (2010)
Just wanna say that this album is amazing. Been listening to it for the last week or so.
Burzum - Belus (2010)
What if you've never heard Burzum before?
Stairwells is an independently produced album that was released on February 23rd, 2010.
http://www.mediaf!re.com/?4dmkzmr2zywI make a share:
Fritzwicky - Time Flies (2009)
(http://img69.imageshack.us/img69/5109/timefliesfronta.jpg)
Local (Melbourne) band, of which I am a member. Making CD attempt number 1.
We put them in a shoe box, hoping someone would give them a good home - but the time has come let go and release them into the wild.Code: [Select]http://www.mediaf!re.com/download.php?t1ndfktjngm
Our influences include Zappa, Volta, Faith No More and the Wiggles - though they don't come out so much in these recordings. Bit of a variety here - Ian is a hip-hop tinged alternative do, Bam is a much more basic and rhythm driven pop-punk-ish (?) tune, Index 13 jumps around a bit (but ends on a nice relaxing note), and L'allemand Souirant is kind of melodic and i guess a little more emotional (?!?) than the others... or something.
(god damn I hate describing music when I've had anything to do with it)
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?mkizynkkkzzMySpace: http://www.myspace.com/whitehinterlandhttp://www.mediafire.com/?wzituumu2zdMySpace: http://www.myspace.com/kesangmarstrandhttp://www.mediafire.com/?mkthmjmygjnhttp://www.myspace.com/trevormossandhannahlouhttp://www.mediafire.com/?mhzzhrmmmehMySpace: http://www.myspace.com/kathrynwilliamshttp://www.mediafire.com/?zdnm5oihz3nMySpace: http://www.myspace.com/danielmartinmoorehttp://www.mediafire.com/?4hnmjnyejumhttp://www.megaupload.com/?d=KMY0TSOZATO Records is pleased to announce the signing of Drive-By Truckers and their label debut, The Big To-Do. The album, which will be the band’s tenth in their thirteen-year career, is scheduled to be released March 16, 2010. The Big To-Do features thirteen new tracks from the Drive-By Truckers and was produced by their long time producer, David Barbe (Sugar, Bettye LaVette). “It’s very much a rock album,” says Patterson Hood of the Trucker’s upcoming release. “Very melodic and more rocking than anything we’ve done since disc 2 of Southern Rock Opera.”
The inspiration for The Big To-Do came to the band during their time on the road. “We’ve often set our songs and albums in different periods of time, but this one finds us directly in our present. Riding all through the highways of America (and Europe) trying to make sense of a very different world than the one we grew up in,” says Hood. “I don’t write a lot of songs on the road, but I did more than usual on this album and many more were inspired by or set there, either in a literal sense or something I witnessed or heard about while I was out there.”
ELECTRIC PRESIDENT - the violent blueCode: [Select]http://www.mediaf!re.com/?dkm2fmqyg3g
http://www.mediaf!re.com/?mirmzilmmdi(http://farm4.static.flickr.com/3408/3515529647_67a0f0b8d4_o.jpg)Forever Changes was better.
http://www.mediaf!re.com/?zmma5wb0ankDear God I Hate Myself (http://www.youtube.com/watch?v=wiWnGY-0IFU)
With Caralee McElroy gone, Jamie Stewart enlists new guests and experiments with 8-bit textures. It's still Xiu Xiu though: look at the title.
I can't think of many concepts much worse than "Xiu Xiu plays with 8-bit".
I can't think of many concepts much worse than "Xiu Xiu plays with 8-bit".
http://www.mediafire.com/?zimzjenymjmhttp://www.mediaf!re.com/?t0tzzaim32y
Years ago i gathered this from the P2P networks of yore. It is a hodge podge of assorted italo disco tracks and artists, quality varies but I figure it is a good place to start.
http://www.mediaf!re.com/?yyozdzftkdy
http://www.mediafire.com/?ty2z3r2jem2
http://www.mediafire.com/?dmzmzkzyxzaPlastic Beach
http://www.mediaf!re.com/?2hmumqmumjo
http://www.mediafire.com/?5ym2d2mnewhhttp://www.mediafire.com/?diltijzuob3http://www.mediafire.com/?tnyhz1mwnmoBasically, a concept album about the civil war (shocking, right?). It's been described as less Springsteen and more sloppy Oberst. Needless to say, it's had some good reviews and some snarlingly contemptuous ones. Perhaps, it's best to not go over this one with a fine tooth comb.4.5
Everything about The Airing of Grievances indicated to me that Titus Andronicus are supposed to be a terrible band. Their vocalist can’t sing, their musicianship is sloppy, and they always sound a tequila shot away from puking and passing out on your mum’s unreasonably expensive couch. Not to mention, they’re named after the most woefully violent play Shakespeare ever put his name to, of which even smarmy, toupeed scholars gawk as they polish their monocles. But The Airing of Grievances was brilliant; a breath of fresh air amongst the growing number of bands experimenting with a lo-fi aesthetic experiencing a revitalization. Enter The Monitor and with it dispel every doubt Titus Andronicus aren’t one of the best. For one thing, it’s only the bands second album and one of the most ambitious sophomore efforts in recent memory at that. Even from the bands own mouths, its absurdity is a little difficult to explain. It’s been touted as a concept record for the civil war, except anachronistic and with pop culture references to The Dark Knight and Curb Your Enthusiasm, amongst others. It’s about how “they’re all out to get us” but “maybe not”. Perhaps most fittingly, it’s about “trying to live decently in indecent times”. And that’s all before you get to the intimidating track listing, which includes a 14-minute closer and two 9-minute back-to-back centre pieces. You certainly can’t accuse these guys of shying away from a challenge.
The truth is The Monitor basks in its own self-hyped extravagance. Though everything about it just reeks of wild, exorbitant self-indulgence and complete disregard for what anyone thinks, that’s a huge portion of its charm. The very fact that a 14 minute closer from a no-frills punk band actually works, and with an energy that often seems unparalleled, is reason enough for a ‘holy ***’ to pass appropriately through the lips of any doubtful listener. It isn’t just the sign of a band coming into their own but of breaking every barrier they once had. This is Titus Andronicus clutching their balls and jumping straight into the deep end, with no Wendy the lifeguard to bail them out if they can’t quite hack it. Where The Airing of Grievances preached, The Monitor calls to arms.
A lot of this flair comes down to the image the band projects of themselves through their music, and particularly lead singer Patrick Stickles. He operates under a makeshift working mans existentialism, articulating bar-lit tales of failure and boozy self-loathing in a way that almost feels inspiring, betraying its subject matter to a point where you’re singing along to the “you will always be a loser!” gang vocals as if it's something to be celebrated. His cynical, strained shouts instill a sense of urgency, paranoia, as if his life and yours depend on what he’s saying, though underlined by an obvious inclination for the melodramatic. Stickles falls perfectly between the point of being too disenchanted to be content with a middle class existence and too carefree to be nihilistic. He’s sarcastic, he’s bitter, he’s angry, and he is, simply put, one of the finest purveyors of the modern, sordid, post-teen anthem, perhaps only outshined by the fanatical Jeff Rosenstock.
Yet for all of Stickles’ street corner philosophizing, there’s always a constant: the music chugs along, like a locomotive, reflecting on his sharp introspection with enthusiastic, galloping instrumentation. And at its finest, The Monitor is bustling and rowdy, brave and joyfully uproarious. “A Pot In Which To Piss” begins slow and slurred before shifting gears into a Springsteen-esque hair-in-the-wind E Street jam, though vacant of The Boss’ aged optimism (“You ain’t never been no virgin, kid / You’ve been ***ed from the start”). “Titus Andronicus Forever” is a 2-minute gang shout of “The enemy is everywhere!” and the reflective “Theme from Cheers” explodes with the rallying cry: “Give me a Guinness / Give me a keystone light / Give me a kegger / on a Friday night!” and it suggests exactly what Titus Andronicus excel at: peel away the layers and what you have here is a damn good time. These songs feel equally at home on a battlefield as they do in your buddy’s crazy, liquor-stained basement; sprawling tributes to artists like Bruce Springsteen and The Replacements that beg to be shouted and screamed far above the volume knob on the stereo will turn.
The basis on which everything really falls into place, where this becomes more than just a lo-fi punk album made by indie kids with a Springsteen fetish, is one that is sure to polarize opinions, particularly critical; it shoots for the gut. It’s an album that focuses so heavily on feeling and of hitting whatever connection it can with a listener, grabbing them by the scruff of the neck and pulling them into their world. You don’t feel a connection with Stickles but rather with everything he represents, everything he sings about, you’re shoulder to shoulder in a crowded room of everyone else going through the same problems, the same worries and when he cries: “It’s still us against them!” you know whose side you’re on. The aesthetic built off Stickles’ heightened sense of discontent isn’t one of overwhelming self-pity but rather acceptance, to make the most of what you have, and the music echoes those sentiments in its carefree extravagance. At the end of the day, The Monitor’s brashness pays off through the ambition, confidence, and talent of its visionaries. This is what punk rock is all about.
http://www.mediaf!re.com/?nm2myldazmi... loud, fuzzy, unapologetic and catchy.
http://www.mediafire.com/?jmg2uh42yzi
(http://img33.picoodle.com/img/img33/3/2/22/f_NewDayRisinm_34916bc.jpg)Code: [Select]http://www.mediaf!re.com/?diltijzuob3
Hüsker Dü - New Day Rising
I can't think of many concepts much worse than "Xiu Xiu plays with 8-bit".
Xiu Xiu makes another music video
Erasure - I Say I Say I Say [1994]
http://www.mediaf!re.com/?eh22ndh2em5http://www.mediafire.com/?yjgndndgytyRules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?m0ywntqmz2z
Plastic Beach
http://www.mediaf!re.com/?zyigmmhwmzm
I make a share:
Fritzwicky - Time Flies (2009)
[a thing]
Local (Melbourne) band, of which I am a member. Making CD attempt number 1.
We put them in a shoe box, hoping someone would give them a good home - but the time has come let go and release them into the wild.Code: [Select]http://www.mediaf!re.com/download.php?t1ndfktjngm
Our influences include Zappa, Volta, Faith No More and the Wiggles - though they don't come out so much in these recordings. Bit of a variety here - Ian is a hip-hop tinged alternative do, Bam is a much more basic and rhythm driven pop-punk-ish (?) tune, Index 13 jumps around a bit (but ends on a nice relaxing note), and L'allemand Souirant is kind of melodic and i guess a little more emotional (?!?) than the others... or something.
(god damn I hate describing music when I've had anything to do with it)
You're a pretty cool dude for putting this up for free
Anyone who has grokked the deep magical hoodoo from Mars Volta guitarist Omar Rodriguez-Lopez's solo projects knows he's nothing if not prolific. In 2007 alone he issued a 12" EP with former Can vocalist Damo Suzuki, the barnburner Se Dice Bisonte, No
Bùfalo album, and a five-track EP with spoken word artist, novelist, essayist, and expatriate American artist Lydia Lunch — on three different labels — and composed the soundtrack to the Guillermo Arriaga film El Bufalo de la Noche. All of this was apart from his recording, writing, and touring duties as lead guitarist of the knottiest, most admittedly self-indulgent band in rock. Calibration is the logical successor to his Se Dice Bisonte, No Bùfalo set (an actual rock tribute to Arriaga's film) and the Mars Volta's Bedlam in Goliath, which was released on January 29, 2008, a week before this. That said, don't expect this to be simply a follow-up album in the same vein. Rodriguez-Lopez is far too mercurial for that to be the case. This one is almost equal parts loopy, knotty progressive and experimental rock and electronics. Yes, all the members of the Mars Volta are present in various places, but so are Red Hot Chili Peppers guitarist John Frusciante (as "vocalist" on "Glosa Picaresca Wou Men") and Money Mark (on synths on "El Monte T'aï" and "...Is Pushing Luck" — with Cedric Bixler-Zavala from the Volta on vocals) as well other friends and numerous family members. The influence of artists like Frank Zappa on Rodriguez-Lopez in terms of both his truly amazing guitar playing as well as his manner of composing actual rock songs is uncanny.
But the guitar is only one element that Omar uses on Calibration. Given that this was recorded for N2O, a label known for its DJ mashups (DJ Starscream from Slipknot is also on the roster), Rodriguez-Lopez uses more electronics on this set than he has ever employed on his solo projects in the past. The way in which they are used, however, is anything but "danceable." They add noise, texture, dimension, atmosphere, humor, and even terror. Check the soundtrack-like feel of "Grey (Cancion Para El)," with its user of various televisions, guitars, Kim Humphries violin, and overdriven pedals to stretch time and even the sense of dimension in the piece. Dynamics are turned inside out, and this begins as a lament, and perhaps ends as a funeral travelogue, but in the middle? Entire sonic universes get jarringly complex. The guitars sting and play off one another as disembodied voices and noises from television programs past and present shift through the soundscape, sometimes violently. Frusciante chants like a deranged Zappa in the backdrop about the devil until the tune gets cut in the middle of a phrase as "Sidewalk Fins," with its sinister, acid-damaged sense of foreboding, tension, and doom, slowly creeps into the center. Thomas Pridgen's drumming is a signature in this piece, as breakbreats, Tony Williams-like drum rolls, and fills cross the middle of the mix and are painted by Omar's Rhodes, guitars, and drum loops. "Lick The Tilting Poppies," where Omar is singing, playing bass, guitar, synths, clavinet, and of course guitar, is accompanied by Marcel Rodriguez-Lopez and Humphries in an unhinged cruise through the nightmare side of dope-a-vision. The melody and lyric, both in Spanish mode and language, evolve into something grand, majestic, and utterly beautiful. The album ends with its longest track, "Las Lagrimas de Arakuine," with a simple quartet as Omar plays guitar and synths, Juan Alderete de la Peña plays bass, Pridgen plays drums, and Marcel colors with more synths. It's a long drum- and guitar-driven jam that feels in its own way out of place on the set, until a bit later on. It's haunting, intense, spaced-out, and is a transcendent work of futuristic beauty and melody. If Se Dice Bisonte, No Bùfalo was Omar's rock & roll tribute to cinema, this is its doppelgänger in reverse, an aural cinema of sound that offers a new direction for rock that is not only listenable for all of its excesses and indulgence, but compelling and actually emotionally moving. Calibration is Omar's most adventurous yet most realized moment as a solo artist thus far, and given his other work, and especially the Mars Volta's Bedlam in Goliath, that's saying plenty.
http://www.mediafire.com/download.php?um4ohmwul42
http://www.mediafire.com/?3yinw2w22ctTed Leo & The Pharmacists
The Brutalist Bricks
http://www.mediafire.com/?dmor0zgtm0w
Skot
Skot
Skot
Skot
http://www.mediafire.com/?nyjz3yzzdgmhttp://www.mediafire.com/?o5lowokj1vzhttp://www.mediafire.com/?wltzg12vqtmThe Land of the Clear Blue Radio (http://www.youtube.com/watch?v=1PSW2A9H-Pc)http://www.mediafire.com/?yzz5cncnithRejoice! (http://www.youtube.com/watch?v=c0cxrA3dTv4&feature=related)
http://www.mediafire.com/?mzgncjytkeohttp://www.mediaf!re.com/?w4mmnmqgwzfhttp://www.mediaf!re.com/?bowynj0a4znAddict is the first soundtrack from the anime series FLCL. Most of the music is by Japanese rock group the Pillows. The rest is by Shinkichi Mitsumune, a composer. This first album includes music which can be found in the FLCL anime series. Compared to the 3rd album, these songs can for the most part be seen as instrumentals.
http://www.mediafire.com/?immemtmjkzn
Ahhhhh, thank youuu
Andrew Jackson Jihad - People That Can Eat People Are the Luckiest People in the World
(http://4.bp.blogspot.com/_hraqhfdb2jI/SEw1sirfhaI/AAAAAAAAAWI/UyoQqMtQ6sQ/s400/front.jpg)EVERYONE SHOULD DOWNLOAD THIS.Code: [Select]http://www.mediaf!re.com/?w4mmnmqgwzf
VA - Raiders of the Lost Dub
A selection of fine dubs mostly by Sly & Robbie but with some other choice artists.
http://www.mediafire.com/?mwymnngnemm
Brasstronaut - Mount Chimaera
I uploaded their EP “Old World Lies” awhile back, and it’s at over 200 downloads so I imagine there’s at least a few people around here interested in the band’s new full-length.
Here’s a track from the EP if you need a taste of their sound (http://www.youtube.com/watch?v=e0QgTmvItxE)Code: [Select]http://www.mediaf!re.com/?mwymnngnemm
Brasstronaut - Mount Chimaera
(http://i48.tinypic.com/17pz0j.jpg)
I uploaded their EP “Old World Lies” awhile back, and it’s at over 200 downloads so I imagine there’s at least a few people around here interested in the band’s new full-length.
Here’s a track from the EP if you need a taste of their sound (http://www.youtube.com/watch?v=e0QgTmvItxE)Code: [Select]http://www.mediaf!re.com/?mwymnngnemm
Slugabed's peculiar strain of squashed and rigidly fashioned instrumental hip-hop has infiltrated heads for months now. In fact, his particularly masculine brew of square wave stomping dates back to 2008, so it's a little odd to think that this, the Ultra Heat Treated EP on Planet Mu, will only be his second solo 12-inch.
It nonetheless both underlines his accomplishment to date as well as marking a confident stride into the arena of competition. Right from the off, with the title track squeezing out a jagged-edged bass riff, Slugabed wanders like an overexcited child through a forest of Easter eggs; haphazardly jumping off the beaten path, checking every hiding place. Strong, slow drums frame the breakdown on "Ultra Heat Treated" as Sluga adds wispy synths that lift the ear back into the whirling of the bassline when it reappears. The two other more up-tempo numbers, "Skyfire" and "Pressure," display his talent for thumping drums hard, forcing his punishing love of heavy-as-hell simplistic rhythms right on you whether you like it or not.
The remaining three tracks on the EP aptly display a keen ear for synth colouration and melody—even if they're all primitive computerized RGB in hue. Taking the toy town sounding, pony production value of some of skweee music's shining lights as a starting point, Sluga pours his own compression-happy technique into his song workings, letting the distortion of the drums pull the focus rather than the throwback novelty of some of the resounding 8-bit sounds. "Goulash" is the epitome of this style: Slugabed literally booms out his kick drums and thick, LFO-heavy basslines over synths that have been lifted straight out of Sega's early '90s "end of level boss" music library.
http://www.mediaf!re.com/?nwm5nezj5ryIs Jeff McIlwain, the Seattle techno producer who works under the name Lusine, starting to go pop? Maybe. A little. Sort of. Is this a bad thing? Not at all—in fact, it gives A Certain Distance, his second full album for Ghostly, more reach than 2004's Serial Hodgepodge, and not just because he's working with vocalists more. This still sounds like a Lusine album: it's still largely abstract, still in McIlwain's tonal comfort zone, still partial to timbres that scan as lustrous to techno lovers and as kind of grey to non-partisans. Where Serial Hodgepodge bumped its share but still felt a little camera-shy, A Certain Distance is grabbier than its title suggests, and that is, often, down to the singing.
"Singing," of course, is a relative term here, since McIlwain likes to smear and serrate the human voice as much as he does the clipping beats, curdling static and glossy keyboards that make up the rest of his work. As you'd figure, the types of voices he likes best have a kind of foghorn breathiness: two Distance tracks guest-star Vilja Larjosto, a Finnish singer-songwriter, whose work here is pleasant but lacks bite; another, "Gravity," features Caitlin Sherman. Apart from "Two Dots," though, few of these voices, including whomever it is making his/her way into the relatively straightforward (and rather beautiful) "Crowded Room"—maybe McIlwain himself—do much enunciating, at least by the time it reaches our ears. McIlwain is a subtle and smart producer, and while sometimes he can seem more subdued than is necessary, there's a lot to uncover here.
Particularly in the album's second half—tracks six through eleven are where most of the meat is. "Gravity" is subtly funky, pitter-patterned hi-hats over irregular-just-so pulse, while McIlwane cuts Sherman's voice into a series of stroboscopic, charged, percussive confetti-patterns. "Baffle" builds and builds some more for until it's slowly but gently swallowed your headphones, before receding quickly. "Every Disguise" is curling and enveloping, its micro-sound-bites traipsing evenly, apart from a stray bit of static that goes on just far enough past where it should to set the whole thing slightly off. And on "Double Vision" a ruminative keyboard figure in foreground seems to play with its own timing, dragging before landing on the beat and making it sound new each time. Then some others join it, and they help.
http://www.mediaf!re.com/?xitgttwzzdjIt certainly seemed as though, for a good few years at the turn of the millennium at least, the inheritance of the 90's IDM "movement" was changing hands from the descendants of acid techno to a particular substrain of drum and bass that came to be known as "breakcore". The reasons for this were at least somewhat obvious - "classic" IDM and breakcore tended to share a certain gonzo sense of humor, and the luminaries of the breakcore scene displayed a knack for virtuoso composition, particularly when it came to drum programming. Unfortunately it was not to last.
Planet Mu's Amµnition compilation of breakcore's brief heyday makes a good case for why people might've felt that the genre held promise. At the time, Planet Mu was home to breakcore's leading lights, notably Winnipeg's Venetian Snares and Massachusetts avant-garde composer Keith Fullerton Whitman, recording under the name Hrvatski, and the full range of the label's breakcore and jungle catalogue is on display (excepting Hrvatski, unfortunately). The compilation mostly consists of clutches of tracks from particular artists mixed together seamlessly, though the version I have is technically unmixed (all tracks are separated). The first 6 tracks are a sampler of Venetian Snare's early works, and they showcase Aaron Funk's mind-boggling drum sequencing prowess, particularly the classic "Whiskydrunk". Short "sets" by Hellfish and The Gasman proceed before a 4-track sampler from the oeuvre of legendary junglist Remarc, and a jungle/breakcore workout from the ever ridiculous Shitmat. From there the disc closes out with a smattering of selections from Planet Mu's 12" singles of the period.
As a means of introduction to the more IDM-tinged corners of the breakcore scene as it was, Amµnition is as good a resource as you're likely to find. There was some good stuff being released at that time. Unfortunately it should have been obvious to anyone paying attention that the trend wasn't going anywhere. Aside from some very notable exceptions, breakcore really just had its one mode - giddy, spastic freakout. That was fine for a time, but the medium proved too restrictive for any sort of real growth, and so it faded into irrelevance, or worse, was assimilated into the awful (but sometimes so-bad-it's-good) "gabba" culture so beloved by Dutch guys with dreads. Venetian Snares, Planet Mu's first breakout star, still hammers out roughly an album a year (sometimes more) but his most acclaimed work has been that which has moved farthest afield from breakcore, namely the essential jungle-meets-Hungarian classical music experiment Rossz Csillag Allat Szuletett, Hrvatski has gone back to ambient drone music, Planet Mu itself has been reinvented as a formidable institution in the dubstep scene, and the new IDM scene appears to be coming from LA's abstract hip hop producers. But for those curious as to the recent history of left-field electronic music (who aren't opposed to a bit of abrasion) Amµnition is something worth looking into.
http://www.mediaf!re.com/?hiqmm5jjzuyMC and drum & bass scene stalwart Mark System settles into his production guise for dBridge's Exit label with two techno tinged drum & bass rollers. "Peach Fuzz" is set off by an indecipherable automaton chant that sets the tone for its rigid robot funk style. Synth chimes, buzzers and riffs revolve around the central motif of the machine-like voice, tic-toc beats and subby bass, while the occasional and unexpected growl gives the track a looming sense of danger and excitement that is never fully released. The monotonic groove and the stark minimalism in the end are too much: While it's a catchy DJ tool, "Peach Fuzz" is a bit forgettable on the whole.
"Voices" is on a similar tip but here the arrangement of melodic elements and breakbeat science help build a much more memorable and better tune. What starts off as a steppy bass and beats combo slowly progresses into a breakbeat-driven number as the menacing and shadowy vibe gives way to a wistful sense of melancholia. Sounding like glitchstep wunderkind Martsman hooking up with the Metalheadz crew back in 1997, System juxtaposes and mixes up different sides of the drum & bass ethos resulting in a new and exciting blend.
http://www.mediaf!re.com/?wuyiqzu2nhjSnagged this one on vinyl just as soon as I heard about it, but the quality of my rip was not satisfactory so I had to wait for somebody else to do better on this one.
Floating Points continues his forays into dubstep's undiscovered territory with this blank label single, released at the beginning of the year. The loose, jazzy sound that has put him on the radar of various tastemaking types (Avey Tare, Thom Yorke, etc.) is on full display, but as Floating Points goes this is not nearly as essential as some of the other stuff he's done. The main problem as I hear it is a lack of payoff - I felt like I was waiting for a crescendo that never came. I suppose it's meant for the meat of a DJ set ("mere dance music", if that's a bad thing). That's certainly how Yorke used it in his BBC1 radio mix, throwing in a bit of the middle portion of "People's Potential" in the middle of the mix. The song itself is classic (well, "classic" in the loose sense) Floating Points - heavy jazz elements, particularly in the skipping organ / piano strikes, with a rather unusual acid-y bassline thrown on top. Not a bad song by any standard, just a not-particularly-showy song. Not to damn it with faint praise, of course. Give it a listen.
http://www.mediaf!re.com/?uiqq2yt5mzoDue either to UK dance culture or the tight economic times (or maybe both), a great chunk of Planet Mu's output in 2009 came in the form of 12" vinyl singles and EPs. One of the advantages of this approach (aside from a lack of filler material and a rapid rate of releases) was that the relatively light commitment required led to a diverse and impressive array of producers releasing material, from hot new talent like Floating Points, Burnkane and Ikonika, to old heavyweights like Terror Danjah and Pinch. From the former pool comes Subeena, a young London producer who's been around for awhile but has only recently been gaining attention for her sleek, futuristic techno/dubstep sound. "Solidify" is sleepy, syrupy R&B chillout track with rippling Rhodes-like synth a nice heavy low end, while "Analyse" is a nice 2-step / technopop throwback to Aphex Twin's Selected Ambient Works Vol. I days. Highly recommended.
For those interested, Subeena also released a free mix for FACT Magazine, and it is really excellent stuff - http://www.factmag.com/2010/01/22/fact-mix-117-subeena/
http://www.mediaf!re.com/?uqldntndira
http://www.mediaf!re.com/?ylwnl1zqbgd
http://www.mediaf!re.com/?jmq0jowzlvd
http://www.mediaf!re.com/?zqruqnjy3zhhttp://www.mediaf!re.com/?em4wjxnzwvihttp://www.mediafire.com/?nyzunjewddcI pretty much agree with scarred on this albumJust grabbed the new Kaki King. Sounds like what would happen if Tegan and Sara started doing hard drugs with Laura Veirs. Translation: fucking awesome.
edit for rocking track youtubage (http://www.youtube.com/watch?v=dTmJBbGaHY8)
Miles Kurosky
Miles Kurosky - The Desert of Shallow Effects
...an album that sounds like Beulah if Beulah had a TON of time on their hands to play around with arrangements and effects.
Drive By Truckers - The Big To Do
(http://i4.photobucket.com/albums/y150/Saltlick/dbt.jpg)Code: [Select]http://www.megaupload.com/?d=KMY0TSOZ
Just saw these guys again last week. If you're not familiar with DBT and their music, give it a whirl then buy their records. They are great storytellers.
Fang Island - Fang Island
http://www.mediafire.com/?yjmhyzzjdkmSinger and songwriter Anais Mitchell wrote the first draft of her “folk opera” Hadestown in 2006 with arranger Michael Chorney and director Ben T. Matchstick. After numerous drafts and performances, it is set in stone here. Hadestown retells the Orpheus and Eurydice myth set in an America of hard times economically, socially, and politically. (There is a hint of the great Depression as a setting, but only a hint.) The cast includes Mitchell as Eurydice, Justin Vernon (Bon Iver) as Orpheus, Ani DiFranco as Persephone, Greg Brown as Hades, Ben Knox Miller (The Low Anthem) as Hermes, and the Haden Triplets — Petra, Rachel, and Tanya) as the Fates. The large band includes Rob Burger, Jim Black, Josh Roseman, Nate Wooley, Todd Sickafoose, Marika Hughes, and Tanya Kalmanovich, to name a few.
Hadestown's narrative, like the myth, steeps itself in ambiguities more than dead certainties. It moves past dualities of good and evil, life and death, hope and despair, while examining how commonly held beliefs about class reinforce poverty, how our desire for security is complicit in giving away our freedoms, and what real generosity in love actually is. Nowhere is this more evident than a Brown showcase number, “Why We Build the Wall.” (With the cast/chorus unintentionally answering Woody Guthrie's “This Land Is Your Land” anthem that would make him weep with grief.) There isn’t a weak track here, but high points include “Our Lady of the Underground,” sung by DiFranco; the fierce, yet tender “How Long” with Brown and DiFranco; both parts of Vernon’s “Epic,” Mitchell's and Vernon’s “Doubt Comes In,” and “I Raise My Cup to Him,” by Mitchell with DiFranco. Everything here is ambitious, nothing is excessive. The music ranges with classic American folk forms: country gospel, ragtime, blues, and early jazz, to approximations of rock, swing, and avant-garde — all of it immediate, accessible, and inviting. Vernon’s vocal range — husky baritone to sweet falsetto — does justice to Orpheus. Only a singer like this could write a song beautiful enough to rescue his lover from the Underworld. Mitchell doesn’t make herself the star, but is nonetheless. She is convincing as Eurydice; her lyrics are poetic, and her melodies unpretentious, yet sophisticated thanks to Chorney’s arrangements. This 57-minute work goes by in a flash. Artfully conceived, articulated, and produced, Hadestown raises Mitchell's creative bar exponentially: there isn't anything else remotely like it.
http://www.mediafire.com/?izjgjzmz12y
http://www.mediaf!re.com/?1z4xyztyqn4
Jeffrey Lewis & The Junkyard Band - 'em and I
http://www.myspace.com/jefflewisband (http://www.myspace.com/jefflewisband)
(http://imgur.com/RiZgg.jpg)Code: [Select]http://www.mediaf!re.com/?2iton2mjytwQuote from: lastfmJeffrey Lewis is an American singer/songwriter and comic-book artist, part of the Anti-folk movement. Several of his musical influences have been acknowledged in his songs such as The Chelsea Hotel Oral Sex Song, concerning the song by Leonard Cohen, and The History of the Fall.
anti-folk, singer-songwriter, indie, lo-fiQuote from: the observer"Eighty per cent of success is showing up," quipped Woody Allen, to whom fellow neurotic New Yorker Jeffrey Lewis has often been compared. That would at least explain Lewis's lack of mainstream success, because more often than not he's too busy unravelling his anxieties around a battered acoustic guitar to bother showing up. If past Jeffrey Lewis albums count as showing up, then it's showing up hungover, in a crumpled suit, with bits of toast in his beard.
'Em Are I, then, is Lewis's fifth proper LP and, after years of acclaim in anti-folk circles, it's his first that has at least one eye on the mainstream. It also contains what is pretty close to a straight-ahead pop song in Broken, Broken, Broken Heart, a handclap-strewn ditty that wouldn't sound out of place on With the Beatles. Well, that's if the Fabs had ever sung about trying to break their own hearts by leaving them out in the rain.
Despite higher production values (ie it wasn't recorded in a tumble dryer), this probably isn't going to be the record that propels Jeffrey too far beyond his army of devoted followers. Truth is, he doesn't know how to do commercial. This is a guy who interrupts gigs to recite from his pictorial history of communism in North Korea, whose last album consisted of nothing but covers of anarcho-punk band Crass and who once wrote a six-minute song that told the story of the struggling artist through the eyes of someone being raped by Bonnie Prince Billy on a New York subway track. His songs may be many things - mind-boggling in scope, laugh-out-loud funny, wonderfully moving - but a threat to Lady GaGa they are not. more... (http://www.guardian.co.uk/music/2009/apr/19/jeffery-lewis-and-the-junkyard)
Jónsi - Go (2010)Code: [Select]http://www.mediaf!re.com/?1z4xyztyqn4
Brasstronaut - Mount Chimaera
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?mozmma3inmyhttp://www.mediafire.com/?twdxvlnij0mAs an album, it kind of falls short for me, but goddamn if I haven't listened to "Colouring of Pigeons" like 59867 times. That is bar none the best track released this year.
http://www.mediafire.com/?w0mqtkymivqhttp://www.mediaf!re.com/?gmciendliyi
http://www.mediaf!re.com/?z03jtnztoriI was gonna yell at you for not using code tags but fuck it's new Laura Marling.
http://www.mediafire.com/?gyzzyng0oyzhere's one that i can't stop listening to, it's like björk's sound and voice with tom wait's aesthetic in danish.
http://www.mediafire.com/?wgwwqc0diluhttp://www.mediaf!re.com/?ze0iqlyiyzz
http://www.mediafire.com/?ymjzzmz1ozj
ELECTRIC PRESIDENT - the violent blueI guess I'm the only one that liked Sleep Well, but I'm gonna snag this anyways.
(http://img9.imageshost.ru/imgs/100126/cd8e5b2b29/64f1a.jpg)QuoteElectric President is made up of Ben Cooper and Alex Kane from Jacksonville, Florida and The Violent Blue is the duo's third long player. The record is direct evidence of a band that has matured over the last six years and has evolved their sound into what you hear today. Gone is the bedroom pop of their debut and the inconsistency of direction that held back Sleep Well [2008]. Their earlier song structures have now been replaced with a more focused album that blends the group's electronic backgrounds with an overall shoegaze vibe, while still retaining engaging melodies that make The Violent Blue memorable. What really stands out here is that Electric President seems to have made a permanent commitment to their style, as each song feels complete and transitions well into the next. It has moments where the strong chorus holds your attention like on "Safe And Sound", while other tracks let you dive into the instrumentation, such as the over eight minute closer "All The Distant Ships". It is this balanced combination that makes The Violent Blue Electric President's best album to date and should garner them increased interest on the indie scene.Code: [Select]http://www.mediaf!re.com/?dkm2fmqyg3g
Winrar tells me the track 3 from Junior is corrupt. Can I get it?
http://www.mediafire.com/?yvxdxw41eyz
Winrar tells me the track 3 from Junior is corrupt. Can I get it?Code: [Select]http://www.mediaf!re.com/?yvxdxw41eyz
White Hinterland - Kairos (2010)
New Caribou
White Hinterland - Kairos (2010)
Delicious R&B-inflected dream pop with Dirty Projectors-esque female vocals. Mmmmmm.
House of House - Rushin' To Paradise
http://www.mediaf!re.com/?0lmwmmc1ylyhttp://www.mediafire.com/?d4kf2mzz2dz
Sleep Party People
Broken Bells
http://www.mediafire.com/?wtalgzmmdwnThis shouldn't exist, but it does. Buckle up ladies.
http://www.mediaf!re.com/?fhm1niytjajhttp://www.mediafire.com/?y2ymgkt3mvvthe first she & him was so zzzzzz, someone convince me volume 2 is different
http://www.mediafire.com/?ujj32az4nly
Red Sparowes - The Fear Is Excrutiating, But Therein Lies the Answer (2010)
(http://img263.imageshack.us/img263/2497/folderhx.jpg)Code: [Select]http://www.mediaf!re.com/?ujj32az4nly
Is that your orgasm face?
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?rmzfdmy2e2kThe sweetest indie rock ever.http://www.mediaf!re.com/?qgtqxjnz220http://www.mediaf!re.com/?fwm3jldryi5lo-fi noise jangle pop
We’ve celebrated the delights of Ardent John for a good while now on this site and it’s nice to see the band finally releasing their debut album and hopefully opening themselves up to a wider audience with a bit more exposure.
On The Wire (out now through Slow Train Records) is a miserabilists joy from start to finish, while it does have some uplifting moments the mood of the album is fairly sombre and like a lot of great music over the years, is all the better for it.
The album opens in unusual style with the haunting acapella of All That We Need, gradually instrumentation sneaks it’s way in to the background and without realising how you have a full blown track on your hands with maudlin strings to complete it.
Open Road has that same understated charm about it that you get with Doves, seeping into your head slowly and without being too obvious, yet in many ways it’s a gloriously rich track. Jangly guitars make a welcome appearance on tracks like Fleeting Moments and Where All The Paths Lead.
http://www.mediafire.com/?xjmymyqzjnjTheirspace (http://www.myspace.com/ardentjohnmusic)
http://www.mediafire.com/?i3ylmazzzaz
http://www.mediaf!re.com/?zmgnmj1yumtMGMT - Congratulations [2010]
Anyway, a lot of people hate it and if you're one of them, CONGRATULATIONS!
"Dum Dum Girls" as a band name is so off-putting to me that I don't think I'll ever bother downloading an album. It is roughly as unpleasant to my ears as "Lady Gaga".
And what if I didn't like the first one? Should I give it a try?nahhh
http://www.mediaf!re.com/?zxzjjjzvquq
http://www.mediafire.com/?mzrwhjzejzmhttp://www.mediafire.com/?dkmzjzggggmhttp://www.mediafire.com/?rjyjzjwn3w3http://www.mediafire.com/?jly2oy2xm4w
http://www.mediafire.com/?0j42tmmyndmhttp://www.mediafire.com/?lzcj1gbdklmhttp://www.mediafire.com/?nnmy4rmtmzzhttp://www.mediafire.com/?q2ygdx2dgn3http://www.mediafire.com/?h5monyfzxzqhttp://www.mediafire.com/?xmmjdlzdxix
http://www.mediafire.com/?3jn5ezrozxkhttp://www.mediafire.com/?mzgtdnk5yqnhttp://www.mediaf!re.com/?2ymtmtmk5me
Live @ Rothbury - 7 - Love And Some Verses
http://www.mediafire.com/?ynihzdmhk4qLive @ Hardly, Strictly Bluegrass - Whole .zip file is corrupt
Live @ Mejeriet - Part 1. - Track 2 - Peace Beneath The City
http://www.mediafire.com/?t0zeznac4ynLive @ Mejeriet - Part 2. - Track 11 [Track missing, either unnamed or there is 1 track less than stated
http://www.mediafire.com/?wjkgonqzngm
http://www.mediaf!re.com/?54ttnmymhewhttp://www.mediafire.com/?jyl3zpmy2ydhttp://www.sendspace.com/file/q4ae9k
dudes that pumpernickle cd kicks ass. it has lyrics about big bird smoking weed, jason lee, and sasquatch.
Also, this gem from the chorus of "jedi calm" :
"if your left lobe is slightly droopier than your right and beautiful beautician points it out while cutting your hair, hold your head up high and reply "My mom thinks it's charming, and the fact of the matter is all my imperfections make me doper. Plus, I find flawed four-leaf clovers give the best luck."
I love the inspirational tone throughout. It's like "yeah, you can do it! Just BELIEVE."
http://www.mediaf!re.com/?dz54mzkfytwhttp://www.mediafire.com/?zgjmrydzeqdhttp://www.mediafire.com/?ynimjz5f4t3Recommended if you like post-punky/indie rock jams, sort of in the vein of REM and Mission of Burma or something like that. Hope you enjoy!
The Pack A.D. - We Kill Computers[2010]
Dessa - A Badly Broken Code [2010]
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?2vkwzmzimhy
this has been around for a while apparently but I just heard it, so here it is, because it is sick.
The Hood Internet Vs. Tobacco & Aesop RockCode: [Select]http://www.mediaf!re.com/?jyl3zpmy2yd
I've never listened to The Hood Internet before but I love Tobacco and Aesop, so I get hyped on it.
The Hood Internet Tobacco AesopThis is pretty damned rad.
I'm not generally a big fan of hip hop, but man, this is really good. Orchestral textures and a voice to kill for. She's been called a blend of Ani DiFranco and Mos Def. Currently burnin' up the midwest underground scene.
http://www.mediafire.com/?2nintd2mean
I'm not generally a big fan of hip hop, but man, this is really good. Orchestral textures and a voice to kill for. She's been called a blend of Ani DiFranco and Mos Def. Currently burnin' up the midwest underground scene.
just threw up in my mouth a little bit
Ardent John - On The Wire[2010]
Folk Rock/Ambient/PopQuoteWe’ve celebrated the delights of Ardent John for a good while now on this site and it’s nice to see the band finally releasing their debut album and hopefully opening themselves up to a wider audience with a bit more exposure.
On The Wire (out now through Slow Train Records) is a miserabilists joy from start to finish, while it does have some uplifting moments the mood of the album is fairly sombre and like a lot of great music over the years, is all the better for it.
The album opens in unusual style with the haunting acapella of All That We Need, gradually instrumentation sneaks it’s way in to the background and without realising how you have a full blown track on your hands with maudlin strings to complete it.
Open Road has that same understated charm about it that you get with Doves, seeping into your head slowly and without being too obvious, yet in many ways it’s a gloriously rich track. Jangly guitars make a welcome appearance on tracks like Fleeting Moments and Where All The Paths Lead.Code: [Select]http://www.mediaf!re.com/?xjmymyqzjnjTheirspace (http://www.myspace.com/ardentjohnmusic)
more than eight
http://www.mediaf!re.com/?2oynmdt0ugz
track 4, colours of the day, was corrupted :(
http://www.mediafire.com/?mz55zyjnmij
track 4, colours of the day, was corrupted :(Code: [Select]http://www.mediaf!re.com/?mz55zyjnmij
Quote from: Scandanavian War MachineThe Hood Internet Vs. Tobacco & Aesop RockThis is pretty damned rad.
http://www.mediaf!re.com/?eqvgwyfymmzCareful With That Hat (http://www.youtube.com/watch?v=OgD7BOUltwY)http://www.mediaf!re.com/?yyyzdgejz4n
more than 14
http://www.mediafire.com/?zdothmtzzn2http://www.mediaf!re.com/?tqhzoed5gyaMySpace (http://www.myspace.com/samamidon) http://www.mediaf!re.com/?tntynetntyyMySpace (http://www.myspace.com/deadmeadow)http://www.mediafire.com/?zda12nmymhkMySpace (http://www.myspace.com/murderbydeath)Careful With That Hat (http://www.youtube.com/watch?v=OgD7BOUltwY)
http://www.mediafire.com/?mndkymwynedRoky Erickson With Okkervil River - True Love Cast Out All Evil
http://www.mediaf!re.com/?zmnr5yzbmtz
Dessa - A Badly Broken Code [2010]
http://www.mediafire.com/?zzqdgm2x2m4You Stay. I Go. No Following. (http://www.youtube.com/watch?v=4bgLGtlrBaA)There was a time a few years ago where I was sick of hearing the next generation lack of pop, Midwestern emo, indie sensibility that was being shoved down my throat. It was like trying to retain sixth wave leftovers from record companies trying to maintain the next buck since they had "one" big breakout. With that pessimism, I bred a history lesson of bands such as Braid, Texas is the Reason and Sunny Day Real Estate. I went back to the gritty roots which were put together in passion and creativity not seen before it.
More than a decade later, I can finally say I'm happy with what's being put on my plate as a new meal. Look Mexico are now dishing out their second album after last decade's proper full length and a handful of EP's. To Bed to Battle isn't to be passed over lightly. It's reminiscent of a time where more was put into the build of a song structure and not the look of the band playing the song.
The opener eases in a repetitive, infectious chorus, "Thank you for absolutely nothing." Its falsetto doesn't seem cheap in production. It's as honest as when Davey VonBohein sang out the circular chorus in "Is This Thing On?" That honesty and Midwestern homage holds true with "I Live My Life a Quarter Mile at a Time" and the closing "Just Like Old Times" on Look Mexico's new album.
But it's the quick left turn that To Bed to Battle takes that separates it as its own, and not just a classic portrait of how we felt about our 90's idols. "Take It Upstairs, Einstein" glistens strings and twang in a band who are attempting a craft outside of its album's first two track marks. That old sound and new Midwest, Saddle Creek influence blends on "Until the Lights Burn Out?" and "They Only Take the Backroads." As the band instrumentally takes its closer to the end of the album, it feels like sun is just setting over the plateau in the back of your mind.
Look Mexico are attempting to cram what they already know how to do and what they want to do in To Bed to Battle. Fortunate enough for the listener, it works on all levels. Sure, songs like "Get In There, Brother!" and "Time for You to Go Do Your Own Thing" don't fit quite right in the sequence, but they still have their moments of a band pushing expected boundaries. The first time I heard the album, my initial thought was, "Cool, it's like if Braid grew up in Georgia." That may not be the most accurate way to describe the band's abilities in the simplest form, but one listen through and you may get a connection of how some of us miss and continue to rediscover those better days, without getting completely stuck in the past.
http://www.mediaf!re.com/?5wytwjdyq2t]http://www.mediaf!re.com/?5wytwjdyq2tBEHOLDS! Ze new Darkthrones records. Zough zey is technically no longers trve blacks metahls, iz still goods albvms.
http://www.mediafire.com/?zn1mzmzknnwWombs from Cleveland Ohio
It will only be up for a week.
http://www.mediafire.com/?tkyym5ny2qw
http://www.mediafire.com/?ozt1zq3urmc
http://www.mediaf!re.com/?eumt41jwitghttp://www.mediaf!re.com/?zd0mzmc2zwzTwo Steps From Hell is a production music company based in Santa Monica, California. Founded the 14th February 2006 by two composers Nick Phoenix and Thomas J. Bergersen, it has quickly become one of the most prolific trailer music library. Their music is used in many Hollywood production trailers, such as trailers for Harry Potter and the Order of the Phoenix, Star Trek, The Dark Knight, 2012, X-Men: The Last Stand, Prince of Persia and Indiana Jones and the Kingdom of the Crystal Skull as well as video games such as Mass Effect 2 and the British television show Doctor Who. All of their albums except for their two latest are publicly unavailable including this one.
I'm all like "Alkaline Trio?"Re-up?
Yay for angsty screamo-ish.
The LIBARY. (not "library")
GoddamnitCode: [Select]http://www.mediaf!re.com/?ogtz0gdmv1i
Also, please do NOT request albums. This includes requests for re-uploads
Six Dead Horses is a relentless doom metal mountain based in Orlando, FL.They integrate very loud amps with powerfully declarative choruses to provide the ultimate psychedelic metal experience.
Current Lineup (as of April 2010)
Scott - Guitar/Vocals
John - Guitar/Vocals
Joel - Bass/Vocals
John - Drums/Vocals
Six Dead Horses self-released their first EP in March of 2010. It’s entitled Horn, Tusk, Antler.
Edit
I guess the rules changed since my day.Quote from: The RulesAlso, please do NOT request albums. This includes requests for re-uploads
Just sayin'.
Cease-Cicada
http://www.mediafire.com/?2kzkmwmyjjyRules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?md2mgdzzzhxhttp://www.mediafire.com/?gwgc2mjtywlhttp://www.mediafire.com/?g131qtazymxhttp://www.mediafire.com/?my23jjhixhmhttp://www.mediafire.com/?moz0gttjxm3
Brainiac - Bonsai Superstar
http://www.mediafire.com/?zj3rytzyymyhttp://www.mediaf!re.com/?rzyij4mzzt2Communist Daughter - Soundtrack to the End
http://www.mediafire.com/?2yyjyzmvhze
Brainiac - Bonsai Superstar
everybody get this right now.
Black Breath- Heavy Breathing (2010)
Hardcore punk/metal with the buzzsaw guitar tone of old-school death metal. If you like Darkthrone's new stuff, you will probably like this.
http://www.mediaf!re.com/?qzwdzzizkgdEt (http://www.youtube.com/watch?v=NkhI1JIXgoQ)http://www.mediafire.com/?mvminetalinAll Outta Love (http://www.youtube.com/watch?v=wMCX0zLKv8Y)http://www.mediaf!re.com/?itzy0zy3dmdWar Coward (http://www.youtube.com/watch?v=jpKyW4IR1NI)
http://www.mediafire.com/?myznzw4twqxAh, I couldn't resist making a bad horse iPhone ringtone (http://www.mediafire.com/?xjk2wd2ejto). http://www.mediafire.com/?i2qzzyjxjwyNot a huge departure from previous BRMC albums; take that as you will. http://www.mediafire.com/?4twzg2nzmwxBluegrass is a genre that has somehow remained untainted by the outside factors that have plagued so many others—image, commercial appeal, celebrity status—and still only answers to one question: can you play your instrument? It make sense, then, that Oregon indie rockers the Decemberists, known for their virtuosic musical capabilities, might one day venture into something a little twangier, a little more instrument-heavy. Enter Black Prairie, an acoustic 5-piece made up of Decemberists Chris Funk, Nate Query and Jenny Conlee, with help from fellow Portland musicians Annalisa Tornfelt and Jon Neufield. The resulting record, Feast of the Hunters’ Moon, is a primarily instrumental voyage into Appalachia through the eyes of well-informed outsiders that mixes original composition with traditional to create a sound that adds a modern twist to the voices of the past.
Lighter moments on the album, like the fiddle-driven version of traditional song “Back Alley,” are reminiscent of early Nickel Creek jams, though it’s when the band gets heavier that the album is at its strongest. Appropriately named Black Prairie, the band takes a darker approach to bluegrass that plays upon the strengths of their Decemberists’ background while maintaining traditional sensibilities. Interpretations of songs like “Red Rocking Chair” and album closer “Blackest Crow,” both driven by the smoky, haunting vocals of Jenny Conlee, play into the Southern gothic tradition that authors like William Faulkner and Flannery O’Connor championed in years past. Black Prairie originals like “Across the Black Prairie” and “Crooked Little Heart” don’t disappoint either, fitting right in with their traditional counterparts. Though Oregon is a far cry from the lush mountains and low valleys of the American south, Feast of the Hunters’ Moon makes up for what it lacks in location with spirited musicianship and an inherent reverence for bluegrass’ king, the instrument.
The Floor Is Made of Lava links to the Madita album.
http://www.mediafire.com/?yqtwzzmgizrhttp://www.mediafire.com/?ntyj5m0rziyhttp://www.mediafire.com/?nedgox4dwkd
Can anyone confirm if the Frog Eyes leak floating around the tubes seems legit?Yeah I am pretty sure it is.
Phoenix and the Turtle - Asleep In America
http://www.mediafire.com/?zimmngmon2o
http://www.mediafire.com/?tnmwint3ez2
Can anyone confirm if the Frog Eyes leak floating around the tubes seems legit?
(http://991.com/newGallery/Mr-T-Mr-Ts-Commandment-361095.jpg)(http://badassmofos.files.wordpress.com/2009/05/mr_t.png?w=450&h=450)Code: [Select]http://www.mediaf!re.com/?zimmngmon2o
http://www.mediaf!re.com/?zmzgzjigj4jhttp://www.mediafire.com/?yiyjdtueuaehttp://www.mediafire.com/?zt4vhhzy3m3
Madita - Pacemaker[2010]
http://www.mediaf!re.com/?24czz5oryozhttp://www.mediaf!re.com/?lzmmgtyomzwhttp://www.mediaf!re.com/?mqwnzykmrjwhttp://www.mediaf!re.com/?ygtenhjctzohttp://www.mediaf!re.com/?nemw23zmeddhttp://www.mediaf!re.com/?mmdyz2mmnkthttp://www.mediaf!re.com/?tvnxtgi1znrBoom Jinx & Jaytech - Milano (Ad Brown Remix)
Jaytech - Vela (Tritonal Air Up There Mix)
Jaytech - Pepe's Garden (Tritonal Air Up There Mix)
http://www.mediaf!re.com/?mmyeiiejz1zhttp://www.mediaf!re.com/?ufoytodlvoyhttp://www.mediaf!re.com/?0eyyznjeokuhttp://www.mediaf!re.com/?wwjnzbjm1mohttp://www.mediaf!re.com/?jzyloymnmkehttp://www.mediaf!re.com/?ywhmwumjhjyhttp://www.mediaf!re.com/?udqmvmmqhykhttp://www.mediaf!re.com/?zwzzzmejyny
http://www.mediafire.com/?qte3z0th3yyhttp://www.mediafire.com/?t3tnmyybt0jFoxy Shazam
http://www.mediafire.com/?b4zdyhjof8e
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
Oh hey it's really good, too!
Anyone want an up?
http://www.mediafire.com/?mznyy2zmyliReview and video (http://www.beijingnoise.org/2010/03/review-av-okubo-the-greed-of-man-av%E5%A4%A7%E4%B9%85%E4%BF%9D-%E5%A4%A7%E6%97%B6%E4%BB%A3/)http://www.mediafire.com/?mnjthm1izznBorn two years ago from a medley of rum and cigarette induced visions in one of the last remaining authentic taverns in Ottawa, Canada. Boys Climbing Ropes is a testament to the delight and folly of international displacement. The conjuring of a wily vigour that understands no ends, stumbling along a thin line separating magic from down-right drunkenness. Their psych-folk punk infusion sounds like a distorted depressed escapee flying along a highway at dusk in a big rusted white pickup truck with a flat rear tire. After sweating through their first half year as a band in China, Boys Climbing Ropes had a run in with the enigmatic Xiao Punk. A vagabond and self-published poet from Jianxi province, Xiao Punk joined the cavalcade on vocals, thus adding herself into the mix with the three Canadian foreign nationals: Devin Gallery (drums), Morgan Short (bass/keyboards) and Jordan Small (guitar/vocals). All four musicians have been involved in various other musical projects, from high school orchestral units to full-scale shit-rock bands in big Asian cities. Notable influences include Ted Leo and the Pharmacists, Neil Young with Crazy Horse, Leonard Cohen and of course Bruce Springsteen. Entering their second year in the Shanghai music scene, Boys Climbing Ropes still entertains premonitions of becoming an unfastened release of music. One that continues week after week filled with the fervour of an early-communistic work ethic.
(it's m4a's I think)
http://www.mediaf!re.com/?u3mdiiukqm2My m4as work great.
http://www.mediafire.com/?tjyuyh2vdinMy boner is massive and can not be tamed
Planet Mu continues its hot streak with this EP ahead of Starkey's upcoming full-length, his second for the label.
Starkey's an intriguing character. His stock in trade is hip-hop flavored bass music with a candy coating of R&B shine. If we can think of Flying Lotus and the like as the IDM-ification of the existing west coast underground hip-hop aesthetic, post-Dilla, I don't think it would be that much of a stretch to suggest that Starkey represents a progressive shift in the underground hip-hop of the east coast, which has generally revolved more around the club scene (Starkey hails from Philly). Starkey has called it "Street Bass", and it's a heady conflagration of rave, bass, IDM, hip-hop and dubstep sounds. For someone like me who really enjoys the atomic thump of a really well-tweaked kick drum it's manna from heaven.
The 12" single consists of four songs. The eponymous "Stars" is a smooth future R&B song with a really sweet gated rave pad undergirding the track. Slugabed's remix of that song bring a more recognizable dubstep feel to the track with his sweltering, swaggering style. "Starting Gates" is more in line with Starkey's more club-oriented tracks - kick drums, hand claps and a gigantic, elastic rave lead. "Millennia" is a slow-building monster with purple-hued pads that build up with delectable arpeggios to a booming "chorus" before dropping back to the buildup again. Madness.
The digital download release of the single includes an additional three remixes of "Stars". Techno underdog Few Nolder's edit strips the song back to Anneka's vox in an echo chamber and adds a minimal beat and an understated bassline / chord synth. Definitely a "nite version" of the track if there ever was one. Raffertie's remix, on the other hand, takes the song to a more rave-oriented place, creating a large space with his pads before collapsing it with a buzzing, wobbling bassline and thudding dubstep rhythm. Finally, Ital Tek applies his early-period Autechre fetishism to the song, crafting an edit that seems to be all low-lying bass and simple, ringing synths and arpeggiated stabs, before breaking out into the sort of melodic, mechanical dubstep he's so good at (he keeps the gated pads, unlike the other remixers)
A massive release, comes highly recommended. Keep an ear out for the full-length, Ear Drums and Black Holes, next month. Only "Stars" and the previously released "OK Luv" will be present on the LP - every other track presented here is native to the EP. Coming up next for my favorite label - The Internal Tulips release a debut I've been waiting for some time for and a single from a DJ who purports to fuse the sounds of modern dubstep with the aesthetics of Frank Zappa. Oh boy.
http://www.mediafire.com/?2mwijudjkz2A few years back a friend of mine whose taste I generally trust sent me a copy of Bonobo's Animal Magic and recommended it vociferously. At the time there were many tracks that I enjoyed but as time went on I found it to be a listless sort of electronic chill-out music that critics invariably gravitate towards (see also: Four Tet, who made a big splash this year with yet another album that I find to be largely boring).
So imagine my surprise when this single for Ninja Tune made it on down the pipeline and proceeded to really impress me. The first thing you'll notice is the swing in the drums. There's a definite UK Garage influence to the rhythm of the song, and overall this feels like a particularly excellent Zero 7 track, which is to say it's chill music of uncommon caliber. Funny how these things go - Air, who really popularized this sort of music, came out with a tepid album this year that was easily bested by Zero 7, who up until that point were basically riders on the coattails of Moon Safari, enjoyable as they could be. This is blue-tinged neo-soul with nice, clear production that avoids the curious flatness endemic to those Zero 7 records.
Included in the package are several remixes and an instrumental version of the track. The first remix is about perfect, as the aesthetic of the song is simpatico with Floating Points' sensibilities right off the bat. FP changes up the beat and makes it a bit more mechanical, and adds a bit of buzzing acid bass, which is nice. Warrior 1 gives the track a martial Garage makeover that makes it a whole lot more dancefloor-ready. Applebim / Komonazmuzik round out the release, deconstructing the song and reconfiguring it into a spacey future-disco groove, complete with strings, a more recognizable 4/4 rhythm template and dubby reverb on the vox.
So it's been a pleasant surprise, to say the least. Eyesdown has been released ahead of a full LP called Black Sands (evocative title - I've been to some black sand beaches and they are divine, and hot) due out in a few weeks. I'm hoping the whole album is in this vein. I'm ready to give Bonobo another shot, if he's willing to shake off the sleepiness that's crept into his past output. This is a good start.
http://www.mediafire.com/?mxzhejtz4k5Way back in the late 90's and early aughts, when I was really getting into electronic music for the first time, I remember being constantly frustrated by how my favorite artists just never seemed to put out music in a timely fashion - The Aphex Twin and (especially) Boards of Canada seemed to be working on timetables of several years between albums.
This dissatisfaction was due to a number of factors. First and foremost, I was at the mercy of my circumstances. Living where I did in Northern Colorado, with sharing and streaming services relegated to the famously spotty P2P sites (Napster and the like), the electronic music that I liked was restricted to only the most acclaimed and popular artists - Aphex Twin, Autechre, BoC, etc. And for whatever reason those artists didn't put out a lot of readily available stuff. Second, I was in my teenage years, and when you're that age time just slooows down. Perhaps the most important thing was that I just wasn't looking in the right places. There were a lot of progressive electronic acts that had (and still have) a prolific streak - Luke Vibert, Venetian Snares, etc.
Now that the internet has rapidly expanded in its search and retail capacities, it's a lot easier to keep track of those prolific artists. One of the more recently established is FaltyDL (ne Andrew Lustman) who I've covered before for the blog. In the space of the last year or so, he's released a single on Ramp and both an LP and an 8-song EP for Planet Mu, all high quality records. His first release of 2010 is a 4-track EP for the Rush Hour imprint.
The title track "All in the Place" is an electro-tinged acid dance anthem that wouldn't sound out of place on a Vibert record, but the percussion sound is all FaltyDL, prominent open hi-hats and rattles abound. "St. Marks" is more in the vein of Lustman's previous output, with a cool, New York feel and cut-up soul vox samples. The melodic IDM of "Discoko" shows just a bit of Lustman's professed Aphex Twin influence, with vowel-sounding acid bass and a bright synth lead. "Groove" get backs to the complex hi-hat shuffle that's Lustman's stock in trade, adding a busy, skittering funk bassline and echoing, oscillating synths before yet another cut-up vox sample. It's to Lustman's credit that the repetition of elements from song to song somehow never becomes exactly formulaic. He's got a style that he usually sticks to, and within that there are a multitude of ideas to explore. All in the Place is of the quality you'd expect from FaltyDL at this point, but it's also not a bad place to jump in if you're new to him.
http://www.mediafire.com/?j1mdzmmznrlIt's kind of a dirty open secret that, infatuated with electronic music as I am, I've never been all that invested in the more purely dance-oriented corners of the scene. However, while most house and every trance song I've ever heard has left me cold, I have responded well to drum and bass music. Perhaps it's the more insistent rhythms, maybe it's the breaks, maybe it's the fact that the IDM I heavily gravitated towards was flourishing around the time that DnB was having its big moment in the 90's. Many IDM luminaries - Aphex Twin, Luke Vibert, but especially Squarepusher - all made music in the DnB vein. The only "club music" experience I ever had was showing up to a place in Denver on a random night with my friends to find that the highly respected drum and bass DJ Andy C was spinning. It was about as good of an experience as I could have asked for, being a headphones-oriented kid. I've since scoured Denver for big-name DJs but we get very few of repute outside of trance and electro-house guys.
I had a lot of fun that night, but like a lot of club-oriented music, drum and bass often gets monotonous for me when played through headphones. The relentlessly break-neck speed of most DnB tends to make it sort of exhausting, as well (see: Noisia's Fabriclive 40).
Which is where dBridge comes in. In the last year or two, dBridge and Instra:Mental have, through dBridge's Exit label, popularized a newer strain of DnB, cross-pollinated with the dubstep culture of the UK, that shifts the focus off of the "drums" part of the music and shifts it onto the "bass". Tempos are slowed down, rhythms are 2-step, more often than not (although that's not particularly uncommon in DnB these days) and the bass is larger and more prominent.
As the title implies, dBridge and Instra:Mental share mixing duties for this Fabriclive set. dBridge I'm only just now gaining awareness of, and he seems to be the spearhead of this newer DnB style. His choices tend to have a heavy neo-soul / R&B element to them, as evidenced by the absolutely perfect opening track, "Seems Like" by Riya, and a medley track from Genotype. I've known about Instra:Mental for awhile now, as he was the standout in one of Boomkat's "future garage" compilations. His choices tend to hew more towards dubstep, as do his own songs that appear in the set (Skream, Scuba and Distance all make appearances). For my money the Instra:Mental parts of the set are the highlights, though your mileage may vary.
A bit about the Fabriclive series - If you didn't know about it already, there's a famous club in London called Fabric that releases DJ mixes by many of the names that visit the place. There are two series - Fabric and Fabriclive. Fabric is comprised of more "classic" dance music, house and techno primarily, while Fabriclive encompasses everything else - electro-house, DnB, hip hop, bass, acid, etc. They're fairly strict about their standards and as such they have yet to release a mix that's anything less than good (most of them are great, actually). There was some controversy a year or two back when Justice, who were probably the biggest DJs in the world at the time, submitted a mix only to have it rejected for not meeting length standards. These guys don't fuck around. Collect the whole set.
The version I have is actually unmixed, which is to say that the variant songs that make up the mix have been parsed out and separated into tracks. As far as I'm aware, retail versions of the set are mixed only, meaning they're one unbroken track.
http://www.mediafire.com/?eyzdqfmerd2I wrote about Starkey just a few posts ago, and now we switch gears from his Planet Mu output towards his Street Bass Anthems series. Whereas the Planet Mu stuff is definitely more UK-oriented in the dubstep vein, the SBA series is recognizably American. From syrupy pop R&B in the opener "Starkvillain", to Bug-esque dancehall dubstep reggae in the 6Blocc remix of "Lockdown" to B-More party rap in "Gals Be Wilin" (my personal favorite), numerous pop styles are subducted and retooled under bass trends in almost every track. Slugabed's apocalyptic bass attack hits hard in the almost Justice-esque "Slugabed Sez". Autotuned R&B even makes an appearance on the Starkey cut "Hair Redone".SBA V.4
There's just so much stuff going on in this mix it can be hard to get your bearings, but your enjoyment of the bulk of the music will probably be dependent on how well you can stand contemporary hip hop radio. It wouldn't be quite correct to call this a dance music record in the way we mean it when we describe a techno or house record. This is a hip hop record. It just happens to possess an emphasis on massive bass production.
If that seems a little intimidating or iffy to you, I've also included the Street Bass Anthems Volume 4 Singles, a 4-track selection from the heart of the mix, featuring the bombastic, Anticon-esque Starkey cut "Alarm (feat. Non & Halfcast)" and the machine-lifter bass of DNAEBEATS "Razor Kut". If you like that, you'll probably like the whole thing. Enjoy!
http://www.mediafire.com/?32ytoymyyziSBA V.4 Singleshttp://www.mediafire.com/?jmdbtdjzmzz
Filth is a record that I have a complicated relationship with. When I was invited to apply for a job reviewing music for my local paper, I wrote this review as a test:
Before churning out two highly acclaimed, relatively accessible records in 2005’s classical-meets-breakcore masterpiece Rossz csillag alatt született and 2008’s hardcore jungle throwback Detrimentalist, Venetian Snares (né Aaron Funk of Winnipeg, Manitoba) was well-known for off-putting and confrontational music. Perhaps it is no surprise, then, that Funk has decided to capitalize on his growing critical cache with an album that practically dares the listener to try and enjoy it.
Filth, as the name might suggest, is a porno-themed album. There has always been a sickly sentiment coursing through Venetian Snares’ music but on this release every second seems to ooze perversion. For this we can blame the TB-303, famed “acid” bass synthesizer extraordinaire. The synth’s signature “squelch” sound is thrown into overdrive by Funk, and together with booming bass drums a queasy, oppressive mood is established in nearly every song. Tracks like “Deep Dicking” and “Kimberly Clark” are nearly unlistenable hodgepodges of sampled porno sound clips, squeaking bass and frenetic drumming. If this music had a color, it would be a gangrenous green.
Normally, one could rely on Funk’s virtuosic drum programming skill to elevate the music above mere din, but songs like “Mongoloid Alien” and “Kakarookee Hates Me” are all punishing 4/4 slamming. Perhaps the only bright spot on the album is the final track, the cavernous acid opus “Pussy Skull”, which resembles Detrimentalist’s slower moments. When the end of the song nears and someone says “Hours and hours of two giraffes fucking” you suspect this might all be a big joke. Too bad the joke is on the listener.
1.5 stars of 5
But while none of that is strictly untrue, for some reason I just cannot get this record out of my head. When Aaron Funk was first gaining a lot of attention around 2004 I found that I had a pretty strong aversion to his music due to Venetian Snares' outright antagonism towards his audience (funny story though, I paid close enough attention to pick out a heavily distorted sample of dialogue from Fallout 2's Sulik in "Befriend a Childkiller" off the horror/serial killer themed album Doll Doll Doll) and it wasn't until the one-two punch of Rossz and Detrimentalist that I came to accept how much of a genius Funk is, even if he is absolutely clown-shoes mental. For certain sorts of people, repeatedly listening to Venetian Snares changes you. It's like being drugged through your ears.
So even though I find very little actual enjoyment in Filth, I just can't bring myself to get rid of it, and I go back to it on a semi-regular basis for reasons that I can't really explain. In a nutshell, I feel like even though it seems like Funk has very little in the way of self-editing impulse, the revulsion and the confusion you feel when you listen to the music is just a surface, a challenge that Funk puts to the listener - over time you can chip away at it, and the breakneck pace of output, the shotgun-splatter of samples and tempos, the sheer auditory aggression that seemed slapdash at one point reveal an undeniable craft, and a demented auteurism that seems unique to the best of IDM artists. In Venetian Snares you can identify a true anti-cultural posture not seen since the earliest days of Throbbing Gristle. He just doesn't give a fuck.
But that I'm even saying these things is apparent proof that I have imbibed the kool-aid, so to speak. Make no mistake, this is varsity-level shit, and it will make you crazy, if you let it. Just listen to this freak from TMT - not even I would claim that this is Venetian Snares' "most accessible release". For some of you, this album will be a challenge that yields worthy rewards. For most of you it will be noise. Have some aspirin and a bible on hand. Keep kids as far from earshot as possible. This stuff is wrong.
http://www.mediaf!re.com/?kzxbzky5imxWhere to start with this one? Streets of Rage 2 (or as it's known in Japan, Bare Knuckle 2) is one of the all-time classic Sega Genesis games. It's a memorable game certainly by gameplay standards, but it's perhaps best known for its incredible soundtrack. I first played it when I must have been around 6 or 7 years old, and it's quite likely that playing this game sparked what would become my great love for electronic music.
There's not a lot that I can actually say about this soundtrack that isn't tightly wrapped around my childhood memories. I remember not even playing the game some days, but just sitting with the "Options" menu up, where Sega had (to their eternal credit) put up a music player. I thought it was so odd that there were 2 songs that weren't even in the game, and several different versions of songs that were in the game.
Like all great game soundtracks of its era, the Streets of Rage 2 soundtrack is highly melodic, so much it's intoxicating at times. Yuzo Koshiro, the composer, found inspiration in the club music he heard, and what resulted was a collection of high-energy MIDI dance songs, most of the 4/4 breakbeat variety (that is to say, lots of delectable syncopated rhythms). It's very difficult for me to choose favorites, but the ones I always listen to first are "Round 5 (Slow Moon)", "Round 6, Part 1 (Wave 131)", and especially the criminally short "Round 7, Part 1 (Back to the Industry)". Like I said, I can't bring myself to levy any sort of critical analysis on this music. I just love it too much. But I hear all the time from people who love it just as much as I do.
And if you own a console or (hopefully) an internet-capable PC, do track down the actual Streets of Rage 2 game. It's out as a downloadable arcade game for the Xbox 360 and Nintendo Wii (you can even catch the first and third games in the series on the Wii) and there is no shortage of emulators on the PC capable of running the ROM.
*Credit to my friend Cathy for providing a resupply (I was missing a few tracks before)
http://www.mediaf!re.com/?jozm0mivtzmI've written a bit about the "Skweee" movement before while reviewing Eero Johannes' debut album and a Harmonia compilation, and here we have yet another Skweee compilation curated by veteran scene label Flogsta Danshall on Ramp recordings, a label famous for, among other things, releasing early singles by DJs like Slugabed and FaltyDL.
This compilation is a little more consistent than that Harmonia one, and it makes a good case for the legitimacy and potency of the unfortunately named analog synth-funk movement. While some skweee stuff can fall a little too hard into the realm minimalistic 8-bit music, the best of it displays an uncommon tunefulness. The beats are plenty hard, no doubt, but these songs live or die on their melodies and basslines. Tracks like "Rek Johnny Rek" (by Beatbully) and "Tough Guy Music" (by scene godfather Daniel Savio) show no shortage of prowess in that regard. Other tracks, like "Liikutuksia" (by the wonderfully named Mrs Qaeda) hew closer to original chiptune tropes while still sounding fresh, and still more get by solely on rhythmic swagger ("La Moulette Enchantee" by Wankers United). It's a pretty excellent entry into the genre, but unfortunately a good many of the artists on display don't have material out beyond compilations (that or their music is intentionally difficult to find). If you like hard 80's funk, this comes highly recommended.
http://www.mediaf!re.com/?dzzznxzziktFrom Ramp Recordings comes this new single from Computer Jay, replete with 3 remixes from white-hot dubstep / future garage DJs. I don't know much of anything about Computer Jay (all I know is that he's a part of the LA beatmaking scene that's been really fertile for the last few years), but I know Ramp Recordings and they're pretty legit. The eponymous song is a prime example of what they're calling "wonky" these days (though living so far outside the vital culture as I do, it's likely that term has fallen into disfavor and I just don't know it), with rhythms that seem just a tad off. Heavy hip hop beats underlay a weirdly attitude-heavy speak'n'spell rap (itself underlayed with a vocoder, by the sound of it) and dreamy, floating synth. It all sounds like a slightly less headphone-oriented FaltyDL track.
Oddly enough, FaltyDL's remix of the song speeds things up and rearranges the rhythm to match Andrew Lustman's signature clap-heavy sound, which is easily identifiable even at the infant stage of his career. Lustman cuts up the rap to an unintelligible syllable soup and ladles it back onto the track with formant-filtered bass stabs, creating an uncharacteristically floor-ready track.
Mike Slott gives the track an expansive treatment reminiscent of Warp's recent forays into thick hip hop instrumentalism (Hudson Mohawke, etc.) with a muggy tropical feel and just a bit of cowbell. It's comparitively short at just under 3 minutes but it makes a distinct impression.
Ikonika's edit retools the song into what sounds like a frantic rave-house anthem before abruptly switching gears to heavy duty bass-centric dubstep, with the vocoded speak'n'spell kept around for color and the central melodic motif of the song slowed down and stretched out. Just 4 songs, but every one is distinct and excellent in its own right.
http://www.mediaf!re.com/?q2g5jqw4jjjThese last few years have seen Planet Mu releasing albums from new signs that were in actuality new projects from old Planet Mu artists, ones who never seemed to gather the acclaim of the label's more well-known artists, like Vex'd or Venetian Snares. They tended to not be "side projects" but new identities, and to go along with those new identities came newer, almost invariably more interesting sounds - Legion of Two (formerly Decal) went from IDM to dark, bombastic post-rock, Sunken Foal (formerly Ambulance) went from IDM to shambling electro-acoustic folk. And now Alex Graham (Lexaunculpt) and Brad Laner (Electric Company), both former Planet Mu solo artists, have collaborated and released this album as the Internal Tulips.
The music here is quite strange. Internal Tulips are, at their core, a piano pop band. On nearly every song, the most prominently featured elements are the sounds of a grand piano and Laner's oft-multitracked voice. It's hard for me to pin down what exactly the exact inspirations for this kind of music - if it makes any sense to say so, the melding of classic pop vocal harmonies and electronics have been in vogue since Animal Collective hit the big time. Suffice to say that the only things keeping this music recognizably contemporary are the slick production and the numerous and meticulous electronic touches to the music - in songs like album highlights "Arlie" and "Mr. Baby", disparate elements of the music are separated and "placed" to different pan settings. This along with the relative quiet of the music creates an exceptional sense of location.
The album only really suffers when it strays from the piano pop format. The weird early 90's saccharine R&B of "Parasol" and the electro-folk of "We Breathe" and "Long Thin Heart" just barely work or fall flat. Overall the mood of the album is remote and melancholy (a common reference when listening was the later work of Julian Fane) and the laptop-fueled glitch-hop touches sometimes date the music, but overall this is a strong "debut", and a new wild card in the already eclectic Planet Mu deck. For fans of Sunken Foal and classic pop.
http://www.mediaf!re.com/?jzhmkdhknm0Once upon a time, in the heyday of the breakcore explosion of the early-to-mid aughts, Keith Fullerton Whitman recorded and performed as Hrvatski, releasing a handful of really smashing records on Planet Mu. But there was another side to Whitman that expressed itself in the realm of ambient drone composition, and this music, released under Whitman's given name, was what made his reputation. Whitman is nothing if not accomplished - he studied at Berklee and I seem to recall reading an article stating that he held an official position at Harvard in his mid-30's (though given that his official website lists his location as lovely Cambridge, MA, it's possible that he actually has some sort of residency at MIT instead), and his past releases have won plaudits from the likes of Pitchfork, who give his Playthroughs album an exceedingly high mark of 9.7. Much of his recent work is relatively difficult to track down, but I managed to grab ahold of his most recent release, a collaboration with Geoff Mullen (who I can't seem to find any information on. Anybody have input?) called November 28 2009.
I've always had misgivings about the composition style labeled "drone". As a catch-all term I find it too pejorative and esoteric - your average person probably wouldn't even give an album labeled "ambient drone" a fair shot in the first place. While this album (as well as Whitman's output under his own name as a whole) might technically fit into that particular category of composition, when I listen to this album I don't feel the same way I do when I listen to, say, a William Basinski piece. It's repetitive, sure, but it's not drone-loop music in that sense. Rather, for me November 28 2009 hearkens back to the old kosmische performers that are the forebears of much of the current experimental electronic music scene, particularly Emmanuel Gottsching and Ash Ra Tempel. The two expansive ambient tracks that bookend the album, "#01.3" and "#02", feel like a sort of synthesis of Selected Ambient Works Vol. II Aphex Twin, Basinski's loop music, and the spacey proto-techno of Gottsching. "#02" in particular contains scattered melodic synth elements that set it apart from most of the drone music I hear.
The other three tracks on the album hew closer to the sort of rough, ominous ambience that the second disc of SAW V.II traded in. "#01.1.5"'s scraping, rhythmic bass static and echoing tones recall "Shiny Metal Rods" while two short tracks, "#??.??" and "#04", are reminiscent of "White Blur 1", with menacing white noise and barely audible "found sound" samples.
Drone composers tend to be thick on the ground these days, and what really sets November 28 2009 apart, aside from its pedigree, is the fidelity to which it adheres to the skewed "pop ambient" style that was so prevalent in 90's IDM. Not to beat the drum too hard, but if you enjoyed SAW V.II, I think you'll really enjoy this as well. At times I lament the fact that Whitman has seemingly put the Hrvatski moniker to pasture permanently, but when he releases stuff like this, I wonder if ambient composition wasn't what he was destined to pursue.
http://www.mediaf!re.com/?elydmqgzv2yFrench duo dDamage come back for their first proper release in 3 years (at least, if Discogs is to be believed) with The Truth, an 8-track EP (2 originals plus remixes) with some fetching cover art aping that most classic of John Carpenter films, The Thing. It's what drew my eye to this release in the first place.
But if you're expecting Carpenter-esque music, you're going to be disappointed. The Truth is a conflation of breakcore, hip hop and electro. If you've read this blog for any period of time you'd know that Planet Mu is my favorite label, and briefly, during the zenith of its breakcore period, dDamage got signed, and today they still retain some of that breakcore-ish glitch-hop feel, with quick tempos and 16th note rhythms.
Had I not had that bit of background on dDamage I probably wouldn't have picked this up, as the sort of mainline hip-hop that the guests on the title track (Young Jeezy, Agallah & Sin) practice is not really my kind of thing at all. But the production of the track is actually quite excellent, a propulsive, pinballing clubby hip-hop tune in the Modeselektor vein. Thank God they included an instrumental version, is all I'll say. Elsewhere, Humanleft provides an 8-bit remix (also with an instrumental dub), Kid606 slows down the vox for a more minimalistic bass-oriented remix, and Komori offers a funky IDM-style remix.
Electro influence is apparent on "Can of Worms", the second original track, with a chopped up vox sample (sounds more like "cannonball" to me, but whatever) and bristly, almost whistling synths. Magnum 38 turns in a thumping club remix with bass that reminds of the bassline to "Blue Monday", for some reason.
Overall, I think the title track is by far the weakest of the set, but that's likely just my personal preference. The instrumentals and both renditions of "Can of Worms" are pretty great, though.
http://www.mediaf!re.com/?mjggzgnllniIt seems like Planet Mu is cultivating a small stable of formidable grime producers, and to that end we see yet another 12" from the label, this time from veteran Garage DJs Rossi B & Luca. Interestingly enough, the a-side of "E10 Riddim" is a dub of the b-side track "Police Ar Come Run", where traditionally dubs are b-sides of singles. Presumably this is indicative of Planet Mu's tendency towards a "producer first" orientation (the long-unsung grime producer Terror Danjah made a pretty big splash last year with a collection of instrumentals and dubs released via the label, for example).
As for the song itself, it's a lively, shuffling number with a muscular drum loop anchoring the track. While the b-side adds dancehall reggae vox, the 16-bit synth leads and horns are all grime. I'm pretty lukewarm on dancehall, so I could take or leave "Police Ar Come Run", but the dub is warm and vital in all the right ways. Definitely not an achingly morose Bug record. Give it a listen, yeah?
http://www.mediaf!re.com/?xmzjlnmjom3
Aaron Funk can be a hard man to appreciate, sometimes. I've already covered the madness of his latest record, so I felt as though it would be a good idea to backtrack a bit to the album that, for me at least, is the most accessible entry in Funk's discography as Venetian Snares.
Detrimentalist is the Venetian Snares tribute to hardcore jungle, and while the tempos and the time signatures are sheer lunacy (this uncommonly trenchant review of this album at Cokemachineglow points out that Venetian Snares usually composes songs in 7/4 time, sometimes in weirder signatures like 19/11) there is a surprising lack of the palpable menace that Funk usually brings to bear in his albums. Detrimentalist, for all its hyperactivity, is a pretty straightforward dance music album, full of songs it's probably terribly difficult to dance to.
It starts off with the 7/4 drill'n'bass (so named for the prominent pitch-shifted snare rolls) of "Gentleman", a song that has become a staple of my workout playlist over the past few months, with snare rushes tumbling over one another and movie / hip hop samples getting chopped and stretched. "Koonut-Kaliffee" brings a weird Lovecraftian twist to jungle rave, while "Satjban" and "Eurocore MVP" recalls some of Venetian Snares' earlier madcap adventures in sampling (particularly "Einstein-Rosenbridge"). "Kyokushin" and "Flashforward" provide a taste of the punishing acid-breakcore of the next year's Filth. The album really picks up in its last few tracks, with "Circle Pit" proving to be perhaps the most dancefloor-friendly song Funk has ever produced, complete with left-field Saturday morning cartoon samples. "Bebikukorica Nigiri" puts Funk's incredible talent for composition on full display, with the sophisticated interplay of synth elements taking on an almost classical feel. It's my favorite track on the record.
Then there's "Miss Balaton", the closer. The similarities to Squarepusher's "Tundra 4" are hard to dismiss - I'm not sure you can really track Venetian Snares' particular madness to any one forebear, but Squarepusher's probably a good start. Yet even if the track is some sort of an homage, it stands by itself as an incredible song (the nearly 10-minute song couldn't fit on the LP release of the album and thus it was packaged as its own 12" - one wonders if it was initially meant for the album at all), and a complete detour from Venetian Snares' established style (there's even use of silence, for fuck's sake).
Most people will probably tell you that Rossz Csillag Alatt Szuletett is Funk's best album, and they might be right from a purely aesthetic point of view, but if we're talking about an album your average unacquainted electronic music fan can enjoy (I'm not sure someone not already into electronic music could ever enjoy Venetian Snares) I think Detrimentalist is the best possible means of acclimating oneself to the eccentricities and sensibilities of breakcore's mad king.
http://www.mediaf!re.com/?nnfwjonzymxSure enough, after the very pleasant surprise that was the "Eyesdown" single (my review is here) Bonobo has released his latest album, 4 years after his last. As my review of "Eyesdown" mentioned, I was only really aware of Bonobo through his 2000 album Animal Magic, which was sent to me by a friend around 5 or 6 years ago. It didn't hit me too hard back then, as aside from a few key tracks I found it to be relatively tasteful but sleepy electronic jazz. It was West Coast music. So I picked out my favorite tracks from that album and let Bonobo slide into the cloud of bands that only really come up in a shuffle.
Well, God bless Floating Points because without him I probably never would have given Bonobo a second thought. This new Black Sands album is really good, possessed of musculature that 10-year old album sorely lacked. I'm starting to wonder if I should go back and revisit Animal Magic and the other releases that Bonobo's put out in the last decade.
The first track, "Prelude" establishes the production aesthetic that permeates throughout the album - live instrumentation augmented by electronic flourishes. The intro seamlessly segues into "Kiara" where we first encounter one of the many UK Garage-influenced rhythms on Black Sands. It's a change that serves Bonobo well, as no one would ever accuse this music of being "sleepy". There's a vitality to the songs that I didn't hear from Animal Magic. This is dance music that is at once both identifiably electronic but not wholly artificial.
The percussion / organ / guitar / female vox of "Kong" make it reminiscent of Zero 7's instrumental affairs, though the drum sound here is immeasurably better than that band's. I've already covered "Eyesdown", but suffice to say it seamlessly fits into the blue-green tapestry of the album as a whole. "El Toro" is lush exotica, sounding more like straight-up jazz than any of the tracks preceding it. The boogie of "We Could Forever" makes it perhaps the most arresting, propulsive track on the album (I don't know if any of you have Audiosurf, but this is definitely a track to try out in that game). "1009" is overtly electronic-sounding and strongly reminiscent of FaltyDL's soul-tinged Garage. "All in Forms" uses a descending guitar line and a washed-out vox sample to great effect. "The Keeper" and "The Same", two other tracks featuring Andreya Triana (other than "Eyesdown") send the album briefly into lounge jazz territory, and the two last tracks "Animals" and "Black Sands" close out the album with the lush, live jazz feel felt earlier in the album, with live drums, horns and woodwinds.
http://www.mediafire.com/?rtdymnttvtmIt's probably apparent by now that I will buy just about anything with "Floating Points" emblazoned on it. The man's only been around for a little over a year and he's already released some of my favorite tracks of the last several. So naturally I snagged this pair of remixes for the Four Tet single "Sing", which is an alright enough song (I believe I have already expressed my boredom with Four Tet elsewhere on this blog, somewhere). The two remixes are an extended atmospheric house edit of the track, and Floating Points' spin on it. The extended version is what it says on the label, and if you liked the original track you'll probably dig that as well, but my main concern was and is the Floating Points edit.
The track takes its sweet time starting up, as is the case with a lot of FP's recent songs. Gentle atmospherics abound until about 3 and a half minutes into the song, when a great, floor-ready garage rhythm starts to slowly assert itself. The track really starts to hit its stride around the 6 minute mark, at which point more elements of the original song can be heard, chopped up and re-purposed in the signature wonky/jazz style of Floating Points. Soon after the song retreats a bit, only to start building back up again, leading to a bubbling sci-fi outro. It's a really great remix, and keeping with the high standard of quality that Floating Points has set over the last year. Long, but rewarding.
http://www.mediafire.com/?hmzkax2tmqq
Track Listings
1. Return to Spenders
2. Taxicab Driver
3. Cash for Codgers
4. Strangers on This Flight
5. Fly of the Tiger
6. Going Green
7. Don't Cry, I'm in Argentina
8. You Can't Hide That Nobel Prize
9. Officer Crowley
10. Obamamania
11. Everything's Coming Up Roguey
12. We Arrrr the World
13. The Great Health Care Trial Balloon
14. The Twitter
15. Swine Fever
16. Secret Kenyan Man
17. In the Nude
18. A Detective´s Story The Iranian Candidate
19. We´ve Got a Lot of Livers to Do
20. Battle Hymn of the Tea Public
http://www.mediaf!re.com/?2z0dvzwxz14
ONE MORE
The Capitol Steps - Liberal Shop of Horrors
http://www.mediaf!re.com/?40irnzxwdmthttp://www.mediaf!re.com/?iyb2dtmmhylAlthough the album is very much traditional in nature the compositions of the tracks has a contemporary feel as the piano plays in the foreground on almost every track and the wonderful strings of Niopha Keegan's fiddle bring a dark brooding to every song, perfectly matching and enhancing the superb vocals. Full of tearful human tales this is an album that hooks onto the heartstrings and clutches there until the final track has lamentably passed, bringing beautiful and enthralling compositions with it.
http://www.mediafire.com/?g2lz1k43mnjCombining the forces of Jenny Conlee, Chris Funk and Nate Query of The Decemberists with folk musicians Annalisa Tornfelt and Jon Neufeld, Portland’s Black Prairie crafts an eclectic mix of traditional bluegrass and eastern European sounds. Though peppered with Tornfelt’s wispy vocals, this debut album is primarily instrumental, shifting between twangy folk (“Atrocity at Celilo Falls”), fiddle-heavy bluegrass (“Back Alley,” “Annie McGuire”) and gypsy swoon, full of weeping strings and bouncy accordions (“A Prairie Musette,” “Tango Oscuro”). The melodic ebb and flow through time and space is full of surprises—just when you’ve settled into the rootsy twang, the scene shifts and you’re on a haunted street corner in the old country.
http://www.mediafire.com/?nmnftrjtdloDelorean - Subsiza[2010]
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?ydyjwdwnnjwSome years ago I saw the cover of Funeral Mist's debut and thought "I bet it's just mindless blasturbation".
I was wrong... Now, I do enjoy some Black Metal that is full of blasts but it gets really boring after a while and the main reason is that those bands are inconsistent with their music. Funeral Mist on the other hand don't have that problem.
So, what do we have here? Pure chaos, that's what you'll get from the cd. The music is fast, furious and with lots of blasts but there's something special about this album and that's the extremely blood-chilling "ceremonial" atmosphere. This music is evil.
Guitars as sharp and rusty as an old chainsaw playing both raw and melodic riffs, well-executed drums and eerie samples are the main formula here. Even though the guitarwork is astonishing with it's evil melodies and the drumming is intense with it's calculated variety, the most important thing is the vocal work. Arioch (aka Mortuus from Marduk) is easily the star of the show with his incredible vocals.
A prophet's charisma and a general's commanding voice... Put these two attributes into the mind of a possessed man and you'll get Arioch's vocal style. His thundering voice combined with impressive lyrics makes his performance one of the best ones this unholy genre have seen in the last decade. There are many memorable moments in Salvation when it comes to the vocal work: The diabolical beginning of "Breathing Wounds", The inspiring chorus of "Holy Poison", Arioch's furious commands in "Across The Qliphoth" and those are just some examples among many. Sometimes the wall of noise is caused by the vocals that overlap each other giving the album an even more chaotic vibe. Choirs are also a very special feature with the best example being "Circle Of Eyes", the album's longest song that is a bit simple in songwriting but the choir evokes an atmosphere that is so hypnotic that you won't be bored.
One of the biggest reasons to why this album might be hard to get into is the production. It's very raw and loud so it might be a turn off but people with trained ears will pass through the offensive wall of noise and listen to the great musicanship. I have to admit that sometimes I'd like this album to have a cleaner production because there are some excellent riffs (like in "Perdition's Light") but the production makes the melodies sound a bit blurry. But as usual, this production adds to the surreal and pitch-black atmosphere so it's hard to complain.
If you like your black metal to be intelligent and "in-your-face", search no more and listen to this rare pearl until your ears bleed!
"For your blindness gives me sight, as your darkness is for me light!"
http://www.mediafire.com/?tyymywidojfhttp://www.mediafire.com/?2ymwwihwjn4
http://www.mediafire.com/?zgdxnmi1zmc
http://www.mediaf!re.com/?gmmqtz3n1jnhttp://www.mediaf!re.com/?z1zwgiizumdThis is all cover songs.http://www.mediaf!re.com/?h3ghy5jfclh
Polysics is a Japanese new wave and rock band from Tokyo, who dubs its unique style as "technicolor pogo punk". It was named after a brand of synthesizer, Korg Polysix. The band started in 1997, but got their big break in 1998 at a concert in Tokyo. They create high energy music, fusing conventional guitar music, with synthesized and computer generated sound to create a unique mixture of punk and Synthpop, heavily inspired by the American bands Devo and The Tubes, and Japanese bands such as P-Model and Yellow Magic Orchestra. Their song lyrics often consist of Japanese, English, or just plain gibberish.
http://www.mediafire.com/?4qlnw2oingjhttp://www.mediafire.com/?zn0mizmw4uzhttp://www.mediafire.com/?nnjynzyqvzhhttp://www.mediafire.com/?wye3xwwyzndhttp://www.mediafire.com/?mngl2mdj0zm
crystal castles - crystal castles
(the new one that is)
http://www.mediaf!re.com/?t4gdme4iite
Neu (2000)
(http://img21.imageshack.us/img21/1810/41pxx4ww49lsl600.jpg)Code: [Select]http://www.mediaf!re.com/?nnjynzyqvzh
http://www.mediaf!re.com/?jmoklzzzkyb
http://www.mediaf!re.com/?kjhzztlmwjy
eh
How Canadian.eh
http://www.mediaf!re.com/?q2kmtnzadlb
and i'll upload the new hold steady tomorrow morning if there's any interest?yes!
Is it better than the first? I hated the first.
Horse Feathers - Thistled Spring
and i'll upload the new hold steady tomorrow morning if there's any interest?
http://www.mediafire.com/?jtmmjn034nn
http://www.mediafire.com/?mnn2mni3irjhttp://www.mediaf!re.com/?mmojyozmnzmhttp://www.mediafire.com/?3mmnyjjnnzmParis 1919http://www.mediafire.com/?tzzyhjhaeynVintage Violencehttp://www.mediafire.com/?jyjmgzmdkjzFearhttp://www.mediafire.com/?dwwwyxytnvtBlack Acetate
http://www.med!afire.com/?yqonnymftzz
Dead Unicorn - Yellowstone Supervolcano
http://www.mediafire.com/?zgiz1mrwinm
The Gaslight Anthem rose out of the fertile punk and hardcore scene of New Brunswick, NJ, flaunting a unique style that melded the sounds of Bruce Springsteen, Wilson Pickett, and various Motown groups with the rough, emotional grit of Hot Water Music and Jawbreaker. The band -- comprised of vocalist/guitarist Brian Fallon, bassist Alex Levine, drummer Benny Horowitz, and guitarist Alex Rosamila -- began establishing a loyal hometown crowd after forming in 2005, and their soulful punk rock melodies attracted wider attention upon the release of their full-length debut, Sink or Swim, which droped in May 2007 via the local imprint XOXO Records. Although rough around the edges, the album presented plenty of energetic, sing-along songs that garnered accolades from punk zines, blogs, and fans alike. The increasing popularity was enough to score gigs with the likes of Against Me!, the Loved Ones, and the Draft, and by the end of 2007, the Gaslight Anthem had played over 200 shows. They recorded the four-song EP Señor and the Queen in Austin, having managed to secure some down time between tour dates, and the record surfaced on Sabot Productions in early February 2008. Meanwhile, the Gaslight Anthem announced their brand-new deal with the California-based indie label SideOneDummy Records.
http://www.mediaf!re.com/?hwdxx3mgm9w
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
The Gaslight Anthem - American SlangCode: [Select]http://www.mediaf!re.com/?hwdxx3mgm9w
Is this the same quality as the one that was floating around on Tumblr yesterday? I haven't listened to either but I was going to up the one I downloaded from there but it was supposed to be low quality. I guess I'm asking if this is decent quality haha.
http://www.mediafire.com/?yjzyhxdogmzLoxstep (http://www.youtube.com/watch?v=BXYdasGP-Dw)
http://www.mediafire.com/?52tqd4fbjo4
http://www.mediafire.com/?ztguwmdlmhdSon of Aurelius‘ The Farthest Reaches is an album that gets crazier as it goes along. It’s as though the music had rabies, and was getting progressively more and more dangerous by the minute. The first three songs (“Mercy for Today,” “Let Them Hate and Fear,” and the title track) are all catchy, epic, and executed to their most devastating effect. They wouldn’t seem out of place on a Black Dahlia Murder record, which is great, ’cause if more bands wrote songs as good as BDM’s, I’d be a much happier snarky blogger.
But then the fourth track, “Olympus is Forgotten,” comes along. There’s a gentle, soothing guitar and synths-as-strings intro. You might think that it’s just a brief respite from the killer-but-familiar melodeath songs you’ve been enjoying, but, really, it’s the overture for a whole new album. Because once the band kicks in on “Olympus is Forgotten,” The Farthest Reaches flies right off the fucking rails and shows its true colors as an album that is completely fucking fucknuts. And its fucknuttiness is what ensures its place as one of the strongest releases of the spring, and possibly the year.
The sharp edge, puzzle-pieced guitars, the nimble, limber, bass. the constantly-shifting drums; hail Satan, dude, THIS is the shit. The little jazzy break on “Facing the Gorgon” leads into some awesome dual guitar soloing, which suddenly explodes into a slam-your-friend’s-face-into-the-wall bridge; the way “Myocardial Infarction” slowly tightens its screws, like the not-so-gentle onset of anxiety; the schizophrenic structure of “Pandora’s Burden;” the FUCKING BASS on, well, pretty much the whole thing, but maybe especially at the start of “A Good Death” – that shit’ll make your balls rattle. The songs on The Farthest Reaches are, generally, pretty short – only album finale “The First, The Serpent” is over five minutes – and these creative flourishes make them play out like mini-prog masterpieces.
Of course, giving boners to tech heads isn’t the only thing that sets SOA apart from the pack. I’ve said it before and for good measure I’ll say it once more: you can be the shreddiest shredder on the face of the shreddin’ planet, but if you can’t write a decent song all you’ll get is a “No care ever” from anyone who masturbates less than ten times a day. New tech death bands are seemingly being formed on an hourly basis, but the vast majority of the time, those groups like to noodle more than a half-Italian/half-Asian chef. But Son of Aurelius have no such problem; they’re like the perfect mix of At the Gates and Necrophagist.
If anything, I wish Son of Aurelius allowed themselves to get even crazier. Do they have a Planetary Duality in there somewhere? I’d wager they do. The Farthest Reaches has been in my heavy rotation for weeks now, and I think these dudes have only just scratched the surface of their talents.
Wow...what a crazy week huh?
(http://i41.tinypic.com/1zgsx83.jpg)
As the album cover so clearly states, this is the new album Brothers by The Black Keys. This is the group's second album with Danger Mouse producing. It's pretty good. You should download it.Code: [Select]http://www.mediaf!re.com/?52tqd4fbjo4
http://www.mediafire.com/?yguwmj1jmdz
This is getting ridiculous.
http://www.mediaf!re.com/?lm2khzikjnkThis is getting ridiculous.
Track seven on the Son Of Aurelius - The Farthest Reaches is corrupt.
http://www.mediafire.com/?ej5innmmdmz
That's getting redundant.
http://www.mediafire.com/?etgtjjc0nkm
The New Pornographers - Together
http://www.mediafire.com/?emggzemdyna
http://www.mediafire.com/?gwzyjngny2o
That's getting redundant.Track seven on the Son Of Aurelius - The Farthest Reaches is corrupt.Code: [Select]http://www.mediaf!re.com/?ej5innmmdmz
I've gotten into the habit of making mixes of things I've been listening to for my friends on the first of every month, and sure enough over the last few months I've noticed certain patterns in my selections. I had always thought of myself as someone who had gravitated inexorably towards UK dance music, the IDM scene in particular, as though it was a concrete, distinct thing. But lately all I ever seem to be playing is abstract hip hop and UK techno. Part of the reason for that, I think, is that abstract hip hop is "in" on both sides of the Atlantic and thus I'm being met with a deluge of it. As for the techno, acts like Subeena and Actress seem to be ushering in an apparently new class of the UK variant which I am digging to some degree. But at the heart of it I'm finding out that the music that I had always loved was, for the most part, the union of those two disparate genres. Autechre's DJ sets are nothing but legitimate hip hop, despite that group's avant-garde techno leanings. Luke Vibert reportedly only listens to hip hop. Once the Plaid guys exited The Black Dog it ceased to be an IDM entity and started being relatively straightforward techno, but I didn't even notice until it was pointed out to me. A lot of what I would call IDM seems to be "acid synths + hip hop beats".
So the diversification of my taste has been a lot easier than I thought it would have been, and it's liberating, more than anything - I don't have to wait for the 2 or 3 really notable IDM albums (if that) to come down the pipeline every year. At this pace there's an average of at least one album a week that I can take a shining to. It's overwhelming at times, but it almost becomes a lifestyle - there's never a time when I don't have new things to listen to.
With the blurring of the line between legit hip hop DJs and electronic composers (pioneered in many ways by the jazz and experimental dalliances of many DJs on the Stones Throw label, namely the dearly departed J Dilla) I've been finding myself listening to acts I would normally have written off. One of these acts is Starkey, who I've written about before. Prior to this point, he was more or less exclusively an instrumental hip hop DJ, but Ear Drums And Black Holes is an album that features some pretty significant use of vox.
For the most part, this takes the form of Starkey's own (at least, I think it's his) voice subjected to the widely-praised wonders of autotune. It's pretty gaudy, as it tends to be - autotune has become a signifier of the "more is better" school of pop R&B production in the States. But it actually works when Starkey uses it, as he does on "Spacecraft", "Club Games" and "Alienstyles". His music has a size and shine that sets it apart from more abstracted DJ sensibilities. As I said last month, it makes more sense to call Starkey a hip hop artist than an electronica artist. Unlike most of the stuff I listen to it's not difficult to imagine most of the tracks on Ear Drums and Black Holes on a mainstream radio station.
The two straight-up rap tracks, "Club Games" and "Murderous Words", also happen to be the album's weakest tracks - southern-style club songs just don't sit with me. Which isn't to say that Starkey's production skills can't be served by a vocalist - Grime MC P-Money contributes his spry Grime delivery to what I believe is the album's strongest track, "Numb", and Anneka brings a lighter-than-air pop feel to "Stars", the lead single. Later on, Kiki Hitomi's singing (in Japanese) graces the almost Jamiroquai-esque ballad "New Cities".
This is the sort of music that makes me wish my car had a better sound system - especially with all the overt hip hop influences, Ear Drums and Black Holes practically demands to be played loudly and openly (they don't call it "Street Bass" for nothing). Starkey continues to display a natural affinity for infectious rave / disco melodies to go along with his wheezing / booming / skittering basslines. Tracks like "Multidial" and "Fourth Dimension" (which revisits the seemingly random bass sequencing of Ephemeral Exhibit's "Creatures") show a definite rave influence, like Raffertie, but a little less goofy. and the album as a whole is rife with dramatic bombast. A scant few tracks, such as "11th Hour", don't really go places, but Starkey's good enough at what he does to keep things interesting and at least mostly consistent.
This particular style of music - extroverted, aggressive dancefloor-oriented hip hop - seems to be the new established style for Planet Mu, with other proprietors of the style such as Slugabed and Raffertie signing on to the label. I'm not sure how I feel about it just yet, but Ear Drums and Black Holes, at the very least, shows that it might be better suited to the long-player format than other variants of dubstep.
http://www.mediafire.com/?g2nj2zgvtocOne of the many distinctive scenes to propagate after the dubstep explosion began to settle has come out of Bristol, where DJs like Joker and Gemmy have etched out a sound that's more distinctively melodic than the gritty, morose, often spooky sort of sound that had come to typify the movement. This "Purple Wave", as they call it (one of the few things I regret about living where I do is the feeling that I might be embarrassing myself repping stuff being made halfway around the world) takes a few cues from 8-bit and electro-funk, but not to the hardcore extent of, say, the all-analog Skweee scene. It's got as much R&B in it as hard funk.
Among the clutch of artists at the fore of Purple Wave is Hyetal (ne David Corney), who has released a few 12"s over the last year or two and an incredible cut for Mary Anne Hobbes' latest compilation, Wild Angels. Gold or Soul was one of those singles, and for my money it's probably the best thing he's done that isn't on Wild Angels. The thing that I notice about Hyetal's best tracks is the subtlety with which he uses his synths - on "Gold or Soul" the leads feature a heavy wobble and great use of fade and velocity - It sounds like just one synth, but it's doing enough to add a lot of texture and flavor to the track by itself. The beat's nothing to sniff at either. The second track, "Neon Speech", seems vaguely familiar to me - I'll have to check, but I think it was featured toward the mid-point of a Subeena mix I have. Booming bass and gated synth squelches propel the song along nicely below a slightly cloying arpeggiated synth chime (I just don't like that sound). In a nice turnaround, the song shifts gears around the 3 minute mark, adding a second gated synth and a great organ line.
The Purple Wave guys have all put out a lot of great work (though Joker seems to be getting all the buzz), but it's Hyetal's particular way with synths that makes him my favorite of the scene. I'm looking forward to plenty of great singles in this vein as we move farther into 2010.
http://www.mediafire.com/?vjytx4izmvm
http://www.myspace.com/gayngs
http://www.mediaf!re.com/?mnxymzyaono
The Juan Maclean
http://www.mediafire.com/?kezy3nntzjthttp://www.mediafire.com/?kemlnmty0zd
The Gaslight Anthem - American Slang
http://www.mediafire.com/?onm1yd4mjzmhttp://www.mediafire.com/?dmmkznoonnm(this is probably the album to start on)http://www.mediafire.com/?uz4m2fzym2c
http://www.mediafire.com/?nwjwgzl3oni
http://www.mediaf!re.com/?yhn4myx3gom
http://www.mediaf!re.com/?zzzuzj4tagm2 http://www.mediaf!re.com/?4uzzfmkzmot
Think Modest Mouse, Talking Heads, and Fugazi mixed together
I only knew of Fever Ray by reputation. Despite her debut being routinely lauded as the best electronic album of last year, I never really got around to it, mainly because I hadn't really enjoyed much of The Knife. So it was with some trepidation that I started listening to Roll The Dice, which has gained some notoriety as a Fever Ray-related project. Roll the Dice is composed of two members, Peder Mannerfelt and Malcolm Pardon. Mannerfelt callaborated on the Fever Ray project to some extent, and Pardon is a well-known producer of Swedish TV and Film music. Roll the Dice is their semi-improvised collaboration.
It's something of a trip. While the ever-present synth loops might recall acid house and techno, the album reveals itself to be more in the kosmische tradition, as there are no drum sounds to be heard. The whole of the album consists solely of piano and gurgling analog synthesizer. This gives Roll the Dice a distinct, musty 70's aesthetic - you can practically hear the wood paneling, the flourescent light, the orange-brown palettes, the shag carpeting. Opener "The New Black" slowly expands like a good Tangerine Dream song, while the understated synth strings of "Swing" give it the feel of a lost Gottsching track. "Guadeloupe" bends the rules a bit by utilizing stabs of synth string to create a percussive element - it sounds a bit like a jug instrument, and the way it ushers in the fragile melody of the piano line is really marvelous.
"Into the Ground" is as close as Into The Ground comes to acid techno, with its thick, reverberating arpeggio anchoring the song, recalling Luke Vibert's most far-flung experiments, or AFX at his most grouchy. It's a dark, angry track, flirting with dissonance at times but still maintaining coherence. "Axee" switches things around by making the piano the percussive skeleton of the song, and bringing a truly weird, thudding synth arpeggio that starts small and gets progressively messier and wider as a more melodic piano line is added. "After", on the other hand, recalls latter-day Autechre, with ethereal pads skittering about, like an indecipherable alien language breaking into song. The way it breaks into Eno-esque ambience is truly breathtaking. The album closes out with "Undertow", which starts with an arpeggiated synth line that almost sounds like a brass instrument, and slowly, dramatically adding additional synth elements - a pad, a melodic synth lead - until the piano comes in at a low octave, completing the picture.
It's a relatively "short" album at only 7 songs, but even then it's extremely impressive how Roll the Dice can make their two chosen instruments so versatile - the character of the sound never truly changes, but every track is completely distinct. This album holds up with the best of the 60's-70's kosmische classics. If Kluster, Manuel Gottsching or Tangerine Dream interest you at all, you need to hear this album. On the shortlist for best of the year. Highly recommended.
http://www.mediafire.com/?4j5noqxnino
http://www.mediafire.com/?yzimlgmzj5t
Tobacco - Maniac Meat [2010]Code: [Select]http://www.mediaf!re.com/?yhn4myx3gom
Two Door Cinema Club - Tourist History (http://allmusic.com/cg/amg.dll?p=amg&sql=10:0xfyxzwsldhe)
you the man, nick!
Thank you so much for this
http://www.mediafire.com/?mmczzmimjez
http://www.mediaf!re.com/?3nktedm2mk5Track 7 is corrupt
http://www.mediafire.com/?rdm4kg5zezmHey is that Roll the Dice link to the CD or vinyl version of the album? Cause the former has two more tracks which I want!Vinyl, unfortunately.
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
ANYWAYQuoting this because I don't think it should be missed.
Familjen - Manskligheten[2010](320-kbps)
(http://i.imgur.com/u9sU9.jpg)Code: [Select]http://www.mediaf!re.com/?rdm4kg5zezm
Some (http://www.facepunch.com/fp/emoot/krad2.gif) Swedish Electro-pop
Track 7 is corrupt
That's OK, it's not like it was one of the more important tracks.
http://www.mediaf!re.com/?ymrbnjfymg3
Flying Lotus - Cosmogramma [2010] (320kbps) this isn't the transcode leak that was floating around
ANYWAYQuoting this because I don't think it should be missed.
Familjen - Manskligheten[2010](320-kbps)
(http://i.imgur.com/u9sU9.jpg)Code: [Select]http://www.mediaf!re.com/?rdm4kg5zezm
Some (http://www.facepunch.com/fp/emoot/krad2.gif) Swedish Electro-pop
You are allowed to be wrong.
It was way back in the early aughts, and I was in high school. Like any good music geek I needed a niche that set me apart and defined me, and while I had shown quite a bit of love towards funk and electronica, I was an angsty teen and I needed music that reflected that fact. Thus I developed an abiding interest in post-industrial music of all sorts (though tending more towards the proper post-industrialism of Coil and the metal of Ministry over goth stuff like Skinny Puppy or EBM stuff like Combichrist). Naturally I became one with the Nine Inch Nails cult, and through that particular love came many of the loves I have today, directly or indirectly. My interest in Luke Vibert came more or less directly from Nine Inch Nails - Trent Reznor had run a label called Nothing for a time in the mid-to-late 90's, and aside from NIN itself, Trent's pomo sludge clown protege Marilyn Manson, and the fortunate / unfortunate industro-pop outfit Prick, the label was primarily concerned with re-releasing classic Coil and Warp Records albums Stateside. So I visited the Nothing site sometime in the early aughts and saw these names that I hadn't seen before but I felt compelled to investigate - Squarepusher, Plaid, Autechre, and Plug. The P2P services of the day only allowed me the benefit of single songs, one at a time, but in some ways discovering catalogs song-by-song is preferable to the album-by-album methods you find today. It was like glimpsing some grand show through holes in a sheet. Invariably the singles I picked up were my favorites on the gestalt albums I would pick up later.
Anyway, it was a meticulous thing - You have this band you like, you see who remixes them, you explore the remixers, rinse, repeat. Luke Vibert was unfortunate enough to turn in a remix of "The Perfect Drug" as Plug that I didn't like all that much, and thus my urge to explore his output was blunted somewhat. But Plug's page on the Nothing site also mentioned an alias by the name of Wagon Christ, which, well, a name like that makes you curious. Too bad the P2P sites didn't have a lot of stuff by him - this was before digital distribution of .mp3s via legal means was a big thing, and while I got a few tracks off of Wagon Christ's Musipal (which I adored and still adore) the trail ran cold past that. So I forgot about Wagon Christ and Plug and got on with my life.
Fast forward a few years, and the AV Club runs a short, glowing review of Chicago Detroit Redruth by this Luke Vibert guy and I decide to track it down, and while I think it's love at first listen it turns out all the little tracks I had held fast to over the years by Wagon Christ and Plug were in fact Luke Vibert tracks. Did I mention that Vibert uses a lot of aliases? He has a lot of aliases. He seems to have retired many of them recently, though his output hasn't slowed much (just last year he released at least 2 full albums under his own name, plus who knows how many mixes and / or remixes).
Anyway, what you have to understand about Luke Vibert is that he is a true blue IDM luminary, even if he doesn't get the recognition that the Aphex Twins and the Squarepushers do. I recall reading some latter-day Pitchfork review in which the writer considered the idea that IDM was less a "movement" than a number of different artists with distinctive individual styles who got lumped into this trend that didn't actually exist. I think on some level that's probably correct - it doesn't make a lot of sense to draw direct comparisons between, say, Autechre and Plaid. And Luke Vibert's music in particular shares the heavy influence of acid techno with many other significant IDM artists (particularly Aphex Twin and Squarepusher). It wouldn't do to call him an also-ran, though. While acid-obsessed IDM artists all share use of certain sounds, their particular styles are quite varied. Squarepusher applied abstractified acid synth work to jungle (and later, to fusion jazz), Aphex Twin made classicist acid techno but it also intermingled with hardcore rave and drum and bass music.
Luke Vibert, by contrast is a huge, huge hip hop fan. It's all he listens to, reportedly. While he tries his hand at a lot of different styles of music he tends to always gravitate back towards abstract hip-hop of the pre-Dilla variety. Which is to say it features a lot of funky drum loops and analog drum sequencing. Vibert's stuff also features an infectious madcap personality that seems to be present in a lot of IDM DJs, but while Aphex Twin is supposed to be sinister and more than a little weird, Vibert's music has a Loony Tunes quality to it - thick, rubbery basslines, a penchant for danceable beats, upbeat melodies.
The best of those qualities are on full display in Chicago Detroit Redruth. Opener "Comfycozy" sets the tone perfectly, with cheesy lounge-jazz piano accumulating drums and synth elements. It's a very well structured and dramatic song, and it's always on the shortlist for kickers to my own mixes. "Brain Rave" is what it says on the box, showing the first overt acid influences on the album with oscillating 303 melodies and a strained organ backing. "Radio Savalas" hits pretty hard with a live-sequenced acid bassline bouncing between the kicks and snares of the hard-charging beat.
"Breakbeat Metal Music" offers a bit of weirdo speak'n'spell rave narration, but the song flatlines toward the middle (this is a problem with a few of Vibert's most recent songs). "Comphex" slows things down a bit and introduces a more ambient feel below the funk drum loop and arpeggiated synth.
The album's centerpiece is "God", a seriously weird but deeply mesmerizing electro-funk stomp over soaring choral samples and a typical panoply of recordings of people exclaiming the titular word. It's followed with "Clikilik", the most devastating dance track on the album, mining the vein of modern hardcore acid dance music (the song even features a female rapper famous for working with Simian Mobile Disco, one of Vibert's direct descendants) while still retaining that signature Vibert melodicism. "Argument Fly" is one of only two straight-up acid techno tracks on the album, and it's a little dense to get through even if the beat is a good one. "Rapperdacid" is downtempo hip hop not sparing in swagger. "Rotting Flesh Bags" is a goofy drum-driven track with a late-period Wagon Christ feel, and album closer "Swet" features live drums, lasergun sounds and a bell choir. It might be a little much, but "a little much" seems like a foreign concept to Mr. Vibert. It's a testament to his skill and talent that it works for him as often as it does.
Ultimately Chicago Detroit Redruths stands out as Luke Vibert's best and most consistent work in his post-Wagon Christ career. He's released a few full-length since then and they don't seem nearly as cohesive as this does. As the article below mentions, it's also a perfect intro record to the world of Vibert, and perhaps into IDM / Braindance in general. Check it out.
http://www.mediafire.com/?yijhtmgkzzy
Duos have been a mainstay of rock music ever since one can remember. The Black Keys, No Age, The Ting Tings and of course the White Stripes have thankfully rid the music world of the stale notion that rock is a number game, proving that a pair is just as capable of making the same amount of noise as a standard quartet. Nowhere is this fact truer than in the case of Cleveland duo Mr. Gnome, who in their second full length album ‘Heave Yer Skeleton’ pull out all the stops, running the gamut of every emotion known to man and thus providing the listener a rich sonic experience.
The closest reference points usually considered while describing a band like Mr. Gnome are female led Blonde Redhead and the Yeah Yeah Yeahs, but a more accurate comparison would be perhaps 90’s post hardcore legends Shudder to Think with their incredible similarity in the grasp of melody and rhythmic assault.
Using the same set of instrumentation as most duos, Nicole Barille (guitar/vocals) and Sam Meister (Drums) throughout this 12 song LP refuse to follow any convention instead opting for genre defying antics. Paradox is significantly woven throughout the album - delicate one second and explosive the next, alternating between cute and aggressive, the album travels wherever their imagination or technical prowess allows. A single listen to the striking ‘Today Brings a Bomb’ or ‘Pixie Dust’ establishes a somewhat undoubted fact; you’d be hard pressed to find a tighter band.
While the harmonious guitar lines of opener ‘Spain’ and ‘Titor’ are no indications of the belligerent sound that crowds the majority of this album, they offer up a sort of calm before the storm for the pummeling revved up guitar on songs ‘Plastic Shadow’ and ‘Cleveland Polka’.
Outstanding tracks such as the brilliant ‘Slow Side’ and ‘Sit Up and Hum’ contrast Barille’s feminine sweetness with Meister’s virtuosity switching between powerhouse drumming and deftly played rim shots with ease, establishing him as one of the most underrated drummers in the scene today. Even with just two people at the helm, they somehow manage to create sounds of orchestral proportions; Barille’s attractive vocals coupled with a bulk of driving moody guitar parts drawing the listener in even deeper.
‘Searider Falcon’ an instrumental which also proves to be the heaviest track on the album, appears to be designed for the sole purpose of putting subpar rock bands out there to shame. Truly through tracks like the playful yet somewhat dark ‘Vampires’ bordering on pop and the all too short ‘Hills, Valleys and Vallium’, which notably wouldn’t seem out of place on a dream pop compilation, they have issued a challenge to their peers, to expand their musical lexicon and range of expression, and throw off some of that stifling rock and roll orthodoxy.
The album comes to a close with the funeral procession opening of the title track, Meister complementing Barille’s whispery thin vocals with a moving piano riff, a somber end to an incredible record where everything down to the art is stunningly unique and perfectly appropriate, furthermore with absolutely no filler these are tracks are bound to stick in your head for days. Ultimately it is an album that comes along ever so often to reaffirm your faith in rock ‘n roll. An album that doesn’t sound the least bit contrived, it’s exactly as it should be, one of indie rock’s best kept secrets.
http://www.mediaf!re.com/?miotwjmyvyrhttp://www.mediafire.com/?w1gzykzwrzm
http://www.mediafire.com/?a5yjzuzyijihttp://www.mediafire.com/?4mjmnmnz5n3
http://www.mediafire.com/?yig2hmnyjzm
I am giving the fullest extent of my recommendations to this record
mr. Gnome - Heave Yer Skeleton
(http://i43.tinypic.com/263hpvq.jpg)
Can't remember if you people are fans of this band, in case you are here it is:
God Is An Astronaut - Age of the Fifth Sun (2010)
http://www.mediaf!re.com/?melgo2jz3fnfrom the guy who brought you Jadiohead...
http://img249.imageshack.us/img249/2681/mosdubcover.jpg
since it's free, direct link: http://mosdub.com/ (http://mosdub.com/)
http://www.mediaf!re.com/?rzjm5jyujdmEllen Allien- Dust (2010)
Ratatat - LP4 [2010] (320kb/s)
Right now it's tied with Classics as my favorite album of theirs yet. Miles ahead of the disappointment of LP3.
I am giving the fullest extent of my recommendations to this record
mr. Gnome - Heave Yer Skeleton
(http://i43.tinypic.com/263hpvq.jpg)
http://www.mediaf!re.com/?fn5ttmontm5http://www.mediaf!re.com/?j4nzqlqyo4zHustle (http://www.youtube.com/watch?v=2oFf6Rg7ICM)Continuing to edge farther afield from their pastoral past, Tunng's fourth full-length finds the London folktronic outfit weathering a slight reshuffle (essentially a consolidation of their live and in-studio lineups, with the notable departure of founding member/songwriter/habitual non-performer Sam Genders) and emerging in fine form with their fleshiest effort yet. Taking off from its pop-leaning predecessor, Good Arrows, extending that album's broadened instrumental palette and decreased reliance on digital tweaking, And Then We Saw Land ventures in several complementary directions without sacrificing the group's distinctive combination of bucolic folk and whimsical electronic interventions. Right away, the highly hummable "Hustle" marks a clear departure, with whirring synths giving way to a jaunty banjo-led bounce that's the brightest (glockenspiels!) and boldest (drums!) the band has ever sounded. "Don't Look Down or Back" veers between sedate, bittersweet verses and a rollicking group-sung chorus, and is one of several numbers here featuring fiery electric guitars juxtaposed with the group's more typical acoustic fingerpicking -- the most striking case being "Sashimi," whose blend of crunching bursts and pinprick counterpoint stabs (recalling Point-era Cornelius) lives up to the elegant, pungent delicacy of its namesake. Elsewhere, Tunng hew closer to their sometimes somber rustic roots, as on the darkly melodic waltz-ballad "October" and the pensive, downcast "With Whiskey," both of them relatively unadorned, classically styled British folk (notwithstanding the a-ha shout-out in the latter's refrain.) Throughout, but perhaps on these songs especially, And Then We Saw Land makes an excellent showcase for its two fine, understated vocalists, with Mike Lindsay's slightly gruff but soothingly warm, gently accented voice frequently doubled by Becky Jacobs' purer, girlish tones (Jacobs is a newly prominent vocal presence on this album, taking several leads including the sweet, nautical sing-song "These Winds"). And as they've evolved into even more of a collective (this album marks the band's most collaborative -- and notably, lengthiest -- writing and recording process to date), Tunng don't pass up several opportunities for group vocals, most memorably on the beautifully simple, gradually layered singalong at the core of "Weekend Away" (a multi-parter preceding the spare, unlisted closer.) While it's hardly the stark, across-the-board tonal sea change suggested by several of its most immediately ear-catching cuts, And Then We Saw Land is at once an adventurous outward journey and an invitingly familiar return from an always intriguing, intrepid, and under-heralded band.
Irishman Jack Hamill made a stunning debut last year with The Love Quadrant, an amazingly assured 12" (on Boxcutter's Kinnego imprint. Hamill's only 19 years old, but he lays down tracks that ought to make DJs twice his age green with envy. Picked this up on a lark and suffice to say it's been love on first listen.
The first track, "The Love Quadrant", is incredible electro-funk house with a vocal turn from Kat Kirk (plus a goofy "soul man" vocoded verse from Hamill), a beautiful synth melody and a heavy thump that picks up about halfway through the track. A must-have for those who like Dam Funk.
The second track, "Electropod-250 Collision" is a similarly house-inflected number, a languishing, jazzy downtempo number that recalls Floating Points, with an added bit of elastic electro bass.
I don't know where I was when this single was released, but I was really missing out. Jack Hamill is definitely a name to watch out for in the future - He just released another vinyl single, I believe, but no digital version exists to my knowledge (yet). Might just have to pick up the vinyl. Highly recommended for the pop-oriented amongst you.
http://www.mediafire.com/?qmmy2cht4wgSo here it is, unannounced, my first (maybe last?) mix .zip thing for the blog. Producers of Music #1 is an roundup of all my favorite new / newish producers in the electronic music scene. I'm not going to post the tracklisting because honestly, doing so probably increases the chance of it getting flagged exponentially. However, I have included in the archive a .txt file with the tracklist and brief reflections on each artist represented. Some or most of these might be familiar to you, but I've tried to mix it up a bit. It's sort of a faux-compilation, but think of it as a mix, for you. To call it a compilation gives me far too much credit. Download and enjoy! ~ John
http://www.mediafire.com/?zyynykkk31v
I am giving the fullest extent of my recommendations to this record
mr. Gnome - Heave Yer Skeleton
(http://i43.tinypic.com/263hpvq.jpg)
track 7 is corrupt. Re-up?
http://www.mediafire.com/?atdg3n0l3nc
Ratatat - LP4 [2010] (320kb/s)
(http://img688.imageshack.us/img688/7276/lp4cover.png)Code: [Select]http://www.mediaf!re.com/?rzjm5jyujdm
Right now it's tied with Classics as my favorite album of theirs yet. Miles ahead of the disappointment of LP3.
http://www.mediaf!re.com/?sharekey=a26624ecb3880cd24c17ca8801618ef7e32d701e093b6c2cbf1b77d2eb488dac
I am giving the fullest extent of my recommendations to this record
mr. Gnome - Heave Yer Skeleton
(http://i43.tinypic.com/263hpvq.jpg)
track 7 is corrupt. Re-up?Code: [Select]http://www.mediaf!re.com/?atdg3n0l3nc
'Love Hate' is described by the band as ‘acid house’ influenced pop and features poignant lyrics overlaying a complex arrangement of synth, drums and cymbals. There is certainly a time and place for this sound; this is music to finish a bottle of Rosé to before you head into town for the night. The pounding rhythm of the single, however, will not be of much use the morning after. The AA side'She Found The Diamonds' is not too dissimilar in its nature but is the very much the ‘younger sister’ of the two; softer and more easy-going, without the overbearing drums.
Get Shakes have proven that they can withstand the test of time, with this single being as enjoyable, if not more so, than their previous hits; if this offering is anything to go by, we can expect good things from their much anticipated full-length debut.
thisisfakediy.co.uk
http://www.mediafire.com/?tnixuyjimwn
http://www.mediafire.com/?nj2zydiyymm
http://www.mediaf!re.com/?zjqjotm2nitGonna link the review 'cause it's so darn long (http://metalreview.com/Reviews/5065/Glorior-Belli-Meet-Us-At-The-Southern-Sign.aspx), but basically it's a neat mixture of orthodox black metal and southern blues. It's French too, so you know it's good
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?wwz5inmwemyhttp://www.mediafire.com/?qlznze44zzmFalling (http://www.youtube.com/watch?v=TWIUcoVH3e4)
http://www.mediafire.com/?yzqlz2vgdxg"Your new favourite band. Trust me on this. But if you are looking for who or what they sound like then I’d go for angular, chiming guitars, howled and shrieked lyrics." - Unpeeled.net
http://www.mediafire.com/?zqyz4ztjdlqRatatat - LP4 [2010] (320kb/s)Code: [Select]http://www.mediaf!re.com/?rzjm5jyujdm
Right now it's tied with Classics as my favorite album of theirs yet. Miles ahead of the disappointment of LP3.
Yeah but the re-up was to an empty folder. Any chance we could get just track 7 upped again?I'm on it. I'll update the original post as well. Glad you guys like the record.
http://www.mediafire.com/?w1gzykzwrzm
Yeah but the re-up was to an empty folder. Any chance we could get just track 7 upped again?
http://www.mediafire.com/?dyem0dtooyzMemphis Unlimited is as good as a record can be without being an outright classic. Wright hovers just below the top ten interpreters of soul music in the canon, and his producer is content to perfect the soul format without expanding it. As a result, the achievement of Memphis Unlimited is not as immediately discernible as more groundbreaking work from the period. Repeated listening, however, reveals track after track of intricate craft and understated brilliance. Essential for anyone with more than a fleeting interest in soul, Memphis Unlimited stands as a record of a deep soul giant at his peak and is a logical next step for those who have exhausted the Al Green discography.
http://www.mediaf!re.com/?igmmmtw0k35http://www.mediaf!re.com/?nmvmtmndtxiItch - An Illusion of Grandeur From A One Trick Pony (2009)Definitely enjoying this guys.
http://www.mediafire.com/?xzyymmmyywu
http://www.mediaf!re.com/?zftrzr2ynnq
A friend just sent me a link for new National record High Violet, apparently better rip than the 128kbps that was around (plus last page's link is down)
The National - High Violet [2010] (200-VBR kbps)
A friend just sent me a link for new National record High Violet, apparently better rip than the 128kbps that was around (plus last page's link is down)
The National - High Violet [2010] (200-VBR kbps)
Now this link is down. Boo......
http://www.mediafire.com/?ymrbnjfymg3
http://www.mediaf!re.com/?2tdyjjtmwythttp://www.mediaf!re.com/?zzlojmgjyhyhttp://www.mediaf!re.com/?23yldzm2wvz
http://www.mediafire.com/?ktfmyzjrwzo
http://www.mediaf!re.com/?0nnyukzt05y
http://www.mediafire.com/?mg0dmzzzvd4
Heart And Soul. One
01 Digital
02 Glass
03 Disorder
04 Day of the Lords
05 Candidate
06 Insight
07 New Dawn Fades
08 She's Lost Control
09 Shadowplay
10 Wilderness
11 Interzone
12 I Remember Nothing
13 Ice Age
14 Exercise One
15 Transmission
16 Novelty
17 The Kill
18 The Only Mistake
19 Something Must Break
20 Autosuggestion
21 From Safety To Where...?
Heart And Soul. Two
01 She's Lost Control 12"
02 Sound Of Music
03 Atmosphere
04 Dead Souls
05 Komakino
06 Incubation
07 Atrocity Exhibition
08 Isolation
09 Passover
10 Colony
11 Means to an End
12 Heart and Soul
13 Twenty Four Hours
14 The Eternal
15 Decades
16 Love Will Tear Us Apart
17 These Days
Heart And Soul. Three
01 Warsaw
02 No Love Lost
03 Leaders Of Men
04 Failures
05 The Drawback
06 Interzone
07 Shadowplay
08 Exercise One
09 Insight
10 Glass
11 Transmission
12 Dead Souls
13 Something Must Break
14 Ice Age
15 Walked In Line
16 These Days
17 Candidate
18 The Only Mistake
19 Chance (Atmosphere)
20 Love Will Tear Us Apart
21 Colony
22 As You Said
23 Ceremony
24 In A Lonely Place (Detail)
Heart And Soul. Four (Live)
01 Dead Souls (Live at The Factory, Hulme)
02 The Only Mistake (Live at The Factory, Hulme)
03 Insight (Live at The Factory, Hulme)
04 Candidate (Live at The Factory, Hulme)
05 Wilderness (Live at The Factory, Hulme)
06 She's Lost Control (Live at The Factory, Hulme)
07 Disorder (Live at The Factory, Hulme)
08 Interzone (Live at The Factory, Hulme)
09 Atrocity Exhibition (Live at The Factory, Hulme)
10 Novelty (Live at The Factory, Hulme)
11 Autosuggestion (Live at Prince of Wales Conference Centre, YMCA, London)
12 I Remember Nothing (Live at Winter Gardens, Bournemouth)
13 Colony (Live at Winter Gardens, Bournemouth)
14 These Days (Live at Winter Gardens, Bournemouth)
15 Incubation (Live at Lyceum Ballroom, London)
16 The Eternal (Live at Lyceum Ballroom, London)
17 Heart And Soul (Live at Lyceum Ballroom, London)
18 Isolation (Live at Lyceum Ballroom, London)
19 She's Lost Control (Live at Lyceum Ballroom, London)
Original Release Sources:
Disc One:
1 & 2 -- recorded at Cargo Studios, Rochdale; released on A Factory Sample (1/79) [reissued on Substance (7/88)]
3-12 -- recorded at Strawberry Studios, Stockport; released as Unknown Pleasures (5/79)
13-14 & 17-19 -- recorded at Strawberry Studios, Stockport & Central Sound, Manchester; released as Still (10/81)
15 & 16 -- recorded at Strawberry Studios, Stockport; released as untitled 7" vinyl (10/79) [reissued on Substance (7/88)]
20 & 21 -- recorded at Strawberry Studios, Stockport; released on Earcom 2: Contradiction (10/79) [reissued on Substance (7/88)]
Disc Two:
1 -- recorded at Strawberry Studios, Stockport; released on 12" vinyl (9/80) [reissued on Substance (7/88)]
2 -- recorded at Pennine Sound Studios, Oldham; released on Still (10/81)
3 & 4 -- recorded at Cargo Studios, Rochdale; released on Licht Und Blindheit (3/80) [3 reissued on 12" vinyl (9/80) & 4 reissued on Still (10/81); both reissued on Substance (7/88)]
5 & 6 -- recorded at Britiannia Row, London; released as 7" Flexi (4/80) [reissued on Substance (7/88)]
7-15 -- recorded at Britiannia Row, London; released as Closer (7/80)
16 -- recorded at Strawberry Studios, Stockport; released on Substance (7/88)
17 -- recorded at Pennine Sound Studios, Oldham; released on Substance (7/88)
Disc Three:
1-4 -- recorded at Pennine Sound Studios, Oldham; released on An Ideal For Living 7" vinyl (6/78) [reissued on 12" vinyl (10/78) & on Substance (7/88)]
5-7 -- recorded at Arrow Studios, Manchester; previously unreleased RCA demos
8 & 20-21 -- recorded live on the John Peel Radio Show; broadcast 2/79 & 12/79, released on The Peel Sessions (90)
9-11 & 14 -- recorded at Eden Studios, London; previoisly unreleased Genetic Records Sessions
12-13 & 15-19 -- recorded at Central Sound, Manchester and Strawberry Studios, Stockport and Pennine Sound Studios, Oldham; previoisly unreleased Piccadilly Radio Sessions
22 -- recorded at Britannia Row, London; released on 7" Flexi (uncredited track, 4/80) [reissued on Video 586 12" vinyl (9/97)]
23 & 24 -- recorded at Graveyard Studios, Prestwich; previously unreleased
Disc Four:
1-10 -- recorded live at The Factory, Hulme; previously unreleased
11 -- recorded live at Prince of Wales Conference Centre, YMCA, London; previously unreleased
12-14 -- recorded live at Winter Gardens, Bournemouth; previously unreleased
15-19 -- recorded live at Lyceum Ballroom, London; previously unreleased
http://www.mediafire.com/?dnjwcjmnmmn
http://www.mediafire.com/?m4mohwzm2z1
http://www.mediafire.com/?oitlximnd2y
01 Queue Moderns
02 Drugwolf
03 Exit Halo
04 Not Dead
05 Odalisque
06 Young
07 Type One
08 Republica
09 I am Everything I am Not
10 Dark Island City
11 I cannot Answer You Tonight
http://www.mediafire.com/?nnjhndjgmyzMyspace (http://www.myspace.com/crimeinstereo)01 four superbowls, no rings
02 you always know what's best
03 what's left of you
04 the greatest comeback of all time
05 stand tall
http://www.mediafire.com/?tmzyimemhzmMyspace (http://www.myspace.com/suchgold)
http://www.mediaf!re.com/?lnnmez5wmtn
Edward Sharpe & The Magnetic Zeros
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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 I started linking to albums on spotify, would people object? I mean, I'll still upload albums, but linking to spotify is just easier than me downloading an album and re-uploading it for here. It's also legal.Spotify doesn't work for me. Damn copyright laws
http://www.mediafire.com/?zycmyxmuvzq
No greater intellectual authority than Ian Brown once claimed that kids need boredom, saying that the fact there were only three TV channels in the mid-Eighties gave him the impetus to form The Stone Roses. Rudi Zygaldo might well agree with him, even if growing up in Manchester with only TV-AM must seem almost decadent to a kid raised in the Scottish countryside without any TV at all. Filling his head with classical music and obscure Eastern European literature instead, you might imagine such relative isolation would breed an almost monastic state of mind. Until you hear his debut album, that is. Calling Rudi Zygaldo ‘a bit restless’ is like saying that another Brown – our own dear Gordon – is ‘a mite moody’. For Great Western Laymen sometimes feels like a kid banging a TV remote control with one hand whilst wildly turning the radio dial with another and headbutting his laptop in between; diving into the multichannel sensory overload with unabashed glee.
Boredom might have inspired The Stone Roses to combine rock and dance, but Zygaldo throws absolutely anything he can get his hands on – be it space rock, grime, jazz or even choral religious chanting – into his kitchen sink collages. He might nominally be associated with dubstep, but saying that a track like ‘Magic In The Afternoon’ is ‘dubstep’ just because it contains a few 130bpm bass wobbles is like saying ‘Something About Faith’ is ‘pop’ just because Zygaldo’s singing on it. It would sound oddball enough amongst the other experimental wares on Mary Anne Hobbs’ Radio 1 show, let alone the daytime playlists. Yet what really differentiates Zygaldo from most dubstep is that where the best of that music derives its power and atmosphere from the use of space, every nook and cranny of Great Western Laymen is stuffed with busy odds and sods of sound. Like Aphex Twin, Bass Clef and fellow Glasgow resident Hudson Mohawke, Zygaldo is seemingly unable to settle on one idea for longer than five seconds before throwing it away in favour of something else. Like his contemporaries, this approach can regularly result in moments of inspired genius, but it can also make for an exhausting listen. Take ‘Resealable Friendship’, which begins with Zygaldo multi-tracking his voice into what sounds like a choir on ketamine, before releasing hyperactive beats over a bassline that’s constantly stumbling behind. With so many different tempos crashing into each other it’s like watching a centipede tie itself in knots.
Only two tracks really work as cohesive entities. Relatively uncluttered compared to most other things on here – although you still break a sweat trying to follow everything that’s going on – ‘Stop / Reject’ sends a low-riding synthetic groove slipping through the sort of star-gazing sounds familiar from Detroit techno and cosmic disco. Meanwhile, ‘The Man In The Duck’ is the most blatant example of Zygaldo’s supposed ‘pop’ sensibility, a sort of lo-fi R&B ballad which, with all the bubbling noises and flatulent bass, occasionally sounds like he’s singing down a length of showerhose whilst accompanying himself by farting in the bath.
But whilst many tracks are an indigestible mouthful taken as a whole, each one also contains at least one or two astounding moments. It’s easier to pick out the parts of each track that you like – the free jazz sax solo that introduces ‘Missa Per Brevis’ say, the way classical piano spirals over something resembling the Jaws theme at the end of ‘Magic In The Afternoon’, or the genuinely unnerving choral vocals that make 'Song Of Praise’ sound like a diabolical Black Mass that definitely wouldn’t be screened on Sunday evenings. Plus, Zygaldo’s production is a marvel to behold – as taut as Botoxed buttocks throughout the whole album, the synths on ‘Something About Faith’ sound as if they’re being squeezed out of a toothbrush tube. Precocious Zygaldo might well be but boring is one thing he certainly isn’t, and even if Great Western Laymen isn’t quite as clever as it thinks it is, it certainly offers a damn good argument for turning off the TV.
http://www.mediafire.com/?ncxoidygjnmThe dark dubstep of Dan Richmond’s 2009 debut as Clubroot rarely escalated past a slow simmer—the guttural synths and deep, powerful drum sounds were (with good reason) probably called “brooding” by more than one listener. Field noise and looped Eastern stringed instruments on the producer’s sometimes-sinister follow-up will garner the same response, but faster-swinging kicks break up drowsier segments on II - MMX. Evening strolls in Richmond’s mediaeval British hometown of St. Albans likely offer ample source material for his album’s rustling field recordings, and as far as visual stimuli goes, the nearby centuries-old cathedrals don’t hinder the creative process.
Over the course of II - MMX‘s compelling jungle- and ambient techno-guided set, Richmond revisits a musical past steeped in drum & bass. Tunneling, wheezing bass stabs are cooled with textures that are much softer than those on the debut—when played alongside Clubroot, the second album is overall considerably cleaner, and “Waterways” even feels a bit sterile against 2009’s “Embryo”, for example. But the improvements in a year’s time are noticeable. Richmond pitches-up all of the diced vocals on his hard drive for dazzling, ethereal effect on II - MMX, and while some of the washes that pad “Running on Empty” and “Orbiting” are of the choral brand, this is a wordless outing, minus some curt film dialogue. “Dry Cured” is a must-hear, with the UK producer resorting to a minimal garage sound that has garnered past comparisons to dubstep luminaries—shuffling hi hats, an understated synth progression, with little else at work. It’s gripping, and arranged so that the payoff is far less pronounced but still satisfying. You can even call it “brooding.”
http://www.mediafire.com/?zzdmtjyrgivAfter ripping a hole in your cones with 'Autumn Rot' Dead Fader spew out nine tracks of caustic dancefloor noise for their debut album. 'Corrupt My examiner' is no easy listen, in facts it's willfully difficult but that's probably half the pleasure if you're into the likes of NHK or Ben Frost. With a rhythmic palette of post-industrial brokebeats and a discordant sense of melodic texture they set about deconstructing your home stereo, steadily developing ever more foul and noxious noises to interject their rhythms and drive the message of scuzzy dancefloor moods home. If it means anything to you, Seefeel's Mark Clifford is a big fan and their label heads Cloaks are a close analog if you're still unsure.
http://www.mediafire.com/?5ggdnjtn2omSomething wicked, wonderful, and unique has been brewing in the U.K. for some time—the rips, tears, and jagged edges of the utterly relentless Cloaks. This is true industrial music, the sci-fi sound of robotic alien factories tearing apart twisted sheets of metal and welding them back together into chunks of beats and bass. Informed by dubstep but standing well outside the genre, Versus Grain draws on Meat Beat Manifesto, Techno Animal, and Merzbow, buzzing and crackling its way through tracks like “Against,” “Rust on Metal,” and “Detritus”. All the more impressive for being completely analog based, the album is not for the faint of heart, but it’s a vital shot of adrenaline for those craving dark experimentation in their music.(for fans of Vex'd, etc.)
http://www.mediafire.com/?yidmiovt5nm
http://www.mediaf!re.com/?hdmid3dywijEprom sums up the thrills of lifting a mars bar from your local corner shop with the acid-crunk bounce of 'Shoplifter' backed with a Slugabed remix. His title track is a heavy nod to Rustie's lauded style, only with noisier drums and acidic synth licks. Slugabed's mix goes one step further, lifting said mars bar and then shouting at the shopkeeper with a vicious tongue, meaning overweight noisy snares and untamed synth snarls.
http://www.mediaf!re.com/?gkml1znzhidBehold, my children, the legend of acid house: Imagine in your mind Chicago 1987, where a small group of club kids, led by Nathan "DJ Pierre" Jones, give Ron Hardy a record to play at the Music Box. Labelled "Acid Tracks" by Phuture, its uncompromising sound quickly clears the dance floor, but Hardy hammers the tune again and again, until the masses are converted and a new genre is born.Essential.
You've heard this story a thousand times. And everything in it is true. Except, it seems, maybe the part about it being the birth of acid. Synthesizing: Ten Ragas to a Disco Beat challenges us to rewind acid's origin story to India 1982, and to move from a sweaty Chicago nightclub to the home studio of a veteran Bollywood musician. In the '60s and '70s Charanjit Singh did time on the Bollywood soundtrack scene, and earned extra cash with his own orchestra playing popular favorites at weddings. In 1982, armed with a now-iconic trio of Roland gear, the Jupiter 8, TB-303 and TR-808, Singh set out to update the entrancing drone and whirling scales of classical Indian music. It's enough of a mind-fuck that rumors circulated on the web claiming the record was a prank spawned by Richard D. James.
A prank it's not. After nearly three decades of near-complete obscurity, the record resurfaced when Bombay Connection label impresario Edo Bouman snapped it up while travelling in India. He had his mind split open when, back at his hotel, he heard the psychedelic mind-meld of East and West on his portable record player. Intrigued, Bouman tracked Singh down: "He was most friendly and surprised I knew the album. I remember asking him how he got to this acid-like sound, but he didn't quite get my point. He didn't realise how stunningly modern it was." Singh's sound didn't appear wholly out of thin air. As music critic Geeta Dayal points out, both the 303 and the 808 had been issued right around the time, and the rhythms of '70s disco had in 1982 only just reached Indian ears. Needless to say, though, the word "disco" in the title is a complete misnomer—there simply wasn't a genre called techno or house that could be invoked.
What stands out most on Ten Ragas is Singh's comparatively original use of the TB-303. Even though it was designed to fill in for a bass guitar, the 303 was notoriously awkward when it came to reproducing conventional basslines—the box was much better suited to produce the otherworldly squelches of DJ Pierre. Singh, however, found a different way to employ the machine. Dayal notes that the TB-303's "glissando" function, the ability to slide from one note to another, makes it perfectly suited for the sort of raga melodies that run slippery up and down the scale. Married to rugged 808s and Terry Riley-style undulating keyboard solos, The result is a haunting, exotic prefiguration of acid's steely futurism, a bit like Kraftwerk live at the Taj Mahal, somehow summoned from the past but envisioning the future at the same time.
http://www.mediaf!re.com/?myiiidomgdrHot drop from LA debutante Tokimonsta aka Jennifer Lee, presenting her first solo outing proper for Ramp. If you were quick enough to nab a copy, you may have noticed her excellent 'Let Me Trick U' cut on the commemorative run of '251109' 12"s, but don't worry if not, because 'Cosmic Intoxication' is the perfect place to enter her world. Much like the mixture of classical far eastern drama and ultra-modern themes on the captivating sleeve, her music is ornately crafted and fantastical, albeit with a dose of doped out cool that could only come from LA. 'Playing With Toys' is an assortment of fractured electro and spooling synthlines, reminding of Zomby but tumbled with a uniquely precious sense of organisation, while 'Smoke & Mirrors' makes an about turn with drifts of Hawaiian guitar and crimson yacht synths. Our favourite 'Aching Nodes', teases an delicate Afrobeat guitar sample over dub bumped beats and a tidy G-funk synthline, while 'Glaring Lights' finishes with an image of Dilla kicking back with Herb Alpert on blunts and vallies. Ace.
http://www.mediaf!re.com/?zmchfggmlwn
http://www.mediafire.com/?ith2mig2zmt
Because, you see, “gangsta” is something specific. Gangsta is where sun-kissed leisure meets violent cynicism. Gangsta is the lackadaisical cruise down Sunset Boulevard that’s punctuated by a carjacking. Gangsta is a yin-yang thing that could theoretically exist outside Los Angeles, California, but usually doesn’t. Gangsta (arguably) rose on N.W.A’s Efliforzaggin, peaked with the early-‘90s work of Dr. Dre and DJ Quik, and crapped out somewhere on Disc Two of All Eyez On Me. Gangsta has naught to do with the quintessentially Brooklyn bluster of Jay-Z and Biggie, the paranoid bubblegum pop of 50 Cent, or the aspie rambling of Li’l Wayne. Gangsta is gangsta.
LA home-taper Dam-Funk is beaucoup gangsta, and his bubbly synth-soul masterpiece Toeachizown is the first real gangsta shit to come out in a minute.
...
...
...
Like Menace II Society on wax, Toeachizown is an instant Los Angeles classic. It’s warm, cold, therapeutically friendly and scathingly sinister. And, no matter how much it fronts to the contrary, it’s deeply human. Which is still gangsta.
(http://img341.imageshack.us/img341/9272/333vrh.jpg)
Rudi Zygadlo - Great Western Laymen
(http://img22.imageshack.us/img22/4792/tumbacatre.jpg)
Tumbacatre-s/t
I do not remember making that post. It is still right though.
(http://www.residentadvisor.net/images/reviews/2009/any007cd.jpg)Code: [Select]http://www.mediaf!re.com/?fn5ttmontm5
Dr. Dunks - How We Do In NYC
A mix of great disco re-edits
It's not often that I venture outside of the strict confines of electronic music when acquiring new music, these days. There are too many variables to keep track of for me, and while there's plenty of non-electronic music that I like, I'd be hard pressed to tell you exactly why I like what I do - I could name any number of elements that speak to me in a particular song or artist but don't do so consistently across scenes or genres. I feel like I can do that with electronic music, being as it's often so conservative in style. So getting a rock or a folk album is a bigger risk. Usually there has to be some sort of hook that gets me to pay attention. So it was with Serafina Steer - the blurb on Bleep mentioned offhand that one of the producers on Change is Good, Change is Good was Capitol K, an endlessly fascinating composer and producer who had a few releases on Planet Mu (given this blog, where else?), serving for a few years alongside Leafcutter John in that label's rotating stable of electro-acoustic folk acts (currently occupied by Sunken Foal and the Internal Tulips). Since then he's popped up as a producer on Deerhunter's first albums, but I'm not sure if he still works with them now that they've become hot shit in the indie rock scene. He lives the true bohemian artist lifestyle, squatting in abandoned London buildings and making music.
I was curious to hear his influence on Serafina Steer's album, and it was there to be sure, but I vastly overestimated the part he would play in the enjoyment of it. Serafina Steer is an English harpist / singer / pianist / songwriter who's had ties to the London folktronica scene going back several years (Change is Good, Change is Good is her second proper album). Comparisons to Joanna Newsom were made often and early, but as far as I'm concerned the similarities begin and end with the harp. Steer's sensibility is darker and more claustrophobic, not as airy or quaint as Newsom's. And of course, there are the light electronic touches. Word has it that Steer was struck by extraordinary bad luck when her harp and other instruments were stolen in the middle of the production process, but she and her associates adapted, incorporating more electronic elements and using homemade instruments.
The album starts off with the breathing organ and pulsing synth of "Shut Up Shop", with Steer conjuring up the ghost of Nico on vox. The song sounds distinctly british, incorporating elements of church music and pop. "Day Glo" is perhaps the song that most invites comparisons to Newsom, with the music speeding up and slowing down during the chorus, but the song retains Steer's distinctive, shady sensibility. "GSOH" is the breakout track, with the organ and drum forming a solid background to the slightly gothy folk-rock tune in the Sol Seppy mold. The weird folk of "The Valley", with its lovely backing vocals, sounds like the soundtrack to some bittersweet period piece romance. The speak-singing of "Motion Pictures" gives way to a gorgeous and emotive latter half.
"Drinking While Driving" glides on an analog synth arpeggi and Steer's captivating whisper-song. "How to Haunt a House Party" is a particularly strange throwback to 80's synth-pop, with drum machines and prominent synths, Steer fitting role of coked-up, dead-eyed ice queen perfectly. The french of"Margoton" recalls a particularly light-footed Electrelane, while "Port Isaac" brings Steer's voice to the fore, accompanied by very quiet organ and what sounds like a lyre (perhaps one of their homemade instrument) before bringing synths a bit farther forward into the mix. "The Sisters of Porportion" is a dark, sickly fairy tale of a song about a covetous man and the titular siblings. "Half Robot" is a gorgeous and lush folk song featuring more live instrumentation that ends far, far too soon. The final track "Ulular" features a woozy, Sol Seppy-ish echo and a beautiful violin accompaniment, a downcast ending to an already downcast sort of album.
I keep coming back to Change is Good, Change is Good between helpings of whatever new dubstep or UKG comes my way on any given day. There's just something about it - I listen to it and I feel like I'm listening to the diary of a particularly precocious, forlorn, perhaps doomed teenage girl. Somebody get this woman Sofia Coppola's number. We could have a monumental film soundtrack waiting in the wings.
http://www.mediafire.com/?twmywmdyoyz
http://www.mediafire.com/?mmirilrftm3
Serafina Steer - Change is Good, Change is Good
http://www.mediaf!re.com/?mgyo2mw5y2khey, mai do you have any other records by them? my friend played me some cuts from another cd (something about a rose in the title, I think) and it was excellent, but fairly different from the style on the one you posted.
http://www.mediaf!re.com/?eneew1mkjt2http://www.mediaf!recom/?wgynjkzjnmw
http://www.mediaf!re.com/?5yuvbwznylmhttp://www.mediafire.com/?zj2wdidz2idOut For Treats (http://www.youtube.com/watch?v=oXnuFYHrrLE)
http://www.mediaf!re.com/?zhlmmzwvlnmhttp://www.mediafire.com/?ynoeztyymwhhttp://www.mediafire.com/?5y0hofyyn3mhttp://www.mediafire.com/?qd2ilzmmhnzAAAAAAAAAAAAUUUUUUUGHHHHHH
DO YOU KNOW WHAT YOU JUST DID?
i ordered my copy already and it's in the mail and i can't wait for it and YOU HAVE JUST RUINED EVERYTHING
AAAAAAAAAAAAUUUUUUUGHHHHHH
I knew you would love it.....and you actually got pretty lucky then cuz doesnt this come out in like a week? almost didn't even "leak"
http://www.mediafire.com/?twdwnkzmkqnhttp://www.mediaf!re.com/?tm10o4mgzad
http://www.mediafire.com/?1mo2qmditzghttp://www.mediafire.com/?r5dwmfzyyyzhttp://www.mediaf!re.com/?t0nnwjbyzztFly is Vol. 2 of the 'digital release' from my new project Toeachizown. The 1st 3 joints on this volume consist of my continued steps into the 'electric-space-funk' style I'm humbled 2 share with U from my mind, yet this time out, with a more 'danceable' vibe 2 it. U know, for the clubs...worldwide! The first 3 tracks “Flying V Ride” (which is a reference 2 the fabled UFO that many have reported seeing in their lifetime), “Candy Dancin’” & “Burn Straight Thru U” co-exist as a 'suite' called “The Move Suite”. Yes, 3 songs that are joined together as 1. This is why the 'drum machine pattern' is the same on these 3 particular songs. “Candy Dancin’” also features a wicked synth solo & vocoder contribution by the 1 and only Mark de Clive-Lowe.- D-F
The remaining 3 joints of this volume on this 'digital release': “10 West”, “I Wanna Know” (a vocal) & “Rollin’” represent exactly what the title of this volume is: Fly. They're joints that U can roll 2. Let your hair down 2. Vibe with a lady 2 (or vice-versa), + stay 'fly' 2. I know there's still some fly ladies & gentlemen out there. This Vol. 2 from my Toeachizown project is...4 U.
http://www.mediafire.com/?lyqfgkm2ydnhttp://www.mediafire.com/?rl5yhqnzzyf
http://www.mediafire.com/?nodzrrmmnqmhttp://www.mediafire.com/?tucdgnmzxmd
http://www.mediafire.com/?fjzynkldtnzWalls are a duo comprising Alessio Natalizia (Banjo Or Freakout) and Sam Willis of Djs/producers/label owners Allez Allez. They met when Willis was on remixing duties for Natalizia. Their short but densely packed debut situates itself in a sort of war zone somewhere between Techno and the frazzled neo-rock of Animal Collective, or maybe Boards Of Canada and My Bloody Valentine.
Theirs is a combination of Natalizia's buzzing, serrated, treated guitars counterpointed with Willis's synths, in which malevolent backbeats and warmer electronic climes combine. As such they are very much on the outer edges of the Kompakt empire but a very fine addition to it, not least since most of Kompakt's roster are on its outer edges. Opener 'Burnt Sienna' reminds of the first few moments of Faust's first album, a slow-burning act of premeditated analogue arson, which then swirls up into a fuzzy Phoenix of a riff. 'Hang Four''s gnarly backbeat marches in robotic quicktime across a gravel of human skull fragments onto sunnier uplands of melodic guitar reverb. 'A Virus Waits!' is a sub-three minute sustained bout of streptococcus-like gnawing, while 'Soft Cover People' is like some post-apocalypse exchange of terms between the campfire forces of post-rock and the ragged remains of the electronica brigade.
'Strawberry Sect' is slight but something else again, a wispy trail of backward guitar pursued by a champing, scrunching electronic Pacman. 'Gaberdine' is as close to straight as Wall gets, a Technopop jet-black grid reminiscent of Suicide but with gathered electronic moss of its own. Finally, the giddily vertiginous 'Austerlitz Wide Open' sees Walls spin out on a concluding series of customised drones, loops and high-pitched sirens. Largely without vocals, except for the occasional, odd burst of wordless chanting from Natalizia, Walls is a cryptic oddity unto itself, a record made as if solely to defy category or cross-comparisons, all of which fall a little short, including my own. There is the joy. You can't dance to it as such, you can't chill to it, you can't decode it. All you can do is stand, sit or lie back and admire it.
http://www.mediafire.com/?zjnafzozfzthttp://www.mediafire.com/?nwty0nymrq0Black Flag - Everything Went Black
http://www.mediafire.com/?mmeeyjin1rghttp://www.mediafire.com/?cma2gxnuizr
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?zjyydmuztfzThis is a particularly short album, clocking in at just thirty minutes. Despite its melodic simplicity each song is unique and beautiful in its own right, and the album works harmoniously.
http://www.myspace.com/miniaturetigers
This blog tends to deal primarily in UK Garage-derived dance music, but it's certainly been no big secret that as much as I enjoy that stuff, my heart is and perhaps always will yearn for quality music of that undefinable "IDM" nature. In that, May 2010 has been an exceedingly good month for me. First I had Anodyne's latest re-exploring long-forgotten Skam territory, and now Nikakoi comes literally out of nowhere to drop a full 30 tracks of modern IDM / Jazz composition on me, from the Laboratory Instinct people (a label that I only really know from being a home for Daedalus before he got swept up into the Beats blowup he helped foster). I'm like a kid in a candy store.
I stumbled across this release trolling through retail sites, and while I was initially put off by the "Clicks / Glitch" label (that classification invariably conjures up memories of minimal techno and Datach'i, neither of which are very pleasant for me) the gushing Boomkat review (is there any other kind?) namechecked AFX and Autechre. I'm a sucker for anything that sounds like them, and thus I procured it.
Frankly, I think Boomkat got it wrong on this one. From what I can track down about him, Nikakoi is a Georgian film director and composer, and that side of his work definitely shows - the tracks on Selected all share a certain cinematic expanse and grandeur. The music lacks the overt acid techno / hip hop influence of Autechre or AFX, but it's still legitimate IDM of the jazz / ambient varity. Nikokai shares far more with The Black Dog or Plaid than AFX.
There is far too much music here for me to go over track by track, but the soundtrack work of Plaid is a constant point of reference when I listen to Selected, and I think anyone who enjoyed their Heaven's Door soundtrack (my favorite album of 2009!) will really enjoy the riches on display here. The specifics of the music vary (minimal house on "Cverty2 For May", lush downtempo jazz on "City Lights Tutta2", ambient drone on "Music 2_Piano", mid-period Autechre in "Something Moving in my Liquid", the melodic d'n'b of u-Ziq on "Uuusmine", haunting ambient in "Lulaby for Little GG") but the tone is remarkably consistent for a gargantuan undertaking such as this. A remarkable collection, very highly recommended for fans of more plaintive sorts of electronica.
http://www.mediafire.com/?2ogykifzzzw
http://www.mediafire.com/?wlzgyw2qzwchttp://www.mediafire.com/?zejzmmcom0dhttp://www.mediafire.com/?l5nbg2jjino
SEBÉ - hallo freundeI like this but is it supposed to be tracks 2 through 5?
(soundslike: m83 and lymbyc systym maybe a little bit more happy)
(http://farm5.static.flickr.com/4008/4444047364_2fd8a6c544.jpg)Code: [Select]http://www.mediaf!re.com/?mmeeyjin1rg
http://www.mediafire.com/?nzentjzxzjtThis makes me so happy!!!!yesss
Menomena - Mines (2010)
(http://img62.imageshack.us/img62/2745/menomena.jpg)
Myspace (http://www.myspace.com/menomena)Code: [Select]http://www.mediaf!re.com/?l5nbg2jjino
SEBÉ - hallo freundeI like this but is it supposed to be tracks 2 through 5?
(soundslike: m83 and lymbyc systym maybe a little bit more happy)
(http://farm5.static.flickr.com/4008/4444047364_2fd8a6c544.jpg)Code: [Select]http://www.mediaf!re.com/?mmeeyjin1rg
http://www.mediafire.com/?ktudmjzk1ie
Like embers fading to ash, only to glow again with the slightest breeze, the songs collected on In A Dark Tongue are persistent and vibrant. Harvestman, a project helmed by Neurosis guitarist Steve Von Till, draws a natural luster from heavy psychedelic meanderings and melodic riffs vaguely indebted to folk-rock, but it's the pacing and smoldering dynamics he employs that gives the songs a truly earthy (and Earth-y) feel.
The album -- united by its constantly shifting aesthetics more than any obvious thematic cement -- embraces myriad sonic influences from deep drone, shoegaze and krautrock to traditional folk and bluesy psych-rock. Von Till's musical wanderings in combinations of melody and timbre ultimately spawn a sort of music-as-spirituality mantra, making it's most "metal" attribute its ability to draw images of ancient rites and polytheistic mythology. Though his music is mostly instrumental, Von Till, like OM (whose Al Cisneros plays bass on "The Hawk of Achill"), harvests the trance-inducing power of heavy riffs and adds a heavy dose of blissed-out atmospherics to make the music feel at once innately grounded and otherworldly.
The resonant prog-lite melody that establishes "Eibhli Ghail Chiuin Ni Chearbhail" might prove the album's most direct and accessible moment, but even this track develops a meditative quality through repetition and subtle modal variation. When it dissolves in its final 30 seconds to make way for "Headless Staves of Poets" -- which opens with somber violins and spiderweb-thin guitar tones -- the character of the album as a whole is apparent. Although the two tracks differ wildly, they're bonded by a common motivation to explore not the farthest reaches of sound and structure (though there is plenty sonic exploration to be found), but music as a means of communication beyond the human realm.
Like watching a fire burn itself out, embers fading to ash, smoke trailing off into the sky, there is something ephemeral and elemental about Harvestman's music. It's something that makes categorizing In A Dark Tongue both difficult and irrelevant. Although it's anything but standard in sound or structure, it feels immediately accessible, compelling for its very nature of being.
http://www.mediaf!re.com/?q2zwzytgy05
http://www.mediafire.com/?zzzkee0znnhI can make no claims to be any kind of expert when it comes to hip-hop. Growing up in rural Arizona, it just wasn’t something I was exposed to outside of the occasional Salt-N- Pepa or LL Cool J video on MTV, unless you count the one kid at my Catholic elementary school who always wore a Malcolm X hat and talked a blue streak about NWA and Public Enemy. Much later on I would find out about Gang Starr and the Wu-Tang Clan and plenty of other things, but I was never really educated about hip-hop in the same way that I imagine people must be when they grow up closer to big cities like New York or Boston or Chicago.
From my vantage point, a release like Big Apple Rappin’ is an invaluable history lesson. The 16 tracks – plus 64 pages of photographs, liner notes and interviews – examine the birth of hip-hop in New York City during a four-year flurry of activity in the late ’70s and early ’80s. Needless to say, this isn’t just another old school compilation with the predictable Kurtis Blow, Grandmaster Flash and Sugar Hill Gang classics. You know you can expect more from a Soul Jazz release, and they really deliver with this one. The compilation doesn’t come from left field in quite the same way as New Star’s Original Style disc or Stones Throw’s similar Third Unheard anthology of hip hop from Connecticut, but there are definitely a ton of songs on here that most people probably haven’t heard before. Aside from a couple of big names like Spoonie Gee and the Cold Crush Brothers, most of the featured artists are pretty obscure: T Ski Valley, Masterdon Committee, The Fly Guys et cetera.
You can really hear the influence of disco on some of these recordings, starting on the very first track with Peter Brown and Patrick Adams’ production for the classic “Spoonin’ Rap.” Another song apes the backing track from Michael Jackson’s “Don’t Stop ‘Til You Get Enough” and Brother D & The Collective Effort’s ultra-political “How We Gonna Make The Black Nation Rise” is based around a loop of “Got To Be Real” by Cheryl Lynn. Reggae production techniques are all over the place too. “Rapping Dub Style” by General Echo is the most obvious example of this, but there are also some amazing echo effects on “Rock The Beat” by the Jamaica Girls. And Xanadu’s “Sure Shot” has the mighty Joe Gibbs himself behind the board!
Disregarding the aforementioned academic value of this double album, Big Apple Rappin’ is a hell of a lot of fun to listen to from start to finish. And that’s what’s most important, isn’t it? Whether you’re looking for some historical perspective on the emergence of hip hop or just looking to have a good time, there’s a lot to love about this release.
http://www.mediafire.com/?n5nzhzymnx2http://www.mediafire.com/?u4dk20hnj2vCrown On The Ground (http://www.youtube.com/watch?v=XRm_JWe0fXs)RADARE - infinite regress
(soundslike : neurosis, isis and a lot more)
(http://img215.imageshack.us/img215/8133/radare2010.jpg)Code: [Select]http://www.mediaf!re.com/?cma2gxnuizr
Sleigh Bells - Treats[2010](320kb/s)
http://www.mediaf!re.com/?mqnddomncw1
I know at least one person on here will be happy to see this.
Faded Paper Figures - New Medium (2010)
Toro Y Moi - Causers Of This (320kbps)
(http://i165.photobucket.com/albums/u60/daschakal/toro-y-moi-causers-of-this.jpg)
Ignition, featuring Alec MacKaye and Chris Bald (both ex-Faith), Dante Ferrando (Gray Matter) and Chris Thomson (ex-Soul Side) , played their first show in the spring of 1987 at d.c. space in Washington, DC. Ignition played for a couple of years and toured extensively in that time, including a long European trip, making them one of the first Dischord bands to play overseas. Their shows were chaotic and unpredictable, with one ending before the band had finished even a single song after Chris Bald smashed his guitar and amp in a fit of frustration. This is possibly the shortest set ever played by a DC band. Ignition released two albums and several 7"s, all of which were culled onto one CD, "Complete Services," released on Dischord in 1994.
http://www.mediafire.com/?dnoj5kynwmr
http://www.mediaf!re.com/?0v4lmkvn0jjOn December 4th, 2009, a video was uploaded to youtube. It was a surreal clip, less than a minute long, submitted by a user known as iamamiwhoami. The clip, titled "Prelude 699130082.451322-5.4.21.3.1.20.9.15.14.1.12" featured various humanoid limbs protruding from trees, soundtracked to electronic music, and concluded with a blonde mud-covered girl lying in the fetal position.
Another video followed. And then another. Each around one minute in length, each soundtracked by (really good) electronica, and each featuring images of nature and birth, and the blonde woman. Six videos were posted before "b", a music video featuring the blonde woman playing the piano, singing, and wistfully looking at the camera, all while being completely wrapped in plastic. "o" soon followed, a six-minute pulsing electropop song that as beautiful as it is haunting.
The videos concluded with a two-part series: "u-1" features a nearly naked man running through distorted woods while a blonde puppet sings a cappella, and "u-2" stars the same man running through a fortress of boxes before eventually dancing his skinny ass off, and subsequently destroying the fort from the inside.
Critical opinion associated the phenomenon with a viral marketing campaign, and rumored suspects ranged from Christina Aguilera and Lady Gaga to Lykke Li, The Knife, and Jonna Lee. To date, the identity of iamamiwhoami is still unknown (although most of the evidence, along with public opinion, points to Jonna Lee - the director of "o", identified as Viktor Kumlin, also directed one of Lee's videos).
What is known, however, is that the music of iamamiwhoami is among the best released this year. The brilliantly fresh experimental electronica, chock-full of unintelligible vocoded vocals and bumpin' basslines, is just gorgeous. While the campaign appears to be over, it's doubtful we've heard the last from iamamiwhoami.
http://www.mediafire.com/?ozmq0ctdnwrThe Madness and the Damage Done (http://www.youtube.com/watch?v=Qslyq8CcXu0)http://www.mediaf!re.com/?mynkamejuznTame Impala - InnerSpeaker (2010, 320kbps)
Face-smashingly good psych rock band from Australia. Sounds somewhat like a jammy version of The Beatles in their later era. Modern day Psych that isn't a cliche! Must listen.Code: [Select]http://www.mediaf!re.com/?mqnddomncw1
Shining - Blackjazz[2010]Code: [Select]http://www.mediaf!re.com/?ozmq0ctdnwrThe Madness and the Damage Done (http://www.youtube.com/watch?v=Qslyq8CcXu0)
http://www.mediafire.com/?mhxd4cz4tymTo use short-hand description for The Hundred In the Hands is to give the impression of them being oh-so-passe; oh great another Brookyln-based boy/girl disco-duo. Sort of ten-a-penny these days aren't they? In fact I reviewed one here just a few weeks ago. Well, let first impressions fool you not. I've already twice made this mistake with THITH. The first time was with debut single 'Dressed In Dresden'. 'No song released in 2009 that starts with angular stabs so reminiscent of 'Banquet' could actually be any good', I thought. I was wrong. The dirty bass throbs, cavernous toms, explosive snares, clicky claves/handclaps and all manner of synth sounds made for a more than satisfying barrage of danceable pop. Vocalist Eleanor Everdell's fine balance of nonchalance and impassioned pleading, meanwhile, was more than just the icing on the cake.
The second time I made this mistake was upon my first listen to 'Building In L.O.V.E', the opening track of the This Desert EP. 'Oh no, not another 'Standing In the Way of Control'-style bassline paired with a hi-hat shuffle'. Idiot. Only in dreams could The Gossip hope to achieve the beauty 'Building In L.O.V.E.' arrives at when the stuttering synth strings and Everdell's aching vocals reach a melodic crescendo together in an ethereal swirl. It's wonderfully affecting stuff, regardless of the bizarreness of lines such as "luxury housing development is falling in love" and the song ends only too quickly and suddenly amidst Jason Friedman's skyscraping guitars, which are reminiscent of those other Brooklynites, The National. Not that THITH need to borrow ideas to forge music of majestic quality.
The EP takes rather a symmetrical form, the first and last tracks of the six being the most dancefloor friendly, the second and fifth the most playful and the middle two the moodiest. EP closer 'It's Only Everything' features Everdell's most extroverted vocal performance, yet after the hollering of the intro the verses succeed in creating a gorgeous blissed out soundscape of whispered vocals and synth washes and alternates between the two passages until they converge for the outro.
THITH stated that this EP was partly 'summertime-gothic'. 'Ghosts' is the only gloomy-ish track on the EP; conveying its gloom through a less-is-more approach, it revolves around repetition of a simple bass figure and beat with intermittent repetition of a descending guitar line, recalling the melodrama of The Cure's 'Love Song' in the process. 'Sleepwalkers' is drenched in the sort aqueous reverb that characterised that song's parent album Disintegration and despite its danceability it is in fact the most organic/rock song on the EP, with mellifluous guitars shimmering and chiming in from all angles. When it seems that THITH might be taking themselves a little too serious there's 'Into In It', their own take on uber-twee electro pop. Everdell's repetition of the songtitle is possessed of the same persuasive allure as Lindstrom collaborator Christabelle, but there's an air of innocence pervading the song. Proof of the range of influences THITH weave into their sound.
The most inventive track is undoubtedly 'Tom Tom'. For a large part of its duration consisting only of synthetic slap-happy percussion and a needling synth lead, the song really takes a turn for the interesting with the burly thrumming sound of an almost atonal arpeggiated synth-bass. The late addition of a low humming synth melody brings a good dose of melancholy to the proceedings as Everdell laments "Could have stayed by you for days, I would forget the world for you." The whole track suddenly dissipates in a bewitching choir of "ooh"-ing vocals which you don't want to end, but that's the one trick that THITH repeat most effectively: leaving you wanting more. With a long player on the way This Desert is a perfect teaser/taster for that album, but more importantly an absolute pleasure in its own right.
Tame Impala - InnerSpeaker (2010, 320kbps)
Face-smashingly good psych rock band from Australia. Sounds somewhat like a jammy version of The Beatles in their later era. Modern day Psych that isn't a cliche! Must listen.Code: [Select]http://www.mediaf!re.com/?mqnddomncw1
That is good stuff man!
http://www.mediaf!re.com/?lyl2kgzwdej
Cathy Davey - The Nameless [2010] [VBR]
(http://i2.photobucket.com/albums/y42/xColin06x/tn.jpg)
Tracklist:
01 - The Nameless
02 - Army of Tears
03 - In He Comes
04 - Habit
05 - Little Red
06 - Happy Slapping
07 - Dog
08 - Bad Weather
09 - The Touch
10 - Wild Rum
11 - Lay Your Hand
12 - Universe Tipping
13 - End of the EndCode: [Select]http://www.mediaf!re.com/?tm10o4mgzad
Diego Paulo has earned a following in the Newark community thanks to its unique bossa nova sound. On Café con Leche, their first full-length album, the band takes listeners beyond the borders of Brazil to California, western Africa and even briefly to Nashville.Fuller review (http://www.udreview.com/mosaic/diego-paulo-latin-flavor-to-u-s-taste-buds-1.1482267)
Café con Leche is a worldly album, not only in its musical influences, but also in its themes. Lead singer and banjo player Katie Dill partners with Zachary Humenik (guitars/vocals/bass) on “California” for a sweet-voiced duet about a vagabond and his waiting lover. In a catchy opening hook, Humenik sings, “Now and then / a lust for inspiration leads me to roam again / In the California sun / I take a lil ol’ puff and I start thinkin’ ‘bout home / again / It’s always on my mind.” The wanderer gets her due in “Shakere,” the opening track, when Dill sings, “Will I ever be on track? / All I want is not to be alone / And all I get is God / All I want is just to have a home.”
http://www.mediaf!re.com/?ftdgy0m3jy3
The Bay Area sextet Sleepy Sun is part of a crop of both budding and established bands that base their sound and ethos in a long-gone time: when popular music was actually good and the guitar was an important, interesting instrument. By evoking the spirits of the greats (Sabbath, Zeppelin, or even Hendrix), Sleepy Sun can create a sort of time capsule within which the listener can be transported along with the band to a better time for rock music, as the band does effectively on its sophomore album, Fever.
continued : http://blogs.sfweekly.com/shookdown/2010/05/cd_review_sleepy_suns_fever.php (http://blogs.sfweekly.com/shookdown/2010/05/cd_review_sleepy_suns_fever.php)
http://www.mediafire.com/?m1yy2wmjqm4
http://www.mediafire.com/?myzjmtgmzem
http://www.mediafire.com/?kmyitvw0tiihttp://www.mediafire.com/?lquzunyoy2mhttp://www.mediafire.com/?f2y42zjuygmhttp://www.mediaf!re.com/?jmzv4drz2gzhttp://www.mediafire.com/?koyc3wmnzmz
http://www.mediaf!re.com/?hdggygmjyzy
iamamiwhoami (2010)
(http://img263.imageshack.us/img263/1593/whoami2.png)
enjoysThis is funkin' gold.
Big Apple Rappin': The Early Days of Hip-Hop Culture in New York City 1979-1982Code: [Select]http://www.mediaf!re.com/?zzzkee0znnh
From Dusted MagQuoteI can make no claims to be any kind of expert when it comes to hip-hop. Growing up in rural Arizona, it just wasn’t something I was exposed to outside of the occasional Salt-N- Pepa or LL Cool J video on MTV, unless you count the one kid at my Catholic elementary school who always wore a Malcolm X hat and talked a blue streak about NWA and Public Enemy. Much later on I would find out about Gang Starr and the Wu-Tang Clan and plenty of other things, but I was never really educated about hip-hop in the same way that I imagine people must be when they grow up closer to big cities like New York or Boston or Chicago.
From my vantage point, a release like Big Apple Rappin’ is an invaluable history lesson. The 16 tracks – plus 64 pages of photographs, liner notes and interviews – examine the birth of hip-hop in New York City during a four-year flurry of activity in the late ’70s and early ’80s. Needless to say, this isn’t just another old school compilation with the predictable Kurtis Blow, Grandmaster Flash and Sugar Hill Gang classics. You know you can expect more from a Soul Jazz release, and they really deliver with this one. The compilation doesn’t come from left field in quite the same way as New Star’s Original Style disc or Stones Throw’s similar Third Unheard anthology of hip hop from Connecticut, but there are definitely a ton of songs on here that most people probably haven’t heard before. Aside from a couple of big names like Spoonie Gee and the Cold Crush Brothers, most of the featured artists are pretty obscure: T Ski Valley, Masterdon Committee, The Fly Guys et cetera.
You can really hear the influence of disco on some of these recordings, starting on the very first track with Peter Brown and Patrick Adams’ production for the classic “Spoonin’ Rap.” Another song apes the backing track from Michael Jackson’s “Don’t Stop ‘Til You Get Enough” and Brother D & The Collective Effort’s ultra-political “How We Gonna Make The Black Nation Rise” is based around a loop of “Got To Be Real” by Cheryl Lynn. Reggae production techniques are all over the place too. “Rapping Dub Style” by General Echo is the most obvious example of this, but there are also some amazing echo effects on “Rock The Beat” by the Jamaica Girls. And Xanadu’s “Sure Shot” has the mighty Joe Gibbs himself behind the board!
Disregarding the aforementioned academic value of this double album, Big Apple Rappin’ is a hell of a lot of fun to listen to from start to finish. And that’s what’s most important, isn’t it? Whether you’re looking for some historical perspective on the emergence of hip hop or just looking to have a good time, there’s a lot to love about this release.
the dudes are everywhere.
http://www.mediaf!re.com/?1mutezgkkhmRules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?3nnizzi5zyw
http://www.mediaf!re.com/?mmgkl2ed3n1http://www.mediaf!re.com/?zkkzm2wnttyhttp://www.mediaf!re.com/?q0tijrouzadSam Quinn - The Fake That Sunk a Thousand Ships
"Seth Avett of the Avett Brothers says "Sam Quinn writes genuinely beautiful music and sings with one of the most unique natural voices I have ever known.”"Code: [Select]http://www.mediaf!re.com/?mzz2y0ytcfr
Singer/songwriter from east tennessee, recently relocated to north carolina. former front-man of the quite enjoyable band the everybodyfields. first solo album. just released may 11. enjoy! it is amazing,
heres a sample:Code: [Select]http://www.youtube.com/watch?v=E3EhY5PWZRk
http://www.mediaf!re.com/?zwgag3jh55m
http://vinylwilliams.bandcamp.com/http://www.mediafire.com/?dwzkto03atn(http://bandcamp.com/files/11/50/1150184937-1.jpg)
Vinyl Williams - Qoma & Aura
Again, I am going to shamelessly whore out my friend's band, Vinyl Williams. His music is a phenomenal concatenation of psychedelic, post-rock, ambient, and a little hardcore, coming together in a pleasantly unique presentation with unprecedented quality. I know he puts a lot of work into his music, and this release is a collection of some of his best tracks from '09 and '10. I hope you'll download this and, if you like it, you should support him and buy it for like five bucks on bandcamp. Let me know if you're interested in any of his other material in this thread or via pm, because some of it isn't up on his site for download.Code: [Select]http://vinylwilliams.bandcamp.com/Code: [Select]http://www.mediaf!re.com/?dwzkto03atn
Thanks in advance, let me know what you think.
http://www.mediaf!re.com/?mot4zezm2tkOur First Brains (http://www.youtube.com/watch?v=CEFBysA_sD8&feature=related)http://www.mediafire.com/?mj2kyagzt3zLover Thine (http://www.youtube.com/watch?v=KGfNHXE0a9s)http://www.mediafire.com/?nmemnzj143m
It's like Bjork and Trent had a baby
http://www.howtodestroyangels.com/store/
http://www.mediafire.com/?y3x5mezqoonI figured I'd post an album by this band Seagull Screaming Kiss Her Kiss Her on here. They are a trio from Japan. Hard to describe their sound besides kick-ass rock and roll. Sick guitar riffs and a rocking female singer. Probably my favorite of all the random bands from different countries I have collected over the years. They also sing in English, so when you get into it you can start singing along...something I can't do with other Japanese bands I like. I have pretty much their entire discography so if more is desired, I can always post it. Unfortunately, since they were never released in the states and aren't available in Japan anymore either I can't quite have the quality control of 320kb that I usually like but its still worth it. A good song to hear first is the fourth track A Shotgun & Me, that's the first one I heard, but this whole album is pretty accessible while still having their quirkiness so that's why I'm posting it first.
Seagull Screaming Kiss Her Kiss Her - It's Brand NewCode: [Select]http://www.mediaf!re.com/?zwgag3jh55m
Would you happen to have Seagull to Hell or Swallow Up?
Also, I have 17 and Future or No Future at 320kbps if you want them.
http://www.mediafire.com/?zmfuokx3noyhttp://www.mediafire.com/?wtme1myjjyj
Ceremony - Rohnert Park[2010]Code: [Select]http://www.mediaf!re.com/?y3x5mezqoon
Anyone who likes Black Flag should give this a download.
Here are the two you were asking for. If there's a problem with either let me know, my computer got a bit wonky when I was uploading them but I think it went through fine. Sorry again that track 4 on swallow up cuts off, its pretty frustrating.
Seagull Screaming Kiss Her Kiss Her - Seagull to HellCode: [Select]http://www.mediaf!re.com/?zmfuokx3noy
Seagull Screaming Kiss Her Kiss Her - Swallow UpCode: [Select]http://www.mediaf!re.com/?wtme1myjjyj
http://www.mediaf!re.com/?iwgbqmyoizthttp://www.mediafire.com/?kcgsmeg1z3ehttp://www.mediafire.com/?2qysomonlqo
http://www.mediaf!re.com/?jewhjdydmoghttp://www.mediafire.com/?zjrjdy4j0z5Seagull Screaming Kiss Her Kiss Her - 17
(http://imgur.com/S0Eod.jpg)Code: [Select]http://www.mediaf!re.com/?tdyizk41mmz
Seagull Screaming Kiss Her Kiss Her - Future or No Future
(http://imgur.com/tGhME.jpg)Code: [Select]http://www.mediaf!re.com/?motn0m3qz4z
Thanks for Seagull to Hell and Swallow Up! Both seem to have uploaded fine. Giving them a listen right now!
I'm late on this, I know, but I wanted to say, this is absolutely fantastic.
(http://i165.photobucket.com/albums/u60/daschakal/toro-y-moi-causers-of-this.jpg)
Toro Y Moi - Causers Of This (320kbps)
The Bitter Tears - The Grinning Corpse Who Went To TownCode: [Select]http://www.mediaf!re.com/?jewhjdydmog
This band is playing in Chicago soon! Did you know that The Bitter Tears are one of maybe 15 interesting bands still active?
http://www.mediafire.com/?1mjmnnwbymv
http://www.mediafire.com/?gt2iwizzdgeAfter logging several years as members of Panic at the Disco, songwriters Ryan Ross and Jon Walker left the group in July 2009, citing creative differences and the desire to form their own band. The Young Veins took shape later that month, featuring a vintage pop/rock sound inspired by the Cookies, the Kinks, and the Cramps. Recording sessions for the band’s first album began that same summer, with Phantom Planet’s Alex Greenwald and Pretty.Odd. producer Rob Mathes lending their help. As the Young Veins continued working on the album, their lineup expanded with the addition of keyboardist Nick White, drummer Nick Murray, and bassist Andy Soukal, and the full lineup released Take a Vacation! in mid-2010.Myspace http://www.myspace.com/theyoungveins (http://Myspace http://www.myspace.com/theyoungveins)
http://www.mediaf!re.com/?2jlhlzdeqyz
http://www.mediaf!re.com/?31imaqnzjiz
http://www.mediaf!re.com/?1dkrgzm2zrm
(http://i165.photobucket.com/albums/u60/daschakal/archandroid_cover.jpg)
Janelle Monáe - The ArchAndroid, Suites II and III (V2)
http://www.mediaf!re.com/?yvon2zyyxywhttp://www.mediaf!re.com/?touhthddzjnhttp://www.mediaf!re.com/?wwtuwznmwyuhttp://www.mediaf!re.com/?m5mamjmyghthttp://www.mediaf!re.com/?mjzzmno2zzh
http://www.mediafire.com/?3uujrznfeyeA love story about heartache. Also includes zombies.http://www.mediafire.com/?mznk2mmnogrSounds like: Chemical Brothers and Bloc Party had a baby.http://www.mediafire.com/?mmmcywuz1yzhttp://www.mediafire.com/?ymimzmxjzeo
The Strange Boys -And Girls Club
(PIC-A-TURE)
More laid back but there's something about it that makes me listen over and over and over...from Dusted:
Strange Boys make garage rock stripped to knuckle bones and gristle, reaching back way past the Beatles to a Chess Records-ish mash of high slide guitar, second-hand shuffles, and woeful, wandering laments...The sound is raw and unfinished, the vocals wandering on and off key, the rhythms primitively simple, the recording low-grade and indistinct. This roughness may get in the way for the first listen or two, yet it’s part of the appeal for the long-term. Scratched up, indifferently tuned, coming in ghostly and pale like AM radio, Strange Boys’ first full-length has the banked fire of a slow burner. Put it on again and see.Code: [Select]http://www.mediaf!re.com/?wjtgjm4zjyt
http://www.mediafire.com/file/zwkntmqgn0o/Wagner - Das Rheingold.ziphttp://www.mediafire.com/file/tzmd1lzgkmj/Wagner - Die Walküre, Act 1.zip
http://www.mediafire.com/file/2tmnrhtdijy/Wagner - Die Walküre, Act 2.zip
http://www.mediafire.com/file/t5jzttj0q2z/Wagner - Die Walküre, Act 3.ziphttp://www.mediafire.com/file/memydy2ykzg/Wagner - Siegfried, Act 1.zip
http://www.mediafire.com/file/gnnlvmn2gqy/Wagner - Siegfried, Act 2.zip
http://www.mediafire.com/file/wt5zdd5womr/Wagner - Siegfried, Act 3.ziphttp://www.mediafire.com/file/zndmmzdzjtd/Wagner - Götterdämmerung, Act 1.zip
http://www.mediafire.com/file/zkyktyzj2za/Wagner - Götterdämmerung, Act 2.zip
http://www.mediafire.com/file/nztmndnz2ht/Wagner - Götterdämmerung, Act 3.zipRules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?dzyym044mndhttp://www.mediaf!re.com/?3dmmnz5032ohttp://www.mediaf!re.com/?mtwymzdnjnm
http://www.mediaf!re.com/?i2nfjikxljd
http://www.mediaf!re.com/?gdzy4wmtzxm
http://www.mediaf!re.com/?ymaxybuhzlyModesty, a lack of pomposity, humility. Skipping through a field of stiff upper lips with a twinkle in the eye, this is how the true Ninj likes to see him or herself. Ego squashed beneath rigor and correctitude. Masked, clothing fashionably but unobtrusively black. Understated.
Tenth anniversary? Pah, old hat, been done (to death) by everybody else already - eight hundred CDs belched from the depths of a marketing man's torrid night-time cum-hither fantasy. Now That's What I Call A Bunch Of Old Ravers/Jazzers/IndustryTarts Cashing In Number 4080…
But hey, we're due a new Ninja Cuts anyway. Why not tie it in a little? Come up with a high-concept title - XEN - in gold leaf lettering, just for a larf like? Why not? Keep it short, sweet and see what happens?
The grand old heads meet and agree the principle - ad hoc stylee. The new Ninja Cuts is born.
But baby Xen is not like other compilations. While the Ninja do their ninjy thing (y'know, with those little stars and all of that), baby Xen starts sucking stuff in, feeding, feeding, a black hole in the corner of the office, forever sucking. Insatiable.
It's just a single CD of new material.
Growing…
It's a double CD of new material and singles tracks.
More…
It's a double CD of new material and singles tracks plus a third CD of 'missed, skipped and flipped' something like that tunes.
And suddenly, the Ninja look up from their desks and in the corner of the room is Xen-Elvis in the Laos/Vegas phase, a huge, sparkling, bloated fucking monster of a compilation, surrounded by four hundred dancing girls (policitcally correct, o'course), four hundred dancing boys (anatomically
correct, o'course), pyrotechnics, a Noah's ark of performing animals, great skipfuls of fattening food and a pantheon of two-headed gods, all smiling beatifically and setting their bellies wiggling in time with a multiplicity of beats. All giving off this weird glow - buddhist technicolor.
And the buildings are trembling, cracks appearing in the walls, spangly stars flying out of every orifice of the screaming office Ninj, swirling up and round Xenelvis as he begins to puke out great swathes of music. Stylistically.
http://www.mediafire.com/?iwhd53kloywTheirspace (http://www.myspace.com/toundraband)
We'll start off this new period of activity with one of my "blind-fire purchases", an EP I picked up on the basis of a vague Boomkat description. It worked out pretty splendidly this time. Glasgow-based Dave Donnely has made a name for himself under the moniker Production Unit with his mixes for Numbers and releases for a number of imprints, as well as his continuing association with avant-electronic crate-digger The Village Orchestra (occasionally they perform together as Rose & Sandy). He has been known to write for Clash on occasion.
His latest release is a 5-track EP for Highpoint Lowlife entitled Ghost Tracks and it has really been one of those pleasant surprises you run into on occasion. I was worried that the only thing I would enjoy coming out this week would be Ital Tek (which I will be getting to at some point later on). Nominally at least, Ghost Tracks is dubstep - the rhythms and the tempo certainly fit the profile - but I keep wanting to say this is IDM, even though I tend to hear IDM in just about everything I like without being able to articulate it. Perhaps I should just settle on the definition of IDM being "electronic music with a distinct melodic sensibility", as Production Unit seems to have that in spades.
Lead-off track "It's Personal" starts off like any other steppa, vaguely sounding like a Pinch tune before taking on a wonderful, Purple-y regimen of synth sounds. It sounds a bit like something Alexander Brandon would come up with 'round Deus Ex day had he an interest in dubstep and lacked his tendency to overcompress synth sounds. The synth line that anchors the song is overdramatic in the best way, and there's never a point at which you get the sense that maybe any one element of the song is being held off on for the sake of another.
Second track "Axel" builds on an Autechre-esque bell synth and a pulsing bassline. It's a very dark track, reminiscent of Anodyne minus the more hardcore dance elements. Again my mind wanders towards Alexander Brandon. The third track is entitled "The Limehouse Cut" and it quickly establishes itself as the standout. I'm a sucker for the sort of droning organ melodies laid out from the first seconds of the track, and only a few minutes in a highly processed "guitar chime" synth lays down a sweet little melody, reminiscent of some of Planet Mu's criminally overlooked early roster (Dykehouse specifically, but also Frost Jockey and Jega, not to mention the man himself, u-Ziq).
The high-water period continues with "With An X", again returning to the Incunabula well for a dark, grimy exercise in futurism. A degraded, dubby girl vox sample fills out the tone established by the air-siren synth stabs, which spawn a second melodic section before the ferocious rhythm section barrels in. Is there any song burst-fire handclaps can't improve? If there is, I don't want to hear it.
"Grey" closes out the EP following two knockouts, slowing things down a bit with a skanking rhythm and classic canned synths - it closes on a quiet note, approaching the soundscape quality of "444" or "Windwind". It's not particularly thrilling, but that's only because it has the thankless task of cleaning up after two knockout tracks.
Unfortunately for my hard drive, this is one of those releases that spurs a frantic search for more of the same. A filler-free EP. Highly recommended.
http://www.mediafire.com/?krudmbwodzj
There is more than just clever wordplay involved in the title to Dark Dark Dark's new EP, Bright Bright Bright. It's a reflection of a more sanguine, auspicious direction for the band, with the group confidently expanding their sound and scope on these six new songs (as well as the group itself, who have now swelled to a sextet with the addition of two new members). But the dulcet vocals of Nona Marie Invie remain at the heart of these stirring songs, with her plaintive voice ringing true amid the rich, sonorous arrangements. The album was recorded at Sacred Heart Studios in Duluth, and the natural acoustics of the former church only serve to add to the warmth and intimacy of the songs. Minneapolis producer Tom Herbers was aiming to capture the live sound of Dark Dark Dark on the EP, and his all-analog recording process gives these songs an added vibrancy and clarity that truly allows the intricate orchestration to flourish. There are lush horns, strings, accordions, and the pleasing strains of a piano augmenting all of these intoxicating numbers, beginning with the hushed emotion of the title track, which blends the distinct talents of the band sublimely as the song grows in intensity but never loses its elegant composure. Both "The Hand" and "Make Time" have a jaunty exuberance that is reminiscent of the brass-infused cabaret sound of Beirut, and would clearly find fans in anyone who enjoys Zach Condon's work. But the song that simply floored me on Bright Bright Bright is the gorgeous, piano-laden dirge "Something for Myself," which is utterly fraught with emotion and deep conviction, and is so beguiling that I completely missed my stop while listening to the album on the bus.
http://www.mediafire.com/?olgz1vmhatg
http://www.mediaf!re.com/file/vk4wtxjymmz/Wax Cylinder Recordings 1893-1954.zip
http://www.mediaf!re.com/file/0tyxrozonty/Mono Tape Recordings 1951-1974.zip
http://www.mediaf!re.com/file/g0yjzwimmoi/Stereo Field Recordings 1967-2000.zip
http://www.mediaf!re.com/file/yuqn4wlwtev/Stereo Concert Recordings 1973-2000.zip(http://img812.imageshack.us/img812/313/16bitlolitas.jpg)Yo dogg track 2 be wiggin' out.
16 Bit Lolitas - Murder Weapon (2008)Code: [Select]http://www.mediaf!re.com/?dzyym044mnd
http://www.mediafire.com/?ngvrm2wummw
http://www.mediaf!re.com/?n0cwhfzzcmu"Fixed" (http://www.youtube.com/watch?v=17jdZdVmEuk&feature=player_embedded)i've been a casual fan of montreal's stars since their breakout lp set yourself on fire, but i mean casual in every sense of the word. i'd typically enjoy only a couple songs off of each album, letting the rest kind of melt into the background. but their newly leaked fifth album, the five ghosts, has impressed me so far. maybe it's because it's more uniformly upbeat than past stars offerings. either way, it'll be interesting to see how well it holds up to repeated listens. first impression is of a solid indie rock affair, most reminiscent of metric's fantasies with a slight tinge of electronica. i must say, amy millan's voice is still one of the most seductive in the indie rock realm.
http://www.mediaf!re.com/?yzijhjzwwn2"To the Lighthouse" (http://www.youtube.com/watch?v=RQKD-ftwqCM&feature=player_embedded)you may or may not be familiar with 2009's so-called 'chillwave' movement, led by such musical luminaries as washed out, memory tapes, and toro y moi, but there's really not much to know. it's a style that combines heavily effected processing of synthesizers, guitars, and vocals with simple melodies. the roots of chillwave lie mainly in 80s synthpop, shoegaze, and ambient. while the moniker itself is generally despised, the music itself is at times haunting, beautiful, and all-around emotionally affecting. many music scholars predicted a rapid demise for the genre, as it seemed to have run out of steam around winter '09. but as summer rolls around again, more and more chillwave-esque bands seem to be coming out of the woodwork.
memoryhouse is one of those bands, and among the best. their 4-song debut ep has all the potential of a masterpiece, from the jon brion-sampling "lately (deuxième)" to the quietly rollicking "to the lighthouse." the latter in particular is a song i can't help listening to over and over. it only makes sense that the duo of evan abeele and denise nouvion are from ontario - that's the only way something this wintry could manage to sound so optimistic. not to be missed.
http://www.mediaf!re.com/?jyytojx2qak"Summer Holiday" (http://www.youtube.com/watch?v=wGhGpciODa4&feature=player_embedded)The sun's out, the windows are open. Outside, kids shriek and play, dogs bark, and smoke wafts in from the grill. This is the world of Wild Nothing, real name Jack Tatum. Debut Gemini glistens with a sheen of nostalgic wonder, embracing reverb'd drums, echoed melodies, and airy vocals. It's both a testament and an epitaph to youth. Reminiscent of a lovechild between M83 and The Pains of Being Pure At Heart.
http://www.mediafire.com/?mdjjf4jijzy
http://www.mediaf!re.com/?1mj3z2oii1j
http://www.mediafire.com/?cfni2jgjiw4
http://www.mediafire.com/?nglnkh5gtmj
http://www.mediaf!re.com/?htyhnmjy31j
http://www.mediaf!re.com/?4zwyyyj2kku
http://www.mediaf!re.com/?zdquy3dymnzDINKA is a swiss progressive house act. Stomping house grooves, combined with catchy melodies and spherical harmonies. That’s Dinka!
(http://img683.imageshack.us/img683/4903/dinkahs.jpg)
http://www.mediaf!re.com/?ndgiyyjjbkz
http://www.mediaf!re.com/?nzeexejnt0ki've recently become enamored with the digital single label beko, an internet-based music label that's been issuing free singles every monday since late '09. beko specializes in everything truly alt, including avant-pop, chillwave/glo-fi, shoegaze/newgaze, psych-rock, fuzz pop, dream pop, no wave, and everything betwixt. they're basically the coolest thing since sliced bread, and i've been on a download binge since i found them yesterday.
one of my favorite beko discoveries is the lo-fi electropop stylings of jamie long. his 2009 ep the never years is a wonderfully earnest offering fraught with swirling synths and half-mumbled vocals. it's perfect, for sunlit strolls or laying in a patch of warmed grass, capturing the atmosphere of a leisurely summer afternoon as it wafts along with breezy weightlessness.
i know i've been kind of overdoing it with the "this sounds like summer!" stuff, but maybe it's the seasonal affective disorder finally taking flight. that, or the fact that seattle weather has finally gotten nice enough for me to roll up my jeans and take off my flannel. fuck yeah.
http://www.mediaf!re.com/?m4tmvgm2lyji tend to loathe comparing up-and-coming bands to more popular ones, but not only is it far easier than, you know, conjuring up a coherent description, it's also the best way to quickly and effectively get people interested. sometimes, the comparisons are a bit of a stretch, while other times, they're pretty spot-on. so when i say that cincinnati-based bad veins sound like a fuckchild of the strokes, beirut, and arcade fire, i mean it in every sense of the phrase. when the vocals hit on "crosseyed" (easily the best track), you won't believe it's not julian casablancas. and halfway through, you won't care.
far from being a predictable emulation of a 90s rock band, bad veins also manages to throw some curveballs in there: where a guitar solo would be, instead there's a moogish synth riff that's equally facemelting. the orchestral strings that pop in every now then are an interesting flourish, although occasionally they're a little too melodramatic - album opener "found" is one of the weakest first tracks in recent memory. thankfully, the beirut-style brass section manages to make up for it.
bad veins is the perfect example of a band who does everything right. as vocalist benjamin davis croons "i would be lying if i said i'd never hated you," you can't help but yell along. it's a mystery as to why these guys aren't huge yet, as they've toured with we were promised jetpacks, silversun pickups, and the apples in stereo. but their debut full-length is a compelling argument that they won't stay unsung for long.
D: meany
jamie long - the never years ep (2009)
(http://4.bp.blogspot.com/_TwoWWVwAC-g/TBci9uUs8gI/AAAAAAAAAUY/3Uh7aWAR_hk/s320/Jamie+Long+-+The+Never+Years.jpg)Code: [Select]http://www.mediaf!re.com/?nzeexejnt0k
"Pool House" (http://www.youtube.com/watch?v=dmItJ70is0A&feature=player_embedded)Quotei've recently become enamored with the digital single label beko, an internet-based music label that's been issuing free singles every monday since late '09. beko specializes in everything truly alt, including avant-pop, chillwave/glo-fi, shoegaze/newgaze, psych-rock, fuzz pop, dream pop, no wave, and everything betwixt. they're basically the coolest thing since sliced bread, and i've been on a download binge since i found them yesterday.
one of my favorite beko discoveries is the lo-fi electropop stylings of jamie long. his 2009 ep the never years is a wonderfully earnest offering fraught with swirling synths and half-mumbled vocals. it's perfect, for sunlit strolls or laying in a patch of warmed grass, capturing the atmosphere of a leisurely summer afternoon as it wafts along with breezy weightlessness.
i know i've been kind of overdoing it with the "this sounds like summer!" stuff, but maybe it's the seasonal affective disorder finally taking flight. that, or the fact that seattle weather has finally gotten nice enough for me to roll up my jeans and take off my flannel. fuck yeah.
bad veins - s/t (2009)
(http://2.bp.blogspot.com/_TwoWWVwAC-g/TBgM-pf9IQI/AAAAAAAAAUg/A8K6Iz_sSTo/s320/Bad+Veins.jpg)Code: [Select]http://www.mediaf!re.com/?m4tmvgm2lyj
"Crosseyed" (http://www.youtube.com/watch?v=QuLdqIb2P6g&feature=player_embedded)Quotei tend to loathe comparing up-and-coming bands to more popular ones, but not only is it far easier than, you know, conjuring up a coherent description, it's also the best way to quickly and effectively get people interested. sometimes, the comparisons are a bit of a stretch, while other times, they're pretty spot-on. so when i say that cincinnati-based bad veins sound like a fuckchild of the strokes, beirut, and arcade fire, i mean it in every sense of the phrase. when the vocals hit on "crosseyed" (easily the best track), you won't believe it's not julian casablancas. and halfway through, you won't care.
far from being a predictable emulation of a 90s rock band, bad veins also manages to throw some curveballs in there: where a guitar solo would be, instead there's a moogish synth riff that's equally facemelting. the orchestral strings that pop in every now then are an interesting flourish, although occasionally they're a little too melodramatic - album opener "found" is one of the weakest first tracks in recent memory. thankfully, the beirut-style brass section manages to make up for it.
bad veins is the perfect example of a band who does everything right. as vocalist benjamin davis croons "i would be lying if i said i'd never hated you," you can't help but yell along. it's a mystery as to why these guys aren't huge yet, as they've toured with we were promised jetpacks, silversun pickups, and the apples in stereo. but their debut full-length is a compelling argument that they won't stay unsung for long.
http://www.mediafire.com/?dlt0ymymjlyhttp://www.mediafire.com/?gonxttwmymm
http://www.mediafire.com/?zllzcbykjgtHe's Not A Boy (http://vimeo.com/11175864)
http://www.mediaf!re.com/?wmzneo01dgyAs a kind of 'thank you' to this thread for getting me into Ólafur Arnalds in the first place, here is his latest and a random other release that doesn't seem to be up in here.
http://www.mediafire.com/?ywevzlywwyzIcelandic producer Valgeir Sigurðsson is best known for his work for other artists (Björk and Bonnie "Prince" Billy, mostly), so it actually comes as no surprise that his solo debut...comes as a surprise. It is a "producer's record," in that Sigurðsson called in favors across the board (although, no, Björk is not part of the adventure), lining up a revolving cast of musicians and three singers: Billy, Faun Fables' Dawn McCarthy, and Machine Translations' J. Walker. However, despite all the diversity among constituent parts, the whole remains surprisingly -- that word again -- consistent. In fact, listening to Ekvilibrium helps you pinpoint and sum up what Sigurðsson brings to other people's records. This debut features quiet electro-acoustic folk pieces made of delicate electronic textures, lushly scored acoustic instruments (lots of strings, subdued piano courtesy of Nico Muhly, occasional brass instruments), and a dreamy feel. In other words: simple compositions developing through complex arrangements. Ekvilibrium contains ten tracks, including four songs and six instrumentals. The album begins with one of KTU's Samuli Kosminen's rough-edged beats ("A Symmetry"), followed by the first song, "Evolution of Waters," the first of two tracks penned by Sigurðsson and Will Oldham. The first half of the album follows a general curve toward the orchestral peak of "Winter Sleep," featuring a ten-piece ensemble and a gripping vocal delivery from Dawn McCarthy. After that, things boil down toward "Kin," Billy's second song. If the songs are more immediately grasped, the instrumentals also provide their fair share of highlights. Highly recommended to fans of post-rock and modern folk.
http://www.mediafire.com/?yzzuemqw1nhNorthern European film soundtracks and dramatic scores don't get a lot of attention, but they could arguably be their own pop music subgenre at this point. From Jóhann Jóhannsson's Englabörn to Erik Enocksson's Man Tänker Sitt, they often contain similar ingredients-- gothic strings, terse pianos, haunting vocals, and a melancholy atmosphere. But due to the format and the potency of the style, you can actually get away with making some very slight music. At minimum, you have to write only one memorable, stirring theme. Record it in a string-led arrangement, and again in a piano-led one. Stash allusions to it in a bunch of filler drone you use to glue things together and, voila, you're done.
But on Draumalandid, a soundtrack for a new Icelandic environmental documentary, Valgeir Sigurðsson goes the extra mile to produce work that stands up against the best of its genre. He lays the requisite foundations in place, with a palette of classical instrumentation and severe electronics. The powerful title motif he concocts for strings on "Dreamland" is reprised on "Draumaland", now scored for mercurial pianos wrapped in wheezing pump organ. But Sigurðsson isn't content to let his themes just sit there; he works them through a variety of mutations, climaxes, false endings, and codas. A bevy of collaborators, culled from Sigurðsson's own Bedroom Community label, inject their personalities and prevent the album from being stylistically monolithic.
Sigurðsson has an illustrious career as a producer and engineer. He's worked with Björk on numerous albums, plus CocoRosie, Ben Frost, Sam Amidon, Will Oldham, and Nico Muhly. His first and only solo LP to date, 2007's Ekvílibríum, predicted the magisterial classical/electronic style he explores here. But as a producer first, he knows how to use his collaborators effectively. Amidon and Muhly appear on opener "Grylukvæði", the best and most distinct track here. Amidon has one of the most inviting voices around today, and his Icelandic folk song, flecked with banjo, sounds wonderful, glinting through a rich haze of strings and crackling with space-transmission interference. And Ben Frost threads subliminal disturbances through the Death Star strings of closer "Helter Smelter".
But most of the record's success stems from Sigurðsson's commitment to making the music a drama unto itself, not just a supplement for existing drama. In the final minute of "Dreamland", a simple 4/4 thwack appears, but it does wonders, turning the stately dirge into a desperate march. "Past Tundra" seems like it's going to be pleasant but nondescript, until the mighty bass chords kick in, the string section starts to cook, and the piece veers off on a warpath you'd have never predicted from its beginnings. There are other gradations of tone, some effective ("Beyond the Moss", where stripes of melody lick out of loose, jazzy clutter), some less so (a trio of brief, negligible interstitials in the middle of the album). But overall, Draumalandid is an excellent addition to my growing collection of music for movies and plays I'll probably never actually see.
http://www.mediaf!re.com/?otxyyneywwx
The above album is so good. I don't know why I'm digging it so much, but I suggest everyone check it out.
http://www.mediafire.com/?jehhmwkztwyhttp://www.mediafire.com/?q1jnwcaoh3mTracklist:
01. Blackbird Blackbird (http://www.myspace.com/byeblackbird) ∆ Kings
02. Persona La Ave (http://www.myspace.com/personandthebird) ∆ Beach 2 (Gobble Gobble’s R. Kelly Magic Carpet)
03. Jaded Hipster Choir (http://www.myspace.com/cmjhc) ∆ Peach, Plum, Pear (Joanna Newsom cover)
04. Mickey Brown (http://www.myspace.com/mmrandlesb) ∆ Hammered
05. Hooray! (http://www.myspace.com/hooray4blue) ∆ Slow Dancing
06. Mutual Benefit (http://mutualbenefit.bandcamp.com/) ∆ The Dream
07. Cosmic Sound (http://www.myspace.com/eightbithighfive) ∆ Taste the Rain
08. Cold Weather, Cold Water ∆ Metal Alligators
09. Persona La Ave (http://www.myspace.com/personandthebird) ∆ Dunes
10. Mickey Mickey Rourke (http://www.myspace.com/mickeymickeyrourke) ∆ The Love Song
11. Teen Daze (http://www.myspace.com/teendaze) ∆ Saviour
http://www.mediafire.com/?tmwtiwflmxjhttp://younglegs.bandcamp.com/
Joie De Vivre - The North End
Daniel Savio asserts his position as one of a few leading lights of the Skweee scene with this excellent 12" single. Title track "Street Cred" starts out in heavy rhythmic mode in the signature Skweee vein (does Savio use step sequencers? I feel like he must) but soon Savio's distinctive melodic sense shows itself. The heavy, stuttering pace doesn't let up, but I kept hoping against hope for more than a glimpse of a synth that wasn't gated, at least before the weirdly affecting outro. Still, it's an immense slab of prime analog electro-funk that only a craftsman like Savio can deliver. He keeps it just above rudimentary chiptune - at its best, Skweee is a reminder that you can make arresting art with basic tools, if you put your mind to it.
The b-side, the awesomely titled "Big Weiner", starts off with a pretty basic step beat before detuned bell synths and a squiggly, echoing lead (this must be what they refer to when they talk about "squeezing synths") under a playful, acid-y bass line. Synth elements drop in and out, creating a cartoonish, slow-motion sugar rush. It strips itself bare in the second half, returning to the basic rhythmic elements before the squirmy acid bass shows up again for the finale.
http://www.mediafire.com/?tmlmzmjmnxvHere's an odd collaboration. Alan Vega is a legend - his protopunk / avant-garde band Suicide is mind-bogglingly influential. Iggy Pop, Big Black, and Bruce Springsteen are among the hundreds of acts touched by the band. They even coined the term "punk" from Lester Bangs. Chaotic NYC electro-clash noise band A.R.E Weapons, well, I don't know a whole lot about them, but they seem to have a troubled and chaotic history and they hadn't released anything in the 2 years preceding this collab. A.R.E Weapons serves as the backing band, presumably, for this single.
"See Tha Light" is classic Vega. He doesn't sing so much as he invokes, like a preacher or a beat poet. The song doesn't make a lot of sense, but the incessant post-punk guitar loop that underlays the track lends the track a dark, weathered feel. It's music for dark rides through the desert. If anything it reminds me of mid-period Bauhaus (who were probably as enamoured with Suicide as anyone). Vega's shamanistic charisma is in full effect. It's quite hypnotic.
The b-side, unfortunately, is far less alluring. "War" is an oddball cover of the soul singer Edwin Starr, and aside from the rather blase lyrics and uncharacteristically weak delivery, the production is stunningly cut-rate. It sounds like all the music is coming from cheap keyboard presets recorded from a mic halfway across the room. Either they ran out of money or they just didn't care enough to make it sound good.
So overall, it's not as impressive as it could be. You've got a winner and you've got a dud. It doesn't approach the transcendence of Suicide or some of Vega's other solo work, but "See Tha Light" at least proves that Vega can still deliver into his 70's.
http://www.mediafire.com/?omenjiekyotI had actually planned on posting this when I hit the 200th post for the blog, but somewhere down the line I got distracted and I lost track, in spite of myself. So this will actually be our 204th post. C'est la vie.
Before I purchased 200 I was living the in the pre-digital age insofar as music was concerned. It was 2007 and I was still exclusively buying physical albums from stores with no real selection, I wasn't plugged into any electronic music sites and I was taking electronic music advice from dinosaurs like Spin and Rolling Stone. Naturally, I was getting frustrated with the slow trickle of good releases I was taking in. One of the few "general interest" sites that was halfway dependable was The AV Club, as they had writers who were actually interested in the sort of music I liked (they recently ran a monthly electronic music roundup but it was shut down due to lack of interest - again, c'est la vie). Their end-of-year best-of feature was broken up into sections for each writer, so I homed in on the electronic albums being presented and tracked them down. 2007 was a particularly bountiful year as I recall, at least until I realized how much I hated Ed Banger house. But there were a few lasting contributions to my collection, and the foremost among them was 200. I think it was Andy Battaglia who recommended it (might've been Michelangelo Matos) - A two-disc compilation at a cut-rate price of $6 or $7.
It was important for a couple of reasons. The first was that it was, well, the first bonafide compilation I had bought. I would soon discover that label compilations were a pretty great way of exponentially expanding one's consciousness of an imprint's general philosophy, its strengths and weaknesses. Secondly, it began my love affair with the Planet Mu label, which continues into the present day. I had known of u-Ziq for some time, of course, but I wasn't aware of the depth and character of his label. And third, it was the first digital album I bought and downloaded - after that point, I bought maybe one or two CDs (not counting artist-supporting purchases from shows) and relied instead on digital downloading for my music, which has brought many benefits, the least of which is a pronounced lack of clutter in my room and the most of which is an astounding (sometimes too astounding) selection from which to choose.
But enough about why it was important. Is it any good? Of course it is. Besides being a crackerjack A&R man, Mike Paradinas has an exceptional ability to sequence his label comps, and like the rest of the considerably varied Planet Mu compilations, 200 serves as a fascinating snapshot of the label as it existed at the time of release.
200 is, as the name might suggest, the 200th release on the imprint, and it does an admirable job of serving as a label retrospective. It's far from complete, but with a label this prolific encompassing a catalog this eclectic, perfection is hard to ask for. What's missing from 200 are representations of the label's first two major incarnations - First, as a home for Paradinas' friends and artists who were very close to his 90's IDM sensibilities, and second as a bastion of weird electro-acoustic composition. There aren't any Jega or Leafcutter John songs on this compilation (for those, you have to go back to earlier comps). What is accounted for is the label's third incarnation as the king of all breakcore (Venetian Snares, Shitmat, Duran Duran Duran and Hellfish) and the earliest signs of the label's transformation into a dubstep juggernaut (Darqwan, Distance / Vex'd, Pinch, MRK1, Milanese and Ital Tek) as well as tracks from an assortment of the label's perennial acid-derived staff (Luke Vibert, Ceephax, Syntheme, The Doubtful Guest, The Gasman) and an overtly poppy cut from the man himself. There are 26 tracks, many of them exclusive to the compilation, spread out over two discs. As daunting as it might seem, getting through the entire compilation is surprisingly easy - there's nary a bum song or difficult section. Some credit must go to the artists, but Paradinas' ear for sequence is commendable, as always.
http://www.mediafire.com/?3tmzmmoiwzy
...Suicide is mind-bogglingly influential.... Bruce Springsteen
...Suicide is mind-bogglingly influential.... Bruce Springsteen
To be honest I'm not super familiar with Suicide but this is immensely confusing to me based on what I do know about Bruce and Suicide's music
Did I download this and buy the vinyl within three songs? Yeah. It's pretty good.
Joie De Vivre - The North End
http://www.mediafire.com/?dycytwooqtnSpoken Word done over catchy electronic beats. I've been listening to it nonstop for the past couple of days.Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
Thanks for the Valgeir Sigurðsson uploads - but track 9 of Ekvílibríum is corrupt.
http://www.mediaf!re.com/?dioywcdyjf4
Like a handful of other artists, Subeena (nee Sabina Plamenova) entered my pantheon sometime last year, having only released an EP and a few singles. I don't know a whole lot about her - she's from Italy originally, she was / is going to university in the UK as well as taking regular DJ gigs, she took part in one of the recent Red Bull Music Academy events, her name really has nothing to do with musical concepts (it's just an alternate spelling of her name), she co-ran a label called either Imminent or Immigrant or possibly both (I haven't been able to make sense of it) before it shut down, and her prodigious talent has fostered something approaching a distant crush on my part, if it hasn't already been obvious.
It's been rather excruciating waiting on the trickle of new releases from her, much as it has been with other forward-thinking beatsmiths (Floating Points immediately comes to mind). Thus I am absolutely thrilled to introduce a new Subeena single, the first on her own newly christened Opit imprint. Those Subeena fans among you (is it just me?) may recognize the first track, "Picture", as the second or third selection from Plamenova's mind-blowing FACT mix from last year (it's hard for me to tell which one - that one was mixed pretty deep). I would often backtrack from the fourth or fifth song to hear it again, so I'm quite ecstatic to have it here, in extended form. It starts off in heavy step mode before picking up a thrilling pace with early-mid 90's Warp synth arpeggis - it's songs like this that make me wish I could DJ, so I could blast people with it.
The second track, "Spectrums", is surprisingly clubby for Subeena, at least judging from the assorted works of hers that I own. It starts off with blaring synth washes and a bit of rhythmic shuffle before settling into a comfortable 4/4 groove and a winding synth lead that is almost too brightly hued for its own good. It reminds me a lot of the MIDI dance tracks that Alexander Brandon doled out for the Deus Ex soundtrack back in the day - pure cyberpunk revelry. The house-y touches are a bit out of my comfort zone but Subeena keeps things interesting enough to hold my attention throughout. Almost effortless in its unique quality.
The physical release has been out for some months but the digital version only just dropped. Really consider buying this one - Opit is just a sprout of a label right now (the second release, from oddly placed Kentucky outfit Milyoo, should see some column inches from me soon) and it's shown a lot of promise in a very short span of time. It's only a few bucks. Snap it up.
http://www.mediafire.com/?jmigazytgdt
http://www.mediafire.com/?iiunniwctjd
Delphic - Acolyte[2010]
(http://imgur.com/McB0w.jpg)Code: [Select]http://www.mediaf!re.com/?mznk2mmnogrSounds like: Chemical Brothers and Bloc Party had a baby.
Doubt (http://www.youtube.com/watch?v=2vl2tZV6XV4)
Did I download this and buy the vinyl within three songs? Yeah. It's pretty good.
Joie De Vivre - The North End
glad you like it, this is, uh, sorta a band I am in.
http://www.mediafire.com/?5w2kgmj2zmahttp://www.mediafire.com/?20xxea2xn2nSurf Punk Rockish fun.http://www.mediaf!re.com/?nmmtmnjzgdnhttp://www.mediafire.com/?otnajzftczyhttp://www.mediafire.com/?t2wnor0g2qgMyspace (http://www.myspace.com/blackstormrocks)
http://www.mediaf!re.com/?mtmoqwfyn2yhttp://www.youtube.com/watch?v=7jgmgE-QDzA
http://www.mediaf!re.com/?jm0zivmzgdyhttp://www.mediaf!re.com/?zomqnzztzmzhttp://www.mediafire.com/?km0wzmgtozt
Blackstorm - Rise Rebel Stars[2010](320kb/s)
(http://www.unitedbyfaterecords.com/graphics/discography/41.jpg)Code: [Select]http://www.mediaf!re.com/?t2wnor0g2qgMyspace (http://www.myspace.com/blackstormrocks)
woo shitty webrips that have been circulating for a month
not down...Huh, it wasn't working before, but now it's fine. Weird.
http://www.mediafire.com/?mzyhd3z21othttp://www.mediafire.com/?xhyygmjhc1yhttp://www.mediafire.com/?am20gmny0i4http://www.mediafire.com/?zn5eq1wm3t2http://www.mediafire.com/?mmnwdneo4ymЮ.Г. - Пока никто не умер
Yamon Yamon - This Wilderlessness
Catchy Indie MusicCode: [Select]http://www.mediaf!re.com/?mmnwdneo4ym
Bandcamp - Alonso (http://yamonyamon.bandcamp.com/track/alonso)
Here are some albums that I have been really digging in 2010.
Suckers are so fun live. I haven't bought its full release yet... I love its music, but the choice for album covers are terrible.
http://www.mediaf!re.com/?dytbmkxmg5yhttp://www.mediafire.com/?mt3zyy2mqmj
Ю.Г. - Пока никто не умер( in english, JG - No One Died)
http://www.mediafire.com/?mkzxjziy2i1http://www.mediafire.com/?yidiogzyi5z
Suckers are so fun live. I haven't bought its full release yet... I love its music, but the choice for album covers are terrible.
Baboon head is the best album cover.
Baboon head is the only album cover.
http://www.mediafire.com/?w0mtnjkznk1
http://www.mediafire.com/?mzt4gzwdrg1Myspace (http://www.myspace.com/theforecast)
http://www.mediaf!re.com/?zlon4dtnznhhttp://www.mediafire.com/?cyxmfym4mwxhttp://www.mediafire.com/?m2iundejhl2http://www.mediafire.com/?ydznyotj2zmhttp://www.mediafire.com/?ymzmezvwmmmhttp://www.mediafire.com/?m9tzmmmj3j1Song of the Traveling Daughterhttp://www.mediafire.com/?3jna3cdgndohttp://www.mediafire.com/?g1ot13mokgeSweethearthttp://www.mediafire.com/?wvdwqqydjkwDan Reederhttp://www.mediafire.com/?bjjjm2gttyrhttp://www.mediafire.com/?wzyzyyl3nxaChinatownhttp://www.mediafire.com/?neijamnuggwBlue Horsehttp://www.mediafire.com/?nuyntdujzzthttp://www.mediafire.com/?2vod0hdnmf1"Backpack" (YouTube) (http://www.youtube.com/watch?v=qhrQ7P9EXnI)http://www.mediafire.com/?lmmmwazsmqyhttp://www.mediafire.com/?7ycit1mbnmj"Nosebleed" (YouTube) (http://www.youtube.com/watch?v=KjQB3ClWAfI)http://www.mediafire.com/?2nbm4genggiFood in the Bellyhttp://www.mediafire.com/?24jntkiy4toDark Side of Bluehttp://www.mediafire.com/?yuirntcumyz
Japandroids - Younger Us (single)
Amazing... again
http://www.mediafire.com/?jkkthmz2eoi
The Books - The Way Out (2010 @ 320kbps)
(http://www.mbvmusic.com/wp-content/uploads/2010/06/the-books-the-way-out.jpg)
Oh hi I'm just the best record to come out this year and I will shatter your emotions and render your jaw limp and slack with awe and wonder (hyperbole and I just don't care)Code: [Select]http://www.mediaf!re.com/?mt3zyy2mqmj
http://www.mediafire.com/?ygznzwz2kot
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?nno1jiygdvzHere's a solid hip-hop album in my opinion. His style is pretty oddball. He's a talented rapper, but has several awkward songs, with awkward hooks, just very unique and some humorous references. Somewhat along the lines of Busdriver.
Homeboy Sandman - Actual Factual Pterodactyl
(http://i18.photobucket.com/albums/b103/SamSanchez/51lIVljnedL_SL500_AA280_.jpg)Code: [Select]http://www.mediaf!re.com/?0nyzix2quiu
http://www.mediafire.com/?mzjifyjdjjrIf you’re in need of a fresh sound, look no further. This Baltimore-based synthpop, new wave revival trio is really just…spectacular. It’s frontman Samuel T. Herring’s vocals that get me. At times growling like Tom Waits, at others crooning like Matt Johnson he forces you to sit up and listen. It takes a few spins to get acclimated to the album, the tempo, the sound, the voice. But once you do, it’s so damn compelling you won’t be able to stop.
http://www.mediafire.com/?yld2mdnkmzlIn case you’ve been living under a rock lately, Geographer is the next ‘ need to know’ SF band. Synth-y, orchestral, moody and melodic, they make a beautiful cocktail of music. The recipe? Take two parts Grizzly Bear and one part New Order, mix well and you’ve got yourself a heady concoction of sound perfect for after hour, late night sessions of…whatever.
http://www.mediafire.com/?zumwe2ymdnn
Geographer - Animal Shapes EP
Second best EP of the year so far, besides Active Child's
Youtube - "Kites" (http://www.youtube.com/watch?v=talOq6wp8kk) This song is amazing.Code: [Select]http://www.mediaf!re.com/?yld2mdnkmzlQuoteIn case you’ve been living under a rock lately, Geographer is the next ‘ need to know’ SF band. Synth-y, orchestral, moody and melodic, they make a beautiful cocktail of music. The recipe? Take two parts Grizzly Bear and one part New Order, mix well and you’ve got yourself a heady concoction of sound perfect for after hour, late night sessions of…whatever.
http://www.mediaf!re.com/?wyi2d0dgzgjwww.karkwa.comDownload: http://www.mediaf!re.com/?nhkzwdne2qx
MySpace: http://www.myspace.com/thehoofandtheheel
Last.fm: http://www.last.fm/music/The%2BHoof%2B%2526%2BThe%2BHeel
dirty projectors & björkeveryone should buy this album instead
(http://img571.imageshack.us/img571/4954/mwoonlinecover608x608.jpg)Code: [Select]http://www.mediaf!re.com/?jkkthmz2eoi
http://www.mediafire.com/?rzzznwgunygHi all
We thought we'd let you know that a remix collection based on "My Guilty Pleasure" is out now as a download! The collection (we're not sure if we should call it an EP or an album) contains 5 new remixes, 3 remixes taken from the "Miracle" and "Love In July" singles, and the European version also includes the Junior Boys remix of "Jackie Jackie" in a previously unreleased vocal version. It's available from iTunes, Beatport, Juno, Amazon etc. (but not Spotify) through Permanent Vacation and Paper Bag Records.
The tracklist is:
1. Save Your Love (Lovelock Remix)
2. Looking At The Stars (FM Attack Remix)
3. Love In July (CFCF Remix)
4. Miracle (Bogdan Irkük Remix)
5. My Fantasy (Bottin Remix)
6. Jackie Jackie (Junior Boys Vocal Remix)
7. Love In July (Bostro Pesopeo Remix)
8. Swimming Through The Blue Lagoon (Boat Club Remix)
9. Let It Show (Low Motion Disco Remix)
And here's a review, but don't believe it as they're trying to sell it!
;)QuoteEnigmatic Swedish Italo-disco starlet Sally Shapiro returns with the final instalment of remixes from her My Guilty Pleasure album. Out on Permanent Vacation, this EP contains nine tracks and features some of the best producers that the neo pop and disco scene has to offer.
My Guilty Pleasure, Shapiro’s second album, received both critical and commercial acclaim when it was released in August last year. Based around 80s disco, the record also took in influence from jazz, pop, acid and ambient beats. Now, just like she did with her debut album Disco Romance, she unleashes an EP of remixes of the album tracks.
Steve Moore of US band Zombi opens the package under his Lovelock moniker, giving “Save Your Love” his shiny 80s glitz treatment before relative newcomers FM Attack and CFCF take on “Looking At the Stars” and “Love in July” respectively. Bogdan Irkük then turns in a vocoder version of “Miracles” and Italian disco mover Bottin chips in with a chord heavy interpretation of “My Fantasy”. Synth pop stars the Junior Boys are up next with one of the highlights of the EP. Turning “Jackie Jackie” into a shimmering but dark club track, the boys find the original a new lease of life. Permanent Vacation own boy Bostro Pesopeo hands over a solemn remix of “Love in July” and Boat Club slow it down for an epic sounding “Swimming Through the Blue Lagoon”, before Low Motion Disco close off the EP with their Balearic influenced remix of “Let It Show”.
What we get here is a collection of nu disco’s most accomplished producers doing a fine job of reworking Shapiro’s tracks to complement the original album. They have all brought their own ideas and own sound to the tracks but still managed to maintain Shapiro and her collaborator Johan Agebjörn’s marriage of homely, introspective melody and gleaming electronic production.
http://www.mediafire.com/?g2yh2wmwwmmGeographer - Animal Shapes EP
Second best EP of the year so far, besides Active Child's
Youtube - "Kites" (http://www.youtube.com/watch?v=talOq6wp8kk) This song is amazing.Code: [Select]http://www.mediaf!re.com/?yld2mdnkmzlQuoteIn case you’ve been living under a rock lately, Geographer is the next ‘ need to know’ SF band. Synth-y, orchestral, moody and melodic, they make a beautiful cocktail of music. The recipe? Take two parts Grizzly Bear and one part New Order, mix well and you’ve got yourself a heady concoction of sound perfect for after hour, late night sessions of…whatever.
Yeah. A+ stuff.
http://www.mediafire.com/file/etmwmjtmzzz/Rocket_Boy_-_EP.zip
http://www.mediaf!re.com/?ytda11hnkjr
http://www.archive.org/details/LostChildren083Lithuanian producer Brokenchord comes roaring out of the gate with this, his first EP for the formidable Black Acre imprint. The name of the game is half-step IDM, which as you might recall is really my kind of thing. I've been listening to EP on repeat for the last few days and it's only grown on me.
"Bluestar" starts off the EP with a nondescript-seeming post-dubstep thump and a whirring, twisting synth drone. About a minute in it gets kicked up a notch, with a cool trip-hop vocal sample and buzzing synth chords adding to the mix while the drum sequencing bugs out a bit. Second track "With Tsunami" features what sounds like warped vinyl scratching over a sizzling low end. As the song goes on it becomes ever more hard-charging, with soundscape-y IDM flourishes abound. It's like brostep without the bro, the sort of thing Slugabed would make if he didn't take so much glee in bludgeoning people with his bass. Third track "Lowe" is the high point of the EP, an awesomely hazy abstract hip hop jam more in the Modeselektor mold than the Brainfeeder mold. I've heard no better summation of the pop potential of half-step than in this song. Closer "Run Into the Light" starts quietly, building upon little elements until the heavy, echoing bass starts being thrown around and a half-audible voice (or is that some sort of synth?) starts singing, making the song strongly reminiscent of the anthemic space rock of post-metal titan Jesu more than anything else.
Overall, a pretty strong EP, and as good of an example of how braindance can survive in the bass music scene as any Mu album.
http://www.mediaf!re.com/?uyhglndigz2Today's featured release comes from Milyoo, a producer out of Kentucky, a state generally known more for its bluegrass than for its electronica. He's come seemingly out of nowhere but he's managed to make a lot of headway recently, with a remix for Greymatter (part of one of the remix EPs posted yesterday) and this 3-track EP on Opit imprint.
The title track starts off with what sounds like a basketball dribble with added delay, a neat little sonic trick reminiscent (to me, anyway) of Los Angeles-era Flylo. Soon enough, however, a pitch-shifted bell loop and a driving, whiplash-inducing bass drum muscle their way into the mix. The nervous tension is broken up somewhat by an understated and pleasant organ line and some cut up, Funkineven-style vox samples, and stressed-out synth sounds. It's a track that's wonderfully hard to classify, not unlike Opit boss Subeena's own music. Whatever it is, it will find you dancing, or at least nodding your head.
Second track "Multitude" is a slow, funk-indebted crawler (UK Funky is such a thing now that I hesitate to use the term "funky" for fear of causing confusion) with a 4/4 thump and evil-sounding vox treatments that perfectly accompanied me on my recent foray down South - thick music for muggy air. "Fayoh" closes out the EP with a Guido-esque piano melody and reverberating handclaps, sharp steppa programming and squashed, churning synths. It's exhilarating and dramatic and a little weird but it keeps its coherence where a less skilled producer would let the tune fall apart. It also features a unique use of vocal samples that I can't quite describe - I've gotten used to soulful vox in my dubstep / garage ever since FaltyDL came onto the scene but this is something different. It's not laid out on top of the mix, it's used almost as a rhythmic element in certain parts of the song. A very interesting track to wrap a short but rewarding EP. I'll be looking forward to more from this guy in the future.
http://www.mediafire.com/?dljmmzmjtnq
http://www.mediafire.com/?nnqyevua5ny
http://www.mediafire.com/?wikgjztimwmhttp://www.mediaf!re.com/?mljymmonltz
Geographer - Animal Shapes EP
Second best EP of the year so far, besides Active Child's
http://www.mediaf!re.com/?djmjjmhwnlg0hnnhttp://www.mediaf!re.com/?iwlyeowv2yizjwdhttp://www.mediaf!re.com/?uu2toetmmymmmdwHomeboy Sandman is excellent, thank you
http://www.mediafire.com/?dtymzwwzkid2z0nMyspace (http://www.myspace.com/masshysteri)Download: http://www.mediaf!re.com/?oyyfyzojvod
MySpace: http://www.myspace.com/wheniwas12
Last.fm: http://www.last.fm/music/When+I+Was+12new Menomena
heyooo (http://www.hiyoooo.com/)
Menomena - Mines (2010, 320kbps)
http://www.mediafire.com/?h40zy2jjgyo"Sea Swells" (YouTube) (http://www.youtube.com/watch?v=zhxQcV4GaKM)Masshysteri - Masshysteri[2010](320kb/s)
(http://3.bp.blogspot.com/_3oBnrCkpVUo/S7rh_Yzdc_I/AAAAAAAABsg/ypbyAGor2Fo/s1600/haschmysteri.jpg)Code: [Select]http://www.mediaf!re.com/?dtymzwwzkid2z0nMyspace (http://www.myspace.com/masshysteri)
Some really excellent female fronted punk from Sweden
http://www.mediafire.com/?d7852i2e1cibq56http://www.mediafire.com/?dy7ldgt7axhmfjpEdmund Oak from Denmark is formed around composer and singer Jonatan Bengta and follows in the singer/songwriter tradition of folk music, but also takes inspiration from Chet Baker, Ethiopian jazz and experimental genres.
Debut album "Queen Odea Escapes" was recorded late at night over a 12 months period in one of the most famous churches in Copenhagen and released by Minimum Records in 2008.
As one of the most unique Danish records in 2008, it combines melody and beautiful atmosphere, with unusual instrumentation such as cello, bells, gongs, Hawaii-guitars and choir.
http://www.mediafire.com/?wtayoawlmdj
http://www.mediaf!re.com/?i8tm15xi716i3c3
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?binztmqz0vkwndm
Have some punk.
One of my colleagues had a group about 15 years ago which recorded this EP for Golf Records. They split up before they could tour on the back of it, and the EP sank without trace. No one even knows of a surviving copy; but here it is, taken from the DAT master.
Rocket Boy - EP:Code: [Select]http://www.mediaf!re.com/file/etmwmjtmzzz/Rocket_Boy_-_EP.zip
Mount Kimbie – Crooks & Lovers (2010) 320k, no voice overs
Mount Kimbie – Crooks & Lovers (2010) 320k, no voice oversHeard this streaming over at FACT--downloading ASAP. Hopefully it's a grower, though, because on earlier listens it didn't really compare with the two EPs.Code: [Select]http://www.mediaf!re.com/?binztmqz0vkwndm
are you always such a downer man
http://www.mediafire.com/?kb2x55r4p8mlvawhttp://www.mediaf!re.com/?b0byyyg443hwvfmIf you dig heavy, groovy jams with angry lady vocals, and a pinch of violin to taste, SubRosa will likely rock your socks right off your feet and out towards the next major landmass.
You guys may or may not have heard of this band, but they come from my neck of the woods (SLC, UT), and they just played a killer show last night. This album is a little old, but it's still really good - their new release should be out sometime soon, and my friend's band is organizing a show with them in SLC soon. If anyone feels like attending, PM me or something and we'll chat.
Filkoe and Oskar Ohlson and Babelfishh - stay homeCode: [Select]http://www.mediaf!re.com/?kb2x55r4p8mlvaw
Shapes Stars Make - These Mountains Are Safe
Indie Rock/Post-rock with vocals
Myspace (http://www.myspace.com/shapesstarsmake) "(We Are) The Hurting" is my favorite trackCode: [Select]http://www.mediaf!re.com/?zumwe2ymdnn
http://www.mediafire.com/?vf8nlna5r7q1qakHow do you like your rock? Dirty? I thought so. Well take that Dead Weather vinyl off the record player, there’s an even more alcohol-fueled dirty miss of a rock album after arriving. Stale Champagne is a sonic mindfuck of a record with bizarrely brilliant lyrics underlaid by fantastic floor-stomping country rock.Myspace (http://www.myspace.com/iamstatechampion)
State Champion is the child of Ryan Davis, and is like a more raucous Wilco. If Jeff Tweedy is the man at the bar drinking whiskey, Davis is the one on the floor with the broken pool cue across his back. Amazingly, this album has stayed under my radar until now – it was released in January – but it’s too good for me not to highlight its brilliance.
The production qualities on the record are nil, it has a one-take urgency to it, which gives the album a wonderful raw quality. It’s only fortyish minutes in length, and features eight songs – every one of them an alt.country jam. The songs go from heartfelt to angry. ‘Come See What I Have Done’ is the album’s essential ballad. It’s a bitter tale of lost love. What else would you expect? ‘Bite the Dust’ sounds like a grittier country Gaslight Anthem, and features the angry refrain (well it would be a refrain if State Champion followed usual song structures) “Saying cuss words at the ground / Things like fuck / shit / goddamn”. By the third listen you’ll be bellowing out the words along with Davis, all the while reaching for another Jack Daniels.
Stale Champagne screams out to be played again, and again. It’s one of those albums that you’ll find yourself playing in its entirety just after it’s finished. Each of the songs has its own appeal. Sabrina Rush’s mandolin on ‘Help Me Sing’ is fantastic, and for some reason the song reminds me of Beggar’s Banquet. For me, the song is the standout. As well as the beautifulstrings, there’s also wonderful guitar riffs, and Davis’s empowering vocals. Hugely enjoyable. It’s exactly what I’d imagine a cross between The White Stripes, The Raconteurs, and the Dead Weather would sound like.
If you’ve gone six months without hearing this album, you no longer have an excuse. I’ve told you of its greatness. Now go and get it.
http://www.mediafire.com/?o84v94q5ob1ri3h
http://www.mediafire.com/?sharekey=9dfae77a109ed5188c9e7c56ba37815f0c5ee15f8ea0ea73Since Swans are touring again and releasing a new studio LP for the first time in a while, here's their entire discography(it's missing some hard-to-find recordings but all the good stuff is there):Definitely gonna work through this soon. Thanks a ton!Code: [Select]http://www.mediaf!re.com/?sharekey=9dfae77a109ed5188c9e7c56ba37815f0c5ee15f8ea0ea73
Filkoe and Oskar Ohlson and Babelfishh - stay homeCode: [Select]http://www.mediaf!re.com/?kb2x55r4p8mlvaw
I know I'm probably the only person around here who gets really excited when you post knertz stuff but....
....FUCK YEAH, KNERTZ STUFF!!!!!
http://www.mediaf!re.com/?2vo6odq6b1ukkr1"Sink/Let it Sway" (http://www.youtube.com/watch?v=B0SEzcA8rdY&feature=player_embedded)
http://www.mediaf!re.com/?c6clscfndjuu2e7
Since Swans are touring again and releasing a new studio LP for the first time in a while, here's their entire discography(it's missing some hard-to-find recordings but all the good stuff is there):Uhhh so can you recommend 4 or 5 of those that are especially awesome? Don't really feeling like chewing deep into my data cap tonight.Code: [Select]http://www.mediaf!re.com/?sharekey=9dfae77a109ed5188c9e7c56ba37815f0c5ee15f8ea0ea73
http://www.mediafire.com/?2yyylgwzwez
http://www.mediaf!re.com/?d0va5k4t6vxrzlbCastevet's latest achievement, the eight-song The Echo & The Light, doesn't miss a single beat, picking up where Summer Fences left off and honing in on the band's most positive attributes. Leaning less on the sweeping atmospherics and lush soundscapes of its debut, Castevet kicks up the distortion and fuzz pedals that lace kinetic, intertwining guitars while placing a greater emphasis on the gritty vocals and concise songs wound tightly around propulsive, math-tinged instrumental passages. If Summer Fences was the result of a band experimenting with an abundance of great ideas, The Echo & The Light is that band only using the very best of those.
http://www.mediafire.com/?33yhz2k9q4ennnn
http://www.mediaf!re.com/?zmkjmemmjkdhey so I think a few of you guys have heard of this band
Arcade Fire - The Suburbs (2010 - 320kbps Transcode, Higher Quality Rip Coming Soon)
http://www.mediaf!re.com/?tbvf5n21tfjijkyhttp://www.mediaf!re.com/?oi5ch85nb84cpm5
http://www.mediaf!re.com/?jc4qufzmvg7anfu
http://www.mediaf!re.com/?6yfkmqade1613rphttp://www.mediaf!re.com/?sh47psjw1p1sc0g
http://www.mediaf!re.com/?n88ag9488clj9j8http://www.mediafire.com/?b4vbwojw73jog3chttp://www.myspace.com/thewoodenbirds
and for those who wonder what i do while waiting for kids to use my taxi service..... here it is.... a bit rough but hey... i was mucking about
http://www.mediaf!re.com/?zx9j1d219z121bm
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?3195qz21y41342pMyspace (http://www.myspace.com/morkobot)http://www.mediafire.com/?s9e0ygb7cwdkcp2someone still loves you boris yeltsin - let it sway (2010) (320kbps)
(http://img195.imageshack.us/img195/1197/someonestilllovesyou.jpg)Code: [Select]http://www.mediaf!re.com/?2vo6odq6b1ukkr1"Sink/Let it Sway" (http://www.youtube.com/watch?v=B0SEzcA8rdY&feature=player_embedded)
So I got this little 45 single a few weeks ago but I've only just gotten around to ripping it. Massachusetts-based Keith Fullerton Whitman used to release gonzo breakcore albums as Hrvatski back in the first half of the '00s, but since 2005 or so he's settled on being a respectable electro-acoustic composer, and more power to him really, he's brilliant more often than not. One thing about Whitman is that he doesn't mind a wait - a lot of his music is released years after recording, and this is no exception. Variations for Oud & Synthesizer was recorded in 2005 at the Harvard University Studio for Electro-Acoustic Composition (HUSEAC), using the titular traditional Egyptian instrument both unprocessed and run through various synth hardware of a most formidable nature.
The initial static whine of Side A is indicative of Whitman-as-composer's "formally rough" aesthetic, but the voice of the Oud that gradually pushes through the dissonance takes the song in an entirely new direction. This is the most evocative (and conventional) work that Whitman's done in quite a long time, reminiscent of the more adventurous detours into folk that the Hrvatski guise would undertake from time to time. Side B is a little darker and far more expansive, ditching the experimental screeches of Whitman's hardware for some basic percussion and hypnotic, enveloping synths. The mystic neo-folk of latter-day Coil really comes to mind, particularly the odd rarity "Assassins of Hakim Bey". Really invigorating stuff, far removed from the drone experiments of Whitman's more recent work.
Here's a little more explanation from the man himself, if that riveting cover art doesn't convince you of how much he wants to blow your mind...
largely recorded at harvard’s huseac back in 2005, the root of these two pieces lie in a series of recordings made by running this ::
(Oud)
... through this ::
(scary-looking modular synthesizer)
... yielding a treasure trove of "explosion-oriented" material, with the stray attacks & tremolo-jacking of the egyptian oud in question being converted into an unholy array of analogue bleep by the serge modular prototype ... later embellished with stray "dry" oud playing, metal zarb rhythms, some rather syd barrett-esque electric slide guitar / echoplex wash & assorted post-production details, this music can be seen as my "tribute" to dariush dolat-shahi’s first folkways record (which everyone with a right mind should own & be in awe of) & françois-bernard mâche’s "kemit" & "korwar" one-two punch ...
these two pieces have their origins in a long-term composition project which was to be the third in the kranky-label trilogy (after playthroughs & multiples) ... alas, due to a fairly crippling hard drive crash (the first of many i’ve suffered over the past half-decade ; folks, back your shit up !!!) all of the pro tools stems & files were wiped clean, halting the project in its tracks ... lo and behold, 4 years later, i came across a unlabeled backup dvd of "rough" mixes of early sketches , a pair of which, i’ve become rather fond of, leading to this edition ...
37th birthday edition (i’m old !!!) ; 45rpm "big hole" 7" records (with "classic" labels ; detail below) housed in green "vintage" inner sleeves w/ a 45rpm adapter set in place, inside a b&w jacket inside a "frosty" 6 mil sleeve ... which of course wasn’t the cheapest thing in the world to make but, ah, let’s consider this the affordable "sister" release to "losing everything b/w four oscillators reverb nice" & move on ...
I ripped this using my turntable, there are no digital editions of the single and as far as I know it's pretty ltd. I don't have the best setup so be warned that this won't be the best quality rip you've ever heard in your life. If you've any interest in this material, that shouldn't stop you. Just in case, the two rips are included here as the original WAV files.
You may also notice that there are 4 tracks instead of two. Oftentimes when ripping vinyl I'll forget to change settings between 33 RPM LPs and 45 RPM singles, resulting in "slow motion" rips of songs. I always keep these as I've discovered they add a certain weird something to the listening experience. Because I'm a schmuck, I've included the 33 RPM Mistake Rips in the .zip. They make the music a little more hypnotic.
http://www.mediaf!re.com/?221xdi4qcz5zj4i
someone still loves you boris yeltsin - let it sway (2010) (320kbps)Code: [Select]http://www.mediaf!re.com/?2vo6odq6b1ukkr1"Sink/Let it Sway" (http://www.youtube.com/watch?v=B0SEzcA8rdY&feature=player_embedded)
Quoted because I almost missed it on the last page and nobody should be missing albums by SSLYBY. Pershing was fantastic, can't wait to hear this one.
UPDATE: This album is absolutely fucking brilliant.
http://www.medaf!re.com/?o5wymilzndzhttp://myg*ldmask.bandcamp.com/album/a-th*uand-voices-ep(replace the *'s in the address... there's two).
http://www.mediafire.com/?rehqgbiw3633xpn
http://www.mediafire.com/?5di810u3dtz6yvbMyspace (http://www.myspace.com/snakepithardcore)
http://www.med?afire.com/?bsotyjfthj2">http://www.mediafire.com/?b4g92gbpentadlo
"Run To Your Grave"- The Mae Shi (http://www.youtube.com/watch?v=PUKAcKKQns4)Code: [Select]http://www.mediaf!re.com/?rehqgbiw3633xpn
(http://img843.imageshack.us/img843/5227/coveriu.jpg)
Autolux - Transit transit [2010]Code: [Select]http://www.mediaf!re.com/?b4g92gbpentadlo
Remember these guys?
"Bombay the Hard Way: Guns, Cars & Sitars" - DJ Shadow & Dan the Automator
(http://3.bp.blogspot.com/_qUEYMB7-bZA/R1sO96QmebI/AAAAAAAAAFc/eX3ElSiEHx4/s400/R-66786-1146296951.jpeg)Code: [Select]http://www.med?afire.com/?bsotyjfthj2">
New DJ Shadow collaboration with Dan the Automator from Handsome Boy Modeling Shool doing psychedelic indian blaxploitation mashup. So good.
(http://img843.imageshack.us/img843/5227/coveriu.jpg)
Autolux - Transit transit [2010]Code: [Select]http://www.mediaf!re.com/?b4g92gbpentadlo
Remember these guys?
http://www.mediafire.com/?e2hwtykimga(http://img843.imageshack.us/img843/5227/coveriu.jpg)
Autolux - Transit transit [2010]Code: [Select]http://www.mediaf!re.com/?b4g92gbpentadlo
Remember these guys?
Been meaning to get this. Future Perfect was amazing.
http://www.mediafire.com/?2dfoyewtixyc69n
http://www.mediafire.com/?dnnm3b4dyjmI am glad I live somewhere warm so I can rock out to this album while it feels like summer.
Good luck chasing down a warm summer, StaedlerMars ^^
Seahaven - Ghost
This is one of my favourite 2010 records. Fantastic band, and I highly recommend them if you're into 90s emo and bands like Jimmy Eat World and Brand New.
http://www.mediafire.com/?he7mmqm90124sp7http://www.mediafire.com/?61fg09u4c4kjfbchttp://www.mediafire.com/?vmbs0ut7zg5cxgchttp://www.mediafire.com/?722mnzbmx7dqezoGrand Magus - The Hammer of the North (2010)
almost as metal as Manowar.Code: [Select]http://www.mediaf!re.com/?vmbs0ut7zg5cxgc
http://www.mediafire.com/?9b3gr8y916bpznu
Sweet Trip - Velocity Design ComfortRecord starts out awesome, nice and glitchy but turns way to indie/shoe-gazey. If this is IDM I think I'll give it a miss.
(http://img713.imageshack.us/img713/5978/sweettripvelocitydesign.jpg)Code: [Select]http://www.mediaf!re.com/?e2hwtykimga
I figured I'd post this since this band just came out with their first record in quite a while. The new one was disappointing, but it reminded me how good this one was. If you're at all into IDM/glitchy stuff/shoegaze, definitely give this a listen - it's easily one of my favourite IDM records.
"Bombay the Hard Way: Guns, Cars & Sitars" - DJ Shadow & Dan the Automator
(http://3.bp.blogspot.com/_qUEYMB7-bZA/R1sO96QmebI/AAAAAAAAAFc/eX3ElSiEHx4/s400/R-66786-1146296951.jpeg)Code: [Select]http://www.med?afire.com/?bsotyjfthj2">
New DJ Shadow collaboration with Dan the Automator from Handsome Boy Modeling Shool doing psychedelic indian blaxploitation mashup. So good.
http://www.mediafire.com/?nxwy2t1ynhy(http://imgur.com/eE1im.jpg)
"HLLLYH"- The Mae Shi
This is possibly one of my favorite albums now that I've heard it, and I've always been shocked that no one has uploaded it. I don't have the words to describe them, but it's a load of loud Indie-Punkish-Electronic goodness. If anyone listens to me, I'm always saying that Vampire Weekend ripped them off and made if mediocre.
Pitchfork (http://pitchfork.com/reviews/albums/11147-hlllyh/) and Drowned In Sound (http://drownedinsound.com/releases/12589/reviews/2902101-) have reviews for it, and they're good reviews, but if you want to get a feel of them, check out this video:
"Run To Your Grave"- The Mae Shi (http://www.youtube.com/watch?v=PUKAcKKQns4)Code: [Select]http://www.mediaf!re.com/?rehqgbiw3633xpn
Is that a typo?
Paper Tiger - Made Like Us (2010)
DJ Shadow incarnate.
(http://img294.imageshack.us/img294/6349/folderuf.jpg)Code: [Select]http://www.mediaf!re.com/?he7mmqm90124sp7
"For all the lastest music"
http://www.mediaf!re.com/?tzzbjkbxa6wwpxohttp://www.mediaf!re.com/?oxdtak40l1pna7vSeahaven - Ghost
(http://img838.imageshack.us/img838/1205/l5e77d8525767402a99b18e.jpg)Code: [Select]http://www.mediaf!re.com/?dnnm3b4dyjm
This is one of my favourite 2010 records. Fantastic band, and I highly recommend them if you're into 90s emo and bands like Jimmy Eat World and Brand New.
http://www.mediafire.com/?l3wa253lb8u7n33Cloak & Dagger (ne Evan Gach) makes the transition to slower tempos on this great 12" for the Immerse imprint, in contrast to his earlier work in DnB. What makes this particular release intriguing is how much of the DnB aesthetic is retained in the transition to dubstep. For one, this is a very jazzy variant of dubstep, and not the same sort of slick R&B that, say, James Blake brings to his music. Cloak & Dagger brings a more cool and austere sort of feel to the work, that high-class urban feel that a lot of great DnB had back in the day. It's also nice to hear new dubstep that isn't balls-to-the-wall obsessed with bigger and badder bass sounds. Crimewaves / In the Cut seem more concerned with interesting rhythms than the wallop of a well-placed bassline. There's a very interesting emphasis on live percussion, which is always nice to hear.
"Crimewaves" feels just like a slowed-down late 90's DnB jam, mostly due to the use of the Rhodes synth, which I personally cannot get enough of. It's incredibly evocative, to me, of downtown urban spaces, all clean, angular architecture and glass. It's great music for rainy weather. The song takes a bit of a left turn halfway through the song when a live jazz drumming session enters the proceedings. It's one of the best tracks I've heard all year, if not for innovation than for the vivid feelings it brings up. It's why I got into this music in the first place.
The second track is a little darker, with interesting, loping percussion and an understated bassline. The track doesn't go up but out, exploring variations on its few elements and making liberal use of delay to create a nice dub feel, while synths drone on top of the shuffle, giving a somber tone to the music. Great stuff.
http://www.mediafire.com/?4kae4ev2uj9h5bjNew 3-track EP from FaltyDL (ne Andrew Lustman) from the ever-glorious Planet Mu imprint, the first of two he's got lined up in the next few months. It offers a bit of a twist on FaltyDL's tried-and-true NY-flavored future garage, this time taking on a 2-step template and no small amount of jacking Chicago flavor to the mix. The title track's high-energy rhythm and gurgling low-slung bass is a marked departure for the artist, who usually traffics in more laid-back and contemplative garage sounds.
Second track "Because You" retains the hard-charging bass drum and snares but adds Lustman's signature jazzy organ arrangements and snatches of diva vox, creating a dancefloor-oriented sound that few but FaltyDL could hope to match. "My Friends Will Always Say..." is the jewel of the EP, and it's the song closest in sound to the upscale urban garage sounds of last year's Love Is a Liability, with its quasi-acid formant-filtered bass and descending chords. The vox samples are even more bewitching than usual, given the Boxcutter-esque pitch-shifting they're subjected to. It's that one incredible track I can always count on Lustman to deliver with every release.
Lustman's second EP for Planet Mu, Endeavor, will be out in September, and it will reportedly focus on his experiments in house music. I'm interested to hear it, naturally, as the weird slow-house artists I usually favor (Floating Points, et al) are pretty quiet so far this year. I'm interested to hear Lustman's take on the genre. I also wouldn't be surprised if we heard more from the man on other labels, as he's got a lot of commitments and a work ethic to match. I guess we'll have to wait and see...
http://www.mediafire.com/?3qmirixaghgzj5kI bought this LP based solely on the cover art, which really freaks me out, in a good way. It's an old album, technically, but the B-side is all new material, exclusive to the vinyl re-release. I ripped it at the request of an internets acquaintance the same night I ripped the Keith Fullerton Whitman 5-inch I blogged about a few nights back.
Svarte Greiner makes haunting dark ambience that at times flirts with the sort of grim drone that's all the rage among fringe metal connoisseurs these days. This is definitely an album to sit back and be unsettled by. There are distinct tracks but I only ripped the vinyl as sides and didn't separate the tracks - too lazy I suppose. As far as I can tell, the tracks are nameless, as per the great ambient tradition. I think it works better this way. Each side is 25 minutes long or thereabouts. Really interesting stuff. I imagine it goes well with some chemical enhancement.
The record is limited to 450 copies worldwide and Boomkat is sold out, as well as the Digitalis shop, but you can still snag the CD version. I would.
http://www.mediafire.com/?84z5r4p2wstp9jlPeverelist occupies the space between next-gen garage and classic techno, along with a few other likeminded producers (notably Geiom and Shortstuff, with 2562, Midlake and Illum Sphere bridging the gap between techno and dubstep proper) and as such he's been a hard nut for me to crack, so to speak. Where I am with this kind of music is not unlike the place I was with Venetian Snares and breakcore in general a few years ago - struggling to find things to enjoy but still endlessly curious. With Vsnares and his cohorts I eventually came to enjoy the madcap energy and the aggression of the music, but I'm still combating my ambivalence toward Peverelist's brand of UK techno. It's like black coffee - whatever satisfaction you get out of it isn't going to come from the sweetness of it.
On his latest release for Punch Drunk, the label he runs out of Bristol, Peverelist brings me a little bit closer to open acceptance of his style. The A-side "Better Ways of Living", is more techno than garage, with rolling snares, a percussive bassline and a weird metallic tube noise. A clipped, sparse synth melody pops up from time to time, similar to but distinct from the singular melodic minimalism of Ramadanman, who has probably done more than any other artist to open me up to this sort of squashed, nervous dance music.
B-side "Fighting Without Fighting" starts off like an unnameable early 90's club track before slipping under a mass of swarming, shambling bass hits. Liberal use of delay is utilized to some effect here. The understated, rattling snare sound is reminiscent of some of Autechre's work in the late 90's, and the addition of what sounds like a synth horn preset is very weird and almost unsettling. All these disparate elements combine to make a compelling little schizophrenic floor number.
All in all I'm starting to get the idea that perhaps this sort of music is one of those that is best experienced in single, rather than album, form. I wasn't a huge fan of Peverelist's Jarvik Mindstate LP, but this taut, idiosyncratic 12 is much easier for me to enjoy.
http://www.mediafire.com/?t16stdto1mlopio
http://www.mediafire.com/?cx99bacaphrgpidDoom Punk from Japan. oh gosh I can't stop listening to it
Compare Spirit of Eden with any other previous release in the Talk Talk catalog, and it's almost impossible to believe it's the work of the same band -- exchanging electronics for live, organic sounds and rejecting structure in favor of mood and atmosphere, the album is an unprecedented breakthrough, a musical and emotional catharsis of immense power. Mark Hollis' songs exist far outside of the pop idiom, drawing instead on ambient textures, jazz-like arrangements, and avant-garde accents; for all of their intricacy and delicate beauty, compositions like "Inheritance" and "I Believe in You" also possess an elemental strength -- Hollis' oblique lyrics speak to themes of loss and redemption with understated grace, and his hauntingly poignant vocals evoke wrenching spiritual turmoil tempered with unflagging hope. A singular musical experience.
http://www.mediaf!re.com/?0tj1muz4ylmVirtually ignored upon its initial release, Laughing Stock continues to grow in stature and influence by leaps and bounds. Picking up where Spirit of Eden left off, the album operates outside of the accepted sphere of rock to create music which is both delicate and intense; recorded with a large classical ensemble, it defies easy categorization, conforming to very few structural precedents -- while the gently hypnotic "Myrrhman" flirts with ambient textures, the percussive "Ascension Day" drifts toward jazz before the two sensibilities converge to create something entirely new and different on "New Grass." The epic "After the Flood," on the other hand, is an atmospheric whirlpool laced with jackhammer guitar feedback and Mark Hollis' remarkably plaintive vocals; it flows into "Taphead," perhaps the most evocative, spacious, and understated piece on the record. A work of staggering complexity and immense beauty, Laughing Stock remains an under-recognized masterpiece, and its echoes can be heard throughout much of the finest experimental music issued in its wake.
http://www.mediaf!re.com/?agrzsyebj29Sorry. I couldn't find a review from a reputable source. Abney Park is a former goth band that reinvented themselves for the steampunk scene. Their music is a mishmash of dance punk and their best Decemberists impression, along with some holdovers from their old goth sound. They are at their best with the upbeat and dance-able tracks, but the lack of variation in vocals weakens the music over extended listening periods. The lyrical content will definitely put some people off, but I enjoy the odd song about airship pirates on my playlist. It's definitely worth a listen, but don't expect anything that will blow you away. It's fun music and nothing more.
http://www.mediaf!re.com/?yxyldmor3qbHey guys, our radio station got together a compilation album from a bunch of Scottish bands and you can download it for free, and if you want to pay all the money goes to charity.
It's legal, and it's all really good stuff! (and album artwork by yourstruly!)
(http://bandcamp.com/files/33/35/3335159274-1.jpg)
http://freshair.bandcamp.com/album/the-inside-track
Doom Punk from Japan. oh gosh I can't stop listening to it
http://www.mediaf!re.com/?ldcrrbutln8rhlohttp://lessavyfav.com/rootforruin/ - They're accepting donations, if your soul can't bear the burden of listening to music for free.Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
(http://exclaim.ca/images/up-les_savy.jpg)Pay for that shit (http://www.denverpost.com/election2010/ci_15673894)Code: [Select]http://www.mediaf!re.com/?ldcrrbutln8rhlo
Hey guys, our radio station got together a compilation album from a bunch of Scottish bands and you can download it for free, and if you want to pay all the money goes to charity.
It's legal, and it's all really good stuff! (and album artwork by yourstruly!)
http://freshair.bandcamp.com/album/the-inside-track
The Japanese War Effort (Jaime) is a friend of mine who played at my place in DeKalb last year when he was visiting. Amazing recordings and equally good live with just an ukulele. I'll have to download this for everyone else included.
Republican gubernatorial candidate Dan Maes warns of a bike agenda that will spin cities, including Denver, toward United Nations control. How seriously do you take this warning?
"Some would argue this document that mayors have signed is contradictory to our own Constitution,"
(http://exclaim.ca/images/up-les_savy.jpg)Code: [Select]http://www.mediaf!re.com/?ldcrrbutln8rhloCode: [Select]http://lessavyfav.com/rootforruin/- They're accepting donations, if your soul can't bear the burden of listening to music for free.
And just because I was obsessing over this guitar line at work all day and couldn't wait to get home to sound it out - Sleepless In Silverlake
B-----------------------10-----------10--------10---12--10-----10----------------|-------------
G-----11-----11/s\13----11—13-------13-------------------13----13---11/s\--:|------11----
D-14----14---------------------------------------------------------------------------|--14------14
Maybe somebody else cares, or is interested . . .
someone still loves you boris yeltsin - let it sway (2010) (320kbps)
http://www.mediaf!re.com/?g5q59ucdre9eo4o
http://www.mediaf!re.com/?d6o054ygqbnuh1khttp://www.mediaf!re.com/?er6xkcj4854bzkd
http://www.mediaf!re.com/?iykx6b1dc9yxd5dhttp://www.mediafire.com/?lu5x7kzbtmdz9v2
http://www.mediafire.com/?hj5n858fcgjwb56
http://www.mediaf!re.com/?gzgnovm9219fogghttp://www.mediaf!re.com/?4217wi7623xkg5khttp://www.mediaf!re.com/?2sqwmn897my8scs
http://www.mediafire.com/?sharekey=yc80czdsg1zl4http://www.youtube.com/watch?v=X_hGHZpEZgE
http://www.mediafire.com/?e36l6bff4mzlva8Women - Public Strain[320kb/s]I think this is missing track 1.
Women - Public Strain[320kb/s]I think this is missing track 1.
http://www.mediafire.com/?gh74a067d97de4x
Women - Public Strain[320kb/s]I think this is missing track 1.Code: [Select]http://www.mediaf!re.com/?gh74a067d97de4x
shabamWomen - Public Strain[320kb/s]I think this is missing track 1.Code: [Select]http://www.mediaf!re.com/?gh74a067d97de4x
I'm getting corrupt on track 9
http://www.mediafire.com/?ulga4c2ndgsxkl7
When you go through high school and you've got any inclination towards music geek territory you inevitably gravitate towards identifying with a certain sort of music that you love and that (you believe, in your heart of hearts) says everything about you, that you cling to and cherish. For most kids it's probably some subset of punk or hardcore, being as they are gut-level pursuits that speak to the restlessness of that age particularly well. For me that music was industrial rock, as it was moody and mopey, like I was, and it had a mechanistic edge and repetitive, aggressive nature that affected me deeply (in that, it was sort of "training wheels" for the electronic nuttery I now favor - it had pop-friendly guitar skronk to offset the alien electronic elements), but it also was a long-dead genre in terms of relevance, which allowed me some distance from any judgments that might have hurt me - it seemed safer at that age to be a scholar of a bygone scene, rather than an ardent fan of a living one.
As most people discovering the music through popular channels did, I started with Nine Inch Nails before getting into weirder and more esoteric stuff (in the split between avant-garde industrial, industro-goth and industrial metal, the avant-garde holds up the best in my estimation). But before the obscure and dangerous likes of Coil and Throbbing Gristle I stopped by the waystation of Ministry and, of course, the wider Wax Trax family. Ministry was made up of two principal members - Al Jourgensen on guitar and Paul Barker on bass, with them both sharing a panoply of different instruments. It started out essentially as a solo Jourgensen venture (in weird and wonderful New Romantic mode) before Barker joined the group and their sound changed rapidly, from Skinny Puppy-esque industrial dub of Twitch to the Big Black-indebted post-punk hammering of The Land of Rape and Honey to the electro-speed metal they were most successful with.
Barker left Ministry in 2003, which unfortunately was about the time I started becoming interested in them, and it soon became apparent how important he was to the "industrial" part of the group's industrial metal sound - Houses of the Mole, Jourgensen's first solo outing as Ministry in nigh-20 years, was something akin to Pantera as covered by Dan Deacon, which is to say it was manic and lightweight but still a lot of dumb fun. The last two records before Ministry "retired" went from bad to worse, losing the dopey humor that had always been Ministry's trademark and becoming rather run-of-the-mill thrash. As if that wasn't enough, the band also suffered the indignity of releasing a trance remix record. I'm not even going to speak of what happened the Revolting Cocks.
Anyway, as the Ministry name crashed and burned, Paul Barker pretty much dropped off the radar, at least for me. He got sued by Jourgensen, though the case was dismissed (it seems like the only long-time collaborator Jourgensen hasn't burned his bridges with is Jello Biafra, who coincidentally or no has the reputation of being a real asshole). He was quiet for quite awhile, but in the last few years since Ministry's demise he's been doing some work, and I just recently had the chance to catch up. In addition to a solo record (coming in the mail, presently), Barker has done some production work for the surprisingly solid post-punk / goth throwback group I Love You But I've Chosen Darkness, but he also started up a band, the band I'm reviewing here now. USSA is a collaboration between Barker and Duane Denison, who some of you may know as a founding member and longtime guitarist for the Jesus Lizard, a legendary noise rock / hardcore band from Barker's shared home base of Chicago.
USSA's sound is somewhere between the industrial sturm and drang of Ministry and the propulsive thrust of The Jesus Lizard, and maybe it speaks to how long I've been away from rock music (and in the compartmentalized world of electronica) that I can't quite explain what it is this album can be categorized as, so I'm just going to say "hard rock". The budget was apparently low - just check out that cover art - but Paul Barker has had a long history of making the most out of a little bit. Back in the halcyon days of Ministry, the bulk of their major label advances most likely went towards heroin rather than the music (one of the reasons Wax Trax went under when it did was that of many of the nihilist shitkicker bands on the label used it as a private piggy bank for pharmaceutical pursuits).
Presumably Barker is clean these days, and his production work is likewise much cleaner than it was even on the last Barker-assisted Ministry album (where he took the production moniker Hermes Pan alongside Jourgensen's Hypo Luxa) - play any song off I Love You But I've Chosen Darkness' (dumb name, good band, I swear) Barker-produced album and any off of this album and you'll notice a lot of similarities. Impeccably neat sound, particularly on the drums and the bass, and tasteful use of delay where appropriate. His style is very well-suited to a vaguely gothic rock outfit such as this (or ILUBICD, for that matter) Barker and Denison are old hands and their instrumental work is suitably muscular and precise. I was particularly surprised by Denison's work - I'm not terribly familiar with his work with The Jesus Lizard (something I've always wanted to correct but somehow never got around to doing) but the sounds he elicits from his guitar are almost without exception the highlights of any given track. Barker's bass is a strong backbone for the songs but it never gets too showy, which is not a bad thing by any means, as Denison has more than enough tricks to make things interesting.
The only real drawbrack to the music is the shakiness of the vocals, courtesy of a guy named Gary Call, who I can find exactly no information about. There's nothing technically off about his performance, but the lyrics and delivery sometimes veer too far into what the AV Club memorably dubbed "Hunger Dunger Dang" rock, which is to say, post-grunge angst rock. It makes songs like "Autumn Flowers" and "Peculiar Thing" frustrating to listen to - if only I had instrumentals, I'd be a happier man. Barker also lets a little bit of his past with Ministry into the music here and there - The fuzz of "Middletown" and especially the hammering drums of "Forget Yourself" and the aforementioned "Autumn Flowers" recall the narco-noise of Dark Side of the Spoon as much as anything.
The more I listen to The Spoils, the less I can tell if I like the music because I feel like I owe it to Paul Barker (and enjoy Denison's guitar work so much) and I'm just making excuses, or because I actually do enjoy it. The truth is probably somewhere in the middle - there are songs here, like the loping "Blue Light", and passages like the goth rock-y chorus of "Dead Voices", that grab hold of the off-brand high school goth inside of me. Likewise, there are songs that I could really take or leave. But if there's anyone out there who still remembers the alt-rock of the 90's with some fondness, they'll probably enjoy this with less misgivings than I do.
The band seems to be dormant as of 2008 - their latest blog post indicated that they had planned on recording more material, but Denison injured himself during a concert, cutting their tour short, and then the Jesus Lizard reunited for a few years, to the delight of many. Who can really say if the project is dead? I would hope not, if not just because I want to see Barker work more and perhaps meet him someday. We'll have to see, I suppose.
http://www.mediafire.com/?31x4bzzy3rhonod
中学生棺桶 - 矛先についたガム[2010]
http://www.mediafire.com/?lo41twem4othttp://www.mediafire.com/?gnnjz4lmfzyhttp://www.mediafire.com/?afajuexb09m3yni
robyn - body talk pt. 2 (2010)
(http://a.imageshack.us/img256/6698/bt2p.jpg)
http://www.mediafire.com/file/4r752je6ce3nxz6/CR%20-%20TC.zip
your link is already down.
Also, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?wkdtjy0koln
your link is already down.QuoteAlso, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.
additionally, there are other tactics you might want to try (http://tinyurl.com/3422d7r)
http://www.mediafire.com/?cexonjoekeos97xhttp://www.mediafire.com/?q36h24u2koic4s4http://www.mediafire.com/?ezzmzgohinmhttp://www.mediafire.com/?wyuwn0m2myzhttp://www.mediafire.com/?vulctbhopiuu6bh
Right, so yesterday I spent about an hour and a half writing a big long essay about Travis Egedy aka Pictureplane and where he comes from and his (insert scare quotes if it pleases you) significance as an electronic musician coming up from the ranks of the Denver DIY lo-fi art-punk scene as opposed to a club scene (of which there is very little in Denver). Then I accidentally clicked "save" on a first draft that was still open and I lost about 90% of that. Rather than trying to recreate that post I'm going to spare you and just talk about the music here.
True Ruin Light Body is an EP of sorts released on Kate Moross' Isomorphs imprint, one of many labels / design houses catering to the hip music lover's fetishism for limited run issues of vinyl and merch, and as usual they delivered a fine product in TRLB. The design is a collaboration between Moross and Egedy, and it features a lot of odd cryptographic imagery on the sleeve and vinyl label (including several Stars of David, leading my friends to ask if Pictureplane was jewish) on white vinyl.
The EP is comprised of 4 tracks, 2 of which are culled from last year's weird, compelling Dark Rift LP and two of which are remixes of songs from the same. The EP starts with the eponymous "True Ruin Light Body", which is apparently a remix of the final track from the album, simply titled "True Ruin". Maybe it's my lack of an attention span (both songs run about 9 minutes) or maybe the differences are particularly subtle, but I can't seem to find much difference between the Dark Rift and True Ruin Light Body cuts, aside from the fact that the EP version is a little bit shorter (by a measure of 6-7 seconds). The track itself is Pictureplane's trademark sound at work - like much of the hip electronic music of the last decade, his music looks back with some nostalgia on the 90's, but Pictureplane casts a much wider net than, say, Zomby does, incorporating elements of rave, house and electro but also mainline radio eurodance of the Ace of Bass variety, creating a final product that is mongrelized and seemingly slapdash but also possessed of a distinctly human quality, devoid of tired irony and abound with sincerity and enthusiasm in large part due to the rough, homemade feel of the music.
"Cyclical Cyclical (Atlantis)" is one of the more enduring cuts from Dark Rift, a giddy and quick number with thumping, rough drums, cut-up female vox and a Dan Deacon-esque electric piano line. Then it ends just about as abruptly as it started. The b-side starts with "5th Sun", an uptempo eurodance-influenced song with a rhythm that wouldn't feel out of place on a UK Funky comp. It's a little more "minimal" than Pictureplane's other songs, comprised of just the rhythm, Egedy's voice and a judiciously used, reverb-y synth line.
The final track is a remix of the disco-indebted "New Mind" via UK post-chillwave (I'm making that term up and you can't stop me) kids Teengirl Fantasy, who are about to become hot shit in the next few months. The remix ups the Deep House factor by quite a lot, with snappier snares and hi-hats and a more hypnotic synth warble. It's the kind of vaguely messy club song that would've made the cut on one of those long-lost extra Trainspotting soundtracks.
If you have the means of getting the vinyl I very much urge you to do so. It's crafted with care - mine survived a most unfortunate run-in with my spazzy black lab (the packaging was less fortunate). As usual I've included the ripped tracks as .wavs to preserve sound quality as much as possible.
http://www.mediaf!re.com/?dtsv28orx2lvz0oA little 7" I picked up from Boomkat, Tsuki No Seika Vol. 2 is a split single between adventurous composers Valet (ne Honey Owens) and Richard Youngs. Root Strata's Tsuki No Seika series is 3 deep now (I've got the third on the way, couldn't get the first) and its theme is pretty interesting - One, artwork must be provided by the artist, and two, all sounds on the songs in the series have to originate from the human vocal cords. There doesn't seem to be a limitation on post-production trickery or multi-tracking or anything like that, but there are no instruments beyond the voices of the artists.
Valet's contribution is, apparently, a cover of Mudhoney's minor classic "Touch Me I'm Sick", but it owes more to the pagan mysticism of British post-industrial music than Seattle hrunge. The heavy use of reverb on Valet's clicking tongue and half-audible murmurs creates a pulsing, ghostly backdrop for her whispered lyrics. All in all it's strongly reminiscent of the unsettling claustrophobia of Coil's "Something".
On the flip side, Richard Youngs takes on a different sort of mysticism, this time the strangely alien tone of old folk music. "Fen Flowers" is as much an incantation as a song, as Youngs' even, upwards cadence and seemingly improvised lyrics resemble a chant to some obscure god of fertility. I can't listen to it without thinking of the original Wicker Man film (I have Coil on the brain today - the seminal post-industrial group contributed a bewitching neo-folk track to the film's soundtrack).
Tsuki No Seika is, ostensibly, a subscription-only series, as per the grand tradition of esoteric avant-garde music (Coil, for example, was known to give incredibly rare recordings only to friends) but Boomkat seems to be getting small quantities in as new iterations of the series are released. As I type this Volumes 2 and 3 are still in stock, the former at an irresistibly reduced sale price. Snatch them up while you still can. The artist-provided covers are certainly as compelling as the music itself is.
As I often try to do, the vinyl rips are provided in .wav format for optimum quality preservation.
http://www.mediafire.com/?kg4a8kovd8p5aqg
It took me a little while to get into Ramadanman, but when I did it was thorough. Continuing his hot streak of 12's (most recently a split with Midland and the killer Fall Short single for Swamp 81) with this white label single, apparently made in Atlanta and self-released.
The A-side is classic Ramadanman, with clean and precise drum programming and Chicago Juke-indebted sampling, this time pitch-shifted a bit higher, the vox taking on a helium-treated sound. "Grab Somebody" also features a much heavier bass than I normally notice from Ramadanman. Also trademark Ramadanman is the compelling R&B-flavored synthwork that picks up halfway through the song (the moment when the organ kicks in on potential track-of-the-year "Glut" is pure genius), very sparingly used here, but to great effect.
The B-side was famously featured on Oneman's Rinse mix CD, here presented as its own track. Ramadanman's mnml drum programming gifts are on full display, but this one's got more of a UK Funky vibe to it, with more varied percussion sounds and zooming laser-beam sounds over pressurized, hollow-sounding synthwork.
Overall this is probably one of the best-sounding vinyl records I've spun on my turntable, and I'm really enthused about the quality of the rips I was able to get. Unfortunately it seems as though the white label with the "Mir" flip is sold out pretty much everywhere, but Bleep still looks to have the single-sided "Grab Somebody" white label. Typically solid work from Ramadanman playing around in the American sandbox. hopefully this moves out of the White Label wilderness into the wider market soon.
And because I'm such a putz, I included yet another pair of 33 RPM fuckup rips in the .rar as well. Interestingly enough 33 play "corrects" the pitch-shifting on "Grab Somebody". Discard them if you like, they're just kind of there as a lark.
http://www.mediafire.com/?vzo3vnbuloupan3
http://www.mediaf!re.com/?uvuoodlobjw5xg4Molly Rose draws intricate landscapes of narrative poetry. Her music is as driven by the intrinsic rhythms of her words as by whatever nameless muse guides her. There's nothing conventional about her songs, but she's hardly a weirdo folksinger. She's just a lovely songwriter, and if you're ready to listen closely, you won't be disappointed.
She's got her acoustic singer/songwriter sound dialed in, strummed rhythm, string squeak, and an incredibly dynamic voice, with overtones that make a single line sound both about ready to cry and cry out. Her lyrics are a poetry of secret observations -- you have to listen closely, and she rarely sacrifices depth for a hook. More often, when it comes to the expected chorus, she modulates and the song heads off for new pastures.
http://www.mediaf?re.com/?fy012x5ke7owx8z
http://www.med!afire.com/?eu6ic16h2a9aiv7Under the radar, above the radar. Useless pity, translated into remorseful musical satire. Elegance, translucent tranquility. All of this describes the chamber kindness transcended within the odd voice behind Antony and the Johnsons. Title track is probably the most hyper material ever produced from this cat. I almost didn't get depressed when I listened to it.
http://www.mediafire.com/?o3na18yca0adw14http://www.mediaf!re.com/?kignmll1dth
Beneath Mix 2 comes from two DJs out of Manchester, Eil R and Conr, both taking up a side on a (limited edition, natch) cassette tape for extended, contiguous mixes. The choice of cassette for the format is both odd and natural. I was expecting what normally graces cassette runs these days - modern classical and drone pieces, and of course the 80's nostalgia of "chillwave" music, but Beneath Mix 2, while eclectic, is rooted firmly in the confines of "mainstream" (as in, not strictly experimental) electronic music. The sound quality suffers somewhat but the hiss of the tape and the muted bass give the mixes a lived-in feel (artists in other genres, notably rapper Buck 65, have used the sound limitations of the cassette quite creatively) that compliments the live, one-take mixing very nicely.
Side A belongs to Eil R, and while it starts off fairly oddly, with what sounds like a movie clip of a woman speechifying about Jihad, the mix soon enough finds it footing in bass-heavy techno workouts (though you can't feel the bass very well given the medium) and stays in the groove pretty consistently. Throughout the side there are excursions into Jungle and acid house, and the surprise appearance of Autechre's remix of The Black Dog's "Tunnels ov Set".
Side B varies things up a little bit more, as Conr goes abroad for influences and draws from more popular contemporary dance genres. The oddly affecting intro was the first time I had heard the ramshackle afro-dance movement dubbed "Shangaan Electro", and from there Conr explores the borderlands between techno, Chicago Juke and modern UK bass music. Peverelist's "Fighting Without Fighting" (from the Better Ways of Living single) and Ramadanman's "Work Them", both b-sides from popular 12s, are put back to back, and later on a fascinating pitch-shifted remix of Addison Groove's Juke-indebted "Footcrab" (Conr's own?) shows up. The only niggling problem seems to be intermittent insertion of Brainfeeder-esque "wonky" beats. This might just be because I'm not a big fan of that movement, but it still feels a little sloppy, even if that's the point.
Overall, Beneath Mix 2 is a bewitching little lo-fi dance mix that's just as suited to home listening as a dancefloor. Probably more suited to it, all things considered. It's also a welcome respite from the ultra-polished megamixes that crowd the marketplace these days. The handmade feel of the mix is refreshing. There are apparently only 50 of these cassettes in existence but Boomkat somehow still manages to keep them in stock. Go get one! The packaging is all handmade and worth the price.
http://www.mediafire.com/?4hoovjlgzbxjhes
When an artist is said to "push boundaries" with their music, oftentimes it is due more to the fact that a reviewer doesn't actually know where the artist is going with it than it is due to the artist's actual success in breaking down barriers and exploring sounds you wouldn't normally expect to blend in a palatable way. The artist that can bounce between musical mindsets within the space of a single album in a satisfactory way seems to be pretty rare. Rarer still is the artist that can engage more than one mode of music in the same song.
The Irish duo Solar Bears is the most recent initiate into that scantly populated latter fraternity. Their debut album, She Was Coloured In, has been garnering a significant amount of buzz from P4k, XLR8R and elsewhere. The early scuttlebutt was that they were akin to an Irish Boards of Canada, and the snippets of music that Planet Mu offered up on its site seemed to back up that notion. Boards of Canada's output is without a doubt the very best of the late 90's / early '00s wave of IDM artists, and their warm, organic groove remains to this day a very handy jumping-off point for anyone interested in exploring electronic music beyond the confines of house and techno. Their sound has been quite hard to replicate, and many have tried. That the BoC comparison was bandied about so readily promised great things from Solar Bears.
Upon the release of their inaugural Inner Sunshine EP for Planet Mu, however, the comparison proves to be a bit premature. The band's sonic debt to Boards is apparent, but from the first track it becomes clear that Solar Bears have far greater ambitions than a faithful recreation of its influences. Opener "Trans Waterfall" establishes the pattern early on - while Solar Bears share with BoC a certain fondness for the epic sound of classic soundtrack music (Morricone, etc.) they also have a deep abiding interest in live instrumentation. The bass guitar and live drumming cleanly establish the Solar Bears sound. Like so many up-and-coming electronic artists these days, Solar Bears have been influenced by the krautrock and library music of the 70's as much as anything else. The kicker comes three minutes into "Trans Waterfall", when the song abruptly turns into a Summery, vaguely hippie-like acoustic guitar jam, complete with canned flutes.
This technique of abruptly changing the style of a song halfway through it is one that Solar Bears comes back to throughout the EP. "Photo Negative Living" starts out with sustained organ tones, promising a spacey Campfire Headphase-y pastoral jam, but the introduction of similarly hazy guitar and bass takes the song in a new direction. When listening I couldn't help but think that the tone and feel of the music was strongly reminiscent of Zero 7's first two albums. On the one hand, I loved those records and thought they were about perfect for Summer listening, even as they were largely derivative of Air. On the other hand, I was hesitant to make the comparison because it certainly feels like Solar Bears are aiming a bit higher than downtempo comfort food music. While I was fretting over this, Solar Bears switched up the music again, churning out a squall of electric guitar and over-the-top rock drumming in the last minute of the song.
So in the span of two tracks, Solar Bears have managed to touch on BoC's translucent IDM, classic soundtrack music, downtempo chill-out music, and shoegaze-y post rock. It's all rather impressive, especially considering how well it all flows together. The third (and title) track is less adventurous largely due to its length. "Inner Sunshine" is just over a minute and a half of mournful, sleepy Campfire Headphase electronica, and it's immensely satisfying for anyone who's been waiting impatiently for the last 4 years for new Boards of Canada music. "Kill On" starts off as an awfully pretty little folk song with delicately plucked guitar and understated synth (perhaps it betrays my lack of worldliness that I can't tell if that other plucked instrument is another guitar or a harpsichord) before going into yet another Ulrich Schnauss-y bout of muscular post-rock.
The EP closes out with two remixes. Usually with new Planet Mu signs, debut EPs are loaded with remixes from the label's own stable of like-minded artists, but for Inner Sunshine, the band and label head Mike Paradinas looked outside the confines of the label to find sympatico remixers in Lone and Letherette, both UK electronic artists of the distinctly post-BoC variety (I wrote a little bit about Lone's latest album Ecstasy and Friends in January), both remixing songs from Solar Bears' upcoming LP. Letherette's remix of "Crystalline (Be Again)" brings the speed and pitch of the song up just a notch and swaps out the song's vaguely disco-oriented leanings for some light electro-funk, complete with wooshing laser synths and a clopping, danceable beat. Lone's remix of "Twin Stars" is more distinctive, bringing his trademark tight synth arps and uptempo drum programming to the fore, with a delicious vintage BoC synth line and a more relaxed feel in the back half of the song.
The bad news with this EP (and this band in general) is that if you're so desperate for new Boards that you're looking for a replacement until they step back up to the plate again, Solar Bears will only fitfully serve your purposes. The good news is that it doesn't even really make sense to talk about Solar Bears in relation to that venerable group - they have, from the very start, endeavoured to carve out their own sonic niche, one that, when you really listen to it, only bears a passing resemblance to the sun-kissed IDM of the Scottish duo. Solar Bears' debut LP comes out next month and it's already shot to the top of my most-anticipated list for the year, and if it's as consistent as this EP it will be a shoe-in for best album of the year. Mike Paradinas really struck gold with this one. Can't wait to hear more.
http://www.mediafire.com/?b8ns8y05bg3ein7
http://www.mediafire.com/?rs8pgz776poungjI Don't Believe You (http://www.youtube.com/watch?v=AOLC9gELguQ)
Last year's Venetian Snares album Filth was like a car wreck for me - decidedly unpleasant but impossible to turn away from. The marriage of breakcore and hardcore acid house on a porno-themed album was so gonzo that I wondered what boundaries Aaron Funk would transgress next. Well it turns out, after over a decade of tongue-in-cheek breakcore provocation and sound terrorism, Aaron Funk has apparently decided that he's just going to have fun. Not that he wasn't having fun before, but this time around it's hard to even begin to be offended by all the crazy shit he throws around - he is clearly taking the piss. He does not care.
My So-Called Life (or, as iTunes dubs it, Playing Jungle at a French Speedcore Party, in what's almost certainly another little joke on Funk's part) is something of a return to form for Venetian Snares, stepping back from the brink of brutalized acid back towards the go-for-broke breakcore he made his name on. In terms of feel, this is more akin to his last album in this style (not counting 2008's jungle throwback Detrimentalist, which was strangely light on the manic humor), 2006's Cavalcade of Glee and Dadaist Happy Hardcore Pom Poms. The menace of the Venetian Snares persona is definitely felt about the edges of the music. Opener (and long-time live crowd pleaser) "Posers and Camera Phones" shows off Funk's impressive classical chops with a winding goth-rave piano line before the gleefully over-the-top hip hop samples start assaulting your ears, stating that he "fucking hates you" and, in perhaps the most provocative moments on the album, promises to rape you. It would be more upsetting if it weren't a sample removed from its original context, where it was probably quite threatening, into a overblown, maniacal breakcore song.
"Cadaverous" keeps the breakcore train speeding along with a sample that I know I've heard before (is it from the Wire? I forget) and Funk's trademark slapdash, queasy synthwork. "Aaron2" is a mock breakcore melodrama in the creepy / weird Rossz tradition, telling a story of a boy named "Aaron" and how he turns evil after his sheep are stolen from him and learns to play the drums. "Who Wants Cake?" is yet another tongue-in-cheek provocation, with samples of the word "retarded" being replicated over infectious retro club synths. The pitch-shifted woman singing about how she feels retarded and "Wilford Brimley" warning of the dangers of encountering the disabled at night are especially nice touches.
Then comes the centerpiece of the album, "Welfare Wednesday", in which a rapper lists off all the things he would like to see / do inside the female anatomy. Here is just a few of the things in / being done in it:
- Orange juice
- Leather jackets
- Selling crystal meth
- Planet Mu label head Mike Paradinas
- Egg salad sandwiches
It would be incredibly transgressive if it wasn't so aggressively goofy. As with "Who Wants Cake?" there's also a pitch-shifted female vocalist, though I can't hear exactly what she's singing. It ranks with some of the best songs Venetian Snares has ever produced. It's followed by "Ultraviolent Junglist", which is unfortunately a fairly routine breakneck Jungle (duh) song with nothing to really recommend it beyond its insane speed.
Funk slows it down with ""Goodbye9/Hello10", which comes from the same school of breakcore / classical fusion of Detrimentalist's "Miss Balaton" and the acclaimed Rossz csillag alatt született. It's become a bit cliche to say that Funk's best work is in this style, but this really is a very good song. Vsnares' music can be really evocative when he lets it - the strings especially are suitably cinematic and impart some drama onto the proceedings. "Sound Burglar" starts out with doom-laden horns before devolving into a ragga breakcore freakout (though as breakcore freakouts go, this one is remarkably relaxed), beating less adventurous contemporaries like Shitmat at their own game.
The penultimate track, "Hajnal2" is, as the name suggests, an edit / V.I.P. of Rossz csillag alatt született's jazz / classical / breakcore opus "Hajnal", one of that album's standouts. The edit removes the original's jazz leanings and inserts a greater emphasis on Funk's intricate drum programming and adds a few acid-y touches and a bewitching male vocal snippet (singing about how no birds sing in his heart), plus a few touchstones from other Rossz tracks. For anyone who loved that album, it will be a welcome surprise.
The album closes out with the "title" track, "My So-Called Life", which begins like a less somber outtake from Rossz, or even some lost vintage Joanna Newsom track, before unexpectedly subtle electronic touches start inching their way in around the strings. I keep expecting the song to explode into breakcore, but Funk plays with our expectations, biding his time until about three minutes in and even then showing a good deal of restraint. It plays like "Miss Balaton" in miniature, and it's these sort of songs that reveal just what a talented composer Aaron Funk is.
With most any other artist a "return to form" would be met with skepticism - usually when an artist consciously goes back to styles he or she employed in years past it's taken as a sign of creative bankruptcy (think U2 or even Beck), but Venetian Snares is far more creative than most. What's more, one gets the sense that Funk has nothing to prove - he's made a career out of doing his best to alienate listeners while at the same time enticing them with his displays of prodigious talent. By going back to the well and revisiting his disparate muses of the last decade he may well have made his most dynamic and appealing album. Not every song clicks but the ones that do click do so like none other. Aaron Funk deserves the "evil genius" title just as much as Aphex Twin did, maybe more. I just hope he doesn't "retire" as soon as Aphex did.
http://www.mediaf!re.com/?mv3l8our2cjoo1y
http://www.mediaf!re.com/?6dmp5av8nvr7l2bIt's awfully funny to look back on the original strands of Norwegian black metal. Originally, the music was supposedly steeped in some form of deep thought or elitist philosophy as many of its perpetrators and proponents aligned themselves with the ridiculous 'No Mosh, No Core, No Trends, No Fun' edict. Change is inevitable, but it's pretty rich to se how many of those original panda bears, after discovering the sounds of filthy street punk, swaggering groove and the potentially troublesome combination of whiskey and vagina, are playing in noisy punk, d-beat and thrash bands. In the case of Peter Vegem and Bård Eithun, who both moonlight in Blood Tsunami, some of these dudes are killing three Vargs with one stone. Considering this album's name and songs with titles like 'Broken Cock', 'Shithead Convention' and 'Shotgun Wound (My Last Tattoo)', it's a safe bet these Norwegians aren't the class gents who're going to be invited to play at King Harald and Queen Sonja's 43rd wedding anniversary next month. But that's okay, because it just means that 'Pete Evil' and 'Faust' and their mates (including Max Cargo from The Cumshots) will have more time to deliver their sick 'n' misanthropic anthems to throngs of dirtyminded and attired sleaze bags and gutter sluts who love(d) the darkness and grit underscoring the melody of early Mötley Crüe and WASP, the caustic burn of hardcore punk, classic tharsh metal's tottering two-beat and the propulsive sonic showdown between Motörhead and Discharge. Even better if you enjoy unlikely tales of limbless hookers ('Wheelchair Hooker', another for the Royal Family's playlist), the destruction of one's hopes and dreams ('Pissing In The Wishing Well') and giving in to hatred ('Fuck It All'). That this blackened suicide note primarily set to filthy thrashpunk fiery enough to fuel riots, illegal drag races and gonzo porn soundtracks only adds to the awesome.
(8/10) Kevin Stewart-Panko
http://www.mediaf!re.com/?ok7576ghbhpbvgbhttp://www.mediaf!re.com/?m27q3wacw47http://www.mediaf!re.com/?zyn6vvz6q1ahttp://www.mediaf!re.com/?xq9mej3dm4p2ofz
http://aminormass.blogspot.com/2010/08/sounds-of-summer-saturday-looks-good-to.htmlEven though the largely emo-based Polyvinyl Records doesn't seem like the most natural home for Saturday Looks Good to Me's winsome, nostalgic pop, the undeniable emotional pull and heartfelt delivery of Fred Thomas and company's music makes it a better fit than one might expect. All Your Summer Songs, the group's fifth album and Polyvinyl debut, is another triumph, expressing the complexities of being in and out of love with deceptively naïve music and lyrics that are wise beyond their years. While Motown, Phil Spector, and the Beach Boys still exert a strong influence on Saturday Looks Good to Me's sound -- especially on "Alcohol" and "Ultimate Stars" -- the band explores an entire bandwidth of AM radio moments, ranging from the "Itchycoo Park" drum fills on "Meet Me by the Water"; the Peter & Gordon-esque acoustic guitars on "No Good with Secrets"; and the Byrdsy jangle of "You Work All Weekend," which sounds like said band backing the Magnetic Fields' Stephin Merritt. And while Thomas has as much reverence for -- not to mention ability to create -- a perfectly written two-and-a-half-minute pop song as Merritt does, his music sounds fresher and less contrived despite its retro allusions. Indeed, aside from pleasing record collectors and oldies geeks, the reconfiguration of sounds past that makes up Saturday Looks Good to Me's style gives their music a timeless yet fresh feel that also has an instant familiarity. "Caught" and "Typing" (which also includes the priceless lyric "You spent such a long time typing/That you forgot how to write letters") are twinkling pop confections ready for cameos on the soundtrack to a Wes Anderson movie, while "Underwater Heartbeat" casts singer Erika Hoffmann as a lovelorn mermaid. Along with Hoffmann, All Your Summer Songs also features indie luminaries and long-time SLGTM auxiliary members like Ted Leo, Dan Littleton, Matthew Smith, Karla Schickele, and Jessica Bailiff, although Thomas himself sings the album's most painfully intimate songs, such as "The Sun Doesn't Want to Shine" and the title track's slow-motion breakup lament. Even so, a wistful feeling pervades even the album's most upbeat moments; songs that start out bright and bouncy often end with a sigh. Sonically, the album is slightly more polished than the band's earlier works, but not by much; though "Ambulance," one of their best songs, appears in a cleaner, lusher version here, the album was still recorded mostly on four-track and still features the abrupt starts and stops and interludes that give the group's work a dreamy, stream-of-consciousness feel. Ultimately, All Your Summer Songs is quintessential Saturday Looks Good to Me, which should delight old and new fans of the band alike.
http://www.mediafire.com/?g5bji1x6mh8lp6g
http://www.mediafire.com/?qxiumzxlgmhhttp://www.mediafire.com/?fc63hrjlgzn4efmhttp://www.mediafire.com/?l76r0joat1zgh92Erasing ignorance can be bliss, especially if it’s accompanied by the discovery of a hitherto untapped source of musical delight. Who knew that in the mid-1970s, a quarter century before the world Afrobeat revival picked up steam, musicians were cutting the stuff to considerable acclaim in Colombia’s coastal cities? No one outside South America, that’s for sure, except for the African record distributors who helped fuel the craze. Colombia’s links to Africa stretch back much further. The port city of Cartagena was a major terminal for the trans-Atlantic slave trade, and waves of runaway slaves made their way to palenques, fortified free cities on the country’s Pacific coast, whose population to this day is 90 percent African-descended.
In the 1950s, sound systems, similar to those in Jamaica, called picós became a fixture of social life in cities like Baranquilla and Cartagena. Alongside local sounds, they played music from elsewhere in the Caribbean and Africa. Picós competed to secure African records by the likes of Fela Kuti and Orchestre Polyrythmo De Cotonou, steam their labels off, and use these exclusive songs as bait to lure audiences. As in Jamaica, demand for hot new tunes out-stripped supply and local musicians stepped into the breach. The Palenque Palenque compilation is a primer on that homegrown music, which was named Champeta after the knives wielded by the working-class people who fought and danced to it. In typical Soundway fashion, it was assembled by a life-long fan — C olombian crate-digger Lucas Da Silva. And per usual, the packaging and annotation are treats for the eyes and brain; the 32-page booklet includes vintage band photos, record sleeve images and colorful contextualized essays.
But the real treat is the record. Twenty-one songs strong, it’s a summer party soundtrack as well an introductory education. The 15 Champeta musicians included on this set had their ears to the ground, picking up not only African sounds but also those of the rest of the Caribbean, as well as more northerly funk and rock influences. The music is undeniably African throughout; there’s the Fela-like interlock of chanted patois, stuttering guitar and honking sax on Cassimbas Negras’ “Bumburumbumbum”; the lilting guitars, rubbery bass and high-pitched backing vocals of Abelardo Carbonó’s “Palenque”; and the surging hand drumming on Cumbia Sigo XX’s “Naga Pedale.” It’s also designed to keep the energy high; if you aren’t galvanized by the snarl that kicks off Wganda Kenya’s “Pim Pom,” you really should have the nurse cut back on the narcotics in your drip bag.
But it doesn’t deny its Latin roots either; Carbonó’s “Quiero a Mi Gente’s” chicken-scratching guitars ride a manically clip-clopping cumbia groove, and the squelchy keyboards and layered bongo beats that punctuate Los Soneros de Gamero’s tersely barked vocals speak the lingua franca of tropical disco at the same time that the heavily echoed horns sing the siren song of the Kalakuta Republic. And the Donald Duck-voiced commentary that Carbonó (when will this guy get his own set?) drops into “La Negre Kulengue” shows that he grasps the same lesson as Arthur Russell, Lee Perry and Jordy: You can get away with all sorts of ridiculous shit so long as you take care of the beats. Great stuff.
http://www.mediaf!re.com/?11m2a8uq5ovmc24
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?tqix8dd10d13e7q
did someone post a j-biebz album? i'm too afraid to look
http://www.mediaf!re.com/?cay5973dteo0o0mhttp://www.mediafire.com/?rj83pm0y8rbmmblMeditiational Field (http://www.youtube.com/watch?v=PB3aen60PSo)
http://www.mediaf!re.com/?uyyxx3344eilrl6
http://www.mediafire.com/?6gx7n035bk6i2ksSabotage (http://www.youtube.com/watch?v=QrlPuveLAAw)
http://www.mediafire.com/?o6t7sr4fifjfj3aThis is the album What's Going On by Marvin Gaye
In other news I finally got hold of a folk record that I've been trying to get hold of for a while now and I think that everyone should have the chance to hear it so here it is.
Serious Sam Barrett - Close To Home [320kbps]Code: [Select]http://www.mediaf!re.com/?uyyxx3344eilrl6
http://www.mediaf!re.com/?m1jy2a907w1ne7dhttp://www.mediaf!re.com/?pi98o4x5ooxpa1fazure ray
http://www.mediafire.com/?murymexkru4xsicThis is an album of italoish disco covers of sci-fi movie themes
http://www.mediafire.com/?aa5rnjlfls22dzbOld Fangs (http://www.youtube.com/watch?v=YmbmOVunEcc)
http://www.med!afire.com/?02w00q4a082d1d1http://www.med!afire.com/?7lecdjild9ccpfuhttp://www.mediaf!re.com/?qbwpvqqv3xl47t8(http://i165.photobucket.com/albums/u60/daschakal/8ae9c0e724bd.jpg)
The Stone Roses: 20th Anniversary Collector's Editon (320kbps)
1. I Wanna Be Adored — 4:52
2. She Bangs the Drums — 3:52
3. Waterfall — 4:40
4. Don't Stop — 5:20
5. Bye Bye Bad Man — 4:06
6. Elizabeth My Dear — :54
7. (Song for My) Sugar Spun Sister — 3:26
8. Made of Stone — 4:15
9. Shoot You Down — 4:14
10. This Is the One — 4:59
11. I Am the Resurrection — 8:14
12. Elephant Stone [12'' Version] — 4:53
13. Full Fathom Five — 3:05
14. The Hardest Thing in the World — 2:44
15. Going Down — 2:49
16. Guernica — 4:24
17. Mersey Paradise — 2:48
18. Standing Here — 5:09
19. Simone — 4:27
20. Fools Gold [Full Length Version] — 9:55
21. What the World Is Waiting For — 3:52
22. One Love [Full Length Version] — 7:46
23. Something's Burning [Full Length Version] — 7:45
24. Where Angels Play — 4:16
25. I Wanna Be Adored [Demo] — 3:44
26. She Bangs the Drums [Demo] — 3:49
27. Waterfall [Demo] — 4:47
28. Bye Bye Badman [Demo] — 4:07
29. Sugar Spun Sister [Demo] — 3:31
30. Shoot You Down [Demo] — 4:27
31. This Is the One [Demo] — 4:02
32. I Am the Resurrection [Demo] — 6:41
33. Elephant Stone [Demo] —3:16
34. Going Down [Demo] — 2:41
35. Mersey Paradise [Demo] — 2:49
36. Where Angels Play [Demo] — 3:18
37. Something's Burning [Demo] — 3:05
38. One Love [Demo] — 6:22
39. Pearl Bastard [Demo] — 3:42Code: [Select]MU
Pt. 1 - http://www.megaupload.com/?d=JZNS97K6
Pt. 2 - http://www.megaupload.com/?d=8XC5OL30
Pt. 3 - http://www.megaupload.com/?d=KY0D44UA
Pt. 4 - http://www.megaupload.com/?d=JKE5OJOD
MF
Pt. 1 - http://www.mediaf!re.com/?524e65pp3pl56w7
Pt. 2 - http://www.mediaf!re.com/?dd6dm3y9sne6fff
Pt. 3 - http://www.mediaf!re.com/?checjls517jzscf
Pt. 4 - http://www.mediaf!re.com/?nbfd36f2udfmilq
salem - king night (2010)
Salem link has been deleted, re-up?
http://www.mediafire.com/?y3u175ced7gk6w2
http://www.mediafire.com/?mjm4cy6yqrdq2g2Night (http://vimeo.com/11649877)
http://www.mediaf!re.com/?61142b6zmj11c7uhttp://www.mediafire.com/?7u39o6h0mpuqd7rhttp://www.mediafire.com/?6df6rgrmgfddg16
http://www.mediafire.com/?agx4h0rncn3jd9s
http://www.mediafire.com/?7y3pe8g69ngedugThe album title, ‘Formanta’, comes from the Latin formatio (formation) & is also the name of a 70s soviet vintage synthesizer. The record has elements of electronica, folktronica, shoegaze & ambient & each track washes you gently with lush deep, warm beautiful sounds that recall the likes of Ulrich Schnauss & Isan. As the instrumental explorations progress, the Russian trio find themselves carefully crafting an ambience that brings their sound closer to the realm of Sigur Ros’ slow-core – although this is far more subdued & delicate – & their mastery of pastoral bliss has more in common with those other Icelanders, Mum. Apparently, Radiohead’s ‘Kid A’ & Portishead’s ‘Third’ albums have also been a major inspiration for this album & that is certainly apparent here too. There are lots of ambient hissing noises, crackles, unidentifiable percussion, droning organs, hushed echoing vocals & some really awesome glitchy idm that make up this rather wonderful release. Highly recommended. Parallax
http://www.mediafire.com/?lin1cowj54khttp://www.mediafire.com/?lz8yl1uqlfkzk3z
http://www.mediafire.com/?ae04fnryj2x1mhr
My Sick Uncle - (500) Days of Weezy
(http://img716.imageshack.us/img716/9623/500daysofweezy.png)
Seriously the best mashup I've heard since Jadiohead. The music from the 500 Days of Summer doesn't seem like it would work with Lil Wayne's (and other rapper's) rapping, but it works surprisingly well. This is definitely not super party mashup a la Girl Talk. It is definitely more mellow and easier to listen to the whole way through (probably due to the 500 DoS sampling). If you are a fan of the music from 500 DoS, or Weezy, or both, or just want to listen to new and good interesting music check this out.Code: [Select]http://www.mediaf!re.com/?pi98o4x5ooxpa1f
You can listen to it all here (http://soundcloud.com/mysickuncle/sets/500-days-of-weezy/)too.
*Dark and harrowing drones and location recordings from this mysterious American avant-garde/noise composer - limited to 200 copies for the world* Following on from his incredible collaboration with William Fowler Collins under the 'Mesa Ritual moniker, Raven Chacon returns with this super-rare vinyl outing after a string of releases on tape and CDR. The first side on this album is dominated by 'The Totem of the Total Siren', a harrowing piece using resonating snare rattle, bone whistle and nylon stringed guitar. The recording gradually builds on the snare's nervous shudder, gradually turning into a swarm of subdued noise, coalescing with a low-pitched whistle placing us directly in the eye of a swirling storm. 'La'ts'aadah' is more intimate, a primitive piece for solo violin recorded close to the performer (Mark Menzies) with a worn-down microphone sounding like a dramatic, ancient middle eastern lament for a grandmother on her deathbed. Finally, a chamber piece for the Mary Washington Wind Ensemble entitled 'Hasta'aadah' layers sombre melodies into a thick drone, offering an eerily detailed composition, almost like Edward Williams score for 'Life On Earth' but with a far more sinister and chaotic arrangement scored for unconscious creatures. Limited to 200 copies only for the world and housed in a screen-printed cover by Jaycee Beyale - do not miss.
http://www.mediaf!re.com/?zogkd2jm64o9bao**Clear Vinyl** Heavyweight remix package from Echospace, pitting the ethereal space-pressure of Steve Hitchell and Rod Modell's CV313 against the claustraphobic dub menace of Kevin Martin's King Midas Sound and the layered ambience of Rafael Anton Irisarri's 'The Sight Below'. Its the King Midas version that pretty much owns this record though, more or less completely re-structuring and re-working the original into a noxious burner complete with the signature deadpan narration of Roger Robinson and the far-flung, almost detached vocal delivery of Hitomi pitted against a compacted tangle of deeply unnerving low-end rumbles and a mesh of effects and midnight drones worthy of Martin's involvement with Experimental Audio Research all those years ago. Remixes are rarely this ambitious - and it's a credit to all parties involved that the end result is a substantial contribution not only to the Echospace discography but to the King Midas Sound canon - small and perfectly formed as it is. The Sight Below, meanwhile, keep much more closely to the original's genetic code, unwinding hazy dub chords around a padded 4/4 with subliminal washes of melody that have become something of an Irisarri signature over the last couple of years. Ending off the twelve, Modell and Htchell reserve the flipside for themselves with an extended live mix that lifts the track into a more defined warehouse environment, with shuffling percussion and fathoms-deep bassline intact. Limited copies - highly recommended.The KMS remix is quite excellent.
http://www.mediaf!re.com/?0dyf08j1ympv8lg*Immense, dark and unbelievably heavy analogue productions somewhere between Eleh, Pan Sonic and Eliane Radigue on this limited edition vinyl pressing. It doesn't really matter when this music was made or by whom, all you need to know is that only 400 copies have been made for the world, housed in a suitably anonymous white-on-white embossed sleeve* Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. There's a confidence and ability to these productions which elevates them above the masses of lo-fi synth meanderings currently murmuring in the underground, occupying the tantalising space between Eliane Radigue and James Ferraro, or Thomas Köner and Daphne Oram, creating a dialogue between their shared and opposing aesthetics to give an emotional response with deeply chilling and engrossing results. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. Brilliantly out of place, 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead. Strictly limited copies, catch it while you can.
http://www.mediaf!re.com/?t55khlxttu8z8kjThe Night Slugs juggernaut continues apace, with another limited white-label pressing and the long-awaited vinyl debut of hugely tipped London producer Jam City. To many he first came into view when Fact magazine hailed him as the most exciting prospect for bass music in years, and after devouring his by now classic mixes for Lower End Spasm and Fact itself we really couldn't possibly argue - despite the fact that he's had no releases of his own to speak of until now. So all of this is just to say that there are people clamouring for this twelve, and a few minutes in the company of the opening track will bend you into submission if you had any resistance left in you, 'Ecstacy Refix' is just one of those anthemic wonders that defies easy categorisation, employing distinctive Grime signatures but with an almost euphoric color palette that takes in rave stabs and distant percussive hits, proper hands-in-the-air styles for peaktime summer jams. Over on the flipside "Let me Bang Refix" does a similar thing with a different trajectory, borrowing bouncy booty bass structures and reducing them to a gooey mess of layered strings and fluoro synths, while Shut The Lights Off (Devil Refix) gives off an Eski vibe but with the urban angst replaced with a late-night-drive scene that's just owning it for us right now. Crazy times - this is just too good.I initially fucked up by ripping at 33 RPM (as I often do) but I've kept those copies and added them as a "bonus". The screwed versions of "Ecstacy (Refix)" and "Let Me Bang (Refix)" are just as good as the originals.
http://www.mediaf!re.com/?s6qq51zop3rui39Following his incredible 7" transmission 'For Oud & Synthesizer', Keith Fullerton Whitman presents a set of mindblowing compositions recorded late 2009 for Root Strata. Frustrated by the restrictions of performing computer music in public settings and keen to involve a larger element of risk into his music, Keith follows his obsession with "the tenets of Process music & Systems music" to investigate "the unpredictable entropies & slight signal degradation inherent to Analog instrument design", resulting in a set of infinitely morphing and self-modulating sequences subtly guided by a hand and mind that perceives the possibilities of music like very few others we can think of. For the tech-heads this involves sending three voltage streams from two LFO's to different modules... and that's where we'll stop, because it's all noted in the lovely heavy card sleeve anyway! He's basically creating every sound you hear in-the-moment, on-the-jog, weaving sine waves into florid patterns which can range from alien acidic permutations like the frankly incredible 23-minute 'Generator 2', to lushly psychotropic sequences such as 'Generator 1', both of which were left untouched meaning you're simply listening to the modular synths organising themselves into stunningly "musical" arrangements. We can hear the merest hint of human involvement in the audible patching and slightly mismatched levels, but to be totally honest we wouldn't have noticed this if KFW didn't point it out. The tracks just seem to have a hugely varied, constantly mutating life of their own, expanding with the vivid pattern arrangements of a DMT trip to immerse us head to toe in tactile waves of pure electronic pulse, panned, pitched and pushed into timelessly chaotic yet controlled motifs. In a way, this tape puts swathes of kosmische imitators and synth obsessives to shame, being both eminently listenable, and completely original. A late night listening session with this has just left us gobsmacked and it's a crying shame that there's only 200 copies for the world because far more people need to hear it. So good.
http://www.mediafire.com/?k8c1kvy5b138v0d
http://www.mediafire.com/sharingisnotacrime
http://www.mediafire.com/?wonkgmke8iht3hdZe Myspace (http://www.myspace.com/punchcrew)
http://www.mediaf!re.com/?19onc3kk7o5e9zahttp://www.mediaf!re.com/?y8qnc0lak4n84st
‘Da Trak Genious’ is Planet Mu’s compilation of the Footwork tracks of DJ Nate, born Nathan Clark, a 20 year old artist who grew up in the westside of Chicago. He started making Footwork tracks 5 years ago, more recently turning his hand to Hip hop and R'n'B, and the album is an archive compilation of his productions.
This is Nate’s first ever worldwide album release. It’s essentially a selection of tracks that have come out on small edition cdrs and tracks posted on youtube and imeem. This is how Planet Mu first heard his music, which has gathered a small but enthusiastic band of followers and fans who have been itching to hear more from Nate and know more about the genre.
Footwork tracks are instrumental tracks made for Footwurking, or Jukin'; a dance style that’s local to Chicago that kids use to let off steam in group competitions with each other. It’s a distant relative of the competitive hip hop style of up-rocking but with frantic foot moves that have their roots in Jazz dancing.
The Footwork sound has its roots in Chicago House especially the accelerated ‘Ghetto’ house, and the influence and speed of the pioneering Ghetto house label 'Dance Mania' is clear: the tough sentiments and hip hop influence is all there, but the fast linear hypnotic 4x4 sound of those records has been re-calibrated and given an ultra-syncopated treatment to test dancers, the samples and repeated lines are pitch adjusted up and down giving the music a strange hypnotic feel.
These tracks have a unique drama and a pressure that is unique to Footwork but reminiscent of the edited drum syncopation of jungle and also hip hop cutting in DJ battles.
DJ Nate uses the basic palette of samples from pop and hip hop, pitched, layered and triggered into unusual edits, often edging into distortion, usually with a simple repeated phrase like ‘hatas our motivation’ used to pump up the dancers. This hypnotizing effect, combined with sparse 808 drum patterns, often with busy fills, relentless triplets and off-kilter accents, is used to create very different variations within his sound.
Tracks like ‘Back Up Kid’ and ‘You’re Gonna Love Me' work with modern r'n'b samples, while others like ‘Footowurk Homicide’ and ‘Fade Da Black Trak’ seem to echo their contemporary British sound of Grime. ‘Go Hard’, ‘Let The Beat Build’ and ‘Free’ reach back to earlier soul music, crossing half-time drums with slow, looped soul licks, while ‘A+ Mayhem’ pitch up or chipmunk emo tracks to hysterical effect. The mood, skill and ADD emotion across the album is difficult to get into first but after some listens the character and voice of DJ Nate’s unique productions comes across.
http://www.mediafire.com/?94r1ar9eklg4wup
The (500) Days of Weezy is surprisingly pretty good.
http://www.mediafire.com/?10kq3wikwx85znz
http://aminormass.blogspot.com/2010/09/gas-pop.htmlOn Pop Wolfgang Voigt lightens the tone of his Gas work, adding earthly sounds and brighter melodies. The result remains stylistically ambient; in fact, the stripping away of bass beats, which had been employed on his past two albums, Zauberberg (1998) and Königsforst (1999), makes this more of a purely ambient album than an ambient techno one. Such a distinction (i.e., between ambient and ambient techno) may seem hair-splitting, but it's a key difference between Pop and its predecessors, and this is an album that aims to be different and, presumably, more accessible (if the album title is to be taken meaningfully). Even though, for the most part, there aren't any underlying rhythms of looped kick drums on Pop, there's plenty of rhythm; rather than looping low-frequency bass beats, Voigt loops mid- and high-frequency percussive sounds (for example, a tinny clanging sound on the fourth track). Actually, there's a lot going on in the mid- to high-frequency range, a variety of looped sounds -- some rhythmic, others melodic, still others simply ambient -- and these are a different set of sounds than were previously employed. In general, the seven tracks of Pop are comprised of a multi-layered set of loops that carry on seemingly to no end, though subtle nuances are constantly at play, creating a steady and sustained ambience that is forever shifting and swirling around lifelike. The final track is the most remarkable; at almost 15 minutes, it's the longest, and it's far and away the most intense and rhythmic, chugging along like a runaway train. Besides being remarkable on its own terms, this final track is a great finale and gives Pop the same sense of arc that characterized Zauberberg. While all of the Gas albums are cornerstone works, setting the stage for the style of "pop ambient" techno popularized by Kompakt in later years, Pop, along with Zauberberg, is a crowning achievement for Voigt and, as if his mission were accomplished, he chose to conclude his series of Gas albums here.
Quote from: Boomkat
Plus a super-limited cassette rip of Keith Fullerton Whitman's procedurally generated synthwork. Pretty awesome stuff.
(http://img829.imageshack.us/img829/6458/333rf.jpg)
Keith Fullerton Whitman - Generator\
Awesome!
http://www.mediaf!re.com/?ih8002o8q3b27a5Exactitude, much more so than style, distinguishes Rhythm & Sound from other dub projects. Claiming the somehow inexhaustible process of reduction as mantra, Rhythm & Sound make dub with the fewest possible elements; namely, rhythm and sound.
Such a reductive method has in fact been the basis of dub since its earliest days. The first dubs were b-side mixes of late-60's reggae singles. Producers removed the vocals, allowing the crowd to sing the original lyrics or emcees to improvise their own. Dub is a democracy whose first triumph was to ensure the inclusion of the listener as active participant in musical culture. It turns songs into spheres, accessible from all angles. Through dub, musicians, producers, and listeners enjoy equal access to shaping music.
And dub, as it became increasingly artful, also codified the role of producer as performer. This role was legitimated chiefly by King Tubby, Black Uhuru, Lee Perry, and others whose studio finessing made sound into an instrument. Rhythm and sound, from then on, were the focal points of the genre, at the exclusion of all that which became unnecessary in the process.
In short: less is more, so dub contracts. Musicians otherwise tend to expand on past concepts, augmenting those concepts with newness, holding onto the cores of some useful traditional ideas while also making them relevant to the here and now. This progression carries an obvious logic, in fact it may circumscribe the most common route of artistic betterment: artists incorporate the present by speaking to new technologies, new histories, new desires. Art consumes modernity, offering interpretation or more chaos as its eventual reconstitution. Dub, to the contrary, stares deeply into music as discrete sonic parts, exploring what is important -- what people respond to -- and discarding the debris.
For all of this precision, Rhythm & Sound focus more intently on the basics than perhaps any other dub group. Exactitude, like I say. Augustus Pablo's dubs featured the distinctive melodica, Basic Channel (an earlier project of Mark and Maurizio, who are Rhythm & Sound) combined dub with minimal Detroit techno, and Pole employed advanced technologies to produce a slick and highly representational dub. But Rhythm & Sound cannot be defined by fusion or innovation. They adhere to the original program of dub, following the path of reduction deeper and deeper into the brush.
Rhythm & Sound's new two-disc release includes Rhythm & Sound w/ the artists, a collaboration between the German producers and seven members of the Wackies crew, a group of reggae artists who recorded with Lloyd "Bullwackie" Barnes in the Bronx in the 1980's, as well as a CD of dubs, called (without pretense of course) The Versions. Recently, Rhythm & Sound have worked only with vocalist Paul St. Hilaire, so the appearance of six extra Wackies groups is a surprise and a treat.
The vocals on the artist disc sink deep into the production, with classic doses of heavy reverb and subtle alteration. All of the singers are solid, though I can't deny a soft spot for Love Joy in particular. On "Best Friend," she sings of her best friend and her lover, in rich tones that fit Rhythm and Sound's steady grooves. The melody of her song could repeat indefinitely without wearing thin. Another highlight: Cornel Campbell and Jennifer Lara perform, respectively, "King in My Empire" and "Queen in My Empire," over the same instrumental track.
The versions disc doesn't exclude the vocals entirely, but definitely sublimates them within the mixes. As opposed to earlier Rhythm & Sound work, there is less ambient grit and more direct dubbing here. These are more song songs than the ethereal pieces on some of their 12" releases and 2001's self-titled Rhythm & Sound, in that there are invariably parts and changes to accommodate the singing.
Rhythm & Sound are purists, indeed, and in good faith they continue to find more amazing possibilities in the simple philosophy which their name explains as well as any two words could. These two essential discs build on the legacy of a group who improve by looking inward, not outward, refining their own production techniques in the belief that the basics of music form an unbroken link between human consciousness and the elevation thereof.
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?plqgizdy73qo23qhttp://www.mediafire.com/?2ra0rvglhm1c161The Naked and The Famous - Passive Me : Aggressive You(http://img.photobucket.com/albums/v180/Punk930/coverrr.jpg)
http://www.mediaf!re.com/?jg6g6xssa1r8x8p5 piece Electropop/rock.The Kids of 88 - Sugarpills(http://img.photobucket.com/albums/v180/Punk930/Sugarpills_Kidsof88.jpg)
http://www.mediaf!re.com/?y1ve1qs5b8zar5tPsychedelic New Wave. So wait. What does this mean? It isn't shut down?
http://www.mediafire.com/?iargkp3fy15vv04
Tweak Bird - Tweak Bird[2010]
http://aminormass.blogspot.com/2010/09/sounds-of-summer-piracy-funds-terrorism.htmlSanta Claus, the Virgin Mary, and Terrence "Turkeytime" Terrence just got the shaft this holiday season. Why bother with presents? 2005's Tickle Me Elmo was supposed to be a chicken-legged Sri Lankan with so much sex in her self-spun neons you might as well get wasted off penicillin with Willie Nelson at a secret Rex the Dog show. But guess what? On Halloween she showed up in Philadelphia for her Fader gig, sat herself under a big fucking Christmas tree, and dished out free copies of Piracy Funds Terrorism, Vol. 1, the mixtape masterpiece she and Diplo Hollertronix had spent the 10 previous days putting together in his apartment. Batteries included!
So a large portion of her forthcoming debut, Arular, has willfully gone leaky boat here. Many of her tracks sound similar to one another: A 505 Groovebox queefs out splatty, farty beats and M.I.A. shouts lyrics of varying snark over them, sometimes even singing them. (Sometimes.) She's been irresistible in single land, but M.I.A.'s full-length runs the risk of seeming limited and discrediting her misleading but awesome "female Dizzee Rascal" tag, replacing that description with "Neneh Cherry, Mk. II"-- a label that has likely dawned on anyone who has seen the "Buffalo Stance"-like "Galang" video.
That is why this mixtape kills: The format fits M.I.A. perfectly. Her songs benefit greatly from Diplo's recent baile funk fetish (confer his recent Favela On Blast tape), some choice dub and American hip-hop cuts to break up the blaze to blaze and razorblades, and some flat-out brilliant mashups.
On the upstroke, "Galang" goes reggaeton; on the down, Diplo cops the song a Lil Vicious beat and a lil keyboard hook, and it's so whoa you'll have to punch yourself in the face to stop smiling. "Fire Fire" goes bam bam then walks like an Egyptian in a telling Bangles mashup-- the two songs play so nicely together they could be siamese, until Diplo misdemeans "Pass That Dutch" with M.I.A.'s snakey music box schwarma. M.I.A.'s "Amazon" coupled with Ciara's radio-friendly microcrunk squelch is an early highlight, though that squirmy synth on Clipse's "Definition of a Roller" makes for good freak, too, packing just enough snaggletooth funk to forgive those recent Neptunes missteps.
For a tape whose initial appeal was the instant and gratifying relief it brought to everyone waiting for M.I.A.'s full-length, Diplo ironically saves M.I.A.'s best cuts for last. "URAQT" is a jittery mess of flirting, territory-marking, and text-messaging (!): "You fuckin with my man and you text him all the time/ You mighta had him once but I have him all the time," and later, "U-R-A-Q-T/ Is your daddy dealer, cause you're dope to me!" For dessert, Diplo brings "Big Pimpin'" out of retirement to back M.I.A.'s raspy "Bingo": "Do you know what is on? Do you know what is on? Do you know how this beat is made in fucking Lon-d-d-don?" The song's obviously great, but between M.I.A.'s fierce deliveries and the braggart beat, it sounds weird and ominous, a black-hole closer to an album brimming with life.
Last week, Sasha Frere-Jones profiled M.I.A. in The New Yorker, spraypainting her as a consummate and naturally "world" artist. M.I.A. is silly, dancey, cheap, expensive, truthful, and utterly serious all at once-- just like the world (!). She's not exactly rags-to-riches (yet), but her pop carries unwittingly significant weight, and to potentially far more people than just a few hundred ecstatic MP3 blog readers. It's one thing for M.I.A. to be a "world" pop star; it will be another thing for her to release an album that reflects that backstory. For now, Piracy Funds Terrorism, Vol. 1 takes that burden off of Arular: Diplo has actualized our hopes for M.I.A. qua world pop star, and we didn't even have to leave him cookies.
— Nick Sylvester, November 21, 2004
This week's musical menu consists of 2 delicious albums by artist from New Zealand:Album suuuuuucks. Kids of 88 are rubbish electripe pumped out and jocked by C4, our local music channel. Naked and Famous on the other hand are awesome.QuoteThe Kids of 88 - Sugarpills(http://img.photobucket.com/albums/v180/Punk930/Sugarpills_Kidsof88.jpg)Code: [Select]http://www.mediaf!re.com/?y1ve1qs5b8zar5tPsychedelic New Wave.
play it. shake it, and save room for musical dessert.
http://www.mediaf!re.com/?5kw674u7lfkt018
http://www.mediaf!re.com/?e689azp6rdfoy93Preview full album on NPR (http://www.npr.org/templates/story/story.php?storyId=129424818)Bostich and Fussible is part of the acclaimed Nortec Collective, whose name stems from the words "Norteño" and "Tecno." On the group's new album, Bulevar 2000, Bostitch and Fussible puts a heavy emphasis on the "tec" in Nortec, without losing its "Norteño" twang. The result is a hypnotic album that takes listeners back and forth between a Parisian lounge and a fast drive down Tijuana's Avenida Revolución.
The rushed beats coupled with the typical Norteño accordions give the music a distinct tango feel, reminiscent of Gotan Project, another band that fuses the traditional (tango) with techno. Take "I Count the Ways," the album's first single, featuring Kylee Swenson of the San Francisco electronica-pop group Loquat. The violin crescendos and Swenson's smooth vocals gives it a delicious disco sound, while a bed of accordions gives it that tango feel. But Bostich and Fussible keeps its border sound present with the constant burping of the trumpets.
http://www.mediaf!re.com/?oq74nio57bel68dNot quite what I expected from No Age, but it's not terrible.http://www.mediaf!re.com/?3ek4l5javq1lq2fhttp://www.mediaf!re.com/?u16u3doc9y2ab83Track 6 fixed (hopefully)http://www.mediafire.com/?543pcyvz9yocnnqhttp://www.mediaf!re.com/?2og7wax1f2lm52u
http://www.mediaf!re.com/?543pcyvz9yocnnqhttp://www.mediafire.com/?ivoi4740domee7zsome review (http://www.musicomh.com/albums/el-guincho-2_0910.htm)http://www.mediafire.com/?i02jor8c491do2o(two members from page france do really open-ended folk-ish stuff)http://www.mediafire.com/?aof4b525d2ldcxoOne of my favorite singer/songwriters as of late. Don't expect anything grandiose. http://www.mediafire.com/?tab6e4dz8y8fw7q
http://www.mediafire.com/?rn8iwii4a5l26he"Lost Wisdom" (youtube) (http://www.youtube.com/watch?v=g55FNQQGpxU)http://www.mediafire.com/?n8d17cem5jat7cq"Beauty" (youtube) (http://www.youtube.com/watch?v=P8S320myXYo)http://www.mediafire.com/?m3x49gcf07x78j9Ryan Graveface (Black Moth Super Rainbow) side projecthttp://www.mediafire.com/?35p551hqub6d0ii
http://www.mediafire.com/?4xlht911hq6sz6h"Time is a Force" (youtube) (http://www.youtube.com/watch?v=-UpfC2MwoyU)http://www.mediafire.com/?7aaeutmwcga4lffhttp://www.mediafire.com/?h6co5l276670500
http://www.mediafire.com/?v9pd5z9q3b6y8guLe Vent Nous Portera (http://www.youtube.com/watch?v=NrgcRvBJYBE)
http://www.mediafire.com/?5z1uwmzhu0ptdgmhttp://www.mediaf!re.com/?xzwuzu4hq2t1177http://www.mediafire.com/?b8ldxarq7q3u6lxhttp://www.mediafire.com/?tla6a2a22frbjt5http://www.mediafire.com/?m2482bnk1k8nvkihttp://www.mediafire.com/?6j827et22ioicuahttp://www.mediafire.com/?ue3h0yxq2szhte3Pogotross posted 17 and Future or no Future which are both awesome as well. I believe the first track on the 17 rip he posted was corrupted so here is that song as well. http://www.mediafire.com/?qd2u84392te502khttp://www.mediaf!re.com/?ztnmtmzomjlelectronicy, woozy, psychedelic pop. very nicehttp://www.mediaf!re.com/?753r9853qes8xg3more electronic/psychedelic poppy stuff. though a bit more beat driven and without vocals. There's some jazz influences in there as well though it's not very explicit. I liked this album a lot more than that Baths album that was kind of a big thing a few months back, though that was also pretty good.
The Shivers - Sunset Psalms
(http://imgur.com/3vpq8.jpg)Code: [Select]http://www.mediaf!re.com/?n8d17cem5jat7cq"Beauty" (youtube) (http://www.youtube.com/watch?v=P8S320myXYo)
Myspace (http://www.myspace.com/shiversnyc)
http://www.mediaf!re.com/?6b5b1s0m06unoaphttp://www.mediafire.com/?d26rt6czdlnchdqStyles: alt-country, bluegrass, Appalachian gothic, Americana
Others: Sixteen Horsepower, Dock Boggs, Lilium, Tom Waits, Nick Cave
If one band in the "alt-country" genre has its own distinct sound and presence, it's Sixteen Horsepower. David Eugene Edwards' vocals have a uniquely haunted and tortured quality all their own—as if at any moment he'll begin spewing a diatribe about Hellfire and Damnation (which is frequently the case). Woven Hand is the side project of David Eugene Edwards, and while Sixteen Horsepower are a more band-oriented affair, the Woven Hand project focuses on Edwards' unique insight and contributions to the band as a whole. Sixteen Horsepower have a strong Appalachian country influence, but their music still maintains a certain accessibility. Woven Hand, however, are much, much less accessible than Sixteen Horsepower; tending to sound almost anachronistically dated. And that's not necessarily a bad thing.
Blush Music, Woven Hand's second record, contains re-workings of many of the tracks on their self-titled debut album. This music, however, is considerably more dark and stripped-down than the tracks on the debut. "Animalitos (Ain't No Sunshine)" is a haunting, banjo-driven track, accompanied by peals of tremoloed feedback and samples of crows in the background of the music. It occurred to me, while listening to this track, that this is what Fields of the Nephilim, the seminal Eighties gothic rock band, strove to sound like: epic, haunting Western dirges evoking the images of the Old West exaggerated in Sergio Leone's eerie spaghetti westerns; where buzzards circled overhead, and rusted weathercocks squealed as they spun in the dust-strewn wind. This music is the real deal. Heavy on the atmosphere, and utilizing traditional instruments (banjo, bandoneon, harmonium, etc.), the album is perhaps a tad overwrought and pretentious, but it is effective in transporting the listener to the dark underbelly of early Twentieth Century rural America.
The record takes a rocking turn on "White Bird," the third track on Blush Music. I was reminded of Secret South, Sixteen Horsepower's third studio LP, and their most mainstream one. While still maintaining their distinctive sound, Sixteen Horsepower's sound was as much "Goth" as it was alt-country on that record. This Woven Hand track seems to hark back to Secret South: it's got clean electric guitar chords, complete with reverb and stereo chorus, combined with some straightforward electric guitar strumming, although never deviating into anything as mainstream-sounding as pure Goth. The track, along with its sister track, "Another White Bird," is the closest Blush Music comes to achieving anything close to a mainstream sound.
If there is the slightest concern about this record becoming merely a typical alt-country album, it's extinguished by the fourth track, "Snake Bite," which is an ambient, 7 ½ minute instrumental featuring what sounds like stringed instruments being treated in a most indelicate manner. Cello and contrabass strings groan as if they have been bowed, stretched, plucked, and scraped to the point of torture. This track, in particular, is similar in sound to the wonderful and hard-to-find album Transmission of All the Good-Byes by Lilium, the side project of Sixteen Horsepower's bassist Pascal Humbert. At any rate, it is the most inaccessible and haunting piece on Blush Music.
"My Russia" is another lengthy and mostly instrumental piece; a primarily downbeat track featuring a haunting piano melody, brushed drums, and what is either an organ or electric piano providing some added atmospherics. The next track, "The Way," is a short instrumental showcasing Edwards' slide guitar playing. Track eight, "Your Russia (Without Hands)" is probably the heaviest track on the album; featuring a deep, leaden bass line, slide guitar, and fuzzy, creeping electric guitar, along with Edwards' tortured and dramatic vocals.
Blush Music concludes with the acoustic guitar and piano-driven "Story and Pictures," which is an appropriate title, considering the visual imagery of the Old West which is conjured by both the lyrics and ghostly, Ry Cooder-esque guitar feedback. As the album's slowest and most traditionally melodic piece, it seems the most suitable way to end the record.
While Woven Hand's second album is more instrumental-oriented than both Sixteen Horsepower and their own first LP, Blush Music is a brilliant record that, personally, seems reduced simply to the components of Sixteen Horsepower's music that I find the most appealing. I have always felt an affinity toward Sixteen Horsepower, because they seemed the most "authentic" and oddly dated of all the alt-country bands. Woven Hand's Blush Music will appeal to all lovers of Americana who can appreciate old-fashioned instrumentation with instruments of a bygone era.
http://www.mediafire.com/?2zuy1c75lbuctppMy Ugly Boy (http://www.youtube.com/watch?v=IP4EKhcuBCg)http://www.mediafire.com/?g148pgv734m129cMy Gap Feels Weird (http://www.youtube.com/watch?v=EYN79LNnFzw)
http://www.mediafire.com/?co8j46hndwe96c2
http://www.mediaf!re.com/?lxnj7sxiknk9l68http://www.mediafire.com/?cx349q0kyjx4a6j"River of Blood" (youtube) (http://www.youtube.com/watch?v=3clA2BpQAyw)http://www.mediafire.com/?jjyjaicoixz"Young Men Dead" (youtube) (http://www.youtube.com/watch?v=VvKjpGP6P5Y)
http://www.mediafire.com/?h4cdqihiu5gk0s0http://www.mediaf!re.com/?hg6xmwwd43j4memBasically it's just really hard to tell if these guys take themselves seriously or not
http://www.mediafire.com/?bocvqbdbzrfsscjRules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?tf633wmasmz7bin Smallish MP3... I'm too stupid to zip.http://www.mediaf!re.com/?d58l405ei6vf1http://www.mediafire.com/?idcdlakxcem3tqx"The Fallen by Watchbird" (youtube) (http://www.youtube.com/watch?v=dvzRanMeu5w)http://www.mediafire.com/?c3cf43zks0bksphmyspace (http://www.myspace.com/theexnl)http://www.mediafire.com/?7u982p4li1azgl9"Claws Off" (youtube) (http://il.youtube.com/watch?v=yUhmYBEO2wk)http://www.mediafire.com/?bdnz9lyso93jgxu"Winter on the Weekend" (youtube) (http://www.youtube.com/watch?v=BpFFGosHlwM')http://www.mediafire.com/?ubhwo9r3f6fb96bmyspace (http://www.myspace.com/capstanshafts)http://www.mediafire.com/?rd7240lafbcm78o"In the Fall" (youtube) (http://www.youtube.com/watch?v=Gf9mk5RABjs)http://www.mediafire.com/?y4jmxcke3dfw3c8"Cinco de Mayo" (youtube) (http://www.youtube.com/watch?v=ojzJUXalW6A)
everything Gospel posted
I don't know who you are, but yes.
http://www.mediaf!re.com/?7u29k5n3njtzttiHuh? Did I double post? I'm confused... I don't even.Quoteeverything Gospel posted
.... :x
You think you're better than me, don't you?I don't know who you are, but yes.
Huh? Did I double post? I'm confused... I don't even.Quoteeverything Gospel posted
.... :x
You think you're better than me, don't you?I don't know who you are, but yes.
EDIT: After coffee, I have deduced I think you gave me a compliment. In that case, thank you?
http://www.mediaf!re.com/?pn2ge4j51g13t3cmyspace (http://www.myspace.com/killsurfcitygo)
Future Islands - Undressed
(http://imgur.com/S0tQC.jpg)Code: [Select]http://www.mediaf!re.com/?rd7240lafbcm78o"In the Fall" (youtube) (http://www.youtube.com/watch?v=Gf9mk5RABjs)
http://www.mediafire.com/?z22dc0g7ynbssq3
From Allmusic:
Black City is Matthew Dear at his least penetrable and most alluring. If the David Bowie comparisons were to continue, the album would place him somewhere in Lodger territory. The dominance of inscrutable lyrics, peculiar characters and subjects, and alien rhythms makes the album more akin to the likes of Lodger's "African Night Flight," "Yassassin," and "Repetition" than the relatively straightforward "Boys Keep Swinging." Like Asa Breed, Dear's previous full-length, Black City is best described as avant pop, but there is an absence of lucidity, and no song sticks as quickly as "Don and Sherri" or "Deserter." It's all slippery, sleazy, murky sound-substance -- knotted rhythms with irregular gaits made all the more surreal by Dear's generally vague, suggestive lyrics and wordless, droning background vocals. Depending on your taste, this will likely be instantly off-putting or progressively pleasurable. Either way, it will probably make you feel like you could use a shower. That Black City is Dear's most creative and individual album is not, however, up for debate.
http://www.mediafire.com/?l0xe98k7b7cskje
You'll probably hate this Album... but...
(http://img203.imageshack.us/img203/7507/thebirthdaymassacrepins.jpg)
http://www.mediaf!re.com/?bxbectn008cq907The Birthday Massacre
Thanks so much for this - hadn't heard them before; it's a fantastic album!
http://aminormass.blogspot.com/2010/09/im-going-to-have-to-see-doctor-my-neck.htmlhttp://www.mediafire.com/?9b7yhpy3l7gpdy4
Actually, the quality is kinda shitty.
http://tinyurl.com/24ramhc
http://www.mediafire.com/?bdzbdliemfeahk9http://www.mediafire.com/?dlgivnjmenm"I Was Denied" (youtube) (http://www.youtube.com/watch?v=013VIbmIgwI)http://www.mediafire.com/?c2mmqmt2qke"Perch Patchwork" (youtube) (http://www.youtube.com/watch?v=s1bjiVDuAeg)http://www.mediafire.com/?tu8006azp75fzf4"Soft Skin" (youtube) (http://www.youtube.com/watch?v=2TIccEXZQ1s)http://www.mediafire.com/?iu4e3mztnil"Mermaid Parade" (youtube) (http://www.youtube.com/watch?v=a8J1mK3jats)http://www.mediafire.com/?igwjmfm0gmjbandcamp (http://dedicatedrecords.bandcamp.com/album/bugs-berfday-gum)Actually, the quality is kinda shitty.
Best at the time.
This is better, from the download link that comes with the vinyl. sorry bout that
Deerhunter - Halcycon DigestQuotehttp://tinyurl.com/24ramhc
http://www.mediaf!re.com/?95gozkbqcf06644Fresh from a remix of American Men with Ikonika, Optimum launches a debut solo attack with the screwy soca rush of 'Max Power'. Images of lairy Essex boys in fluoro-green Cosworths aside, that title track is fierce, like a more vicious LD cut made for warehouse deployment. Following this, the gangster carousel of 'Crash Riddim' is equally narsty, a proper sh*tter's riddim with an evil, demented glint in its eye while 'Lily' eases up on a melancholy, atmospheric roller built with cascading arpeggios and riding 20" subbass rims. Fans of Bok Bok, Girl Unit or Ikonika, don't miss this.
http://www.mediafire.com/?c5v2awarh8rs5ay16K present Dextro's 'Ring Cycle' from his 'Winded' album backed with remixes from Anticon's Alias and the always excellent TVO. From the melodic IDM source material of his original TVO builds a squirming slab of techno psychedelics with hints of broken dubstep flow and Basic Channel-esque chords strung through his off-centre programming. This is impressive! The Alias remix swings for the indie/hiphop crossover with squashed mid-tempo beats and a sharp melodic arrangement.(As far as I'm concerned the A-sides are a lot better than the B-sides, even though I thought I'd enjoy the Alias remix more)
http://www.mediafire.com/?5521cczv8zh6j2i“See, this album you are playing now sounds like it could have been made by some French crazies in the 1970s, when prog became that all-encompassing juggernaut that vomited liquid shards of over-nourished human psyche all over the place, it was kind of gross and eventually tiresome. But while the going was good, I swear, it was the most exciting of times. You took one of those records from its floridly decorated sleeve, slipped it on, leant back and breathed deep, woosh, it was like going partying in the docks of Marseilles as re-imagined by some sword and sorcery nut, you never fucken knew what was going to happen next, smoke and mirrors, twists and turns, ah, the energy! And if at parts it sounded like the future, not the future we dreamed but the future that happened, it is because some of us travelled there riding in the back of a red dragon. The metronome of this song swings with the circumference of a horizon beheld from high above, where the clouds glow with a tinture which is both the warmth of the sun, and the deep blue of the space above, it makes me wanna cry for everything we have forgotten’.(Don't let the bloviating fool you, this really is quite amazing)
Solar Bears’ She Was Coloured In’ is one of the most astonishing albums that 20jazzfunkgreats (and Florian) have heard in a long time- like Subway soundtracking Fantastic Planet or something. But you are going to have to await until September to listen to it in its utterly transfixing glory. In Planet Mu, those guys know.
http://www.mediafire.com/?373c0102hzq32wv
**Upfront & exclusive release from hotly tipped Industrial Funk project, White Car, on the excellent Hippos In Tanks label!** Having already collaborated with Giallo exponents Gatekeeper, and had a video pieced together by Daniel 'Oneohtrix' Lopatin, White Car is the latest buzz project to emerge from the hugely promising Hippos In Tanks label and features an addictive leather trousered passion for the EBM/Industrial sound of DAF, Nitzer Ebb, or Liasons Dangereuses with an incredibly canny eye for detail and a taste for sinister gothic splendour. Like Jamal Moss's Medusa edit series (dedicated to the underage Goth/Pop/Rock club), they're inspired by a virulent strain of European Industrial music that infected the Chicago club scene through the '80s and whose influence can be felt right through the catalogues of Trax and Mathematics. With the benefit of hindsight, they've burned off any excess to leave a sulphuric residue of disaffected vocals, sledgehammer snares and sweaty chested synths, efficiently recalling the frisson of sexual energy and electronic futurism which ignited Chi-town night spots. We couldn't recommend this release any higher to fans of Chris Carter, Ministry, Jamal Moss or Amyl Nitrate.
http://www.mediaf!re.com/?d6a1pw8rjordb4d
http://www.megaupload.com/?d=CKIMZMEJhttp://www.mediaf!re.com/?tb46oz8jt4x1dulhttp://aminormass.blogspot.com/2010/09/glasser-ring.html... Some might argue that there's an elephant in the room, though, one that looks suspiciously like a diminutive Icelandic woman. As was the case with White Hinterland's overlooked Kairos, there's an obvious debt to Bjork here. Yet is it not the case that female artists with a certain aesthetic and sensibility are always doomed to such comparisons? And as far as criticisms go, that particular comparison is like complaining that someone is too talented, their music too beautiful, and the fact that Mesirow sounds as fully-formed and assured on her own debut as Bjork did on hers suggests that 2010's brightest new star will only shine ever more in the years to come.
http://www.mediafire.com/?4e1odk4zj5zwrushttp://www.mediafire.com/?3b4jsve41rbb340Atlanta (http://www.youtube.com/watch?v=mIRZNEIhRyQ)http://www.mediafire.com/?bi10yj30l7etob7http://www.mediaf!re.com/?4tvkdj4zbxc662u
http://www.mediafire.com/?bqr0xlughl46onp"Two Frogs" (youtube) (http://www.youtube.com/watch?v=pG0vx3Sh-ZM) - couldn't find any songs from the albumhttp://www.mediafire.com/?sy9u1q292ufmixwAndy Bull in Studio (youtube) (http://www.youtube.com/watch?v=S-ngGYcalok)http://www.mediafire.com/?gxu90pgz5s3x564"Shake Shake Shake" (youtube) (http://www.youtube.com/watch?v=7eYwkkujr5Y) - again not from the album, sorryhttp://www.mediafire.com/?jmnj6nmlerk0xejMySpace[/url]
Sufjan Stevens - Age of Adz
Yet another stunning release from Blue Daisy, this time featuring vocals from Anneka and remixes from Permanent Vacation's John Talabot, and Sunken Foal. The two original tracks from Kwesi Darko aka Blue Daisy are as lush and affecting as anything we've heard from him yet. In 'Raindrops' Anneka sounds like she's been summoned to haunt, drifting between rickety drum machines, burred electrobass and Burial-esque atmospheres while a matrix of seasick compression effects enhance her spectral grace. 'Blood Petal Roses' is a grandly symphonic construction, breathing deeply with chest swelling bassline and a strong 4/4 pulse for use on the dreamiest dancefloor. Nu-disco don John Talabot spins 'Raindrops' as a gauzy, mid-tempo cosmic roller and Sunken Foal do their sumptuous pastoral 'tronica thing with 'Blood Petal Roses'. Imagine This Mortal Coil crossed with Flying Lotus and you'll know the feeling.
http://www.mediafire.com/?gx5jih75eltq659DJ Madd kicks out the dubstep rave jams on latest excurson for Black Box. The blatant force of 'On Top' has made this a winner with all the top dubstep jocks at Rinse FM, while 'Need It' goes more experimental with surging electro synthlines and rave diva vocal snippets.
http://www.mediafire.com/?a59jkdss5fes6a7Massively tipped debut from this new artist and label; Raime, and Blackest Ever Black Recordings. The UK based duo have forged one of the finest contributions to the darkened post-dubstep canon we've yet heard, distilling the essence of Shackleton's most maudlin moments with labyrinthine reverbs and salt-cured percussion over three tracks allegedly built from arcane industrial and post-punk samples. This 12" is already causing much consternation in the blogosphere; with Altered Zones, Simon Reynolds' Blissblog and Fact Magazine all singing its praises. 'Retread' initiates the session with an unnerving arrangement of suspended, ceremonial drums and an immensely affective choral drone, deployed with enough subtlety and atmosphere to really send shivers down the spine. 'This Foundry' follows, uncannily recalling the parallel dimensions of Balam Acab in its dragging Quasimodo flow and and vastly spacious sound design. 'We Must Hunt Under The Wreckage Of Many Systems' puts the final, frozen finish to the EP with a still, centred rhythm seemingly hung from flesh hooks in the ceiling while bowel shuddering subs disturb the flagstones below, shadowy reverbs skittering off cold, concrete surfaces. We've heard about a very special remix package forthcoming, but for now you'll have to flay yourself to this every evening. Outstanding.
http://www.mediafire.com/?24d2ab5bpcs3468Millions Of Moments introduce a new character to their roster with this heavy debut from Northworks pressed on a limited run of hand-stamped, clear vinyl. The sublime couplet of 'In'/'Out' establishes a deep blend of plummeting dubstep bass weight and shimmering ambient techno in the former, and a warm-but-glassy beatless cut for the latter, compatible with Roof Light's techno hybrids yet with its own mellow personality. 'Through' takes the longer side, unfurling an elegant techno sequence with roots in Detroit and Berlin. Highly Recommended.
http://www.mediafire.com/?dur3qaagt6tadgdJulio is the latest bass head to release on Bristol's Soul Motive label, following in the footsteps of El-B, Joker, TRG, and Headhunter. As the title suggests, 'Batak Groove' prominently features the Batak drum, a frame drum indigenous to Malaysia and Indonesia with a hollow quality ripe for Julio's tribal style. It's among Julio's more reduced and restrained productions, placing it as a tidy DJ tool for long blends. On the flip 'Around' is a far more plush affair, striking a deep house groove with classically elegant strings balancing the low-cut bassline and efficiently clipped, laidback percussion.
http://www.mediafire.com/?zpvfjbufg3fpausOne of 2010s breakout producers drops two boogie house heaters for MoM! If you've not caught his 'Kirkwood Gaps' album by now, you're sleeping on a good 'un, but no need to worry because you'll need this one also to get the full breadth of his style. On the A-side is a buttered slab of 100bpm boogie/soul reworking elements of Midnight Star's 'Midas Touch' with a touch of wind tunnel resistance and shoulder-dipping style. Over on 'Palm' he ups the pace to a Chicagoan 120bpm with slick strafing disco edits revolving around an elastic bass lick and utterly infectious drum shuffles. Get your dancing pumps on kids, this one's on a ltd, hand-stamped white label ting and will fly oot...
http://www.mediafire.com/?kbq5g8qcl4phfjm
Ikonika and Optimum's Hum & Buzz imprint makes its maiden voyage with a fresh pair of 130bpm rollers from the label CEOs. Ikonika occupies the A-side with 'Aqueous Cream', adding ornate and overweight electro-gangster synth stabs and dramatic piano keys to her augmented Funky patterns to sound brilliantly unlike anybody else out there. Linking with longstanding pal and collaborator Optimum on the flip for 'Ampersand', the duo calculate an icy rollers riddim with super-saccharine synthline and flickers of organic warmth in the bassline and conga rolls providing the only salvation from their brazenly forward aesthetic. A very promising start... we're already looking forward to the next one!I've included a 33 RPM fuckup rip of the A-Side, which I periodically produce on accident.
http://www.mediafire.com/?9err2vr2pcbmedy
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?9daa9ev8s4eejz1Demos:http://www.mediaf!re.com/?1qe65vepptch98r
http://www.mediafire.com/?48xe3e640jk5320http://www.mediafire.com/?2spzsibdlp7swishttp://www.mediafire.com/?s5s5gs2n8u1c8xahttp://www.mediafire.com/?p11lijlclh6ak21
You could have probably infered it was good quality from the RAR filesize. Furthermore, what manner of connection do you have that can't afford a 128.44mb file?
Night Slugs heat it up with four tracks of sexually charged Funky-tek from two incognito House and Dubstep producers. 'Booty Slammer' teases it in with a stroke of luminous pink riffage before cutting loose with throbbing 808 bass and sparing use of a flagrant "Inside Of Me" vocal snippet. 'The Scent Of Romance' follows, squirting out neon '80s synth juice over a tribalist rollers riddim from the skool of Julio Bashmore and the Dirtybird crew, and 'Kick It Till it Breaks' effectively sounds like Jimmy Edgar remixed by DVA. 'She Wore Velour' finishes on a hip-grinding swingers flex, kinda like a more sultry version of Bok Bok's grimy rollers. Lick it!
http://www.mediafire.com/?xtdmbj3y2zd9fwjCrisp and deadly dancefloor experiments from A Made Up Sound (aka 2562/ BlackOut), dropping on his self-titled imprint. With 'Demons' Dave Huismans stealthily incorporates an agile electro influence to his sound, pivoting his technoid syncopations around raw, snappy snares and ringing cowbells with unruly chords flying around the atmosphere in swarm formations. It's a little harder to pin down 'Extra Time', and that's always the sign of something worth your attention. Here he works out an agitated riddim built with shivering hi-hats and blocks of crooked, crushed percussion offering infinitesimal interpretations for the capable dancer. For fans of Actress, Maddslinky, Kode 9!
http://www.mediafire.com/?wxqgr8ic40c4gb9Grizzled and grimy five-track EP from the perpetually moody Cloaks. In the two parts of the title track they do their nastiest Scorn-style industrial halfstep, while 'Blackstar' is more of a slow pneumatic pounder doused in caustic crackle and 'Coil' chews up chunks of digital noise and regurgitates them as a sloth-like slab of dubstep terror. Heavy.
http://www.mediafire.com/?vg01k8mjwst1pzdAdvanced monkey-tek electro riddims from Modeselektor, Bok Bok and Ramadanamanadan on upfront, hand-stamped white label, limited to 100 copies! These three tracks initiate the colossal 'Modeselektion' series in firing style, from the critically-crafty concatenations of Ram's 'Pitter' to the bling-futurism of Bok Bok's ultra-urbane 'Say Stupid Things, and obviously the stadium rave of MDSLKTR's own 'VW Jetta'.
http://www.mediafire.com/?4drw7vzn741o2biSeriously rude wrigglin' acid jams from London's machine funk specialist, Funkineven. As the tenth release on the estimable Eglo records it keeps the label's remit rooted, yet open to all possibilities with what must be their toughest two jams to date. 'Heart Pound' looks to Chi-town and LDN circa '90 for inspiration, resulting in an anthemic acid jacker with future vintage vocals and KMS style rave signals. 'Another Space' is the one for us, lodging itself in that '92 eternal zone with rugged hardcore stabs, Detroit-esque strings and superbly deft drum programming with a fair hint of early 4Hero. Honestly, this is quite untouchable right now.
http://www.mediafire.com/?nw4qp902e402o0pAcid lights the way at the moment, from the dj sets of Aphex to the revival of the silver boxes in house music, the 303 has found friends again, and Sendex go all out for an acid assault on their new release. ‘Pure Acid’ starts with an emotional but simple string line that drags you in, fading in the acid underneath brings those memories back, and when the beat drops its perfect for the 303, fitting tight as a nut around each other, its an old school groove you cant afford to pass on. Also check the 303 twiddlings of ‘Just Dance’ with its acid droplets raining down on the simple toy drums of the beat, using the modulation the track is built up till the acid is a flanging monster that takes up all the space, rampant old school twiddling, great fun.
http://www.mediafire.com/?754d64pb87p7ipfVladilslav Delay ropes in a stellar cast of contemporary electronic maestros to rework tracks from his album as Sistol. Furthest removed from the original material is Oneohtrix Point Never's Rainbro remix of 'Funseeker', effectively turning in a glorious addendum to 'Returnal' with soaring, spindly melodies embedded in a synthesized cloud of powdered glass atmospheres, chokingly gorgeous and affective as usual. Meanwhile, Falty DL continues an infallible run of form with his '90s Bleep Mix: When Purple Was Green version of 'Hospital Husband', a supremely crafty hardcore spinner with tightly tucked breakbeats and brutally low subbass, whereas Scuba drops a swinging Joy Orbison-alike version of 'On The Bright Side', and Walls turn 'A Better Shore' into a shimmering, sweltering mass of Kosmische synth swiirls with glistening production values. Excellent set.
http://www.mediafire.com/?gxwze7vzcto0zhb
Usually when I come across a cassette release I expect fringe music - hardcore drone, industrial, lo-fi folk - especially when I get one from a label calling itself “The Tapeworm”. But this particular cassette, from the duo called Chugga (not Chuggo, sadly) is surprisingly well-done instrumental hip hop and techno from Memphis TN circa ‘96, hence the name Memphistophelis. I Summer down in Memphis sometimes and visit family but I never had the opportunity to dig into the music scene beyond the surface-level blues’n’tourists attractions. In a lot of ways it reminds me of mid-90’s Beck, minus the vox.
http://www.mediaf!re.com/?bqxqnc8uy3vw86o
Belle & Sebastian - Write About Love [2010]
http://www.mediafire.com/?q41vdnuur181qoethe duo called Chugga (not Chuggo, sadly)
http://www.mediafire.com/?2pae2he07s7ljxnWizard Symptoms (http://www.youtube.com/watch?v=K3aZZ64nWNw)Belle & Sebastian - Write About Love [2010]
you just made my week
Joining the microdots between Psych, Techno and Krautrock, Brookyln's Psychic Ills and the Frkwys label enlist Juan Atkins, Gibby Haynes (Butthole Surfers), and Hans-Joachim Irmler (Faust) on a very special remix trip. In a genius A&R move, Juan Atkins is set to work on 'Mantis', augmenting the somnambulant repetitions of the original with a firm Detroit backbone while maintaining its psychedelic potential with subtly off-key tuning and a warped vortex of a breakdown. Seriously, after ten minutes of this you'll be doing it all over again. Gibby Haynes is offered 'I Take You As My Wife Again' on the flip, and turns it into an organically unfolding slab of analog avant-techno, gradually raising its systolic rate until it throbs like the heart of a mushroom foraging boar in the midst of a mindblowing trip, grunts distorted into the aether. Of all three remixers, we'd probably reckon Hans-Joachim Irmler has done the most drugs, and his version of 'Wichcraft Breaker' sounds like it, recasting the track as a vast cosmic vision of squally distortion powered by motorik bass and offworld tribal drumming. This 12" is really something to marvel at.
http://www.mediaf!re.com/?o7imqspy2bowm1bOh my days. Lil B and Weird Forest present one of the most baffling, polarizing, and OUT THERE releases of the year with 'Rain In England'; a collision of stream-of-consciousness rap lyrics and beatless, new-age ambient synth music. It's entirely the work of internet sensation Lil B, a "based" rap savant with more than 150 myspace pages, millions of views on youtube, and the most distinctive style in circulation right now. He's been aptly described as the "anti-Drake", a lo-fi and chronically underground character with an imposing glut of material. Weird Forest can evidently see the virtue of his music as a unique entity in a sea of homogeneity, moving rap music beyond the stale cynicism of backback hiphop and the bloated boasts and empty meaning of Gangster and Pop-Rap to occupy a position in front of the computer screen in his bedroom, as honest and grounded as the next man, only with the most naive and trippy synth music for company. To be totally honest, much of the music sounds like my 2 year old niece palming her casio keyboard, but that's a massive part of B's charm, that beautifully unpretentious, completely unconventional, and wickedly unprecedented juxtaposition of emotion and "based" technique which makes for an undeniably compelling listen. If you're going to make one wildcard purchase this year, 'Rain In England' could be your most rewarding. Then again... Check the samples and make your own mind up!They weren't lying. I thought it was ridiculous until about the 4th song, by which point B's unrelenting, bullheaded earnestness had won me over. It's like listening to a personal diary. Sometimes he's quite brilliant, other times he's a complete trainwreck. A lot of this album really is bizzare, particularly B's "singing" on "Love Is Strange" / "My Windowsill" and pretty much the entirety of "Earth's Medicine", in which B takes the metaphor of the world being sick to such literal extremes that it starts off as weird, then stupid, then actually kind of amazing, back to stupid. I don't think I've heard anything quite like this record, but it is real. All too real.
http://www.mediafire.com/?wk6qeum2505q84g
http://www.mediaf!re.com/?252zkf6uk7c9atb
http://www.mediaf!re.com/?9t5qyqnd2f2h9n8I Met Up With The King (http://www.youtube.com/watch?v=Wpgc39VqYQ8)
http://www.mediaf!re.com/?qm51ygiog4vbe92Fucking great band from St Louis. Folk with some noise rock and avant garde tendencies. These guys are criminally underrated and I recommend them to everyone. Belle & Sebastian - Write About Love [2010]
(http://img443.imageshack.us/img443/9772/bellesebastienwriteabou.jpg) (http://img443.imageshack.us/i/bellesebastienwriteabou.jpg/)
WELCOME BACK!Code: [Select]http://www.mediaf!re.com/?p11lijlclh6ak21
Can you or someone else rehost this, perhaps under a different name? It's been taken down, and it makes me sad!
http://www.mediaf!re.com/?ojoxnr14wk16abk
You got it, bud
Belle and Sebastian - Write About Love (2010)Code: [Select]http://www.mediaf!re.com/?ojoxnr14wk16abk
You are a champion!
http://www.mediaf!re.com/?obp57dzn5d85j37
oOoOO - oOoOO EP
(http://img59.imageshack.us/img59/2923/oooooep280wide.jpg)Code: [Select]http://www.mediaf!re.com/?obp57dzn5d85j37
oOoOO - oOoOO EP
http://www.mediafire.com/?y7bq9u4s724kwf5http://www.mediafire.com/?i2w923dh6w23t2f
I didn't up this but I found it on mediaf!re after about five seconds of searching you lazy person. it's even 320kbpsCode: [Select]http://www.mediaf!re.com/?i2w923dh6w23t2f
oOoOO - oOoOO EP
Diggin' this actually - got any more?
A mere thirty copies of this cassette are in circulation, so you'd be advised to act fast to secure one - it's already sold-out at source to boot. Sun Son Sun is the recording guise of Yonkers resident James Zandoli, whose dark, foggy soundscapes are the product of bass clarinet and tape manipulations. You'll scarcely have heard anything quite so from-beyond-the-grave sounding as this terrific C30; it manages to be impressionistic and loaded with darkest-ambient atmospherics whilst also presenting a substantial, very musical lead presence. The crumbling, delay-treated phrasings of 'Up In The Manor' prove especially good, bringing Zandoli's clarinet performance up-close in all its sinister glory.Heavy Clarinet Music.
http://www.mediaf!re.com/?p61tydajpftsexqPrins Thomas, Muzzle Flash and Nicolas Jaar rework 'Heaven', taken from Kaspar Bjørke's 'Standing On Top Of Utopia'. Top of the pile is the Prins Thomas mix for that guttural, swinging bassline and deftly chopped disco guitar, but all the hip nu-disko freaks will probably get a kick out of the two mature mixes on the flip, too.In a nutshell, pretty great Dexter-style Disco/House functions. Restrained, tight, forceful.
http://www.mediaf!re.com/?n9puqahgc89amen
http://www.mediafire.com/?bdiy03vflc8k7or#1
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediafire.com/?bhs2y26f3q5fszvhttp://www.mediaf!re.com/?ucihcemc2qx93dvNothing But Us feat. Curren$y and Smoke Dza (http://www.youtube.com/watch?v=OuxUeKPNqvM)http://www.mediaf!re.com/?mbn2lx4165l6w6bBreakfast feat. Mos Def (http://www.youtube.com/watch?v=snsx14aGzCA)
Planet Mu's commendable Juke and Footwork agenda turns out a heavyweight EP from scene lynchpin, DJ Rashad. With his releases on Juke Trax and Databass plus countless DJ spots around Chicago, Rashad advanced the Booty styles of his peers, DJ Funk, Gantman, Paul Johnson and DJ Godfather, to form Juke as we know it today. Following DJ Nate's awesome album, Rashad drops six heavily functional heat generators, from the taut, bombastic velocity of 'Itz Not Rite' to the hyper-bounce of 'On Da Cush', the rampant acid tweak of 'Who Da Coldest' and the centrifugal soul samples of 'Baby'. Make no mistake, this is fiyah for the dance!!!Like a less raw, more polished big brother to DJ Nate's frantic hip-hop dance tracks. Pretty great.
http://www.mediaf!re.com/?xqwbx84pz3f44doPlanet Mu enter that parallel '80s zone that's seemingly swallowed up half the youth of today, presenting the emotive debut release from Tropics. This melancholy young man has already been touted by the likes of Pitchfork and XLR8R and caught the attention of Lucky Dragons, who asked him to remix their 'A New' with lovely results. Over these three tracks Tropics taps into that nostalgic vibe but with a more muscular, modern lean, acknowledging IDM programming dynamics to articulate his style. 'Give It Up' jams on a cosmic disco soulboy flow with gorgeous twinkling melodies and haunting Annie Lennox-alike vocals, while 'Melorr' approaches the same slo-mo boogie spot as the Thriller edits and the immensely popular ' Soft Vision' sounds like a widescreen version of the Games tracks. We can imagine this fella turning out a fairly wicked album...The title track dropped on XLR8R a few months back and it was one of the songs of the Summer, in my opinion. Cavernous and warm, like Brainfeeder stuff sans all the amphetamine jitters. Another big score for Planet Mu.
http://www.mediafire.com/?23rolxi1iahr63yBrizzle's Julio Bashmore impresses yet again with two tracks for the Ten Thousand Yen label, fresh outta Swansea's burgeoning Bass music scene. Apparently these tracks were inspired by Julio's recent trip to Finland, where he competed in the International Amateur Rifle shooting championships. He was victorious, in case you're wondering. Most notably this release includes the magical 'Footsteppin' jam, a true anthem in the making, full of Deep House sensuality and infectious garage swing. Currently on rotation with Brackles and TRG among others. The more tribalist 'Chazm' takes the flipside, smoothly blending sub-loaded, cruising rhythms with a hovering tropical synthline to brilliant effect. Choice!It's UK Funky but it's good! Hooray!
http://www.mediaf!re.com/?0w6ev740woke2ffDødpøp provide an outlet for the freakiest Norwegian strains of Skweee with their second label compilation, featuring 15 tracks from Beatbully, Sprutbass, Spartan Lover, Daniel Savio, Rigas Den Andre, and Marcus Price, among others. The production values are noticeably elevated for this installment, not that it was ever a bad thing, it just seems like they've all consciously upped their game is all - and with ace results. The choicest selections come courtesy of Niño and his G-Funked roller 'Get On The Floor', from Marcus Price (he of 'Mat, Bira, Kvinnor, Weed' fame) and his crumbled crunk joint 'Negro Cookies', and definitely Slow Hand Motëm & Beatbully's 'Expecting Company', a drugged-off slowstyle R'n'B song with arcing arpeggios and brilliant lyrics. That's totally not to discount other winners like Beem's 'Manka' and tru-core 8-bit Skweee like Sprutbass's 'Alley Oop Es' and Slugabed's teeth-grindingly discordant remix of Melkeveien's 'Yo!', because they're all good too! Highly Recommended.Skweee is not dead! It is alive and cold!
http://www.mediaf!re.com/?h2m5c2ngvenlsj4Crushing, dubstep-inspired 'tronics from Isaac Himself, founder of the Analogue Quadrant label. 'Kunst' lays a framework of cavernous halfstep drums to hold a surge of melodic energy, next to the razored synth progressions of 'Cohort Grammer', dischordant power-IDM on 'Youths Abundant Fruits' and DMX Krew alike electro in 'I Request An Audience'. Recommended!
http://www.mediafire.com/?711mc5t1dy9xa1p
http://www.mediaf!re.com/?oc2ocacs69bql50
Code: [Select]http://www.mediaf!re.com/?bhs2y26f3q5fszv
remixes of a killer track. Worth it even just for the tensnake remix which uses a C+C Music Factory sample.
http://www.mediaf!re.com/?v7b319399bobnhdhttp://www.mediaf!re.com/?2uu1xr2d036jc2bExcellent 4-tracker from Rephlex, introducing a new name to their roster - David Barnard aka Monolith. Over the duration of Volume 1 he keeps impressively close to the Rephlex aesthetic while really bringing something unique to their table. With 'F-Tron' he gives a restless acid hyper-jacker with sumptuous harmonic idiosyncracies, while 'Vigton 3Stun' strikes a tender nerve of early rave soul with Aphexian breakbeats and lovely Detroit riffs. 'Syphonic Flash' is our favourite, reminding of Premiere Class's synthpop obscurity 'Poupee Flash' gone 3D, while '22 Livingstones' gives another AFXian display of adroit IDM construction. Aces.A definite must-have for anyone who ever enjoyed the Analord series. Pitch-perfect acid techno.
http://www.mediafire.com/?nj8x91jpcx7513s
(Ski Beatz is one of Jay Z's producers and it really shows on this, his debut album.)
http://www.mediaf!re.com/?x52pzgqwxsrdf0d
Ned Oldham - Let's Go Out Tonight
Spanning an audacious 12 and a half minutes, "Navigate, Navigate" is not the work of a polished young band, so much as a wildly ambitious one. Not content to spread their ideas out over the greedy runtime, vocals constantly overlap and interrupt each other, rendering everything an extremely messy but nearly harmonic jumble. The magic trick here is that there aren't any big structural changes as the song progresses; there's similar guitar scrapes coming and going and the same brittle drumbeat throughout. All that happens is that the pieces subtly slide to recombine in an ever changing pattern, but it's magnetically compelling anyway. Twelve minutes of skittish beats and impenetrable bleats, held together with nothing but patches of empty space. Yet, it rules.
http://www.mediaf!re.com/?fxtzxzy4fm014pd
Fresh in from Concrete Plastic, six-track EP of acrobatic digital IDM from Jimmy Batista aka Enabl.ed. These six tracks hark back to the spirit of Ae circa LP5 or the hardcore glitches of Richard Devine, arranging complex feats of programming dexterity with a lushly melodic core powering the whole thing forward.It's like Planet Mu IDM circa 2003 all over again, but with better production. Pretty ace!
http://www.mediaf!re.com/?a9oavwd1qcdcac4
http://www.mediafire.com/?qj2astcjdfs5iawmyspace (http://www.myspace.com/cloudcontrol)http://www.mediafire.com/?jnodma4tmvj
http://www.mediafire.com/?ekrehngv3p53m2iI Need A Dollar (http://vimeo.com/10682667)http://www.mediafire.com/?d4w7tfn37mkm5do
http://www.mediafire.com/?1v9xl73tbfxkj8thttp://www.mediafire.com/?uu9x391st9n81h8http://www.mediafire.com/?8ocmhqpz4eexc2nhttp://www.mediafire.com/?7c7f073mg2cwdd3http://www.mediafire.com/?lxg8l6355b8tyxdhttp://www.mediafire.com/?lmb4iiy9o5y86e0
http://www.mediafire.com/?uk941h8bwqgph4rhttp://www.mediafire.com/?ewjtnbe7b9ghrem
http://www.mediafire.com/?8f69xfwrmm676ynhttp://www.mediafire.com/?rdwjwvn1by5ferahttp://www.mediafire.com/?tx8euo8p2i0iy2o
http://www.mediafire.com/?71o9wa6676zlr7aThat Aloe Blacc record is funky.
Edit: I hope this starts a soul music trend.
http://www.mediafire.com/?y62nl1b9nh1xgs3
http://www.mediaf!re.com/?8q5a44vyuw6qn3rhttp://www.mediaf!re.com/?azgv6tcxk0c4a6aAce six-tracker of classically-informed Rephlexian electronics from Jodey Kendrick. The fiends will surely have picked up on his 'I.S.C' 12" last year, and most likely devoured his +10 back catalogue for Napalm Enema, so no need to go there now. Over the course of these six cuts Jodey undoubtedly sounds a lot like AFX's 'Analord' series, but there's a couple, like the pounding EBM cut that opens the B-side, and the DMX Krew-style electro that follows, which obviously don't sound like AFX. For the true-skool 'tronica heads this is 12" is an absolute peach. Big tip!
http://www.mediaf!re.com/?apyjb7y8p725nroNow this dude really is something. Rephlex laid virtually dormant for a while because they just don't follow the fashion train whatsoever. They gave the world the seminal Grime comps then they left it all the heck alone. I feel that's because they don't want to compromise the classic Rephlex sound. Now, Jodey K IS the Rephlex sound, his last EP was a cracking collection of hyper-catchy acid house & sharp electro-ish tunes & so is this 6 track beauty. He molds Chicago House, Detroit Techno & that distinct squiggly "braindance" groove into fresh, funky shapes without too much technical trickery or flash stuff drowning out any of the flow and vibrancy. He keeps it pure, infusing each track with lush synth lines and undeniably tasty rhythms. His stuff isn't remotely samey either - each track has a strong individuality and many work in multiple ways - they could straddle various disparate DJ sets much like AFX himself, or Drexciya. This is totally brilliant gear, my favourite label coming up trumps again with one of the finest contemporary producers out there!
http://www.mediaf!re.com/?25rn98kyb49z99dhttp://www.mediaf!re.com/?4gji8kb2y477jw7http://www.mediafire.com/?1mmxolbsdbcln5h
Hey you guys remember that P.S. Eliot band that I posted a while ago? Well the vocalist and her sister made a demo and it is fucking awesome.
Bad Banana - Crutchfield[2010]Code: [Select]http://www.mediaf!re.com/?y62nl1b9nh1xgs3
Big K.R.I.T. http://www.mediaf!re.com/?yhymyolly2yhttp://whitedenimmusic.com/
http://www.mediafire.com/?b86cnftgfcc4t6khttp://www.mediafire.com/?o455j1da6kpodrcAlphaville (http://www.youtube.com/watch?v=GPzHUtNwbX0)
I bought that Curren$y album a while back. The bass is hits so hard and long in "Audio Dope" that it made my brother-in-law's 12subs come out of their box, and it made the light cover on my back hatch of my bronco II pop out of the headboard.
here's my favorite hip-hop record of the year, thus far:
(http://blogs.creativeloafing.com/vibes/files/2010/05/big-krit-krit-wuz-here.jpg)Code: [Select]Big K.R.I.T. http://www.mediaf!re.com/?yhymyolly2y
and i recommend buying it, and if you go to a record store and be sure to search for it as Big K.R.I.T., music stores won't pull his work up if you just put BIG KRIT
http://www.mediafire.com/?z52td54onbe5mvtAny lucky owner of Binary Star's limited-distribution pressing of the 1999 LP Waterworld would already be familiar with most of the material on Masters of the Universe. It has everything a great hip-hop album requires, with varied beats, differing rhyme deliveries, and content you'll find yourself thinking about long after it's been said. Unfortunately, without a huge marketing budget from a major label, this album will probably fail to reach the level of success it deserves, but then again, Binary Star isn't necessarily after the typical ideal of success. With quotes like this -- "Rap's got 'em brainwashed with cash that don't last/And five minutes of fame, that's when it's a shame/Seein' real MCs try to imitate rappers/If you ask me, they goin' out ass-backwards/Tradin' in respect just to push a phat Lex/And Puffy rhymin' on the remix, what's next?!" -- it's easy to see why this is a refreshing alternative from the mainstream of rap.
That said they're actually from Beijing.I think my point still stands. :p
Luxurious set of remixes from Bruno Pronsato, Sinner DC, and Manvoy de Saint Sadrill, all working with original material from Arandel's disciplined 'In D#3' album. The elevation and expansion of Bruno Pronsato's minimalist subtleties are clearly evidenced on his two mixes, erring ever closer to the organic sound and structure of Ricardo Villalobos with tender drones and constantly evolving rhythms arranged with a truly masterful touch. Meanwhile, Sinner DC's remix rises from a cluster of classical strings to embark on a slow house drone mission, while the impressively titled Manvoy de Saint Sadrill remix reduces everything to pulsing, bubbling electronics with an engrossing compositional arc reminiscent of Alva Noto, or perhaps more to Radovan Scascasia's The Ends. Arandel's own 'In D#2 (Bonus Track)' moves on its own axis though, with a plush sound sphere crafted from "real" instrumentation and deft sparing production."In D#2 (Bonus Track)" reminds me a lot of a more house-oriented Quiet Village, and in general this is the sort of serene, "organic" dance music that really takes to me when the air gets cold and dry.
http://www.mediafire.com/?rqhtp8n1qbtfood
Silkie on a mission here, dropping two anthemic rollers for the next round of 'City Limits Vol.1.2'. 'Bass Junkie' is unquestionably one of the heaviest dubstep/rare groove/jungle fusions we've heard this year, smashing out bassbin-wrecking subs and tightly tucked drum rolls with an acidic lick of boogie for acute balance. Guaranteed ruffige in the dance! '80s Baby' on the flip rolls with that flagrant purple gangsta lean, all extra-Funked up synth riffs, floating chords and busy-but-coool rhythms to find help find your step while not spilling your drink on those luminous Air Max's you just shelled out on. Badass!
http://www.mediaf!re.com/?hin191al7dqnizmKeith Fullerton Whitman has consistently blown our tiny minds this year with a stream of utterly crucial releases. Whether morphing the Arabic Oud into majestically ornate formations or commanding his self-generating hybrid analogue/digital modular setup into unimaginable arrangements, we're witnessing the culmination of years of dedicated research and experimentation blossoming into tangible, cherishable productions in 2010. Arguably, he's saved the best for this LP, using masses of recordings gleaned from live improv and studio sessions between 2007-08 as the raw material for these compositions, created between 2008 and spring 2010. In the seventeen minutes of 'Disingenuity' we're subject to a cataclysmic display of cosmically attuned imagination, conjuring myriad configurations of textures, shapes, contours and tones with the constant ability to shock, seduce and tear us apart at will. Within the ever shifting dimensions of his arena, sounds are generated from his Doepfer Hybrid Modular Synth and made to radiate and ricochet from every surface, returning to our ears in a different shape and space each time, violently unstable and cosmically chaotic, yet hopelessly engrossing, kinda like hearing a field recording from the big bang. If that was the genesis, then 'Disingenuousness' is what came after, as the constellations settle into place and the excess energies disperse with reduced velocity, homogenizing into alien harmonic structures and nuclear melodies with the deft electro-acoustic rendition of pioneers like Pierre Henry, Bernard Parmegiani or Tod Dockstader, whose work he effectively continues today. If you love experiencing visceral, thrilling electronics that sounds like the music of the stars, you simply owe it to yourself to listen to this album, you will thank yourself afterwards. **Please be aware, this album is strictly limited, housed in custom printed outer-pvc with a design aesthetic worthy of the music contained within** ESSENTIAL.
http://www.mediaf!re.com/?p8k8h8336th0q83
http://www.mediafire.com/?qee182hjvexi5zl"Dark Stuff" (youtube) (http://www.youtube.com/watch?v=qnhe1i-iQqc)
http://www.mediafire.com/?0foc4685c385kcsmypsace (http://www.myspace.com/ylabamba)http://www.mediafire.com/?ynjiq52z4iuoedz"Empress of the North" (youtube) (http://www.youtube.com/watch?v=gsrt8LJhGkk)http://www.mediafire.com/?ayk1ak7mxxga91ehttp://www.mediafire.com/?z20btzdv3hn2ad8myspace (http://www.myspace.com/romadiluna)http://www.mediafire.com/?mtbqvha5ejsz51xmyspace (http://www.myspace.com/sharonvanetten)http://www.mediafire.com/?byr7o772jouinu2myspace (http://www.myspace.com/neulore)http://www.mediafire.com/?1kc8yqiw7gra8bqmyspace (http://www.myspace.com/betaradio)Yann Tiersen - Dust Lane
Spherix goes deep under with the inaugural release for Lower Case Recordings. 'In A Hole' is a choice pick for those into the darker, more esoteric side of Skull Disco or the recent Raime release, shaking out shadowy dub gremlins inside a scuttling rhythmic framework weighted with oppressively ominous bass. On the flip 'In The Dark' he elicits a more spacious sense of dread with murky subs laying the foundation for a maze of tricky post-garage syncopations and lurking dub strikes, concluding with a technoid locked groove for the DJs.
http://www.mediafire.com/?861pq5gq46mn3viHeavyweight Dubstep tools from Seven, upfront white-label styles from Black Box. 'Wait' is a bit of a beast, writhing with tumultuous Breakstep rhythms tucked hard-in-the-pocket and bleeping, sonorous melody to drive the rave nutty. On the flip 'Germ' is infected with the dread halfstep, arranging spooky harpsichord and cavernous echo chamber drums over swollen subs for a strange fusion of Far-eastern mysticism and horror movie tension in the dance. Crafty tackle.
http://www.mediafire.com/?9r1lccwop0z2ic0
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
(Fuck mediaf!re go pay for that shit, you people)
Yann Tiersen - Dust Lane
Could I get a re-up? There's only an error message everytime I try it.
http://www.mediaf!re.com/?qee182hjvexi5zlhttp://www.mediafire.com/?27edllfz5yxta57bandcamp (http://ylabamba.bandcamp.com/album/alida-st)http://www.mediafire.com/?kvz1b3los3z0oz1Hankies at the ready, it's a pair of lushed-out Future Garage swingers from Blind Prophet. 'When Will We Be Alone' coasts along with mournful chord progressions and breezy keys anchored with droning subs and tightly clipped 2-step patterns, and 'Tipping Point' finds a nice tension between floating pads and slick 2-step syncopation. Recommended.This guy dropped an EP a few months ago that was really quite excellent... Pretty sure it's in this thread somewhere. Nice to see he made it to L2S, pretty much the only Future Garage label worth its salt, in my opinion. They always release really lean singles.
http://www.mediafire.com/?6dd28izfd4vx5y7Twysted tribalist Funk mutations from the Silverback label with four tracks of enticingly unique creations already finding support with the Night Slugs crew, Brodinski and Hot City. 'Mirage' is a laidback take on the electronic ends of Funky with crushed tom patterns and mesmerizing bleeps. 'Rec Loose' meshes warm chords into Girls Unit-alike syncopations while 'Spittin 'n Riddim' takes dramatic Detroit chords to to an unruly Pan-Ghetto riddim and ou favourite 'Unfold' works it like Bok Bok gone Samba. Well worth your time...
http://www.mediafire.com/?pocpdd6h0adkom1http://www.mediafire.com/?7pax1afr11eisc7
Numan makes a step up to Planet Mu with four unique examples of his dubstep fusion sound. Raved up releases on Wicky Lindows and Slit Jockey cemented the 18 year olds status as one to watch, and now under the wing of µ we can really see what's happening in his hard drive. The looped flute stabs of the title track bely his early Grime influences but soon morph into a cyber-sino road vibe more akin to Ikonika. 'Photograph' follows with a deep, swaying slice of 'lectronic soul music worthy of someone far beyond his years, before 'Voodoo' juxtaposes Juke-ish drum patterns with Balkan fiddle and grid surge subs. 'XX' caps a very impressive EP with a craftily sinuous Grime riddim nodding to Swindle or J Beatz.
http://www.mediafire.com/?xsnieqf3km9f9h0
Aloe Blacc - Good Things[2010](320kb/s)
Trying to define what kind of music Roche makes is a little difficult, but you usually land somewhere between proto house and some sort of post weed sleep. Tracks like Ice Job and My House Is A Dark House bring a certain level of repetitive intensity and hypnotic focus. They seem to fit within the spectrum defined by Larry Heard‘s Time and the instrumental to Theo Parrish’s Soul Control. A lo-fi vibe is heavily present throughout Degage and it’s brought to the forefront on SK Rhythm. 808 percussion is built-up around a dubbed out keyboard sample until a female voice subtly whispers some onomatopoeia you’ll never understand. From there it all breaks down into the relaxed hazy atmosphere that defines Degage. Recommended.
http://www.mediafire.com/?1r0nvmejtkclu36
http://www.mediaf!re.com/?yxumlwxjo0r3eo8http://www.mediaf!re.com/?2czyyamhqczsncnhttp://www.mediaf!re.com/?ffqip5u37jple8mmyspace (http://www.myspace.com/lowerdens)http://www.mediafire.com/?hmozyyd5log
So the Darkstar album is really, really different, even considering I was expecting something quite out of the ordinary anyway.
Aside from "Aidy's Girl" (which is questionable in itself), there really is no dubstep on this album. This is a collection of downtempo pop, though that's an awfully reductive thing to call it and doesn't really encompass the amount of gorgeous detail in this album. It really is computer soul, only this time the computers have learned to appropriate proper human voices. The closing track is a do-over of "Squeeze My Lime" and it's quite affecting to hear what used to be a vocoder ring out in a human tenor amidst this swelling organic backing track.
It sounds like a very expensive album; it's not a particularly exciting one, nor is it sprawling. It's 40 minutes, much of which is spent withdrawn into its own shell. You really have to work to get into this album. Almost all of the songs have vocals, and I'm not just talking samples or snippets here, like full on verses and so forth. I'm impressed with the vocals. They aren't virtuosic or particularly unique but they work well, they're kind of Britpop but just drenched in this sort of defeated melancholy. The production is really interesting if you listen carefully, there is so much going on in these songs and I'm not surprised the album took so damn long. I don't know it well enough to start citing song titles but there was one track that sounded like a Martin Hannett production with the rhythm section lopped off; really interesting treble interplay, lots of watery echo, but the drums were something completely different.
What's most interesting is how this justifies itself as a Hyperdub release. With rare exceptions ("Aidy's Girl" for one, obviously), it doesn't really try to fit itself into the hardcore continuum or any of the recent offshoots of bass music. There are layers and layers to be discovered here, many nights spent dissecting every moment of this album. It's not an album of beats you can put on and enjoy for a few days and then forget it ever existed (*cough* Heretix *cough*), this feels like an album you need to live inside of and get to know intimately before you can understand it, because I sure as hell don't entirely understand it yet. Maybe that's ultimately better for Hyperdub, because this stands as a statement completely free of the implications of whatever the hell dubstep is, it could work as a particularly droopy indie-pop record. This is going to confuse the hell out of pitchfork.
http://www.mediaf!re.com/?lkmmdoltmjkuqs9
speaking of which, could someone re-upload their first one? The old link is down, and I've been looking around the tubes but I can't find it anywhere, and Wikipedia seems to think Bliss Release is their debut so...I'm at a loss.
My ears would appreciate it.
OK, so this is fucking cool. What we have here is a rare live recording of Glenn Branca's "Symphony No. 13 Hallucination City" from its debut performance in New York City on June 13, 2001. "Hallucination City" is a piece for 100 guitars and percussion. Branca, known for his avant-garde tendencies, heavy use of repetition and droning alternative tunings, is in top form here. The piece is absolutely massive, a pummeling, chaotic, overwhelming avalanche of sound. It's like climbing into a jet engine at full rev, an almost unhealthy dose of noise. But it's also meticulously organized and structured. No random, improvisational noodlings here. The entire piece is "double-strummed" by all 100 guitarists (technically 80 guitarists and 20 bassists), a technique similar to playing tremolo but the notes themselves proceed fairly slowly. So many instruments are creating so much noise that phantom notes seem to emerge and hover when played at very high volumes (and really there's no other way to listen to this. Crank up your stereo as loud as it can go for the full experience, even if you can only stand it for a couple of minutes). The sound is built into towering walls but there are distinguishable movements as well. Pianissimo, piano, mezzo, and forte dynamics shift seamlessly into one another, propelled by brilliant, relentless drumming, a galloping clatter that swings from beneath the chaos and keeps the guitar noise from spilling out into some unbound entity. Imagine Godspeed You! Black Emperor at their most cathartically unhinged and extend it over a full 60 minutes and you'll start to get an idea of what this monster is like.
/www.mediaf!re.com/?y7lqc591rd7r1j2
Jamie Woon heralds a forthcoming debut album with the yearning soul of 'Night Air' featuring production from a certain Will Bevan and backed with a remix from Ramadanman. Since his first single in 2006, Jamie's talent has been in gestation, and now following tour support dates with La Roux and guest vocals for Subeena and Débruit among others, he's ready for mass adulation. 'Night Air' showcases his melancholy yet passionate identity in all it's glory, setting succinct lyrics to a minimal backing track embellished with additional production from Will Bevan, and those of you with sharpened senses will know exactly who that is. On the flip, an incredibly adroit remix from Ramadanman tailors cherry-picked passages to a beatdown UK House rhythm showing David Kennedy's aptitude for just about anything he turns his hand to these days. 1000 copies only, no re-presses.
http://www.mediaf!re.com/?8q6tg3w1ll9f8iyLimited to a mere 400 copies and housed in Maya Miller artwork, this marvellous new split LP from two of American electronic music's finest minds is one to be snapped up promptly. Both artists are at their very best here, working with elemental electronic signals as their starting points: on Giffoni's side, the tantalisingly titled 'Techno' starts off with a procession of bloopy tones that morph and fatten up in no time, acquiring satellite bleeps and eventually more aggressive, dissonant tones that screech around the mix. Its detuned, plodding pace lends a touch of irony to the piece's billing, but actually, the repetitious electronic purity of the thing means it does have the feel of techno gone right back-to-basics; if they played this stuff in clubs though, only Giffoni and Florian Hecker would ever bother showing up. Bringing a touch more subtlety, nuance and academic rigour to proceedings is the always-wonderful keith Fullerton Whitman, whose offering, '070207' opens with a succession of stammering blips that's far more locked into the traditions of the great tape compositions of the 20th century. The density of these tone clusters increases as the piece goes on and thanks to some concrète interventions the production swells with a real sense of spatial awareness, and is leant a kind of three-dimensional quality. As is often the case with Whitman's music this is a grand day out for the ears, and if you hadn't known when or where this came from it would have been easy to have mistaken the composition for something straight out of the Groupe de Recherches Musicales archives. Get one while you can...
http://www.mediaf!re.com/?9mm3roh9f34vosy
http://www.mediafire.com/?zxgjiv2nq8xdzowAccompanying vol.3 of the cherry-picked 'New Wave To New Beat' series, a very tasty 12" sampler featuring tracks from Anne Clark, Front 242, Special Request and John Carpenter. We get classic EBM from Front 242 on 'Take One', next to Anne Clark's dystopian city vista 'Sleeper In Metropolis' on the A-side. Thte flip contains a very rare 12" pressing of Special Request's seminal 'Salsa Smurf', and the essential dancefloor cut of John Carpenter's The End (Sound Version)' out of the Escape From New York OST. Absolutely indispensable and very limited wares.
http://www.mediaf!re.com/?yerqctzoqq4rebz*Debut release on Alex Nut's new label: Ho Tep!* Throwing Snow's debut 'Un Vingt' is the 1st drop on Alex Nut's promising new label, Ho Tep. The A-side is a very canny blend of broken dubstep and more psyched-out textures, perhaps best described as the mid-way point between older Martyn releases (before he went house) and Shackleton (er... before he went house too!). However, there is a unquantifiable element to this track that makes it stand out, whether it's the chord progressions or the tucked drums we're not sure, but it's impressive either way. On the flipside, it'd be fair to put 'Cronos' with the wonkier, or more progressive dubstep brigade, along with the likes of Floating Points and Illum Sphere, but again, there's a natural kink and cosmic inclination that puts this fella out on his own limb. Really strong debut, Recommended!
http://www.mediafire.com/?4ql0tl7tib83tqw
Glenn Branca - Symphony No. 13: Hallucination City (for 100 guitarists)
http://www.mediaf!re.com/?m4emyehnxzt
Hey **********!
We never actually released this album. We decided NOT to release it. I shared it with a couple people and somehow it got leaked all over the internet.
So I know it's available for FREE on many different illegal download sites.We have to decided to just let it be and if people dig it ...cool!
All our energy is focused on finishing and mixing our new album which has the working title of To Solitudes and will be released on Silence Breaks Records next Spring. We're psyched b/c it'll be our first album with a proper PR campaign and we think it's our best.
In a related note, thank you for your donation and I just sent you a copy of my solo album Truants From Life this morning so expect it in the next couple days. I hope you enjoy it.
All the best and please keep in touch,
Keith Zarriello
http://www.mediafire.com/?m89cuisuqjc10j0http://www.mediafire.com/?elgdggwtyx3365yhttp://www.mediaf!re.com/?z5jjyjztjmyhttp://www.mediaf!re.com/?okzdqmglnojhttp://www.mediaf!re.com/?izjw1mtoze4http://www.mediaf!re.com/?c6uf15pt4fbcl14
http://www.mediaf!re.com/?zdlkvhn4omo
http://www.mediafire.com/?8kmdde9jvp5myspace (http://www.myspace.com/joshuafranksolo)
Download: http://www.mediafire.com/?d5nplyhsohh1355
Buy: http://paperbrigade.com/sgb-strangeteenheart
http://www.mediaf!re.com/?h5my3zc3ltmctiaMaintaining their anonymous profile, the cats behind the Story series turn out another three deep dancers. 'Fascinated' is the main groove, a fresh mid-tempo winner with all the hallmarks of an expert production. 'Taj Mahal' is a little jazzier, mixing crooked rhythms with smoothly minimised chords, and 'You Better Find A job' rolls out dreamy electronics with a creamy bottom end. Fans of Sven Weisemann, Move D or Cottam.
http://www.mediaf!re.com/?au15e45he3lsvbtSubeena further develops her technoid post-dubstep sound on 'Neurotic', backed with Egyptrixx and Ghosts On Tape remixes. There's something of a bowing reggaeton flex to 'Neurotic', which Subeena really makes her own with the addition of a distinctive vocal accent. 'Wishful Talk' follows, focused on deep droning subs and rolling techno rhythms, again with her own vox. Egyptrixx takes this cut closer to the centre of the floor with bulky swing-jackin' rhythms and swooping bassline and Ghosts On tape dance around the matter with a cracking Broken Beat refix. One for fans of Ikonika, Altered Natives, Aramac, or the Night Slugs sound - recommended!
http://www.mediaf!re.com/?raif0zuzho118wzRiya aka Laura Pacheko heads up the 2nd Autonomic transmission, lending vocals to productions from DBridge, and Mr O. Jones (Skream), with assistance from Mr D. Kirkham (half of Instra:mental). Most notably, the DBridge-produced 'Seems Like' opened the Autonomic FabricLive. 50 mix with its melancholy sci-fi steppers vibe, but the intense 4/4 throb of the 'The Cycle' on the flipside is exclusive to this plate. It sets a deadly momentum with relentless 140bpm kicks syncopated with pointillist snares and leavened with Riya's vox and efficiently deployed wisps of synth in the closing stages. As with the 1st Autonomic 12", the packaging is impeccable and the pressing primed for optimal output.
http://www.mediaf!re.com/?63a82hn6j2euawhRaffertie inaugurates the Super label with four tracks of his mongrel rave sound. He's really steped his game up since we last heard him on the 'Pumpin Like Reeboks' EP, from the controlled yet bombastic thrust of 'Rank Functions', to the Kingdom-meets-Spatial kinda flex on 'His Counting House', and a technoid Joy Orbison or Duffsetp bounce on 'Horse Flesh'. Bringing up the rear, Ital Tek reworks 'Rank Functions' with slippery 2-step skip and embellished electronica elements. Heavy!
http://www.mediaf!re.com/?w74b5jxxtpsd949http://www.mediaf!re.com/?w74b5jxxtpsd949
Having so far garnered comparisons with everyone from Liars to This Heat, Throbbing Gristle and Sonic Youth, this band have a lot to live up to. New Thoughts captures the groove-driven, no-wave/industrial-inspired sounds of this Irish band, whose line-up is a stripped back duo comprising bass and drums, with vocals and occasional electronic elements seeping into the mix. It takes a lot of invention to make a setup like this work across the full duration of an album, but the angsty minimalism Thread Pulls summon up is more than up to the task, assisted greatly by a production that properly frames the full bulk of the band's rhythmic essence.
http://www.mediafire.com/?8bal7kyahdex81rBit of a departure for the Old English Spelling bee, embracing scenic dubbed-out tapestries described by the label as a cross between Burial's sample-strewn claustrophobia and Ennio Morricone's spaghetti western scores...* The Olde English Spelling Bee label has lit up our week with this incredible debut from Forest Swords. Nope, we've never heard of them before either, but they're only based down the road in The Wirral so we'll send them a thank you message via carrier pigeon or something. 'Daggers Path' is a textured patch of personal sonic connections infusing outsider drone-folk and lo-fi pop with modern r'nb and vintage dub tropes that capture that feeling of Grouper jamming with the Velvets down at Tubby's that you forgot to remember that time you didn't imagine it. Central figure, M. Barnes, cyphers the same soulful impact you'd find in the vocal samples of a Burial record for instance, and shades them with a widescreen wash of lo-fi colours reminiscent of the inherent skyward drama found in his native coastal location, also embedding each track in slow-burnt dub basslines and dread guitar jangles which echo out across the low-lying landscape for miles around. On 'Hoylake Misst' there's even elements of Amon Düül, if they'd taken cues from Timbaland beating rhythms with pencils on his desk, or on 'Glory Gong' we feel like we're about to be dropped into some reggaeton bumper before the all the edges dissolve and we're left with ghostly male groans and plaintive guitar shimmers while some deft fingers on the desk rubs in dubbed out samples and the stodgy-slow bass keeps on heaving. It's love at first sight with this album and we reckon you'll fall for it too. Please don't sleep on this!
http://www.mediafire.com/?z2bidrnrdjdx2d4
I've been listening to that Dagger Paths record for ages, it's definitely worth your bandwidth and time. Can't wait to see more from him.
When Fierce Bad Rabbit formed in 2009, regional media called them a “supergroup.” The standout talent of each member of the band was already well established in Northern Colorado. But supergroups are engineered by record labels. The members of Fierce Bad Rabbit were magnetically drawn together to create indie pop music with a hook and a heart.
Featuring Chris Anderson (vocals/guitar/piano), Alana Rolfe (viola/vocals), Dayton Hicks (bass), and Adam Pitner (drums/percussion), Fierce Bad Rabbit found regional success nearly immediately after coming together. Songwriting came natural, and the band soon released a self-titled EP that had airplay before it hit the streets. They were voted “Best Indie Rock” by peers in the Fort Collins Musicians Association, and Westword nominated the band for “Best Indie Pop.” They performed at the 2010 South by Southwest in Austin, received featured airplay on stations throughout the region, and were selected for the inaugural class of SpokesBUZZ Fort Collins, a non-profit that raises awareness of Fort Collins as a music hub.
With the October 2010 release of their first studio LP, Spools of Thread, the band is poised to gain broad attention. The songs on the album are an emotionally powerful, infectious brand of indie pop. Songs like “Everything’s Alright” and “All I Have Is You,” are radio-ready sing-a-longs without the triteness and disposability too often found in pop music. Instead, Anderson pens songs with an honesty and depth that captures and connects listeners.[/quote/]
The whole thing's available online at the moment (just click "Listen.")Code: [Select]http://fbrmusic.net/
Basically it's Salem if Salem was actually inspired. Deserves to be in the dub canon, really hypnotic.
http://www.mediafire.com/?fkk6nnq6yw1voa5Fierce Bad Rabbit - Spools of Thread (CD released 16 Oct 2010)Is that you, Chris? Stop calling into the station, we're playing your damned album all the time, just chill. If you're not him, tell him to chill.
*Image*QuoteWhen Fierce Bad Rabbit formed in 2009, regional media called them a “supergroup.” The standout talent of each member of the band was already well established in Northern Colorado. But supergroups are engineered by record labels. The members of Fierce Bad Rabbit were magnetically drawn together to create indie pop music with a hook and a heart.
Featuring Chris Anderson (vocals/guitar/piano), Alana Rolfe (viola/vocals), Dayton Hicks (bass), and Adam Pitner (drums/percussion), Fierce Bad Rabbit found regional success nearly immediately after coming together. Songwriting came natural, and the band soon released a self-titled EP that had airplay before it hit the streets. They were voted “Best Indie Rock” by peers in the Fort Collins Musicians Association, and Westword nominated the band for “Best Indie Pop.” They performed at the 2010 South by Southwest in Austin, received featured airplay on stations throughout the region, and were selected for the inaugural class of SpokesBUZZ Fort Collins, a non-profit that raises awareness of Fort Collins as a music hub.
With the October 2010 release of their first studio LP, Spools of Thread, the band is poised to gain broad attention. The songs on the album are an emotionally powerful, infectious brand of indie pop. Songs like “Everything’s Alright” and “All I Have Is You,” are radio-ready sing-a-longs without the triteness and disposability too often found in pop music. Instead, Anderson pens songs with an honesty and depth that captures and connects listeners.[/quote/]
The whole thing's available online at the moment (just click "Listen.")Code: [Select]http://fbrmusic.net/
A Sunny Day In Glasgow - Autumn, Again
http://www.mediafire.com/?nxl6lkknjx7kukiNPR Tiny Desk Concert (http://www.youtube.com/watch?v=zvYuiJVkc5g&feature=sub)this world needs more Sun Araw
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.med!afire.com/?q15cxrwanv7yhp3http://www.mediafire.com/?ctq7f9ux10zrpz4
http://www.mediaf!re.com/?tmotmnnmnmj
http://www.mediafire.com/?f187d7i7nk8d8tmhttp://www.mediafire.com/?a4c4hdmadcc494nhttp://www.mediaf!re.com/?brq47q4ate4ymv9http://www.mediaf!re.com/?4ah7x20y036kn8nhttp://www.mediaf!re.com/?8qnbvgs5q48novsYellow Swans live @ Sound&Fury 29/10/2005, recorded in a record store and only released in an edition of 150 copies in hand made, wax sealed envelopes. The show was during a 2005 tour of Australia but unlike most of their sets which lasted 20-25 minutes, this one goes on for nearly forty minutes. This performance is much dronier, more hypnotically beautiful in its noise than some of the other sets' brutal assaults. The opener is 18 minutes of shimmering, low end guitar hum which glides and glows beneath a whistling, creaking, whirring electro-skree. It's a really gorgeous, haunting sounding piece. Track two is about a quarter as long and is a lot rougher. It's louder and skuzzier, the guitar tone still low but no longer warm. Instead it has a more mechanical buzz to it, almost like some distant, muted power tool. The electo skree on top if more unhinged, hissing and screeching into wild high end flurries and ragged rumbles. The third and final track begins with a searing line of high end feedback and slowly builds and develops from there over 15 minutes. The hypnotic drone of low end guitar still sets the foundation for careening sinewave mayhem. This is a shimmering, desolate sound with murky guitar oscillations and humming pulses of sound. There's very little melodic here if anything but this isn't pure noise. It's dense, dynamic, and the more you listen the more you hear. It's actually really impressive that two guys are doing this live.
Track list:
1. Untitled 1 (18:12)
2. Untitled 2 (5:21)
3. Untitled 3 (15:02)
http://www.mediafire.com/?9jj8nm107vz31w3
http://www.mediafire.com/?9z9bp3xp1fmgfqw
http://www.mediaf!re.com/?ab0kmu3y2sbcmqmhttp://www.mediafire.com/?7n1y9x7zkaeeu1jhttp://www.mediafire.com/?amgvfyas162mtac
http://www.mediafire.com/?pubndqss7d94z8ehttp://www.mediafire.com/?kmduv1x0de4xpv2http://www.mediafire.com/?5g7x4p8l5b4jcn5
http://www.mediaf!re.com/?2m7biqx7y3co76n
http://www.mediafire.com/?ec2yutbvb1gf8r7
http://go2.wordpress.com/?id=725X1342&site=godsandqueens.wordpress.com&url=http%3A%2F%2Fwww.sonsofvesta.it%2FLOST%26FOUND%2Fgods%2520%26%2520queens%2520-%2520untitled%2520II%2520(2010).rar&sref=https%3A%2F%2Fgodsandqueens.wordpress.com%2Fhttp://www.mediaf!re.com/?rgazfrvo5is4411http://www.mediaf!re.com/?6v8vhq2wfqpc0p2http://www.mediaf!re.com/?s8wkh1uwkgpf2k4
http://www.mediafire.com/?38xi5finaixndup http://www.mediaf!re.com/?5n0mhfidzju
http://www.mediaf!re.com/?qs6q64hyambudw9http://www.mediaf!re.com/?i9czx9z9zaotzcphttp://www.mediaf!re.com/?9rp5pcfgqf8wctd
Tom Trago's 'Voyage Direct' series presents two mid-tempo heaters from Rednose Distrikt aka Steven De Peven. 'Get That BeeDeeBee' is discofied-house music is the stringest Rush Hour tradition, elegant yet dirty, sensuous and hypnotic 'Dam-style beatdown. 'I Am Cumming' pushes up the tempo on the flip, teasing up warmest filtered disco vibes and Detroit-debted soul chords. A must for fans of Trus'me, Rick Wilhite or Recloose.
http://www.mediaf!re.com/?7yra6x9h17d77q2Ruthless ravers from the Night Slugs camp; new family member, Cubic Zirconia in conjunction with Bok Bok and remixed by Ikonika. Commednably setting any possible feminist agenda aside, Ikonika rerubs 'Hoes Come Out At Night', turning it into a Soca-tek romper with swooping subs, narcotic R&B vox and a ruffneck Chicago flavour. On the flip Bok Bok and Cubic Zirconia drop the pace slightly for 'Reclash (Give It To Me)' referencing the more warped and haughty ends of Green Velvet's ouevre with restless martial snares, while keeping it UK with droning bass and Bok Bok's cartoonish detailing. Freakin' badness!
http://www.mediaf!re.com/?4grd7fwd6r6m70zFresh in from Rene Hell's Agents Of Chaos tape label, a continuation of the incredible 'Generator' session released on Root Strata earlier this year, featuring Keith Fullerton Whitman manning his Doepfer hybrid Analogue/Digital synthesizer. Again Fullerton Whitman investigates "the unpredictable entropies & slight signal degradation inherent to Analog instrument design", and the findings are truly riveting. With only the slightest input, he sets off sequences of unpredictably morphing shapes and sounds, eliciting the very chaos of a synthesizer's internal life with almost limitless configurations of electro-acoustic patterning. This is so far removed from anything conventional in the truest sense, pissing from a great height on so much banal and predictable "psychedelic" music. For a tape, the clarity is brilliant while still keeping that natural cassette noise, and the sleeves are professionally printed. Incredible.
http://www.mediaf!re.com/?74r4f6iq6799q4qWe greet the release of this fabulous record with a big sigh of relief here at CCO, having been in the making for a good two years and worked on with a ruthless attention to detail and insistance on perfection, it is quite easily the longest in-the making project we have crossed paths with since our inception, and the label's most ambitious album release to date. Kamal Joory (aka Geiom) distracted himself momentarily from his work for Skam, Nature, Neo Ouija and friends way back in early 2000 and hooked up with multi-instrumentalist and all-round sound doctor Morgan Caney, an initial flurry of vision and catharsis giving birth to one of our most beloved 7" releases - 'Blanket'. With its almost whispered blend of deep deep double basslines and twinkling high frequencies, we were hooked on first listen and the collaboration seemed destined to continue. And so, two years on and opening with the same effervescent track, 'Magic Radios' presents itself to the world as a shimmering, groundbreaking, life affirming, glowing, pulsating organism. Transporting us from one mood and tone to another, we flick through the airwaves and jump from the flutes, horns and microbeats of '3000 Miles' to the vocal-fuelled campfire accoustic balladeering of 'Take my Light' and the sambafied electro/accoustic sizzle of 'flyaway' to the simply huge strings, guitars and waves following waves of melody and crunchy beats that is 'Crispy Leaves Underfoot' - a meeting point between Boards of Canada and Ennio Morricone, a track too big to contain within words. Dear to our hearts and improving with every single, multiple, involved listen, 'Magic Radios' is a deeply optimistic record, sunkissed and groomed in anticipation for its inevitable status - Classic. Essential Purchase.
http://www.mediaf!re.com/?0u7p2ec12u7j65hFollowing a crushing Maniac 12", Om Unit delivers the latest on Plastician's Terrorhythm label. From the screwed, Proggy riffs and pulse of 'The Corridor', to the heavy flow of 'Ether' and over to an atmospheric blend of slow Latin syncopation and padded ambience on 'Cradle' it's another recommended twelve from Om Unit.
http://www.mediaf!re.com/?acd538mc4vk95prhttp://www.mediaf!re.com/?pnynnm40ye2v6w2Riya aka Laura Pacheko heads up the 2nd Autonomic transmission, lending vocals to productions from DBridge, and Mr O. Jones (Skream), with assistance from Mr D. Kirkham (half of Instra:mental). Most notably, the DBridge-produced 'Seems Like' opened the Autonomic FabricLive. 50 mix with its melancholy sci-fi steppers vibe, but the intense 4/4 throb of the 'The Cycle' on the flipside is exclusive to this plate. It sets a deadly momentum with relentless 140bpm kicks syncopated with pointillist snares and leavened with Riya's vox and efficiently deployed wisps of synth in the closing stages. As with the 1st Autonomic 12", the packaging is impeccable and the pressing primed for optimal output.
http://www.mediaf!re.com/?vi7l2yqbsbdu3dy
http://www.med!afire.com/?uu55wb5mdm2
http://www.mediaf!re.com/?j20yz3zmoei
http://www.mediafire.com/?yizxm25bqzm
http://www.mediafire.com/?wwy6ix0d1d440i8
http://www.mediafire.com/?bfl0ri54ihn6b4dno song has ever made me feel as stoned as I do when I listen to Horse Steppin'
http://www.mediafire.com/?v5rdmq81vhmvu0phttp://www.mediafire.com/?sw2o8l6efqkae09
http://www.mediafire.com/?vt09x2r1yzaez9dhttp://www.mediafire.com/?wmeh68vfw81jblehttp://www.mediafire.com/?vt09x2r1yzaez9dhttp://www.mediafire.com/?53u9bw1ioza3hi6The second "official" album from San Francisco's Jefre Cantu-Ledesma is here and it's really not to be missed! For the first time, Cantu-Ledesma makes a foray into the world of blissed-out shoegaze, leaving the haunting, glacial drone of his earlier work aside almost entirely. "Love is a Stream" is another home run release on Type Records and another one wholly unexpected considering the artist involved. It could almost in some ways be seen as pop music in an even more washed out version than the latest Altar Eagle album "Mechanical Gardens" (check out a few posts below for thoughts on that). This is 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, 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. There's still a hell of a lot of grit and mountains of harsh white noise static, and droning guitars and synthesizers and washed out, buried vocals all of which come together to make this something all its own. Somehow Cantu-Ledesma managed to do all this and still fill the album with what can almost be described as pop hooks albeit ones nearly lost altogether in the noise. There's melodies here for sure even if it does take a whole lot of digging beneath the gauze of glowing sound to find them. Hugely listenable yet layered and complex, this is a unique, amazing piece and one of my favorite albums of this year packed with great stuff. Note that the vinyl copy comes with a 46 minute bonus disc. Called "Love is a Dream," it is billed as a collaboration between Xela and Jefre Cantu-Ledesma. I believe it is songs by the latter reworked by the former and not a literal collaboration between the two but it's terrific in any case. A must buy.
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?6x8mtkrzkg46ksshttp://www.mediafire.com/?cy6nsr8mk3kl91m
http://www.mediafire.com/?28blgix9eyn0ixg
Awesome new three-track 7" from the fascinating Hype Williams, a girl/boy flopped & screwed-as-f*ck unit operating out of London/Berlin. 'Do Roids And Kill E'rything' is their fourth single ahead of a hotly touted release for Hippos In Tanks sometime in the future. On the A-side 'Ooovrrr' dissolves Drake's vocals into a crack-throated gloop over gunky, lo-fi screw beats while warbling, palid synths hover in the background. 'Rescue Dawn' follows, a sludgy scrape of boxed vocals, disgustingly slow bassline and murkily optimistic synth chords. The flipside is a cover of Sade's 'The Sweetest Taboo', as you've never heard it before, refracted through a misty maze of ferric chaff with humming subbass pressure and a deliciously vague and smacked out nonchalance. Like the Salem album, also out this week, this is a disturbing take on pop culture with an uncanny awareness of lo-fi aesthetics and techniques that's just blowing our crooked boxes right now. Highly limited (500 copies only), and hugely recommended to fans of James Ferraro, Nite Jewel, DJ Screw or Games.
http://www.mediaf!re.com/?iqcl2fd18tgduiiLazer Sword is Bryant Rutledge (Low Limit) and Antaeus Roy (Lando Kal) who wrote and recorded the album in their former San Francisco stomping grounds before Rutledge moved to Los Angeles and Roy to Berlin. While the pair have dabbled in mixes, remixes and singles (including The Golden Handshake EP for the hotly tipped Numbers label), never until now have they realized a cohesive body of work.
It also finds them in the midst of a few friends guesting on the album including Antipop Consortium’s M. Sayyid, Freestyle Fellowship MC Myka 9, bizarro funk crooner Zackey Force Funk and Bay area hyphy don Turf Talk. But it’s the Lazer Sword boys who truly shine here, whether it’s the ghostly samples, skittering percussion and vocoder funk of first single “Batman” or the hip-hop stomp and swirling synths of album opener “Tar.” Detailed and intricate, Lazer Sword is certainly suitable for headphones, but with beats that slap this hard, these songs were made to rattle speakers and rumble dancefloors.
The double vinyl LP & CD both come packaged as an opening gatefold with a futuristic art layout by Swedish illustrator Kilian Eng.
http://www.mediaf!re.com/?gxvhz3fzfrinw8oIt's a double whammy for the Agents Of Chaos label, following KFW's second 'Generator' installment with his 'Take Me To Your Dealer' tape, made with his close ally, Geoff Mullen, under the Any Given Sunday alias. This is still freeform and noisy territory, but there's a richness to the tone of their sounds and an over-riding sense of instinctive arrangement which keeps it from falling into outright noise. On the A-side their creation spits cautiously sluggish and fractured rhythms amidst mentally warped and often horrific sounds, deftly maintaining the illusion of traveling through nightmarish and outlandish territory without actually moving at all, touching the cavernous depths of frigid bass tones and out to the perimeters of cold hard electric surfaces while skeletal synth figures rattle and howl in the darkness. On the other side they seem to congeal their sound into a more fluid body before spurting breathtaking alien melodies and harmonics with a distinct Radiophonic feel, only Delia, Daphne and John have all licked some of Hoffman's special sauce and gone 3D. This cassette has just swallowed me whole, and if I wasn't in the office right now, i'd be lying down, eyes tightly shut and exploring the nether zones behind my eyelids with this tape playing as loud as possible. Highly recommended for lovers of properly alien psychedelic sounds!
http://www.mediaf!re.com/?w1sjm6qin8xx424*The very last Mobeer release ever, handed numbered to an edition of just 300 copies for the world in beautiful bespoke packaging* And so we arrive at Mobeer 010, the very last installment of the Moteer label's "micro brewery" project. This release comes from the duo Happenstance, comprising Karl Eden and Chris Stewart (also known for his work under the Need More Sources guise). Once again the 3" CD arrives mounted on a bespoke beermat and ferreted away in a slipcase and brown paper envelope that's been stamped and hand-numbered. Across six tracks and around nineteen minutes Eden and Stewart fashion a real standout contribution to the sub-label's small yet perfectly formed catalogue. Marrying programmed electronics and tumbledown, folk-ish instrumentation, nestled away in here you'll find the gauzy strings and heated bass pulses of 'Knackered Tabernacle' and the late night Hawaiian guitar melancholy of 'The One Eyed King', with fourth track, 'Even My Goosebumps Shivered', possibly serving up the disc's finest moment when in its later stages it assumes the character of a spy movie theme put together by Joe Meek. In other tracks Happenstance evoke the spirit of their spiritual godfathers The Remote Viewer, particularly during the fluttering slow-mo post-rock of 'Go Tell It On The Molehills', while elegiac, brass-like synth tones and spluttering ukulele sonics are put to good use on the lulling parting shot, 'All Fish And No Chips'. And so, we bid a fond adieu to this lovely little label....
http://www.mediaf!re.com/?akcow6d25rq54hg
While his Infrasonics label has been busy turning out solid goodies from Ike Release, Hot City and XXXY, Spatial's own productions have been scarce in 2010. His fourth release on the label adds some lean but juicy flesh to the bones of his future garage blueprints while factoring in a more feminine pressure by way of dainty 2-step melodies and diced vocals. The title might not give much away, but get '100402' on the floor and it's got some serious chops, flaunting super-slick percussive cadences and the cutest melodic wiggle. If that sounds too nice for you, '100319' tightens up with a finely crafted garridge swagger riddim full of tendon-twitching percussion and a hypnotic, heads-down-and-raving lead riff with a flourish of moody synthline energy in the final sections. Very smart trax!
http://www.mediaf!re.com/?bzgk6l18c2v4g5iTruly mesmerizing outernational rhythm trips from Mark Ernestus (Rhythm & Sound) and Burnt Friedman, reinterpreting secret rhythms from Freidman and Jaki Liebezeit. The Ernestus mix of '5' is a stealthily paced and loose groove, tucking Liebezeit's drumming into ornate swirls with a tumbling cadence, gradually adding of kilter stabs low in the mix until a final flourish of arabesque washes seals the cut with a sombre mood. Burnt Friedman's own mix of '7' has a more defined Afro-lilt with evolving rhythms finding a stumbling groove together with Daniel Schroter's Bass guitar and the distant sounds of Marimba (maybe?) placed deep in the lush scenery. Fans of Shackleton, Chronomad, Muslimgauze and, of course, Rhythm & Sound make sure to check this!
Strong Garage futurism from KingThing, following in the footsteps of XXXY, VVV and Loops Haunt on the excellent Fortified Audio imprint. The vibe is restless and rugged throughout the 'Mad Hatter EP' from warped 4/4 swing of 'La-Di-Da', spiked with spectral diva vox and peppered with twysting mentasms, through the fruity flex of 'Bump' and the canny balance of brittle woodblocks, almost baroque R'n'B melody and bristling syncopations in the title track. Craftiest of the lot has to be 'Neglect Me' swiftly switching between 4/4 speed Garage signatures and offbeat 3/4 swing with a deadly and effortless flow, nodding to the advanced calculations of Zomby and SBTRKT with a proper Urban flex. TIP dat!
http://www.mediaf!re.com/?n8b4la3zsn5bxs0http://www.mediafi!e.com/?tmqv1negtx3
http://soundcloud.com/savage-sword/space-piratesLone drops the anthemic 'Once In A While' (the opener from Kode 9's DJ-Kicks mix), backed with a new cut and remixes from Midland and Sinden! With 'Once In A While' and his recent 'Pineapple Crush' 10" Lone aka Matt Cutler has really found his niche, melding the exuberant flush of late 80's Chicago House and early '90s UK Rave in a saffron-infused fever dream for a fully lushed-up dancefloor vibe. 'Rapture' follows in the same anachronistic style, imagining flared boogie synths and gauzy machine drums like a 3rd gen tape copy of something Grooverider might have played on Kiss back in 1991. On the remix tip Sinden brings 'Once In A While' up to date with a mesh of Funky syncopation and pitching Bassline synths with a lairy swinging junglist flava, followed by a proggier tech-house mix from Midland, suitable for the bigger rooms. No doubt, the original is one of the most definitive anthems of 2010, have a dab!
http://www.mediaf!re.com/?4xmb9i7fv6etft2It's always a treat to hear new work from Erik Skodvin, and this latest release from the Deaf Center / Svarte Greiner man is certainly no let down. Flare is an eerily cinematic long-player that presents the listener with a markedly more spacious and airy soundscape than some of his most recent output; compared with the unforgiving blackness of Svarte Greiner's Penpals Forever, for instance, Flare has a more wistful and classical-influenced temperament. With the rusty string scraping and aloof piano phrasings of 'Etching An Entrance', the album gets off to an immersive and gently creepy beginning, building strongly on a sense of foreboding with the superb 'Matine', which could have been lifted from the score to some sort of Nordic existential Western. Similarly, the strange, arid vistas of 'Neither Dust' are punctuated by an evocative gallop that implicitly carries a Morricone-ish feel to it, even if it's tone is ultimately far darker than any such comparison might intimate. The album is partitioned into a series of relatively brief tracks, each one establishing its own particular minor-key mood, at times flirting with guitar-led bleakness ('Failing Eyes'), while at others latching onto more menacing, rhythmic elements ('Graves') but in all cases the productions are astoundingly full and uncannily visual - a factor that only conspires to further emphasise the soundtrack-like qualities of the album. Stunning material from the Miasmah boss, Flare might well be up there with his best work to date.
http://www.mediaf!re.com/?bojddpoic5cfzzcSolid gold anthem business from Girl Unit on the follow-up to the killer 'I.R.L' 12" for Night Slugs. It would appear from his form this year that Girl Unit specialises only in BIG tunes, which is no bad thing when you've got a rave to rub up the right way. At the pinnacle of this particular monolith is 'Wut', his scorching fusion of Araab Muzik-style martial 808's and purest R&B synthline saturation that's become a staple in the sets of Jackmaster, Ikonika and Oneman since the summer. There's no avoiding it's lazered brilliance, beaming rapturous organ and that earworming vocal snippet like the light of the second coming. OK, maybe that's a bit strong, but we've definitely seen nerds prostrating at the speakers when this is dropped. Still following the crunk money trail, 'Every Time' jams out spindly triplets and boom-quaking bass hits with properly epic synth arrangements, leaving 'Showstoppa' to go out in a blaze of glory driven by huge black Bentley bass wamps and future lurching synth moves. Right here, right now, they don't come any bigger than this 12". Massively recommended!
http://www.mediaf!re.com/?kccqfvwggw7ku1vLazer Sword is Bryant Rutledge (Low Limit) and Antaeus Roy (Lando Kal) who wrote and recorded the album in their former San Francisco stomping grounds before Rutledge moved to Los Angeles and Roy to Berlin. While the pair have dabbled in mixes, remixes and singles (including The Golden Handshake EP for the hotly tipped Numbers label), never until now have they realized a cohesive body of work.
It also finds them in the midst of a few friends guesting on the album including Antipop Consortium’s M. Sayyid, Freestyle Fellowship MC Myka 9, bizarro funk crooner Zackey Force Funk and Bay area hyphy don Turf Talk. But it’s the Lazer Sword boys who truly shine here, whether it’s the ghostly samples, skittering percussion and vocoder funk of first single “Batman” or the hip-hop stomp and swirling synths of album opener “Tar.” Detailed and intricate, Lazer Sword is certainly suitable for headphones, but with beats that slap this hard, these songs were made to rattle speakers and rumble dancefloors.
The double vinyl LP & CD both come packaged as an opening gatefold with a futuristic art layout by Swedish illustrator Kilian Eng.
http://www.mediaf!re.com/?b0qbabueckdqhhchttp://www.mediaf!re.com/?4cbll7oa66oslbbhttp://www.mediaf!re.com/?a8nvm8dwd7ooujyhttp://www.mediaf!re.com/?r6stt9kttejj19hhttp://www.mediaf!re.com/?k72jyeuakvi89v1http://www.mediaf!re.com/?6cnn9rk4p4bn0z0http://www.mediaf!re.com/?3aaclfmbifo5g7ehttp://www.mediaf!re.com/?ev99ea12wqgbhv3Heavyweight MPC choppage from Fulgeance, four tracks of original freshnuss backed with remixes from Kelpe, GablÉ, and Huess. We're all over this one like rainclouds on Manchester, from the temporal Drag-Boogie of Glamoure', sounding like Games got trapped in a glitching feedback loop, through the choppy BoC-hop of 'Analove' and into the self-explanatory 'Chopped & Screwed', applying his special sleight-of-hand to a woozy electrosoul nugget. Kelpe's remix of 'Bien Rond' feat Rustie collaborator 215TFK meanwhile sounds like some APC offcut, while GablÉ spins 'Rubiscube' to sound like Bibio on rocks, and Huess remakes 'I Luv U' as a bleepy, bobbling hiphop number with shades of vintage Dabrye tracks. Goood sh*t!
http://www.mediaf!re.com/?2styho8bqavf8arhttp://www.mediaf!re.com/?zfyveyaincc6tblDance music culture moves faster than cat years. Over the last three or so years it became so restless that it lost its attention span altogether, as a mutant strain of music emerged that the blogosphere called crack- or fidget-house.
Which lands us in the back yard of Crookers: two Milanese hip hop heads who preferred to make wonky club tracks with delirious build-ups and insane bass-riddled breaks. Their sound is one that went viral across clubland.
Debut album Tons of Friends is, in true hip hop style, 12 months late and towers over us as a daunting and dense work. Their biggest hit, a remix of Kid Cudi's Day ‘n’ Nite (which peaked at number two in the UK) only makes an a cappella appearance, despite its dominance as the party tune of two consecutive summers: a rare feat in fast-moving festival circles.
But it’s to Crookers’ credit that they don't chase ghosts here, instead opening up space to feature 25 collaborators across 20 tracks. The roll call of rappers includes Kelis, Pitbull, will.i.am, Cudi, Spank Rock and Rye Rye, and all apply their lyrical licks with vigour.
More unconventional guests include Soulwax, Sepultura's Mixhell, Major Lazer, Poirier and Drop the Lime – who hurl in their studio knowledge – whilst vocal contributions from Roisin Murphy, Miike Snow and, rather incongruously, Tim Burgess are all effectively consumed and assimilated into monstrous club bangers. Such an amount of guests means nearly every track sounds like a lead single, destroying conventional album architecture in favour of full-throttled bounce.
Hold Up Your Hand, featuring a turn from Murphy, shines through with its sleazy German schaffel-beat whilst Cooler Couler sees Yelle enjoy a menacing and boisterous jaunt though pop. One of the absolute highlights is Miike Snow's Remedy: an oscillating piano stomper layered with an old-school rave breakbeat which is a glitchy call-to-arms certain to rip up most dancefloors with filthy aplomb.
Tons of Friends is 100% party focused. If you want four-to-the-floor ghetto bass, sleazy RnB and the balls-out bravado of hip hop slammed onto perverted techno then you are in the right place. It's just a shame it wasn't around 12 months ago to bathe in the laser limelight of its true historical moment..
http://www.mediaf!re.com/?r2rtgzmygz2
http://www.mediaf!re.com/?j5u47m3uquy36i1http://www.mediaf!re.com/?mdd02wnoiyyhttp://www.megaupload.com/?d=5LFM9S1RIncludes a typical cover of "True Love Will Find You In the End." Great quality, great setlist. Includes several songs to be hosted on its upcoming release.http://www.mediaf!re.com/?33eib1viqm46uui
http://www.mediafire.com/?1n7w658a9xk8iv4Matt & Kim - Sidewalks (2010) [320kbps]
(http://3.bp.blogspot.com/_TwoWWVwAC-g/TMncrSI9yAI/AAAAAAAAAYo/FINFlw9uiZk/s320/Sidewalks.jpg)Code: [Select]http://www.mediaf!re.com/?33eib1viqm46uui
http://www.mediaf!re.com/?ax488vi9q94e1t6
http://www.mediafire.com/?0njpe4b2sanq9ivhttp://www.mediafire.com/?ff7y26m15xqcggxhttp://www.mediafire.com/?cs8ev534gjxlulchttp://www.mediafire.com/?9v5t1wh2udkmh89http://www.mediafire.com/?qvl10rzouv4eicj**Purple Marbled Vinyl** Returned from the core of the sphere of the unknown, Space Dimension Controller delivers a luscious double pack for R&S, and on marbled vinyl to boot. There are few in modern techno/house/electro quarters who haven't been charmed by his 12"s on Royal Oak and Kinnego, and that number is set to increase with these seven tracks. The epithet adorning both plates "Created aboard the Electropod of a time-trapped futurist" neatly encapsulates 'Temporary Thrillz', from the silvery electrosoul shimmer of 'Mercurial Attraction', to the Anti-G slide of '2EZ (Autopilot's Lament)' and the sci-fi Boogie sophistication of 'Transatlantic Landing Bay'. Our two favourite tracks are coincidentally the slowest, with the lubricated 'lectrosex of closer 'Simmering Emotion (Stay With Me)' and the sensuous drag of 'Kaleidoscopic Ecstacy' sounding like slow jamz for android porn. Big tip!
http://www.mediafire.com/?r18tl1dc9p09rdeStone cold blinder from Rockwell, dropping the hugely sought-after 'Reverse Engineering' on Darkestral's limited series. We've not got much to add to the 100k posts on DOA or the ecstatic reactions elsewhere, this really is one of the year's deadliest D&B tracks. For those who are unfamiliar with it or just not checked the samples yet, 'Reverse Engineering' is built entirely from backwards samples in a feat of mind-boggling rhythm architecture that must be heard to be believed. On the flip 'Everything (& U)' settles into a more serene mode, crafting a melancholy Garage-Tek roller with lucid shades of Burial or Pangaea. As always, the label have paid extra attention to detail on the artwork with reverse board sleeve, bronze Pantone logo and even reverse text to match the inside-out, lathe-cut vinyl. Hugely recommended!
http://www.mediafire.com/?x5g9oma16zcztlyThis Digitalis release reissues a pair of releases by Pakistan-born Portlander Ilyas Ahmed, who originally released the albums Between Two Skies and Towards The Night in runs of just 50 copies each. Pete Swanson takes on remastering duties, while David Keenan dishes out extensive liner notes, introducing you to Ahmed's work, which only recently saw a first, proper release thanks to Time Lag's issuing of The Vertigo Of Dawn. These primitive recordings house some remarkably beautiful sounds, largely focussed on Ahmed's solo guitar playing and mournfully howling voice. Between Two Skies opener 'Black Midas' recalls moments of Vincent Gallo's Buffalo '66 soundtrack, combining lonesome piano chords and sporadic bell chimes with that distinctive guitar and voice combination. There's a drifting, improvisational bent to Ahmed's music, meaning a looseness and shambolic quality interacts with the hypnotic, somnolent flow of fingerpicking and quiet falsetto. Towards The Night follows an even less direct path, dabbling in extended durations and bluesy guitar improvs lasting up to quarter of an hour each. There's less in the way of additional instrumentation and vocals, which only lends a heightened sense of solitude and meditation to the pieces. Given how hard it can be to track down this man's work, these Digitalis reissues seem all the more relevant and all the more precious. You'd be advised to invest before this release itself disappears. Highly recommended.
http://www.mediafire.com/?u8q33grnt88337bPt. 2http://www.mediafire.com/?ik0wd4ep7wnozl4http://www.mediafire.com/?s2hh47s5x439h46One year after his 'Saturation Point' debut, Kazuhiro Okuda aka Nuearz drops the followup 'Face Lift' for Skam. His sound is comfortably at home among the label's roster, sharing certain traits with VHS Head and Mr 76IX in his complex, ever-morphing arrangements and taste for more caustic electronic textures than you're average IDM head. Most brilliantly, it's incredibly hard to tag Nuearz's sound as anything other than his own, able to scope everything from naughty rock chop-ups like 'Neu, neu, neu', to Meat Beat Manifesto-style beat-breaking on 'Hedonism' or restlessly complex and kinetic compositions such as 'Termination'. In keeping with Skam's deeply rooted B-Boy heritage, Nuearz carries this all off with a distinctly unique and indelible style of his own perhaps comparable to others, but defiantly his own. Check!!
http://www.mediafire.com/?fktcar183bt6bu12nd full release from KingThing, following a wicked Fortified Audio 12" with two tracks of equally crafty contemporary Garage/Funky fusions. 'Frequent Lover' neatly works into the smarter party slot occupied by the Night Slugs crew, carrying hazy late night melodies over a shifty shuffling techno pattern in unique style and fashion. On a crooked Funky tip 'Bad Times' rolls with punchy, soca-infected percussion and proper old skool rave vibes for a sweet sound reminding of Sully's style.
http://www.mediafire.com/?gnup06p6apk2p35
That Ilyas Ahmed release is actually two separate albums, one called Between Two Skies and one called Towards the Night. They originally came out on cdrs but were rereleased together. For accuracies sake, they should be separate anyway. Both are worth downloading however. Really love Ilyas (as my 1,024 last.fm scrobbles indicate). If there's any interest I can put up Goner (his latest and easily best album)This is a rerelease on a different label.
i think it's their best so far.
also
Pomegranates - One of Us (2010) (256kbps)
(http://3.bp.blogspot.com/_TwoWWVwAC-g/TMp6375VT3I/AAAAAAAAAYs/gMXiQyZ0Ecc/s320/pomegranates.jpg)Code: [Select]http://www.mediaf!re.com/?ax488vi9q94e1t6
http://www.med!afire.com/?vaz1namyizx
http://www.mediafire.com/?66cgosfej3j6qyc
my gaydar is in the red and it's not moving
A live one-off collaboration between Weasel Walter (drums, clarinet mouthpiece), Forbes Graham (trumpet), Greg Kelley (trumpet), and Paul Flaherty (saxophone) recorded in Boston in 2008 and called End of the Trail. This was released in an edition of 100 cdrs following the set on the ugExplode imprint. It's absolutely insane as one might expect looking at the lineup of amazing musicians and unusual instrument pairings. Two longer pieces, nearly overwhelmingly intense and noisy excursions into the outer realms of free jazz, serve as set bookends. Three shorter pieces make up the middle of this album and each is far more self contained. The second track for example is solo saxophone until the final note. The fourth begins with screeching, scrapped percussion and distant, whistling trumpet manipulations and ends in a whooshing tornado of malleted ride cymbals. Throughout the set, Walter's fantastic scattershot drumming is a constant driving force behind the relentless brass trio's chaotic, manic improvisations. An almost violent sounding album, this is intense, abstract, brilliant stuff.
http://www.mediafire.com/?k7w0m4kkrzj1v5vanother one-off performance by a group calling itself Drive the Pieces Together, a single 27 minute long set titled Ethnography and featuring a mighty lineup: Dave Gross (alto sax and clarinet), Vic Rawlings (amplified cello and analog electronics), Erik Carlsen (tuba), Howard Stelzer (tapes), Steve Norton (turntable), and Peter Warren (recorded sounds). The piece was recorded live in Cambridge, MA in 1999 and was finally released last year by Carbon Records as part of their great 15YR.Series. Peter Warren prepared an improvised minimalist piece for electronic guitar with a good deal of silence. A pre-recorded version was played and the five musicians improvised over it. The result is a menacing slab of minimalist siren drone with undulating brass skronk and dark ambiance and static-filled radio samples thanks to cassette and turntable manipulations. Sound emerge from all directions, their source often unidentifiable. Mechanical clicks weave in and out of haunted house creaks and crumbling reverb. All the while the brass moans and buzzs, a chaotic whine that spikes and jabs from the underlying aural mess. A very spooky, Halloween-y piece of free jazz experimentalism here. So cool!
http://www.mediafire.com/?omdk406un8w7v8h
Electric Wizard - Black Masses (2010, 320 kbps)
http://www.mediafire.com/?j91dl3t3pj0yi6uRules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
Enhanced Electro-Boogie from Bestboygrip - apparently a German D&B producer working under the cover of anonymity. On the A-side he knocks out the terrific slow jammer 'Fonck' with deftly nudged drum machine syncopations and a proper lazered finish. Architeq follows with a dubbier remix in a slower yet busier and more kinetic style. On the flip 'Copyright' struts on a tidy disco vibe driven by plump bass and a bristling percussion before stepping up with the more soulful proto-house/disco bounce of 'Cross My Mind'. This EP will almost definitely appeal to fans of Luke Vibert, Ilija Rudiman or The Emperor Machine.
http://www.mediafire.com/?73z17u9phywcd1zBrokkyln's Jacques Renault follows Young Marco's excellent Hand Of God debut with two tracks of dubby disco grooves. 'Marilyn's Gold' bustles with crisp congas, whistles and proper party vibes, and 'Pleasure' hits a dubbier rut of filtered edit styles compatible with your Trus'me tunes.
http://www.mediafire.com/?57pwdjy9mas8cfkhttp://www.mediafire.com/?7188kxqqekn37dghttp://www.mediafire.com/?2x6cdi55d1q6zpjFour years after his 'Mineral Kingdom' album, Goliath returns with a new single for the Z-Bop imprint. 'Hidden Agenda' features six tracks of sci-fi-infected electro, working with a pared-down palette of hardware for a focused and efficient set of tracks catering for the floor or home listening. From tentative, skittering opner 'Gilgamesh', 'Ecce Monstrum' becoems more agitated, dropping us into the Drexciyan 'Physica', the EBM-ish darkwave of the title track and concluding with the dystopian Der Zyklus type effort 'Infiniti'.
http://www.mediafire.com/?cios896q1sc1iychttp://www.mediafire.com/?3d26i36aqfuhph3Some of that dutty electronic wonk from Slugabed and Ghost Mutt, backed with a Mweslee remix. 'Donky Stomp' is a relatively clean and restrained production for Slugabed, and to be honest, all the better for it. The spacious production gives more room for his bassline to billow out while the drums are tucked tight and right, making for a wide appealing instrumental hiphop cut. Following this, Mweslee gives a uniquely dynamic and heavier crunk version fitted with his complex spacial perceptions, and Ghost Mutt drops two screwy bleep joints, pulling off a killer James Blake/Mount Kimbie sound in 'Thoroughbred'.
http://www.mediafire.com/?7r41slcezmveh8sBest known as a founding member of Tarentel and The Alps, Jefre Cantu-Ledesma returns with a brand new album for Type having previously released solo material through Spekk, Arbor and his own label, Root Strata. "Love Is A Stream" marks a radical rethink of the classic dream-pop template, taking an impressionist's brush to the established genre traits. Full of noise and expertly sculpted feedback, tracks such as 'Loving Love' feel like an all-analogue take on Fennesz's noisier moments, complete with hazy exchanges between skyscraping major 7th chords; you might equally suggest that Love Is A Stream goes some way towards joining the dots between My Bloody Valentine and more recent drone-pop scene leaders such as Tim Hecker and Grouper. Although the dominant component parts of this sound seem to spring from the fiery embers of molten synthesizers and tape saturated guitar tones, the album derives some of its luxurious textural presence from vocals supplied by the likes of Type boss John 'Xela' Twells, Lisa McGee and Maxwell August Croy. You can just about make out lost voices roaming around the pulverised mix of 'Stained Glass Body' and the billowing 'River Like Spine' (though it's fairly hard to make any single element out, given how melted and fluid the mixing is), bringing a frail human element to an album that otherwise sounds entirely not of this Earth. Beautiful music.
http://www.mediafire.com/?b9gz4prx685t2dkhttp://www.mediafire.com/?8q2eqm9p8jna61uhttp://www.mediafire.com/?pk5lxjevz8v9imi
http://www.mediaf!re.com/?zd02nwuxjjg
You should really already have that album.
http://www.mediaf!re.com/?tervc1689b1r5tjhttp://www.mediafire.com/?57hp57da8foowx8
http://www.mediafire.com/?h21khr1kl6b8m57
What we have here today is an extremely rare live recording, one you certainly will not find anywhere else. Three sets, two very brief and one rather long, recorded live at a pre-Halloween show in Bard Hall at Bard College in front of a crowd of about twenty.
The first set is a solo piece by Colin White using amplified metal, tape, and feedback. Warm, humming feedback washes over piercing squeaks and rough, buzzing reverberation as white noise wavers and builds over rhythmic metallic clanking and lowing reverb. A perfect pre-Halloween set, this sounds like some surrealist horror soundtrack.
Next is Michael Foster on saxophone and occasionally gasping, wordless vocals, and Leila Bordreuil on cello. The two instruments dance in and out of one another, sometime complementing each other in an offkilter kind of harmony, other times dueling and spinning off in contrary directions. There are moments of furious build and manic intensity and others of slow, minimal meandering. Fans of the previous post on this blog will find more to love here as this delves into the realm of frenetic free jazz and even swings, in a delightfully surprsisng take, into traditional jazz for a moment. A very cool and altogether too short piece.
The concert ends with a trio of amazing musicians: The great Greg kelley on trumpet, Vic Rawlings on prepared cello and electronics, and Ryan Jewell on percussion and various strange noise producing implements. Clocking in at over half an hour, this was an incredible set. Imagine a field recording from inside some alien, wheezing, decaying factory and you'll start to get a feel for what this piece sounds like. Kelley uses a damper and a small, thin sheet of metal to emit from his trumpet a rattling hum or plays with the mouthpiece removed to create a breathy, moaning gasp. Jewell uses an oyster fork and a piece of Plexiglas placed flush upon the cloth covered and contact miced surface of a snare drum to create a sharp, piercing squeak, places a long metal tine vertically against the same drum and rubs it rhythmically to create a wavering reverberation, and swings a heavily rosined bow through the air in a dense whoosh. The prepared cello of Rawlings buzzes strangely in the background and his electronics build a underlying haze of crumbling static and machinelike rumblings. Other sounds abound: Strange gasps like steam valves venting air, distant hums like generators quietly chugging away, gravely rattles like cogs spinning, hollow clanks like pipes faintly rattling. One feels as though one has found one's way into the belly of some strange machine. It's an incredibly minimal piece but it's eerie and bizarre and really wonderful, especially considering the acoustic nature of most of the sounds which somehow sound so unnatural (in the best possible way).
http://www.mediaf!re.com/?kci2h8khp8nfqc3
A night of experimental music, live @ Bard Hall 10/30/2010Quote from: Hollowpress.blogspot.comWhat we have here today is an extremely rare live recording, one you certainly will not find anywhere else. Three sets, two very brief and one rather long, recorded live at a pre-Halloween show in Bard Hall at Bard College in front of a crowd of about twenty.
The first set is a solo piece by Colin White using amplified metal, tape, and feedback. Warm, humming feedback washes over piercing squeaks and rough, buzzing reverberation as white noise wavers and builds over rhythmic metallic clanking and lowing reverb. A perfect pre-Halloween set, this sounds like some surrealist horror soundtrack.
Next is Michael Foster on saxophone and occasionally gasping, wordless vocals, and Leila Bordreuil on cello. The two instruments dance in and out of one another, sometime complementing each other in an offkilter kind of harmony, other times dueling and spinning off in contrary directions. There are moments of furious build and manic intensity and others of slow, minimal meandering. Fans of the previous post on this blog will find more to love here as this delves into the realm of frenetic free jazz and even swings, in a delightfully surprsisng take, into traditional jazz for a moment. A very cool and altogether too short piece.
The concert ends with a trio of amazing musicians: The great Greg kelley on trumpet, Vic Rawlings on prepared cello and electronics, and Ryan Jewell on percussion and various strange noise producing implements. Clocking in at over half an hour, this was an incredible set. Imagine a field recording from inside some alien, wheezing, decaying factory and you'll start to get a feel for what this piece sounds like. Kelley uses a damper and a small, thin sheet of metal to emit from his trumpet a rattling hum or plays with the mouthpiece removed to create a breathy, moaning gasp. Jewell uses an oyster fork and a piece of Plexiglas placed flush upon the cloth covered and contact miced surface of a snare drum to create a sharp, piercing squeak, places a long metal tine vertically against the same drum and rubs it rhythmically to create a wavering reverberation, and swings a heavily rosined bow through the air in a dense whoosh. The prepared cello of Rawlings buzzes strangely in the background and his electronics build a underlying haze of crumbling static and machinelike rumblings. Other sounds abound: Strange gasps like steam valves venting air, distant hums like generators quietly chugging away, gravely rattles like cogs spinning, hollow clanks like pipes faintly rattling. One feels as though one has found one's way into the belly of some strange machine. It's an incredibly minimal piece but it's eerie and bizarre and really wonderful, especially considering the acoustic nature of most of the sounds which somehow sound so unnatural (in the best possible way).Code: [Select]http://www.mediaf!re.com/?kci2h8khp8nfqc3
http://www.mediafire.com/?f2be35rcp8d048u
Over the course of its first two EPs and LP, Chicago indie-pop band The 1900s developed an expansive, heavily orchestrated sound, informed equally by sunny ’60s singles, moody ’70s country-rock, and modern DIY. For the band’s second album, Return Of The Century, it’s shed some members and scaled back the arrangements, while applying some radio-ready sheen. Though The 1900s claim that Return Of The Century is a concept album about a subterranean cult—and though the songs are as structurally complicated as ever—the immediate impression the record gives off is of tight harmonies and hands clapping in unison over sweet strings and jangly guitars. This is bright, upbeat music; even the me-first anthem “Lay A Ghost” has such a snappy beat and ingratiating melody that it generates goodwill. Is the next great pop song on here? Not exactly. Like a lot of these polished indie albums, Return Of The Century is more about the overall vibe than distinct, individual highs. But “Bmore” and “Babies” are remarkable for the way they start with strong melodies and then take unexpected turns, spinning off little crystalline designs, just for the beauty of it. Grade: B+
http://www.mediafire.com/?l8imro0rkjxo2o6
suck my diccccccccccccccccccccccccccccccccck
Me? What did I do?
http://www.mediafire.com/?xozixf6xwtiqqonhttp://www.mediafire.com/?y55l2pr91dp0yschttp://www.mediafire.com/?t8moakja1md8ixjhttp://www.mediafire.com/?q1rhc3t3z9zonj6http://www.mediafire.com/?q1rhc3t3z9zonj6http://www.mediafire.com/?bfdio846hn777s6http://www.mediaf!re.com/?ji6mclfvilubqjp
http://www.mediaf!re.com/?maesuvdctx3g5rd
Agalloch: where do I start?
http://www.mediaf!re.com/?pb4inzaxhr64px6
Italian du Margot arrive at Border Community with their debut for the label: a four-track EP kicking off with title track 'France 2', an arpeggiating tribute to the sorts of electrohouse sounds that have been emanating from Gallic shores over the past few years. After this strong opening, 'Voci Giaga' continues along similar lines, piling on the synth melodies, only for a drifting monotone vocal to whisper its way into the mix, leaving you with an off-kilter but compelling dancefloor pop oddity. On the B-side, 'H2' fires up some spiralling organic disco, leaving 'Oceano' to close the set with brooding, kosmische bass figures and weird percussive details.
http://www.mediafire.com/?7xz3zy60xa8xckkNew York's "...premiere improvisatory, vocal-and-electronics cosmic beat-box band..." return to Woodsist with a brilliant side of loopy hypnotics, including an insert code for free digital download of the 2007 cassette-only release for Tank Tapes redeemable directly from the label. All four tracks are previously unreleased, arms-out eyes-shut wanders through darkly tinted terrain. 'Oboh' opens up with what sounds like reversed field recordings made inside a washing machine at a Native American ritual ceremony, before 'Lal8' intrepidly changes tack into a forest of doomy 808 bass hits and spectral, gangly theremin-like drones looming in from the edges. On the flip is a live recording of two tracks from a show at Glass Lands in early 2010. This side starts with the howling avant-darkwave expressions of 'Anastasia', skeletal 808 punching you in the stomach and arabesque synthline floating like drunken flies around your hollow eyes while raspy voices howl like Cold Cave gone feral. The magnificently titled 'Cat P*ss & Licorice' brings us back to the start with a freeform arrangement of fluttering drones and echoic voices joined by skin-crawling electronics, almost like some TG piece until a sublime music box melody perfumes the air and all settles into an opiated mush. Get in.
http://www.mediafire.com/?vfi3zmznll6fulaTank Tapeshttp://www.mediafire.com/?0666bs1h4v4800c
http://www.mediafire.com/?a6wf3866opdkadp
Enslaved - Axioma Ethica Odini (2010)
http://www.mediaf!re.com/?w1cb9z7hf2j00rjMini Mansions are a Los Angeles band founded Michael Shuman, Zach Dawes and Tyler Parkford in 2009 after the Queens of the Stone Age decided to take a break after touring in support of Era Vulgaris. Their self-released EP from 2009 contains nine tracks. Mini Mansions style has been compared to The Beatles, Elliott Smith and Fountains of Wayne.
http://www.mediaf!re.com/?iulrco02mryia2jIf pure sound had the capability to project images on a blank wall, Mini Mansions would be worthy projectionists. On a break from Queens of the Stone Age, Michael Shuman melded heads and locked arms with longtime friends Tyler Parkford and Zach Dawes in a dusty room in the San Fernando Valley. Here, they began a collaborative séance out of which birthed Mini Mansions in January of 2009. Though their triangle is usually confined to piano, bass, and a cocktail drum kit, the LAbased trio generates a Technicolor spectrum of sound drawn from the baroque, gothic, psychedelic, and cinematic realms. Their debut selftitled release, due out this fall via Rekords Rekords, curtseys to the past, bows to the present, and foreshadows a progressively more abstract future.
http://www.mediafire.com/?dx1zep1qw8csj7g
http://www.mediaf!re.com/?kjtdmnqinjx
http://www.mediafire.com/?znzd5gw3ycma9t8http://www.mediafire.com/?89dex4d752dmudihttp://www.mediafire.com/?5d177ai2hild2tphttp://www.mediafire.com/?69qu6rtz2vj6zjqhttp://www.mediafire.com/?aa3vna0mn2w28g2http://www.mediaf!re.com/?1a4lbl8fh4i4juihttp://www.mediaf!re.com/?bqhs17m6nlf9v6phttp://www.mediaf!re.com/?587cy3li6a7hts4http://www.mediaf!re.com/?pcqt5bhta7tka52http://www.mediaf!re.com/?b8cmopjnbdzup84http://www.mediaf!re.com/?idh8rrc2gfan4kzhttp://www.mediaf!re.com/?4m7cgdzonpfqpbyhttp://www.mediaf!re.com/?m0aozd940hzx87vhttp://www.mediaf!re.com/?u911938fitkep9k
EDIT: Goddamnit, I thought Titus Andronicus had a new album.
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
EDIT: Goddamnit, I thought Titus Andronicus had a new album.
They do, it's called The Monitor. Nowhere near as good as the first abum, but worth a listen. If you're too lazy to Google it, or it it's nowhere to be found on teh internetz, then let me know and I'll upload it for you.
EDIT: Goddamnit, I thought Titus Andronicus had a new album.
They do, it's called The Monitor. Nowhere near as good as the first abum, but worth a listen. If you're too lazy to Google it, or it it's nowhere to be found on teh internetz, then let me know and I'll upload it for you.
This is all kinds of incorrect; The Monitor is a pretty fucking great album. It's not quite as easy to listen to in one sitting as Airing because it's so long, but the whole thing is an epic study of how America is different as a result of the Civil War and where it puts us in modern day. It's pretty badass and definitely recommended.
http://www.mediaf!re.com/?wv8mjabye2jra9uBottomless Pit - Blood Under The Bridge
(http://insomniaradio.net/wp-content/uploads/2010/08/Bottomless-Pit.jpg)Code: [Select]http://www.mediaf!re.com/?dx1zep1qw8csj7g
*First release on this new archival label loosely associated with Demdike Stare and the Finders Keepers crew* Pre-Cert Home Entertainment is a new imprint releasing limited vinyl artifacts of contemporary musical and non-musical material dredged from the collections of a number of hugely respected culture vultures in the north of England. Their obsessive tendencies are channeled into this debut release, a 22 minute collage of acousmatic oddities reclaimed from the ditches of VHS video culture, the dustiest corners of the record racks and places most folk won't allow themselves or their children to go. It's a tribute to the immersive and escapist effect of obscure and exotic film soundtracks and banks of library records, European fumetti and obscure sources which feed into their fabric and enhance their psychedelic potential. We can hear precedents for this aesthetic in the cutups of Position Normal and People Like Us or the surreal melodrama of V/Vm's Twin Peaks tribute 'There Was A Fish In the Percolator', but this particular side is more concerned with the noirish ambient hues, moods and textures which reflect the industrial landscape of its local history. The semi-fictitious protagonist Anworth Kirk melds influence from Letterist poetry to tape loops, found-sound and European folklore in a wonderfully uncertain and unpredictable manner, creating an esoteric narrative between the 12 segued tracks presented in two chapters. The vinyl plays at 45rpm - a nod to late period Indian horror soundtracks - and the artwork depicts a cryptic theme set to unravel and complicate in further episodes, including the forthcoming Samhain Slant Azimuth seasonal sound-collage mix. Limited to 500 copies - highly recommended.
http://www.mediafire.com/?t9zbink0qq65tw7Dread dubstep from Dutch producer, TMSV, following Synkro and DBridge's lead with the 2nd drop on Box Clever Records. At the risk of stereotyping, we're massively reminded of fellow Dutch producers Icicle or even Funckarma on 'Signal'. Maybe it's the clinically skeletal production, or the use of Bubbling-style stuttered syncopation (also reminding of TRG's 'Tower Block), but there's definitely a recognisble similarity in their sounds and arrangement. On the flip you get the submerged dreadnaught riddim 'Cold', again churning out super powerful Icicle stye subs, but with more sparing use of percussion and blank, stoic atmospherics. One fe di Youngsta types. Keep an ear on this fella!
http://www.mediafire.com/?yv5brck8w2jm9i9Following Dirter's release of 'Fiends With A Face' from sometime Bad Seed, James Johnston, and "musical travel agent" Philippe Petit ov the BiP_HOp label, they deliver a terrifically dark collaboration between Petit and TG's Cosey Fanni Tutti. Both the tracks were apparently recorded some time ago, initially intended as tools for Petit's live shows using turntables. With time and usage the record's surface degraded, altering the the sound within. The label have now copied and repressed these worn plates to reveal two tracks which sound like Coil's worst nightmares produced by the Caretaker. These tracks sound incredibly dark and peculiar, harbouring a harrowing side of sighing strings and falsetto vocals in 'Mist While Sleeping', backed with a symphonic swell of matured shellac and strings in the stunning 'Invisible Whispers'. Make no mistake, this is a record to get quite giddy about. Copies are limited to 350 for the world, and if you sleep on it they'll send Genesis round your house at 4 in the morning to give you a makeover. Highly recommended!
http://www.mediafire.com/?ff5a5ijtd6fsyr0**Double LP on blue vinyl with laser etching on the D-side - Alternate mix to the CD edition** Another spectacular torrent of Dadaist experimental exotica from Steven Stapleton and Andrew Liles, with a suitably scattershot list of contributors and collaborators, including repeat offender Colin Potter (credited with "testicular randomisation") and a host of 'proper' musicians and vocalists prepared to undergo the NWW treatment. As with the companion release to this album, The Bacteria Magnet, Nurse With Wound are currently set on a creative trajectory that dismantles the auditory iconography of the fifties, marauding through eerie re-renderings of jazz club instrumentals, electroacoustic traffic sounds and skewed torch songs. As NWW albums go, this is probably among the more outwardly approachable releases, but in fact it's the very proximity to the language of pop music that makes Huffin' Rag Blues all the more subversive - subtly yet horrifically carving up and perverting lounge music like an auditory David Lynch on 'Thrill Of Romance..?', and layering distressed animal recordings on top of one another, sounding like Chris Watson at Papa Lazarou's circus during 'The Funktion Of The Hairy Egg'.
http://www.mediafire.com/?eq3fd9b695149ufMiguel Gil Tertre's first release for City Centre Offices is a perfect example of how important it is these days to open up the studio for sounds not created electronically. The "Viet E.P." melts Strand's digital universe with ideas and sounds from his friends and collaborators playing guitar, flügelhorn, trumpet, violin, drums and the addictive singing of Paloma Sosa. Deep and haunting athmospheric melodies meet precise, kicking beats meet chopped up samples meet the liberating sounds of acoustic instruments. Special...
http://www.mediafire.com/?z8wh3qusw8a7dz9
http://www.mediaf!re.com/?s31ra6jf9u8cv2g
http://www.mediaf!re.com/?nkg32i7lrcwyoq5Falling Stars is the solo project of Boise musician Taylor Allen Kerns. These tracks were written and recorded during his enrollment at The Conservatory of Recording Arts and Science in Tempe, AZ, and a very deeply internalized period of his life through which the very structure of his beliefs changed completely. He draws influences from others such as Matthew Robert Cooper (Eluvium), Stars of the Lid, Ef, etc. Lo-fi ambience with a lot of heart. There were only a handful of cd's released with handmade cases and booklets. Enjoy.http://www.mediaf!re.com/?tdzb9o53y02uic3Worldbreaker was a project founded by Boise's own Mike Davis (now in Portland) in conjunction with Jeff, Aj, Tyler and Mirce. This short release was completely DIY and put out in late 2008. Think Verse/Miles Away meets the agony of never being heard. Punkhardcore. An album that deserves to be heard. Enjoy. http://www.myspace.com/worldbreakerwarbound
Coming off the back of the controversial single Should the Bible Be Banned -- actually a song against censorship rather than religion -- McCarthy continued their sugar-sweet anarcho-pop campaign. This album is slicker produced than its predecessor, I Am a Wallet, but is in much the same vein with jangly guitars, great pop drumming, and Malcolm Eden's less-than-powerful vocals. Tim Gane's search for the perfect pop tune leads to greater invention in both music and tempo, particularly in the tirade against endless love songs "Boy Meets Girl So What." Most controversial, and also a single, is "I'm Not a Patriot But," which contrasts British left-wing support for Sandanista with the condemnation for the IRA. Enraged Will Inherit the Earth's sales ensured that McCarthy remained at the heart of 1980s indie pop.
http://www.mediafire.com/?3703abu6e41zqj0http://www.mediaf!re.com/?sk7c70kw2o52ar6the london sessions is a unique ‘john peel session style’ 9 trk encapsulation of one of today’s most acclaimed acts in perhaps their rawest and most original recordings to date.
the session itself was recorded in one day at the pool/miloco studios in south london on june 29th 2010, in the week following this year’s triumphant glastonbury performance. it was locked in order to record tracks for dissemination across the globe through the medium of contemporary rock radio; fans of lcd soundsystem will know that radio sessions are something that have never been a staple of the band’s career thus far because of the belief in the necessity to maintain the highest quality of all sonic recordings released into the ether.
the set which spans the breadth of their career to date, perfectly captures the intuitive live evolvement of lcd as a band. here nothing is replicated with computers, everything instead is recreated in real time, tougher, looser and less clinically. It features tracks from all of their studio albums to date, as well as long lost b-side classic ‘yr city’s a sucker’ and is a must for any fan of the band. the tracks were subsequently mixed by james murphy in nyc at dfa’s plantain studio & mastered by his longtime cohort bob weston in chicago.
oh what the hell dude I swore this was going to be the one album this year I actually buy
Moral/ethic dilemna in 3, 2, 1
http://www.mediaf!re.com/?6n74c6mifp6og41
McCarthy - The Enraged Will Inherit The Earth
http://www.mediafire.com/?544c1cjmfdolag2you could upload one and then upload the other.
I guess you'll just upload one and then wait around for the dirty version to come around, download that, then upload itYeah but most of my stuff I just get from this forum anyway so that seems unlikely, this was a rather lucky find
ITALICS
http://www.mediaf!re.com/?dlxu04t1ixgabi6LCD Soundsystem - London Sessions (2010) (320kbps)holy shit this version of "Pow Pow" is hilarious.
god I just hate that album cover so fucking much
the london sessions is a unique ‘john peel session style’ 9 trk encapsulation of one of today’s most acclaimed acts in perhaps their rawest and most original recordings to date..
Girls - "Broken Dreams Club"
http://[email protected]/?wqu40jr5dcc4gj4Diamond Rings "Special Affections"
http://[email protected]/?tespiggfr41g80lhttp://www.mediafire.com/?0jnv592y8xlb28a
Fine four-tracker of twitching, glitchy D&B/electronica, the first release on his self-curated Auxiliary imprint. The twisting metallic deflections of 'Reality Check' opens the A-side, before expanding into luscious widescreen synth pads for a proper techy treat. 'Spectrum' follows with a lightfooted halfstep rhythm suspended in a matrix of Eastern-tuned synth washes. On the other side 'Metronomic' is a very crafty rhythm experiment flitting between a broad palette of drum sounds arranged in quicksilver concatenations while 'Autoreceptor' tips out into motive electro territory akin to his peer, dBridge.
http://www.mediaf!re.com/?7h9lnyc7am39zvahttp://www.mediafire.com/?0bisjw1r0lyzk1j
http://www.mediafire.com/?9wje84dj5bbfbvbBlack Flag, Minor Threat, Jerry’s Kids, Bad Brains, Circle Jerks, DOA…
and BUM KON.
this band should be included in lists like that every single time. it is an absolute shame that they’ve been forgotten. this is the best band you’ve never heard of.
Police officer Woo Bum Kon of South Korea has the current high score in MOST PEOPLE MURDERED IN A KILLING SPREE…with a grand total of FIFTY SEVEN. yep. thats including himself (in case you’re curious: after mowing down random innocent people with a machine gun for a few hours, he pulled the pins on grenades and didn’t let go. talk about going out with a bang!). Experts say he was having a pretty bad day.
A 5-song 7” came out in 1983 and somehow the other 20 (WHAT THE FUCK!?) songs never made it to vinyl at any point in the future…until 2008. I’m only going to say this once: you haaaaaaaaaaaaaaaaaaaaave to have this. this is perfect. This is Damaged, this is Out of Step, this is Group Sex. This is BUM KON. that 7” goes for 150 bucks on ebay… here’s ANOTHER TWENTY FUCKING SONGS for free and its WAY better then that single! YOU NEED THIS BAAADLY.
ASC - Certainties EP
http://www.mediafire.com/?356mwd71sb6lanahttp://www.mediafire.com/?hl6qtresv5sbvqfhttp://www.mediafire.com/?mc6ip6eamqph792
http://www.mediaf!re.com/?ee7ebfoqhbje2ocSomething I think is up with track 3 though, it's sounds normal for about 10 seconds and then suddenly goes completely quiet for the rest of its durationYeah, I'll have to re-rip tomorrow. I'd blame it on iTunes except the original WAV file has the same silence. Neither can I blame it on the turntable because track 4, the second half of the B-side, is fine. I don't know what to make of it.
Another heart-stopping debut brought to you by the increasingly inspired Digitalis imprint, Concern is the recording project of Gordon Ashworth who in a previous incarnation (as Oscillating Innards) delivered an altogether more brutal take on experimental music before planting his feet firmly in the world of shimmering, layered drones. The first thing to hit you about this amazing album is the custom-designed silkscreened gatefold sleeve it comes in, one of those packages that has you flipping it inside out in wonder, a fitting precursor to the music itself which is just nothing short of immense. Despite the heavily processed sound of this material, the three long tracks here (clocking in at a total of 30 minutes) were constructed almost entirely out of acoustic instrumentation, with the opening piece gradually building from a frayed field recording into a colossal hum of dense, layered drone that just seems to expand and develop without any perceptible change. It's inspiring, deceptively visceral stuff. Next up - 'Young Birth' begins along a similar trajectory but soon curls up into into an incubated assembly of disentangled instruments, before the epic closing "Heratsink" proceeds to completely obliterate the vast majority of what passes for contemporary Drone with a colossal shimmer that sounds like Tim Hecker reconfiguring classic Raga structures into something almost unspeakably beautiful. Amazing music, strictly strictly limited styles so act fast!
http://www.mediaf!re.com/?fbydukgc1o7eagk**1st pressing limited to 500 copies, pressed at RTI. Includes mp3 download coupon redeemable directly from the label** An utterly absorbing and time-dilating double LP of masterful synth music from one of the scene's most prolific and respected sons, Expo 70 aka Justin Wright, together with Matt Hill - who recently dropped that brilliant Umberto album on Not Not Fun. Aiming a few notches above the reams of DIY tape spools, 'Where Does Your Mind Go?' was recorded professionally at the studio of Jason Meagher (No Neck Blues Band) in upstate New York over the course of one evening and features production values worthy of the D&M vinyl cut and full-colour, tip-on gatefold sleeve. The four tracks total 74 minutes of the most delicious drone and intangibly hazy harmonics, occasionally punctuated with burbling machine rhythms and steered with a deeply assured set of cosmic instincts. The scale of 'Where does your mind go?' is just epic, each track as majestic and cinematic as the last. The opener 'Close Your Eyes And Effortlessly Drift Away' sails out on gently bobbing drum machine and cirrus strands of Göttsching-esque guitar, like the soundtrack to Martian Balearic beach holiday where the atmosphere is as dusty red-brown as the hues of his arcing synths. 'Night Dusting The Atmosphere' is more sci-fi cinematic, full of sustained string-filled trepidation and encroaching arpeggiations arranged with the overarching vision of a Klaus Schulze classic. 'Transgressing Outward Which Is Inward' is probably the most stirring, passionate piece largely due to the darkly romantic keys which fall somewhere between the wanderings of Roedelius and Terry Riley and in harmony with towering forcefields of vintage analogue synthesizer tones. 'Ancient Hawk Soul Takes Flight' is the transgressive and psychedelic closer, lost deep in a black hole of tonal blurs and still-but-moving drones. We couldn't really recommend this any higher to fans of Imaginary Softwoods, Arp, Oneohtrix Point Never's most untethered moments, or taking lots of drugs by yourself and lying down between two massive speakers.
http://www.mediaf!re.com/?dk86bq6rp9p9ns3http://www.mediaf!re.com/?hcuyul0xe9qdawdTwo sterling dancefloor sweeteners from Dave Huismans aka 2562, operating in A Made Up Sound mode. With 'Rear Window' he delivers one of the best tracks on Delsin this year, rolling out a kinked 4/4 rhythm synced with swollen subs and trademark melnacholy chord progressions. Of course the devil is firmly in the detail, which will become clearly apparent when this is deployed on a big rig. Killer tune! A 'Shattered' version follows, turning the track inside out for a lithe and snakey breakbeat roller more in line with his previous releases on AMUS and Subsolo. Class A DJ weapons!
http://www.mediaf!re.com/?6ff9nerlxyp93ffCollecting the exclusive tracks from Sascha Ring's new DJ Kicks compilation, this EP brings you unmixed versions of both Apparat cuts, plus the previously unreleased Telefon Tel Aviv contribution. 'Sayulita' is typically clinical in its pristine, spacious production, but the chiming guitar melodies give the track a driving, emotional edge that takes the track beyond the confines of a dancefloor-focused mindset. 'Circles' is less beat-oriented, instead treading into Four Tet territory with its spiralling string plucks; otherworldly vocals and scrappy percussion join in too, making the piece all the more abstract. Telefon Tel Aviv are in great form for 'Lengthening Shadows'; its undoubtedly cut from a similar cloth to Apparat's work, shaping crystalline electronics around a kind of vapourised song structure - when it all comes together it all sounds pretty massive.
http://www.mediaf!re.com/?uleijxhwxxblpoht's been a long while since we've heard from Carl Finlow, and although this new EP from Cultivated Electronics doesnt actually feature any new work from the great man himself, its good to get a little reminder of what it is he does so well. On remix duties are two of Finlow's musical disciples - Sync 24 and Morphology, who treat the original material with all the care you'd expect, delivering a flawlessly produced machine funk double-header you'd be well advised to check if you're a follower of Andrea Parker's Touchin' Bass crew or, indeed, Finlow himself.
http://www.mediaf!re.com/?carbccta9qihna8http://www.mediaf!re.com/?ctk5u8oan9cfzv8Dread halfstep from Goli + Ashburner, presenting their collaborative debut 'pon Clandestine Cultivations. Together they launch 'Field Of Vibrations', a sparse lugubrious lurch of snarling synths and slow paced drums, while Goli goes alone on the flip with two darkened dubstep standards.
http://www.mediaf!re.com/?dc3q10gux3ywn3x
http://www.mediaf!re.com/?myydtlwmdnf
http://usershare.net/8hptfuecqhguMellowHype ( Left Brain And Hodgy Beats) Finally Releases Their Second Album Entitled BLACKENEDWHITE. This Album Is Packed With Gun Sounds, Grams OF Coke And Dead Cops. The Perfect Soundtrack For Mobbing On A Dark Halloween Night.
We've looked into that. We can really only hide a whole forum at once. I can take a look around for SMF add-ons though, or we could move this thing into Pony debates with a redirect in here that only has the current title and nothing to do with MF.
http://www.mediaf!re.com/?er4prq5h6007bqghttp://www.mediaf!re.com/?8o3l13z3af5tml3Norwegian wood sounds like a porno
yo KvP, I've been lurking for a long time and would just love to thank you for all the vinyl rips you've done, if i could just ask, what set up do you have?Just a laptop and an Ion turntable I got off of Woot for $60.
http://www.mediafire.com/?0bisjw1r0lyzk1j
Glasgow's Fortified Audio crew follow that killer release from Loops Haunt with a terrific future garage EP from VVV. Aside from the fact that they've got an EP forthcoming on Infrasonics we can tell you bot-all about Texans VVV. And sometimes that's the best thing when the music is left to speak for itself. There are obvious nods to the dreamy post-club perspective of Burial, and deeper still to El-B and MJ Cole, but the rich electronic element owes something to another field of practice, earning them a well deserved "future-garage" tagline. 'Project X' has to be the highlight, sweeping up synthesized string symphonics and driving 2-step syncopations to brilliant effect, while 'Back To Life' takes it right back to 1998 for a sparkling rekindling of Dem 2 styled street sophistication and brightly spacious electronics. This is some high calibre garage gear on a par with the likes of the LHF crew or Sully - massive twelve!
http://www.mediafire.com/?xlxm8y44lznbtjl
Hey so do we know that this thread is the first thing that pops up when someone googles for threads of this type?
http://www.mediafire.com/?5n3tk7hhvrtdvbfhttp://www.mediaf!re.com/?lmj7u4wgrsrs267http://www.mediafire.com/?eeasq5uabs76tdgCincinnati garage blues trio the Greenhornes used to be a full-time gig, but bassist Jack Lawrence and drummer Patrick Keeler have spent the past few years as Jack White’s go-to rhythm section. They both played in Loretta Lynn’s backing band on the 2004 album Van Lear Rose, and are members of the Raconteurs; Lawrence also belongs to the Dead Weather. Now, Lawrence and Keeler have reunited with their former frontman, Craig Fox, and in October, the Greenhornes will release the new album, Four Stars.
TwentyFourBit points to a Facebook post by Keeler, which says simply, “New album coming in October.” In addition to announcing the record, Keeler unveiled a handful of American tour dates, which you can see below.
This confirms Billboard‘s recent report that Four Stars would come out soon via Jack White’s Third Man Records. Lawrence said, “It’s nice to come back to that first ‘home’ that you’ve had after all these years.”
Four Stars will be the Greenhorne’s fourth official studio album, the follow-up to 2002′s Dual Mono. Back in 2005, they issued an EP plus a compilation.
http://www.mediafire.com/?a8xu88dy2zwtk4f…Featuring is a “Best of” with a twist – it’s a compilation of Norah’s musical collaborations from the past decade. Included are duets from such legends as Ray Charles, Willie Nelson, and Dolly Parton and collaborations with Grammy Award winning groups OutKast and Foo Fighters.
Featuring spans Norah’s entire career and reveal her astonishing musical versatility. Not only is there an eclectic assortment of artists, the genres range from jazz to country, hiphop to rock.
Can we setup a mass SEO flooding campaign too? I'd really like to get people googling Kayne West to see some rule 34.Hey so do we know that this thread is the first thing that pops up when someone googles for threads of this type?
This discussion suggests that the noindex meta tag (http://www.google.com/support/webmasters/bin/answer.py?hl=en&answer=93708) could be promising.
http://www.mediaf!re.com/?o682p3tc2r2nsfv
http://www.mediafire.com/?343ni0uefbyi36bThis wild, homemade, part-improvised instrumental album was written and performed by the members of Shearwater after the release of The Golden Archipelago. Eerie, whimsical, and beautiful, the compositions range from bizarre and noisy to calm and lyrical. It also includes selections from a spontaneous, improvised set that the band played as "Enron" in Albuquerque in April of 2010. A great soundtrack for...well, almost anything.Bandcamp (http://shearwater.bandcamp.com/album/shearwater-is-enron)
credits
released 06 November 2010
Recorded by Rob Halverson. Live recording by Jordan Geiger. Edited and Mixed by Kevin Schneider.
Infectious Grooves is a funk metal band led by Suicidal Tendencies frontman Mike Muir. It also features former Excel guitarist Adam Siegel, ex-Suicidal Tendencies bassist Robert Trujillo (now in Metallica), and ex-Jane's Addiction drummer Stephen Perkins.
http://www.mediaf!re.com/?n5n9amcu0oa9m9eG. Love & Special Sauce is an alternative hip-hop band from Philadelphia, Pennsylvania. They are known for their unique, "sloppy", and "laid back" blues sound that encompasses classic R&B. The band features Garrett Dutton, better known as G. Love, Jeffrey Clemens on drums, Mark Boyce on keyboards, and Timo Shanko on bass.
http://www.mediaf!re.com/?g12nu27y509zfj1
4. Baby It’s Cold Outside – Willie Nelson featuring Norah Jones
http://www.mediafire.com/?c0ef8xomp49imyk
The soundtrack to a forgettable 1993 fiilm. The soundtrack is much, much better than the movie. Basically, it takes various Metal and Rock acts of the early 90's and pairs them with various Hip-Hop acts of the same era. The results are pretty damn good overall.
The entire track list is as follows:
Just Another Victim - Helmet and House of Pain
Fallin - Teenage Fanclub and De La Soul
Me, Myself, & My Microphone - Living Colour and Run DMC
Judgment Night - Biohazard and Onyx
Disorder - Slayer and Ice-T
Another Body Murdered - Faith No More and Boo-Yaa T.R.I.B.E.
I Love You Mary Jane - Sonic Youth and Cypress Hill
Freak Momma - Mudhoney and Sir Mix-A-Lot
Missing Link - Dinosaur Jr. and Del tha Funkee Homosapien
Come and Die - Therapy? and Fatal
Real Thing - Pearl Jam and Cypress Hill
http://www.mediaf!re.com/?smx46s4nl5627ha
Inch Time have created a delicate and personal sound world of IDM/Jazz electronica with their releases on Static Caravan. With 'The Floating World' they suspend us in ten tracks of warm, autumnal electronic tones, roving from the crisp kosmische strains of 'Videograms' to hushed and dubby jazz motifs in 'Of Times Past' to pulsing, elegiac electro reminding of Space Dimension Controller in 'Ukiyo'.
http://www.mediafire.com/?393nuk24avala2vWickedly diverse set of broken-down and rebuilt boogie, hiphop and '80s soul vibes from the hotly tipped Letherette, the 2nd release on Alexander Nut's Hotep label. The duo have cropped up recently with remixes of Bibio and Solar Bears, and a track on the ace Brownswood Bubblers comp, picking up fans like Brackles, Sinden, Benji B and Gilles Peterson along the way. On the A-side they burn up Dilla-esque downbeats in 'Ashtro' and 'Dance Brace', and one outstanding Boogie edit on 'Furth & Myre', before re-tweaking effervescent electrosoul in 'Cherryade' and the Actress-alike 'The Way' on the flip. A big recommendation for all the future soul heads and lovers of Steve Spacek, Actress, Thriller records etc.
http://www.mediafire.com/?e2ec2ckev28u55fFirst release from Planes, dropping an EP of Teebs or Nosaj Thing-styled downbeat HipHop wonk and wooze. 'High Tides' bumbles along on keenly warped elastic synthlines and crisp, jazzy HipHop beats, while 'Circadian' features a blend of heavy-lidded electronics and lurching syncopations owing some debt of gratitude to dubstep too. Lastly 'Network Effect' sounds out autistic beat programming and trickling music box melody with a sinister twist. Excellent.
http://www.mediafire.com/?r34m4d0zjdv16cvhttp://www.mediafire.com/?x4fl484rkn4nrxihttp://www.mediafire.com/?zd5iw9qz535z382
http://www.mediafire.com/?bh648v1vkrua1p8http://www.mediafire.com/?r522eaope5myv16
http://www.mediafire.com/?54n5srvpfccp0ny
Geoff (Mimaroglu Music Sales, Rare Youth) sure doesn't seem to make guitar music with his guitar. A big, wet wash presses against your face while small & close pops sting in irregular spots. Off-kilter backwards whooshes and dry taps swirl together. The whole thing threatens to turn into a Miles Davis funk number, a goofy techno record, or even 50s coffeehouse jazz, but thankfully remains in limbo.
www.mediaf!ire.com/?ywuqskpiy16brendan’s side-length piece shows him branching off in a new direction ; constructed entirely from recordings of avant-vocalist noeill dorsey, “birches” recalls penderecki’s eerie/orgasmic glossolalia with the chromatic dissonance of ruggles’ “sun-trader” ... largely computer-smeared/granulated sounds with stray dottings of “dry” vocals at key dramatic moments ... super effective and seriously creepy !!!
on the flip, luke moldof & ricardo donoso’s perispirit take the reigns, offering up a single, crackle-heavy burst of rectified digitalia, harsh-noise blasting, and lulling guitar waves (and that’s just in the first 3 minutes !!! ) building into a twin-peak climax (listen to the sound-sample for the tail-end of #1) that’s both finely nuanced & quite powerful ...
lovely beige-cream vinyl, full-color labels & jacket ; one of the key releases of the year thusfar ... highly recommended !!!
media!fire.com/?d1avh335ttkhttp://www.mediafir!e.com/?xalijceyivz05q7SBTRKT - Step In Shadows
1. Look At Stars
2. Step In Shadows
3. Colonise
4. Hide or Seek
http://www.mediafire.com/?jtd8z80esy7bgqe"Much-anticipated vinyl edition of the brand new studio album from these major VT faves at the heart of the fertile Brisbane Australia scene, currently ground zero for some of the hottest underground sounds. Deja What? was originally released in an insane run of only 52 copies on Alberts Basement so it’s great to see this finally getting a wider release. Deja What? showcases the more motorik, post-Velvets guitar psych side of the group, with mainlined chords that riff on the same irresistible groove of The Clean, Can, Cul de Sac and Neu, while male and female vocals explode out of the gate. Guitarist Luke Walsh is a particular motherfucker on this, channelling Ostrich guitar into realms of white out that are positively Japanese. Regular VT readers know how much we love this group and this is another doozy. Highly recommended." --VT
http://www.mediaf!ire.com/?o8rdyp68x76ncnqhttp://www.mediaf!re.com/?snh123bma6macsdhttp://www.mediaf!re.com/?mngxgzymmqzhttp://www.mediaf!re.com/?66ogt9wo9xl9o1gmyspace (http://www.myspace.com/thedarkwaterhymnal)http://www.mediafire.com/?v29lfld1pbu3615myspace (http://www.myspace.com/thisisdeercountry)http://www.mediafire.com/?t958x6b62o8y6gbmyspace (http://www.myspace.com/housestheband)http://www.mediafire.com/?bn5xl0sllc0zj8zmyspace (http://www.myspace.com/wildlifemusic1)that's the third time it's been posted in this forum, just sayin
hey evilurges, you are awesome, please keep posting stuff here
The year 2010 just keeps on pleasing me with completely unanticipated pieces of the most amazing music. This time, it's California slacker Anthony Boruch aka Swanox who's made my day with his terrific Dawnrunner, a cassette just short of the forty minute mark that is a splendid take on slowly meandering, noise infused psychedelia, a night ride to dark yet appealing places. Britt Brown has dubbed this "loner drone-folk", and this just about nails it. Recorded at his San Francisco home on a Fostex X-12 over a period of roughly eight months until this May before getting the thing mixed down in LA, Dawnrunner is an amazingly tight and coherent effort both musically and atmospherically, hypnagogic yet with a personal and unique interpretation of the term. The tape is available now via Not Not Fun at an edition of 100, and believe me you do want this.
http://www.mediafire.com/?0l3hws10qydjk3p
http://www.mediafire.com/?4mkfjk4n0ktEveryone from Woody Guthrie and Tiny Tim to Devendra Banhart and Raffi share space in Jordans mind, making for an album that
effortlessly juggles humor, drama, sharp wit and lyrical poetry into an assemblage of short stories that demand repeat listens for their full emotional impact.
Two celestial bodies from a distant galaxy combine their chemicals and produce a
cosmic cloud of purple and gold. We received the audio samples of this event and
pressed them to vinyl.
http://www.mediaf!ire.com/?7sp9ebde0tuvsbdThe Bug - Infected EP
01 - Catch a Fire (Feat. Hitomi)
02 - Tune In (Feat. Roots Manuva)
03 - Skeng (Autechre Remix)
04 - Poisen Dart (Scratcha DVA Remix)
http://www.me!diafire.com/?kk862rl647lxcd6http://www.media!fire.com/?6yfw6tj2fhydj5fhttp://www.mediafir!e.com/?uaz3gkb22sx7mx1Pop. 1280 are a cyberpunk band from New York City. The Grid is their first 12-inch release. Members include: Chris Bug, Ivan Lip, John Skultrane, and Andrew S. They got together in 2099 and have released two 7-inch records, the most recent being a self-released single and split 7-inch with Philadelphia’s Hot Guts. As dark and sinister as the Jim Thompson novel from which the band borrows their name, these nine dirges of skronky noir are the logical successor to the brand of scree practiced by forebearers the Chrome Cranks, Honeymoon Killers, and Pussy Galore, and along with contemporaries Twin Stumps, White Suns, Woman, and York Factory Complaint are ushering in a new era of punk.
Their music is all about the future that has already happened. Think Videodrome-era David Cronenberg mixed with Escape from New York-era John Carpenter. The Grid was recorded in April of 2010 in the basement of a closed Catholic School. On it are six songs using synthesizers, scrap metal, racoon-screech guitar, and samples about the freaks that inhabit The Grid. Step into it.
http://www.media!fire.com/?li1s3xh373fy7ntProduced by Pedal Boy & the Wrens
Released 1994, Grass Records
Silver - our first full length. Everyone should make a first record. Except us.
The record company gave us a “due date” and on that day, Jerry and Greg drove out to Long Island to personally hand the finished recording to our beloved Camille (i.e., the record company). There they stood in Camille’s office, proudly waiting for the first track (of 26) to cue up. Young. Excited. Already planning tour bus décor options.
Sadly though, we had made a series of the kind of dumb-ass musical/production decisions that people like Malcolm Gladwell can spend a career parsing – culminating in the wisdom of mixing the entire 26-song opus in one consecutive 18-hour all-nighter. This had the effect of combining most of our greatest strengths at the time - technical audio incompetence, unlevel-headedness in the face of looming deadlines, depressed exhaustion and an inability to self-edit – into one deadly 26-song musical power move.
Stunning.
So what fudged its way out of Camille’s speakers that day was maybe two decent songs, 24 others, and all sadly enveloped in the impenetrable low-end rumble of the approaching worms in Dune.
Camille, in her infinite kindness gently asked, “is this the way it’s supposed to sound?”
Greg & Jerry retreated home with mixed news of victory, we remixed over the next week or two and Charles has since listened to this album exactly twice. Because it’s just too good to bear.
http://www.mediaf!re.com/?ut031sfr6izt62d
http://www.med!afire.com/?gmmegznnnjbhttp://www.mediafire.com/?kfcaq6u96lebfq7Sounds like Grindcore mixed with Jazzhttp://www.mediaf!re.com/?mwnztwcjdym
http://www.mediaf!re.com/?ad244mljdjdqdl7http://www.mediaf!re.com/?bznv7f37ewdonvn
Clap Your Hands Say Yeah - Clap Your Hands Say Yeah (2005)
Amazing debut album that came out of nowhere a few years ago; initially self-released, it's full of weird and wonderful pop songs. Shame everything they've done since has been utter shite.
I actually thought that Some Loud Thunder was better than the debut. It seemed to have much more experimentation and less filler.
http://www.mediafire.com/?ysqwe9zdv9aamqf
http://www.mediafire.com/?jf5ac7vv9coofskhttp://www.mediafire.com/?w2qex1haxzp9pa9
http://www.mediafire.com/?eebn9cm34dvstj2http://www.mediafire.com/?ect63h3l3e3gqty
http://www.mediafire.com/?dxb0fj8jngfh90thttp://www.mediafire.com/?sbx3u1oes0b196u
http://www.mediafire.com/?54kq6um19be7kdwhttp://www.mediafire.com/?t85gnnu7z4na9sz
http://www.mediafire.com/?67bhijxpblpajzhhttp://www.mediafire.com/?ata8i0jtvcc3agc
http://www.mediafire.com/?erf362f8ct2y2xk'Skin Of My Yellow Country Teeth' is just utterly amazing.
The brothers Funcken regroup on four tracks of hi-tek acid and tricky beat science for Shipwrec. In the title cut we find a restless fusion of swinging drums and Techno twists reminding of their Mystery Artist 12" for Skam, while 'TRrnt' fluctuates between half-timed acidic gurgles and febrile, almost D&B style syncopations. Flip it and 'Spud Bencer' goes on a jauntier HipHop flex with nutty synthlines screwing off in all directions, before 'Grone' weaves symphonic strings and crushed drum samples with considerable dexterity to sound something like Autechre meets Daedelus. Comes with free download code redeemable from the label.
http://www.mediafire.com/?5cwo8kw2ri9y5h8Ghostleigh and Brian Barian pair off on a one-sided 12", initiating the Aging Young Sessions with three tracks of idiosyncratic House. Ghostleigh takes the first two tracks, offering the sweet but brief boogie House vibes of 'Crystalend' followed by the crisp and warm vibes of 'Nothing Is Gone Move On', and a warm US Garage inspired groove from Brian Barian on 'Spectrums'.
http://www.mediafire.com/?ghmr1jmg7ba2vor
http://www.mediaf!re.com/?i5x5ealiwkay9z1Bandcamp (http://bongripper.bandcamp.com/album/satan-worshipping-doom)Funckarma - Reasch EP
http://www.mediafire.com/?b0k9oyqob1vacs2
http://www.mediafire.com/?nmu9661st6dd91yRules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smorking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?mqmq86jr8favry3Fettem Paillu (http://www.youtube.com/watch?v=UbIPzVzvnqQ)Ninja Tune XX: 20 Years of Beats & Pieces (2010)Much appreciated. Will download ASAP.
Traxx/Remixes 1Code: [Select]http://www.mediaf!re.com/?ysqwe9zdv9aamqf
http://www.mediaf!re.com/?jf5ac7vv9coofsk
Traxx/Remixes 2Code: [Select]http://www.mediaf!re.com/?w2qex1haxzp9pa9
http://www.mediaf!re.com/?eebn9cm34dvstj2
Traxx/Remixes 3Code: [Select]http://www.mediaf!re.com/?ect63h3l3e3gqty
http://www.mediaf!re.com/?dxb0fj8jngfh90t
Traxx/Remixes 4Code: [Select]http://www.mediaf!re.com/?sbx3u1oes0b196u
http://www.mediaf!re.com/?54kq6um19be7kdw
Xxclusives 1Code: [Select]http://www.mediaf!re.com/?t85gnnu7z4na9sz
http://www.mediaf!re.com/?67bhijxpblpajzh
Xxclusives 2Code: [Select]http://www.mediaf!re.com/?ata8i0jtvcc3agc
http://www.mediaf!re.com/?erf362f8ct2y2xk
info (http://www.discogs.com/Various-Ninja-Tune-XX-20-Years-Of-Beats-Pieces/release/2455278)
Lights Out Asia - In The Days Of Jupiter (2010; 320kbps)
info (http://n5md.com/discography/177/In-The-Days-Of-Jupiter)Code: [Select]http://www.mediaf!re.com/?b0k9oyqob1vacs2
http://www.mediaf!re.com/?nmu9661st6dd91y
Late contender for album of the year here.
Ninja Tune XX: 20 Years of Beats & Pieces (2010)
.
.
Xxclusives 2Code: [Select]http://www.mediaf!re.com/?ata8i0jtvcc3agc
http://www.mediaf!re.com/?erf362f8ct2y2xk
http://www.mediafire.com/?0omnninmzy5It's the most horrible time of the year!
A Very Scary Solstice finally merges the wonderful tradition of merry holiday carolling with the cosmic horror of the Cthulhu Mythos. The result is a CD and sing-along songbook that features twenty five holiday favorites infused with a liberal dose of madness, horror and otherworldly blasphemies.
The CD features a cast of professional singers with each number beautifully arranged and fully orchestrated. Styles range from the classical to contemporary to nostaligic and just plain weird.
The sing-along songbook features a handy pronunciation guide, an introduction by celebrated Lovecraft scholar S.T. Joshi, and the fully lyrics to all of the carols, complete with ample footnotes teeming with bizarre trivia about the carols and their underlying mythos connections!
http://www.mediafire.com/?yrmtmvqtmxzWe wish you a scary solstice!
An Even Scarier Solstice is a sequel to our strangely popular A Very Scary Solstice. This year we've assembled better musicians, more singers, and 21 new songs of holiday horror.
The CD features a cast of more than 30 professional singers with each number beautifully arranged and fully orchestrated by Troy Sterling Nies (composer for the HPLHS film The Call of Cthulhu). Styles range from rockabilly to middle-eastern to grandly gothic and just plain weird. We've even set Lovecraft's poem, "A Brumalian Wish" to music to create (we think) the world's first original Lovecraftian Christmas carol.
The sing-along songbook features a handy pronunciation guide, an introduction by celebrated mythos author Ramsey Campbell, and the fully lyrics to all of the carols, complete with ample footnotes teeming with bizarre trivia about the carols and their underlying mythos connections!
http://www.mediaf!re.com/?1zcx6k442yx3w19http://www.mediafire.com/?ln8s5a9ajzrh5s3http://www.mediafire.com/?botygt7wzr277jt
http://www.mediafir!e.com/?ei2o15hghkv2rzvOn the heels of two sensually dark 7 inches, Luis Vasquez of The Soft Moon, has completed his self-titled debut full-length on Captured Tracks.
Raised under the burning sun of the Mojave desert, Vasquez channels both his punk upbringing and Afro-Cuban heritage to sculpt decidedly dystopian soundscapes for a new generation of torn romantics. It's a record set somewhere in the near post-apocalypse where technology enchants as much as it destroys.
http://www.mediaf!re.com/?h3w0xhl5ujrg314Demdike Stare - Voices of Dust
http://hotfile.com/dl/84151028/bb99295/Demdike_Stare_-_Voices_of_Dust.zip.htmll
Daft Punk - Tron Legacy OST
hey, guys, you like music, right? like, music that is good?
well if you do, monument has a full length album (http://themuzack.blogspot.com/2010/11/new-monument.html) that is better than yr favorite bands full length album, so you should spin this.
Daft Punk - Tron Legacy OST
Daft Punk - Tron Legacy OST
OH SHIT BATMAN
Daft Punk - Tron Legacy OST
is this real? it's "leaked" a few times before and they've all been fake.
hey, guys, you like music, right? like, music that is good?
well if you do, monument has a full length album (http://themuzack.blogspot.com/2010/11/new-monument.html) that is better than yr favorite bands full length album, so you should spin this.
http://www.mediaf!re.com/?c5s7i9wvvr1mzs7
Highly rated Italian House and Techno producer Marco Passarani provides an ace EP for the Berlin-based Running Back label. 'Colliding Stars' is a prime cut of deep grooving acid house with fine '80s disco stabs, nudged and tweaked with the expertise of a true master to keep locked. The Bonus Star version heats up the '80s Boogie vibes with real slick edits approaching Soundstream territory and 'Good Split (I Like It)' jacks on a direct acid hit.
http://www.mediaf!re.com/?esbjdxo74o9ae19Very crafty post-dubstep wrigglers from Belgradeyard Soundsystem member, Piece Of Shh... backed with deft remixes from Zomby and Hektagon. He's had a dope release out on Earsugar Beatbox and remixed Sutekh previously, but this is his first proper foray into the dubstep arena. His 'Diablo Riddim' skitters between concrete dubstep rave and squirming techno signatures, before Zomby steps in with a much less frantic and swaggering reduction of rave styles at ruffly 130bpm, and Hektagon runs harder with the febrile funk to give a canny flux of sea-sick dub-tech and raving acid strikes. Tuff & techy business.
http://www.mediaf!re.com/?2v5cikjwsaattv0SND's Mark Fell makes a late entry for one of the electronic albums of the year with his latest solo opus: 'Multistability'. As one half of SND alongside Mat Steel and solo as 'H', Mark uncompromisingly operates on the bleeding edge of digital music production. He's in possession of a beautifully rare talent; the ability to make highly academic music with an innately Funky and dare we say, accessible, edge. He himself and many others may not agree, but there's something so listenable to his rhythmically-driven and melodically aware style that we can't help but hear him in that context. The conceit behind 'Multistability' is assuredly highbrow, referring to the notion of seeing two separate images at once, kinda like a Rubin face/vase effect. From the outset we're entangled in a meticulous mesh of ultimately chaotic, but incredibly well organised patterns and sonic topologies - essentially the result of experiments whose side-effects just happen to be the most extreme and stripped examples of digital funk imaginable. Believe it or not, Mark cites his collaborative efforts with friend and fellow musician Yasunao Tone as a major influence on these tracks, which is understandable when it comes to their constantly morphing aesthetic and deliberate intentions, but seriously, we couldn't ever imagine feeling as compelled to twitch like this when listening to a Tone CD. We'd be more inclined to compare his constructions with the fiercest UK Garage/Bassline or Footworkin' Juke, albeit filtered and reduced into the most minimal variant possible. Just imagine those hyper-concatenated rhythms zipped into more "conventional" dancefloor sounds - in a parallel universe Marcus Nasty is whipping up a hypestorm with blends of 'Multistability' and the latest Pantha dubplate. However, as the label correctly states, 'Multistability' should be understood in light of Fell's claim that "Music is a technology for constructing an experience of time", which really sums this album up more succinctly than we ever could, while leaving his whole oeuvre brilliantly unresolved and open to the wildest interpretations. We're not using this lightly - ESSENTIAL!-
http://www.mediaf!re.com/?a2qctk3i6k0cpndEight releases down, Numbers drop the anthemic 'Goldtooth Grin' from Glasgow's dubstep rotter, Taz Buckfaster. The lead cut has been in circulation for over 12 months with those in the know, charted highly by Gernot Modeselektor as far back as 2009 and featuring regularly in the sets of Jackmaster and his numerous numbers affiliates. Basically if you're into the most melodic, melancholy and crunked-out end of Joker, Starkey or Girl Unit this is an absolute baller. 'Robogrime' follows on a ramped-up instrumental electro-Grime tip for the DJs, while 'Strike First' licks out a warped bass sounding like Azzido Da Bass's 'Dooms Night' inna 'ardcore ruffige style. Tipped!
http://www.mediaf!re.com/?324ep077e5xxzeoAvailable on download for the first time, this is C&C's 1985 production, originally commissioned by Jan Smith-Merritt and Stephen Hill's Alllotrophy Exhibition to accompany their performance art video of the same name. As you cans see, the composition moves through five stages, each getting progressively darker , especially from the third section when Cosey's vocals take root in a toxic bed of Carpenter-esque wasteland sci-fi synths, and certainly the two incredible proto-ambient drone tracks which follow. Very cinematic stuff, recommended to fans of Vangelis, Carpenter, or Coil.
http://www.mediaf!re.com/?ga6j5139j98x31yOH YES!!! Serious remix session from Falty DL and Space Dimension Controller, extending the legacy of Detroit auteur, Anthony Shakir. The Space Dimension Contoller remix of 'Detroit State Of mind' has just totally blown us away, twisting the original elements with incredible programming dexterity to drop a dipping, jacking and outstanding revision pitted with killer triplet fills and overlarge square-bass vamps, truly doing service to the original material. On the flip, another man-of-the-moment (or even year!) aka FaltyDL, remakes 'Assimilated', sticking with the original's louche mid-tempo pace for a faithful yet dubbed out and squidgy revision. Keep an eye out for the forthcoming MRSK and Skudge remix session, but in the meantime fill yer boots with these badboys!
http://www.mediaf!re.com/?012b2mczluc48u4Rudeboy 4/4 Garage and House riddims from Mark Krupp for L2S. 'Light Anthem' borrows a few tricks from Armand van Helden's late '90s handbook, while 'Badman In Chicago' pushes a funkier, boomptier 4/4 sound with warping bass and Dancehall samples. Tuff.
http://www.mediaf!re.com/?j0i0bxkhk8m82wkAfter cool releases from Nguzunguzu, Ultravid and Lorenzo Victor, the future garage sound of Jack Dixon is presented to the world, backed with remixes from The Phantom, Damo, Cairo, and Swarms. His original tracks ball between clean and crisp shades of Garage, Fidget and Funky, while The Phantom takes 'I Let You' to R&B-fired Funky terrain. Damo remakes the original as a featherweight tribal skipper, while Daily impresses with a vastly spacious darkside rollers remake of 'Stay'. Tipped for fans of Submerse, XXXY or Pangaea.
http://www.mediaf!re.com/?742z32lydyb30brnooooooooooooooooooArchiteq and Tirk have one final fling for 2010, peppered with revisions from Dan Lissvik and Mr Beatnik. The former flips 'Odyssey' into a beach-ready slap-bass strutter, while the latter reworks the title track into a stoned electrodub shuffle. Architeq's original stitches up fonky rhodes and dubbed out melodica in his frayed and freaky slowdisco style while 'Halloween Acid' sounds like Luke Vibert on valium. Recommended.
http://www.mediaf!re.com/?oknuc2sg9bk1ccl
EOD gives six tracks of classically informed IDM electro for the 030303 label. All ears are on the outstanding title track, a Rephlexian twist on Detroit electro standards, while 'On A herald Go' sounds a lot like Bochum Welt and 'Phontron' finds a very tidy groove of 808 patterns and twinkling neon synth melodies. A choice pick for lovers of nostalgic electronica.
http://www.mediaf!re.com/?dn9a86869lcvi9e**Boomkat upfront exclusive!** Hippos In Tanks have evidently turned out some of the year's most addictively essential releases, but none more so than Laurel Halo's 'King Felix' EP. The Brooklyn-via-Michigan-hailing artist has created waves of interest around her sound that simply cannot be ignored. Obvious comparisons to individual female precedents have inevitably been stirred up, but right now it's quite fair to say that there's nobody else doing quite what she does - and that's an immeasurably important fact. Her music is suspended in an ethereal alter zone equally informed by 4AD dreamspaces, immersive video game soundtracks and hypnagogic Pop, essentially three elements which form much of the best Knew-Pop around and makes for the most deliriously effective form of Pop escapism we've encountered in a long time. A glance at her myspace will reveal an obsession with floatation - pictures of floating gardens, scuba diving and such - and this is about the best analogy for this music, no matter whether she's making an ecstatic Freestyle R&B killer like 'Supersymmetry' or a Baroque gynoid theme tune like 'Metal Confection', there's always the lushest sense that she's crafting her art to help herself achieve and express those states most clearly, and it simply couldn't come out sounding any other way. Probably the only only person she could find to help elucidate this feeling is her synthetic soulmate, Daniel "OPN" Lopatin, who chimes in with one of his most elegiac productions to date, an interzonin' remix of 'Metal Confection'. You may be able to tell, we're more than a little smitten with this debut and by all accounts it seems that this is just the tip of a towering iceberg, drifting in an amniotic ocean of psy-pop simulants...
http://www.mediaf!re.com/?53gx57u374o73pb
http://www.mediafire.com/?p58i09259bya6rxhttp://www.mediafire.com/?oq85a3f709v1ppphttp://www.mediafire.com/?mr46qq365km6yc6http://www.mediafire.com/?1q3xuw3x56abm7r
"Drink Water"
http://www.mediaf!re.com/?9u5a1dl5gdd7bdqhttp://www.mediafire.com/?2pzht1m2r2denkcIn the commercial rap arena, few prospects are riskier than making the transition from a conventional sound to more avant-garde leanings. It can either bring you critical acclaim and general acceptance from the populace (Andre 3000) or it can alienate your original fanbase without appealing to the new audience whose eye you'd hoped to capture (Common). Cee-Lo's latest record, however, treads the line perfectly, allowing him to play by his own terms, while maintaining the kind of strong hooks, production, and songs that pretty much anyone can get into.
His solo debut, 2002's Cee-Lo Green and His Perfect Imperfections, was solid but ultimately forgettable and singularly toned. But Green seems to have focused on cohesion this time out, as this new collection of songs tie together nicely, despite the record's diverse melting pot of spoken word, R&B;, rap and gospel. Those expecting the pensive introspection and homemade synth-hop of his debut should look elsewhere, as this record draws on his greatest strength: the excitable rhyme flow that initially made him stand out from the rest of the Goodie Mob.
Cee-Lo's most interesting aspect is his adaptable persona: The way he shifts from an apologetic former gun-toting drug dealer to a discotheque lover man to a church preacher gives this album a ridiculous depth of replay. And lyrically, he dominates much like he did on the Outkast side project Dungeon Family's Even in Darkness, spitting battle salvos ("I've been running since 'Rock Box'/ I've cocked glocks and locked blocks/ And rocked rocks in drop-tops") and street knowledge ("When it hit ya, it usually hits somebody with ya/ Make 'em risk a total eclipse of the sun to get richer") with the confidence of a man on a mission.
His mission statement is "The Art of Noise". Produced by The Neptunes with background vocals from Pharrell, the track is equal parts In Search Of... snares, and the piano part from Jay-Z's "Allure", making for a minimalist exercise that burrows into your skull with its emphatic chorus. Cee-Lo sounds as excited to have this beat as we are to hear him over it-- and he doesn't disappoint. Employing his half-singing/half-rapping cadence, he draws attention instantly, asking the listener to "Have mercy, if I seem to be heavy/ I don't mean to be heavy," as if asking for acceptance regardless of his many distinguished quirks. Needless to say, in a post-"Hey Ya" environment, a song like this could easily make a giant dent in the singles chart.
The playgrounds that this "five-foot-six-inch god" inhabits, for the first time, match his obvious technical proficiency, maintaining a general tone of futuristic chops and bombastic horns throughout the record that recall Lyrics Born's monster debut Later That Day. Standouts include the Organized Noise-produced stuttering chopped toy piano and xylophone on "Childz Play", the shockingly original DJ Premier production of finger snaps and subtle cop-show sax on "Evening News", and the Roswell synth whistle, exploding black-college horn line and "We Will Rock You" stomp of "Scrap Metal". The only drawbacks are the occasional disco and 80s R&B-inspired; cuts, as they fail to completely fit in context with the other beats.
Cee-Lo doesn't come out completely unscathed himself: At 18 tracks, there's a bit too much music here, and some tracks, like the occasional spoken word-style pieces, prevent the record from being the opus Cee-Lo is clearly capable of making. But even with these minor faults, a happy medium is achieved-- especially given that the record contains only two skits (the "Intro" and "Outro", both roughly 20 seconds long). Which leaves us with a strong experimental record that draws on Cee-Lo's malleable style of rap, staying deeply grounded in the Southern traditions that started his career even while he pushes the boundaries of convention, making for one of the year's strongest hip-hop albums to date.
"Drink Water"
at first i hated his voice but it's 2 songs later and now i really like all of this.
http://www.mediaf!re.com/?j33x63yblxjvp3ahttp://www.mediaf!re.com/?ti3r61195s3p1zyhttp://www.mediaf!re.com/?zl33fvj2frc74lqhttp://www.mediaf!re.com/?zyc432jb35a8q5yYou did excellent. Go you!
http://www.mediaf!re.com/?bbky1ho9y3lz72yhttp://www.mediaf!re.com/?c44ktqa9xsoqoanhttp://www.mediaf!re.com/?4upnwixc5huqgpchttp://www.mediaf!re.com/?m3y7wd5uba9r3bfhttp://www.youtube.com/watch?v=aK3AMhNpg_khttp://www.mediaf!re.com/?2h0desh3t8cs7xrhttp://www.youtube.com/watch?v=bSnkOeqlZKY&feature=relatedhttp://www.mediaf!re.com/?3zuygaxmymumn1rhttp://www.youtube.com/watch?v=S7zHZrcHdxg
http://www.mediafire.com/?ta26iyv53grceibhttp://www.mediafire.com/?3xtm6ww8du97h5jhttp://www.mediafire.com/?11s33shg7cyzws1http://www.mediafire.com/?ae03n8b7h63c3ljhttp://www.mediafire.com/?lefgdo4h3b2wi95Disc 1 - http://www.mediafire.com/?ubztqvcy0brl4gw
Disc 2 - http://www.mediafire.com/?7da549g94cu004d
Disc 3 - http://www.mediafire.com/?f46cji8et5834c2
Disc 4 - http://www.mediafire.com/?a7vi1cj3airezo8
http://www.mediaf!re.com/?0alhwlwh7wwk04mhttp://www.mediaf!re.com/?k73915r1154adyfhttp://www.mediaf!re.com/?oa12bz3igsdxacmhttp://www.mediafire.com/?ohhfafuxbhp6j15
http://www.mediafire.com/?6fgy2wb0540p8kb
http://www.mediafire.com/?931duubuebts3ouThe code for Things we lost in da fire is wrong, it's the same as the wrens one.
http://www.mediaf!re.com/?2f5jgxoqq2ff2u3This 2-CD set is a widely available reissue of two Russian collections released by Feelee in 2001: A Guide for Beginners -- The Voice of Silver and A Guide for Finishers -- A Hair of Gold. Only two of the 20 tracks, "A Cold Cell," and "A.Y.O.R.," were previously unavailable at the time ("A Cold Cell" soon turned up on The Wire Tapper, Vol. 6 released by the British magazine The Wire), although some were a bit hard to find. Seasoned fans will feel the repetition (after all, this is not the first Coil "best of" to hit the stores) but newcomers will be treated to a first-class tour of John Balance and Peter Christopherson's realm. Disc one focuses on ambient tracks, the melodic, murmuring, slightly frightening kind Coil do so well. It draws heavily on the two volumes of Musick to Play in the Dark (including the grippingly beautiful "Batwings"), but also goes back to early efforts like Scatology ("At the Heart of It All") and Horse Rotovator ("Amethyst Deceivers"). Disc two presents the flip side, throwing together more aggressive, noise-based pieces that are often upbeat. The rough industrial stance of "Panic," "The Anal Staircase," "Solar Lodge," and the like, make this disc more difficult to listen to, if only because it leaves little chance to breathe. The set concludes marvelously with "The First Five Minutes After Violent Death." Every fan will have one of his or her favorite tracks missing, but the casual listener will find in The Golden Hair With a Voice of Silver the perfect place to start. There is one downside to this collection though: the total lack of liner notes means that you will have to plough your way through the All-Music Guide database to find where each track was taken from.
http://www.mediaf!re.com/?jujo3twzl0eA Guide for Finishers: The Golden Hare (Disc 2)http://www.mediaf!re.com/?aqgmrmzjxdw It’s perhaps unavoidable, but every single phrase here comes steeped in prophecy; every melody line leads the listener inwards towards reflection. The first line of opener “Fire of the Mind”: “Does death come alone or with eager reinforcements?” Its chapel-organ-like tones bring an immediate air of finality, hanging heavy over this final Coil studio album. Ian Johnstone’s gorgeously funereal white card packaging, striking photographs, and his stark cover artwork (which is either an angry ape or a figure post-castration, depending on which way you look at it) gives a quiet, contemplative, eerie, peace to the contents, which veer from maniacal lunacy to spiritual deliberation.
It’s unclear what the late Jhonn Balance’s completed vision would have been for the posthumous The Ape of Naples, and this album is a gathering of unreleased work from his last days and earlier material culled from uncompleted sessions. It was an odd combination of Balance’s deterioration, Promethean genius, and human warmth that made him one of the most unique frontmen ever; this LP stands as a testament to those qualities. There’s something slightly peculiar about the album in that at times Balance doesn’t seem fully visible even when he’s in full voice. On several occasions, his vocals sound somewhat shrouded. Is there lassitude in Balance’s voice, or is there a purposeful remoteness on the performances of “Triple Sun” and “Amber Rain”? Or is it just the hindsight of what happened investing his vocals with foresight?
Some of the material here will be familiar to Coil fans from live releases and gigs, and “The Last Amethyst Deceiver” (as near an official Coil classic as its possible to get), “Triple Sun” (the version here is criminally short but elegantly detailed) and “Teenage Lightning 2005” are already well known in Coil circles. But their place on this album and excellent production cannot be undervalued, as each helps to show Balance at his visionary best. The many Coil affiliates (Ossian Brown, Tom Edwards, Cliff Stapleton, Mike York, Danny Hyde, and Thighpaulsandra) that have helped Sleazy to realize these performances into gorgeously disturbed beds of music should receive praise, too; The Ape of Naples sounds truly out of time and delicately beautiful in places. The poise of electronic sounds and beats with warm live instrumentation (such as marimbas) gives the music a human heart, making the atmosphere of loss all the more conspicuous. “Tattooed Man”, either a song of love for his current partner or a piece of ugly self loathing, features a hurdy-gurdy, lending the track both a Gallic and sea-faring feel. How did these so-called Industrialists end up somewhere as charmingly sweet as here?
In contrast, they punch out a version of “Heaven’s Blade” that is as untethered, drugged, coherently dark, and deliciously vehement as anything they’ve done previously, even during their Ecstasy-overdosing era. A track from their aborted Backwards sessions at Trent Reznor’s Nothing Studios, this is a jilting, buzzing, jittery furrow which wolves whisper, swirl, and snarl around in hopes of fresh blood. Balance is slyly conspiratorial and loosely clings to the thin line between angelic transformation and madness; coupled with a magnificently understated backing track, this is likely to be seen as one of their pinnacles.
“I Don’t Get It” is creepily damaged, sounding like the unwinding of some sick child’s melted toy as organic twisted sounds bubble under the surface. Balance’s torn up, sped up, and fucked up vocals are cast into the mix without a thought for their malign influence on the sweet string and horn arrangements. Like some sleep-deprived remake of Randall and Hopkirk: Deceased, this foggy detective-thriller theme shows glimpses into a mangled psyche through the spitting, screaming, snarling Balance. The song attempts to pulse and strain under its own tight structures, but somehow remains in one piece to its creaking, rubber-gagged end.
His vocals also strain at the walls of sanity on “It’s In My Blood,” where his yodeling screams and elongated, tortured vowels manage to speak up for the whole asylum ward with the high pitched whine of the title. An oil drum beat, war horns, and Thighpaulsandra’s descending string derangements lead to an off-mic quip from Balance (“Is that enough, Sleaze?”), as if his howls were as normal to him as fish and chips.
Ending with one of the most unlikely songs for anyone to cover, never mind Coil, who’d of predicted the theme to UK cheesy camp sitcom Are you Being Served? being used for anything other than a UK Hip-Hop sample? “Going Up” takes the original’s theme and loops it under a slow waltz, turning it into a very gentle, tongue-in-cheek, open-armed welcome to Death. Balance’s words are dropped low into the mix and Francois Testory’s choirboy vocals are a prayer to the bric-a-brac of everyday life and the escape skywards.
This album catches Jhonn Balance’s many guises in amber and traps them for a generation of explorers to swallow, follow, and then take down their own path. As one of their most unmagikal-themed releases, there might have been commercial avenues for this album that will never be followed up. The summing up of twenty-three years of Coil will be left for the future’s sure-to-come “best of” collection; The Ape of Naples stands as one of their finest albums ever, making it all the more gutting that this is their last.
http://www.mediaf!re.com/?hkzdfwz1u25http://www.mediaf!re.com/?vymgzdnwathThe title Horse Rotorvator is explained in the liner notes as a device large enough to "plough up the waiting world," created from the bones of the horses of the Four Horsemen of the Apocalypse. The Bay City RollersBalance shares the same haggard, mystic vocal delivery common to fellow explorers of the edge like David Tibet and Edward Ka-Spel, but he has his own blasted and burnt touch to it all. His lyrical subjects range from emotional extremism of many kinds to blunt, often homoerotic imagery (matched at points in the artwork and packaging) and meditations on death. As a result the cover of Leonard Cohen's "Who by Fire" isn't as surprising as one might think. Past guest Marc AlmondAlmond's then-musical partner Billy McGee, adding a haunting, sometimes grating, string arrangement to "Ostia," which is about the murder of radical Italian filmmaker Pasolini, and Clint Ruin, aka Foetus, adding his typically warped brass touches to "Circles of Mania." Paul Vaughan narrates the lyrics on "The Golden Section," creating a stunning piece that in its combination of demonic imagery and sweeping, cinematic arrangements holds a common ground with In the Nursery. All the guests help contribute to the album's overall effect, but this is Coil's own vision above all else, eschewing easy cliches on all fronts to create unnerving, never easily digested invocations of musical power.
http://www.mediaf!re.com/?5ojdfzvmmnz
At the end of its initial phase of operation, Coil had taken its music to a somewhat logical endpoint, a frigid coda where its jarring, industrial phase split between a love/sex/drug fascination and the hollow ring of metal-on-metal collision. Though traditional song structures and melodies shot through the underbelly of their most memorable work (anyone remembering their take on “Tainted Love,” Marc Almond inclusive, will have a hard time denying this charge), Coil thrived on the lurid dreams of the willing set against the chilling actualities of life itself. Our bodies begin and end at discrete points, in temporal, physical, and metaphysical situations, and the weight of this burden strikes a minor, ceaseless chord that resonates throughout Coil’s music.
Originally released around the turn of the millennium, Musick to Play in the Dark featured a restarted Coil at bay, with original members John (later Jhonn) Balance (R.I.P.) and Peter Christopherson joined by synthesist/bassist Thighpaulsandra, and Drew McDowall (replaced by Rose McDowall on the second volume). These are long-form works, collections of mood pieces in several modes, and what’s interesting (and somewhat predictable) is that the patience displayed while shifting in between these modes creates a tension and space that feels … almost removed from music by a step, as if the performance decided to slowly back away from Coil at a respectful, totality-fearing distance (or maybe it was the psychic force of their music that pushed it all back).
Musick the first peaks early on, with the Delia Derbyshire-esque sweep of the excellently-titled “Red Birds Will Fly Out of the East and Destroy Paris in a Night,” but does not sacrifice its ability to intone fear into the audience’s minds, as it does on the seemingly innocent “Broccoli,” its lyrical ramblings holding themselves in the round, turning from absurd to ghoulish as the track drones onward, pitched-down choruses adding to the overall effect. Vol. 2 is its own work entirely, more focused on a set of instrumentation and style that is smaller in scope than on the first volume. Tweaky, inner-ear synth squelch glides icily along its requisite sine waves, Balance’s vocals at first obscured by vocoding and electronic pincers but eventually ebbing back into its deep, reverberating pall. Even somewhat uplifting moments, such as the jumping-jack rhythms of “Paranoid Inlay,” collapse into interminable darkness given a few minutes of runtime. The bulk of what’s left is unreasonably cold, alone, and deadly serious, from the elegant piano tumble of “Ether” to the surgically imprecise puddle of “Where Are You?” leading into the album closer “Batwings (A Limnal Hymn),” a tour-de-force of Guignol imagery and the almost unavoidable, mantra-like denouement amidst electronic cycling and dulcet tones.
Not easy listening here, mind you, but then again, Coil never was. These records don’t merely deserve a full and unimpeded attention span; they require their own environments. Candlelight, blackout shades, red wine and intoxicants of choice are their demands. Anything less and you might laugh. You might still laugh on first listen. It’s just your nerves trying to avoid the inevitable. Listen again, until the cold, humid dusk of their finest hours truly sink in.
http://www.mediaf!re.com/?i0ct52nwezmvol. 2http://www.mediaf!re.com/?ymnv1mnmwmmPerformed, recorded, conceived, and titled before Coil founder / vocalist Jhonn Balance’s untimely accidental death in late 2004, this 2003 concert captures Coil in another of their various live incarnations. This recording sees the bearded Balance in his final incarnation as an Edwardian / Gallifreyan gentleman; the greatest Doctor Who we never had. As with much of Coil’s work out of the post-Industrial shadow, he seems somewhat out of time, coming across variously as scrambled, disassociated but always polite and erudite. He even takes time out to offer sensible advice on jam making before varispeeding his own voice and intoning word associations and eerie rhymes on the set’s closing track.
When Balance comments at the crowd’s request for more volume that “excess makes the heart grow fonder” he makes a valid point. As much as the band were / are loved for their music, his taste for altered states sometimes made him a poster boy for those who get their vicarious thrills through others’ cultural, chemical, and societal barrier testing. As with many artists’ posthumous releases, …and the Ambulance Died in his arms is invested with sadness—the darker, lonelier sections of sound seemingly portentous of his early passing. Balance’s parting comment (“Enjoy the rest of the day”) may have been a polite farewell from the stage at the time; now it’s advice for life.
Playing a set of (at this time still) unreleased songs, with the exception of closer “The Dreamer is Still Asleep,” Coil unfurl a dark phosphorus sound which slips insect chatter amongst the drones. Along with a few other tracks “Snow Falls into Military Temples,” suffers from an unwelcome overexposure of intrusive xylophone, but retains a heavy atmosphere with unsteady waves despite the boneshaker melodies. The crash and clatter of Sleazy and Thighpaulsandra’s digital banging provides an unstable bed for Balance’s wordless invocations which are part Knights of Nee part Samoan Rugby player part Diamanda Galás yelping. Where other vocalists search and find their voice Balance seemed happier investigating his voice, remaining open to experience and other less conservative singing styles. The piece’s title merges with the sonic static like a snow drift across the mind’s eye creating images of decayed crumbling armed forces bunkers.
The John Carpenter themed instrumental introduction piece “Triple Sun Introduction” is revisited with a vocal version entitled “Triple Sons And The One You Bury” which sounds a lot warmer as a result. The release’s centrepiece, however, is the sinister “A Slip in the Marylebone Road” which twists the tale of a fall in the street into the threads of a descent into mental illness. The building narrative progresses through ill-omened and distorted imagery of horses ill in a hospital and gaping splits in reality. The music reflects this loosening grip on the existing world as it’s pulled and pixelated along struggling to maintain the circling beat pattern and mini-pulses.
With this live performance Coil manage and manipulate their environment, in this case a cheesy holiday camp setting, fashioning their own rip in reality for over an hour. Since you won’t be catching them live again, this is a must-have document.
http://www.mediaf!re.com/?go1tkudezyi="Allmusic"]Though Coil's John Balance and Peter Christopherson were inspired by the acid house revolution of the late '80s, their drug-inspired "dance" album isn't quite as indebted to the style as the contemporary work of Psychic TV. The influence comes through mostly in the deranged effects and vaguely surreal air, though several tracks do increase the rhythmic wattage. For the most part, the duo retained the gothic synth pop of Horse Rotorvator, but with a special emphasis on stuttered cut-and-paste sections rather than organic instruments and environmental sublimation.
http://www.mediaf!re.com/?2yxzjywughw
http://www.mediaf!re.com/?j1ih3wyymmxBackwards was a studio bootleg recording by Coil. The origin of the source of "Backwards" is believed to have been a leak of the studio demo, in the form of a cassette. However, the entire demo was broadcast when Dutch Radio4, a radio station in Amsterdam, had Coil as in studio guests to coincide with a live performance on the date of 2001 June 01. The program was broadcasted on 2001 June 18 and a four disc CD-R set of the entire broadcast, made by the radio station, was released in an unknown quantity as Dutch Radio4 Supplement. Although part of the proposed album was eventually released as The Ape Of Naples, the material is so augmented that there are very few recognizable samples.
The album was the proposed release on Trent Reznor's former label Nothing Records. However, the release was continuously put off. The Ape Of Naples is considered to be the reincarnation of this demo as it features completely reworked versions of "Heaven's Blade", "A.Y.O.R.", and other songs that are believed to have been originally created around the time of Backwards. "Simenon" and "Bee Has Photos" are built largely on the foundation of the song "Protection" which was released on the single Born Again Pagans.
"Bee Has Photos" and "Eqyptian Basses" are not considered to be officially part of this bootleg as they were released as part of the Songs of the Week download series and not on the supposed original demo. However the version from Songs of the Week is an alternate version, much shorter in length.
On the live Coil album, Live Three, a song called "Backwards" is performed. This song is an incarnation of the songs "Simenon" and "Bee Has Photos".
This bootleg comprises the material for an album with several proposed titles, such as "International Dark Skies", "God Please Fuck My Mind For Good", "Fire Of The Mix", "The World Ended A Long Time Ago" and "Backwards". Other proposed titles are also possibly referenced by this material.
http://www.mediaf!re.com/?domvdjr2yttBackwardshttp://www.mediaf!re.com/?2wyydbndwmo
For years Thighpaulsandra has been an enigma. He's been Julian Cope's mohican haired keyboard player performing on most of the Arch Drude's output since Autogeddon. With Cope he formed the glambient supergroup Queen Elizabeth, filling their eponymous CD and subsequent Elizabeth Vagina CD with deep ambient drone. With Cope switching his attention to book writing Thighpaulsandra joined erstwhile Spacemen Three member Jason Pierce, in his space rock group, Spiritualized, initially as a replacement but now as a full-time member lending his keyboard wizardry to various Spiritualized releases including the Abbey Road EP and the Live at the Royal Albert Hall CD. He survived the Spiritualized schism and has contributed extensively to the forthcoming Spiritualized release with both his keyboard and orchestral scoring skills.
In 1998 he contributed to Coil's (at the time) ultra-limited Astral Disaster vinyl release. He forged an immediate psychic kinship with John Balance and as a result was invited, and duly accepted, John Balance's invitation to join Coil as their permanent fifth member. "Pentagrammatical. Complete," commented Balance. He's since recorded with Coil on the two volumes of the Musick To Play In The Dark series. Last year he debuted with Coil at their magnificent Time Machines performance at the Royal Festival Hall, London, as part of Julian Cope's Cornucopea event. The night before not one but three Thighpaulsandra's (work that one out) joined Queen Elizabeth to perform Temple of Diana.
On Eskaton, Coil's imprint, Thighpaulsandra released his debut EP, Some Head. Black Nurse unfolded through ambient drone, treated vocals, and touched upon world music in an almost 23 Skidoo fashion. Tudor Fruits, meanwhile, ranged from brass deconstruction, massed choirs to spoken words delivered in a random manner. Some Head was imaginative and confusing but gave scant indication of what to expect from I, Thighpaulsandra.
Encased in a lavish fold-out sleeve with a robed Thighpaulsandra brandishing a magickal wand on the cover, and an insert that curiously resembles Crowley's ,"Four Red Monks Carrying A Black Goat" is I, Thighpaulsandra. I, Thighpaulsandra is a sprawling double CD set bursting with inspiration, ideas and versatility. It eschews genre categorisation and is a testament to the imagination and musical dexterity of Thighpaulsandra.
A flickering guitar scale, and the operatic tones of his mother, Dorothy Lewis, opens the album amidst various tinkering tones and ambient drones. It's idiosyncratic, obtuse, and gives way to the rampant funk of The Angelica Declaration. With its abusive anarcho vocal over brass derangements and excited mellotron stabs it announces the arrival of Thighpaulsandra. It's followed by the electronic manipulations of Optical Black featuring a heavily processed John Balance vocal with oppressive keyboard flourishes, aggressive rhythms and deep bass. After the scratching/scraping strings, marimba and clarinet of Abuse Foundation IV, the first of several lengthy tracks appear. Opening with electro buzz it gradually seeps into the space rock of Michel Publicity Window, with funk guitar, bass throb and a Thighpaulsandra pop vocal (sounding not dissimilar to Cope) before dissolving in a haze of electro feedback.
Terrible opens the second disc with the sound of lapping water (recorded by Cyclobe's Simon Norris), a piano and, a moody melodic vocal. We The Descending is another 'out there' pop song, all keyboard beats, soaring guitar fuzz and the occasional bleating sheep. Perhaps the squealing acid rock of Home Butt Club is an oblique reference to the Butthole Surfers. It's certainly as warped. Nestled between is the otherworldly minimal vapour trail of Limping Across The Sky, a sole Thighpaulsandra composition - that originally appeared on the giveaway Cornucopea CD. It then dissolves into the cosmic jam of Beneath The Frozen Lake of Stars with Cope's doubleneck guitar, a theremin and a full-on rhythm section.
I, Thighpaulsandra straddles so many styles of music - experimental, krautrock, space rock, classical, jazz - but ultimately exists in its own universe. It's a shimmering kaleidoscope of sound, as unique as its creator. With Thighpaulsandra's use of Hammond Organ, Synthesizers, Vox Organ and such like it'll take a lifetime to unravel the layers of sound herein - that this review only hints at. Adventurous ears will delight in what Thighpaulsandra has created here, it is truly wonderful. There's little chance of there being a more adventurous CD all year. "A fanfare of trumpets herald my arrival," he boasts on The Angelica Declaration. Perhaps he's right.
http://www.mediaf!re.com/?jcuiimjnymw(part 2)http://www.mediaf!re.com/?zznjmeylu42"Choir" is a bit of a misnomer; the only voices on this recording are sampled and digitized. Still, if the literal existence of the choir is questionable, the pedigree of its conductor is not; The Threshold HouseBoys Choir is the new project of Coil co-founder Peter Christopherson, and marks his first new work since the 2004 death of former partner Jhonn Balance. It's hard not to draw comparisons. The arrangements on Form Grows Rampant, especially the use of marimba on "A Time of Happening" and sustained hurdy-gurdy on "As Doors Open into Space," recall the understated majesty of late-period Coil; on a less concrete level, so does Christopherson's uncanny ability to wring a deep sense of bittersweetness from seemingly simple synth arpeggios. The Threshold HouseBoys Choir is its own animal, though; make no mistake of that. An essential part of Coil - Balance's voice - is unmistakably absent, and in its place, exotic chants, ranging from the buzzy, psychedelic monotone to ethereal operatics. There's an obvious ethnic vibe, inspired by Christopherson's new home in Thailand, but this isn't world music by any stretch of the imagination. Form Grows Rampant was originally created as a film soundtrack, not an independent music piece, and it's when the accompanying DVD is viewed that the scope of Christopherson's achievement becomes apparent. Christopherson shot the video footage at the Vegetarian Festival - which has a lot fewer tofu products and a lot more extreme body piercings and self-mutilation than you might expect - in southern Thailand's Krabi Town, and despite the seeming violence of the flagellated bodies, pierced cheeks, and razor-sliced tongues, there's a sense of tranquility in the imagery that's brought out by the gentle bass lines and airy piano chords. Rather than portraying the brutality of the rituals as seen by outsiders, Christopherson's music brings the viewer into the heightened consciousness of the ritual participants. Form Grows Rampant is beautiful; even people that ordinarily shy away from experimental music can appreciate these gentle bass thrums and otherworldly religious chants. Perhaps more valuable though, is this work's ability to communicate to the listener some small sense of that transcendence which inspired it.
http://www.mediaf!re.com/?ihmitcfhzynThe set looks pretty special; the four 3” CD-Rs are enclosed in a clear, plastic amulet with a gold band holding the container closed. Also inside is a small, signed piece of paper with the tracklisting and a sticker. A black velvet-like bag keeps the whole thing safely snug. Once I had pried the amulet open and had a listen, I was immediately impressed. While the note with the set clearly states that these are sketches for a new soundtrack Christopherson is working on for a film he intends to shoot about temple tattooing in Thailand, the pieces hang together particularly well.
Overall, Christopherson has continued with the post-Industrial exotica style (to borrow a phrase from Jonathan Dean’s review of the first album) but things are less hectic here. The mutated Thai boys’ voices are again a key feature and Christopherson’s beloved string samples make another appearance but a far calmer course has been taken by this choir. Of course, it is impossible not to compare Christopherson’s current work with the music of Coil and fans of Coil will not be disappointed in his current direction. There are nods to Coil classics, the mood is similar in vein to the Musick to Play in the Dark albums and "Distonto" on the fourth disc is very much reminiscent of “Chaostrophy” (on Love’s Secret Domain). The strings and liquid, nocturnal mood capture the same nightly essence of the LSD album.
However, it would be a mistake to simply write off The Threshold HouseBoys Choir as Coil Mk.2. Christopherson is clearly being affected by his new life in Thailand and this shows in the music. This collection and the Form Grows Rampant album have a far more languid and tropical vibe to them compared to the pastoral and urban directions that Coil went in (and I get the feeling that Christoherson’s exotic side is tempered in SoiSong by Ivan Pavlov’s colder approach to music). What is most striking about this music is the joy that shines through it. “The Hangman’s Ball” starts off as being quite restrained in tone but before long a powerful and undeniably ecstatic trumpet erupts from the heavens (albeit the trumpet sounds programmed but the sentiments still ring true).
Although initially only available at the Brainwaves festival, a further 155 copies are to be made available online for those unfortunate souls who missed out on a rather extraordinary live performance by Christopherson. Those despairing of the limited numbers can take solace in the fact that this music is intended to be finished and (by my reckoning) most likely will appear in a similar fashion to Form Grows Rampant. Completists can head over to the Threshold House store and start hitting the F5 key now...
http://www.mediaf!re.com/?miztzzygyem
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?crb5o86ssrffqn0http://www.mediaf!re.com/?5dzfrkz58we8caphttp://www.mediaf!re.com/?n5jjzjvjnyh
http://www.mediafire.com/?55297zxnrr4xq28http://www.mediafire.com/?aifvc5121d8i54mhttp://holdtight.bandcamp.com/album/cant-take-this-awayI've only heard Scenes From Hell, but could not for the life of me get into it.
http://www.mediaf!re.com/?y3aq0zd8467bqdqhttp://www.mediaf!re.com/?jbxy2lpn2862umiUncompromising sound artist Ivan Pavlov, aka CoH, releases his latest body of work in a special edition for France's Rotorelief label, housed in a stunning and unique pop-out digicase CD design. While relating to the release of Takahashi Miike's 'Zebraman 2' - a low budget Japanese superhero farce - 'Z-Rated' also doubles as a compilation of rare and previously unreleased early material dating from 1992 right up to 2009. If you've followed CoH's records over those years, you might know to expect the most advanced computer music and dynamic digital sonics sculpted with an innately playful, and eternally baffling sense of composition, an aesthetic which has marked him out as one of the worlds foremost and distinctly individual electronic musicians. Inside this disc you'll find two tracks from 1992; the almost Raymond Scott-like zaniness of a previously unreleased and untitled composition recorded at the Dept. of Acoustics, University of Nizhny Novgorod, made without a soundcard and mixed through the internal speaker, and another equally nutty ''92 track apparently recorded in an "attempt at sonic humour". Further in we find two versions of a track commissioned by Coil's Jhonn Balance for a project called 'Star Shaped Individual In Society' which never actually materialised, besides his meditation on the Japanese martial art Aikido. Fast Forward a few years and there's his awesome extraction and abstraction of The Beatles on 'The Dakota Strawberries' from 2004, besides a tribute to Mika Vainio and Jimi Tenor's 'Kocmoc' taken from his explorative 'Electric Electric' 12" on Mego, and again, plenty more artifacts of utterly inexplicable and completely compelling electronic music. Heartily recommended!
http://www.mediaf!re.com/?8p9j5nmo8m0zbgrAutonomic's exceptional taste for the techiest riddims around finds Distance killing it on their latest plate. While his tracks are always built to the most exacting specs, we've always been after more than the halfstep thing from Distance, which is why these two productions are such a blessing. 'Skys Alight' ups his game with the craftiest swagger imaginable, setting proper tech-stepper patterns and highly affecting bursts of Autonomic-standard synths. On the flip '1 Regret' sets augmented Photek-style drum syncopations against a backdrop of warehouse-ready bass snarls. Both cuts are as solid as anything we've heard from the label yet, and highly recommended to fans of T++, DBridge, or Instra:mental.
http://www.mediaf!re.com/?3u94dpogffbff4oSolid dubstep tools from Seven on Black Box. The choice cut is 'Sinister', an uptempo roller punctuated with skull-splitting snares and ghostly rattling percussion to suit the midnight rave vibes, while 'Abduction' is more on the big intro, build-and-drop halfstep tip, bearing a mammoth subbass heave and super crisp percussion. One for fans of V.I.V.E.K, Vex'd, Hatcha, or Youngsta.
http://www.mediaf!re.com/?xn4dmglwxvj44l6http://www.mediaf!re.com/?2niedsxb621b7w6http://www.mediaf!re.com/?ot6lesaste3mxdeTom Trago's Voyage Direct series serves a truly awesome take on the oft-sampled 'Love & Happiness' soul classic from House Of Jezebel aka Legowelt. Before checking the sales notes we could have sworn this was some long-lost original House classic coz Legowelt's production is just SO vintage sounding! On the flip there's an instrumental, but seriously, what's not to love about that vocal?! Check the sample and fall under its spell... Well recommended!
http://www.mediaf!re.com/?lnxnxp4edw38z3pMan-like-Martijn Deykers slinks into motion with two outright killers on 3024. Remarkably, this is Martyn's first solo 12" of 2010, a year in which he dropped a crucial Fabric mix and expanded his label's horizons to draw blunted and Techno sounds into the fold. With 'Left Hander' he cuts in from a broken house angle, sharing certain rhythmic traits with Altered Natives while firmly retaining his feel for soulful, classically-informed Detroit melody in grand style. On the other side, 'Shook Up' goes one step duttier, dragging the drums down to a gruffly accented swing while sly strings, twinkling keys and fluttering synth motifs imagine some infectious fusion of mad effective South London and Detroit disciplines. Basically, this 12" is lethal and your turntables want it, badly!
http://www.mediaf!re.com/?ak26atagmsm7danhttp://www.mediaf!re.com/?977rk3zewphf3z9n 2010 there's a been a fair flurry of interest around London/Glasgow's 8Bitch. With an inclusion on Mos's 'Adventures In Dubstep' comp and tracks offered on the promising Svetlana Industries, the Slovenian ex-pat has established herself at the leading edge of electronic UK club music. 'Equinox' is her debut proper, a four-track introduction to an energetic and confidently abstract sound. Bass serves only a functional presence, as all the propulsion and bristling energy generally comes from the mid and upper echelons, as with the glitching textures and tweaky space melody of 'Orpheus', or the angelic R&B vox and bustling tribal drums in 'Hathor'. Again the rapid-fire rhythms of 'Astarte' seem to jit so hard it feel like they're gonna evaporate with sheer excitement and the glistening 'Isis' highlights just how sweet her melodies are to the ear. Unfortunately, 'Equinox' is limited to 250 hand-numbered copies for the world, so get in quick because we think this might be one you'll kick yourself for missing.
http://www.mediaf!re.com/?d7z2zc9da2sk2be
http://www.mediafire.com/?2s3urdmx3aqz21x80s-inspired electronic producer
http://[email protected]/?6vegs5svrpiiaguYes, that David Lynch.
Numbers finally drop the rampant 'Theme EP' by underground lynchpin, Slackk!!! If you've had your ear to the ground then Slackk's productions have been unavoidable, regularly turning up in the sets of Marcus Nasty and Jackmaster. After years hosting the awesome grimetapes.com, his own productions arrive at a deadly conclusion of ruffed-up tribal House and Eski memes hitting squarely between the eyes of Grime and Funky. The label understandably compare his sound with the fury of classic UR tracks like 'Riot' or 'The Punisher', but there's also a distinct seam of sussed Chicago jack in there too, referencing the likes of Tyree's 'Video Crash' or Steve Poindexter's 'Work That Mutha F*cker'. Essentially it's their raw and direct effect that warrant those comparisons, from the oozing sewer synths and riddimic ructions of 'Theme From Slakk' to his outstanding "Eski-House" tribute to Wiley on 'Fire Flies'. This guy doesn't f**k about, and his debut is one of the most scintillating dancefloor efforts we've heard all year.
http://www.mediaf!re.com/?z8uj7c6wd0yje8q
http://www.mediafire.com/?64n33l35la8t3rm
Michael Cassette - Temporarity (2010; 320kbps)
David Lynch - Good Day Today b/w I Know
http://www.mediaf!re.com/?yvv5zw3e25530ch
David Lynch - Good Day Today b/w I Know
THIS IS SO GOOD.
Michael Cassette - Temporarity (2010; 320kbps)
Um this isn't actually 320kbps
http://www.mediaf!re.com/?x904uvalhkrc81j
Download: http://www.mediaf!re.com/?zmm0kt0rnzjDownload: http://www.mediaf!re.com/?1o3r0794fuisedl
MySpace: http://www.myspace.com/bearhandsband
Pitchfork Review: http://pitchfork.com/reviews/albums/14879-burning-bush-supper-club/
http://www.mediaf!re.com/?z5zmcrz3zimhttp://www.mediaf!re.com/?jgimgw1kmynhttp://www.mediafire.com/?57hhu93s3qsio99
also
Iron & Wine - Walking Far From Home (2010)
Not such a big deal since the bonus track was the only one in 320Michael Cassette - Temporarity (2010; 320kbps)
Um this isn't actually 320kbps
Hm shame, the site I got it from is usually reliable so I took their word for it.
Cheers for pointing that out,will go have a nose around and replace the link when i find the 320sreplaced the album link above, although the bonus track isn't on this version so there will be one less track if you re-download, this is normal. :)
http://www.mediaf!re.com/?wnf2ugg2h5e4z87http://www.mediafire.com/?m8etv10ze0wv154http://www.mediafire.com/?hspxeoyf9m3lunxIn recent years, lyrics have taken a backseat in musical ventures. Most listeners are more than overjoyed if a band lays down a clever pun, witty lyric, or a deep thought now and again. At long last, a band is reawakening an ages-old beast. Iceland's Dikta is finally bringing story-telling back to music. While a few bands of late seem to be grasping desperately onto the idea of a concept album, Dikta has their arms wrapped tightly around the one-song, one-story concept. Each track on Hunting for Happiness tells a completely different story, yet always finishes what it starts. The fact that the music is pretty fantastic, though not visionary, only makes the record that much more enjoyable.http://www.youtube.com/watch?v=hRCBCGbllNU (http://www.youtube.com/watch?v=hRCBCGbllNU)
Some of the passages might be a little more musically-intellectual than others, but this is by no means an inaccessible record. "Chloe" is probably one of the most easily-enjoyed tracks on the record, as it contains plenty of crunch, bounce, and vocal aggression that should satiate any listener. Herein lies the true beauty of Dikta: They are artistic without being snobby, intellectual without being elitist, inventive without being weird. "This Song Will Save the World," in title, may seem overly pretentious and self-absorbed, but, when backed by lilting keys, down-played horns, and a supreme vocal swagger and warm guitar tones, it comes off as nothing but a great ballad, with no sense of grand self-importance.
Dikta is musical magic. They never stammer, never take a poor step, and manage to combine so many of the small things which make music interesting. Slap all that together and you get one of the most intriguing albums of the year, a forerunner in the race for top honors, even if there are more astonishing musicians in the world. If you've been in a musical drought, find a new Dikta ride and pick up Hunting for Happiness.
http://www.mediafire.com/?ppwk583gdld175rDikta are a band with heart and soul, enormous vocals and sweeping sounds. Last year they filled The Art Museum with a noise that headiners Vampire Weekend and CSS struggled to match when they followed onto the stage. They're a band on top of their game right now"http://www.youtube.com/watch?v=Yx4KoRbh0cE&feature=related (http://www.youtube.com/watch?v=Yx4KoRbh0cE&feature=related)
Power-pop brigade daring to have a political agenda and knowing exactly how to not overdo it. Big songs delivered with superb confidence and lead singer Haukur Heiðar Hauksson shining bright"
http://www.mediafire.com/?nd8nktinnd5j4nqLike many Morr Music artists, Iceland's Borko straddles the line between homespun electronic pop and post-rock deftly, combining glitchy beats, winsome melodies, and quirkier flourishes like brass and xylophone into comfortable-sounding, but never boring, music. Celebrating Life recalls the work of Borko's fellow countrymen Múm, although his tenor vocals give his music a more grounded feel than Kristín Anna Valtýsdóttir's fairy tale soprano had on albums like Yesterday Was Dramatic -- Today Is OK. Borko's sound is also more wide-open and active than some of his other, more precious contemporaries, and his fondness for big rock drums and urgent guitars -- especially on the album opener "Continental Love" -- suggests a more whimsical Mogwai. Celebrating Life isn't without precedent, but that doesn't make it any less enjoyable. Borko has a real gift for emotive melodies, especially on "Spoonstabber," which sounds like a post-rock torch song, and an equal talent for engaging arrangements; Celebrating Life's centerpiece "Sushi Stakeout" builds from watery electronics to shoegazing guitars, takes a detour into intricate prog rock, then finishes as delicate folktronica. While most of the songs follow a similar formula of beginning with small electronic structures and growing into larger, rock-dominated sounds, Borko's playfulness goes a long way towards making the album unique: the saddest-sounding song is called "Ding Dong Kingdom" and borrows from the chorus from Lionel Richie's "Hello," but none of that lessens its yearning. Best of all is "Hondo & Borko," which closes the album with an utterly joyous mix of groovy basslines and gentle brass that starts off mellow, then tips with a rollercoaster rush into bittersweet but jubilant guitars and rollicking drums as Borko lists some of the things that make life great (including drinking, ice cream, and children). It's a sweet finish to an album six years in the making.http://www.youtube.com/watch?v=OY54kFQecp4&feature=related (http://www.youtube.com/watch?v=OY54kFQecp4&feature=related)
http://www.mediafire.com/?mcxrditmeom1xoyWhile Iceland may be in the middle of a freezing Northern ocean, warm and bright electronic lo-fi pop music is radiating from Reykjavik from musician Einar Tonsberg, also known as Eberg. His laptop his muse, Eberg’s style has captivated indie music mavens in the UK and avid watchers of the famed television show “The OC”, along with citizens of his home island country. Somber sometimes, soaring at others, each song on his newest album, Antidote, defines his new, matured with age style. “The Right Thing To Do” has got a steady movie soundtrack style beat and an interesting vocal tone, a bit dark but empowering nonetheless, a la The Postal Service. “Reykjavik” is a charming, vocally driven song, reminiscent of some of Sufjan Steven’s tone and style. “No Need To Worry” culminates Tonsberg’s maybe unintentional, but clear musical reference to the work of the late Elliot Smith. Tonsberg departs from Smith’s, Stevens’ and The Postal Service’s style to create a newer, modern, and pleasing adventure of an experimental album. While some songs are laborious and avoidable, for the most part, Tonsberg leads the listener on a worthwhile journey through his mind and music. With 3 albums under his belt and an ever-evolving style, Antidote, Eberg’s latest album, is an album to be listened to in its entirety, without that larger auditory struggle that many records entice. And now, with new management in the UK, Eberg is sure to hit the high life of indie subculture sooner than later.http://www.youtube.com/watch?v=MPfOIRklPWY (http://www.youtube.com/watch?v=MPfOIRklPWY)
http://www.mediaf!re.com/?cm7b3vo1ccra44ewww.mediafire.com/?d00nz5jmykzhttp://www.mediaf!re.com/?cm5j237dzz01a1hhttp://www.mediaf!re.com/?f23azipw8x3m3hq
http://www.mediafire.com/?4eyud2648pat2qgReview: http://www.grapevine.is/Author/ReadArticle/music-sonically-speaking (http://www.grapevine.is/Author/ReadArticle/music-sonically-speaking)This is Ensími's second album. The great man Steve Albini (Pixies, Nirvana and Page & Plant) produces five tracks on the album. Ensími was voted Iceland's Best Newcomers in the Icelandic Music Awards in 1998. A great follow up to their last album.
http://www.mediafire.com/?eq483bmfv75vqychttp://www.mediafire.com/?mf4uha4v0mi6cb3gaydarMan you bring this up unsolicited way too often.
http://www.mediaf!re.com/?htdjjjm4mnyhttp://www.youtube.com/watch?v=GDKBdJvkX-0&feature=relatedhttp://www.mediaf!re.com/?ei9zzfm0n0mhttp://www.youtube.com/watch?v=tDnpLEgwHIQ&feature=relatedhttp://www.mediaf!re.com/?mumyl3zyddehttp://www.youtube.com/watch?v=-NG4YFeWWashttp://www.mediaf!re.com/?zyjkghzd0mthttp://www.youtube.com/watch?v=cNfvTwRv1bEhttp://www.mediaf!re.com/?yy2lm12jy2ohttp://www.youtube.com/watch?v=Vc98PUkovw8http://www.mediaf!re.com/?mbnr0om4gkxhttp://www.youtube.com/watch?v=DPMnK7DZBEchttp://www.mediaf!re.com/?1iotmnwhjbghttp://www.youtube.com/watch?v=V-LDLu6Tqdchttp://www.mediaf!re.com/?2azozjymoia
As good as some of that music is, you're still a tool.
The Naked and The Famous - Passive Me : Aggressive YouCode: [Select]http://www.mediaf!re.com/?jg6g6xssa1r8x8p
(http://img130.imageshack.us/img130/4495/philipriversstoked.jpg)You know we have a Hardcore thread right
Alli you just made my day thanks my gaydar has been pinned in the red with all this folk and "dub-step" pr0n tunes
Sounds like Trent Reznor/Primal Scream/Pinback went into the studio and made Failure and Hum worship
Always clad in a fuzzy (and mildly psychotic-looking) rabbit mask...Nobunny is a one-man pop-punk onslaught whose simple, infectiously hooky tunes and lusty outlook have earned comparisons to the Ramones, Hasil Adkins, and the Cramps...Nobunny is the alter ego of Justin Champlin, who was born and raised in Tucson, AZ, and relocated to San Francisco, CA. Champlin first made a name for himself as the drummer with garage punks the Okmoniks and later co-founded the Sneaky Pinks, a two-man punk-pop party machine. With Nobunny, Champlin streamlined the concept of the Sneaky Pinks by paring the consistent lineup down to just one person.. Sometimes working solo and sometimes backed by a constantly shifting group of musicians, Champlin has been performing as Nobunny since 2001...
http://www.mediaf!re.com/?mzbzjn0mjyihttp://www.mediaf!re.com/?zuoliumjmtghttp://www.mediaf!re.com/?zbmus9ugiwtu0p2Nobunny's newest and quite possibly my favorite album. It has more polished production than previous efforts (Actual drums, oh my!) but the songwriting and musical variety are level above the others. Highlights include "Ain't It A Shame," "Blow Dumb," "Breathe" and "Pretty Little Trouble." Welll, regardless, I am very grateful for the service you provide us, despite my frustration at the temporal impossibility of enjoying and digesting all you offerSeconded.
http://www.mediafire.com/?k2kaxzx4r8de3fy
First is a live set recorded on 11/11/2010 at the Chapel of the Holy Innocents at Bard College in Annandale-on-Hudson, NY. The trio is Moore and Bill Nace playing guitar and Chris Corsano on drums in a single, continuous, improvised set just shy of 50 minutes in length. It starts quietly, electronic creaks and beeps bubble and skitter over softly scattering snares and cymbals. Slowly but surely the set becomes more manic, more unhinged. Processed, pedal heavy high end guitar noises becomes more insistent: a distant, mangled siren call, the cheeping of robotic sparrows, an undulating metallic hum and the methodical, plodding drumming of Corsano all become almost hypnotic. The set trades off, some moments of spooky calm, others of skronking, noisy mayhem. About halfway through a wall of static shoots through the sound and ushers in the second act. It starts off full of low end menace and mutilated radio static, delves into near drone-like territory, slowly builds into something massive and vicious, a snarling tangle of roaring static, pulsating feedback, desperate air-raid siren calls, lumbering, thudding drums buried beneath. Finally things shift again and it sounds like a field recording from a inside some insane garage with never before seen power tools whirring away, chewing up metal until in the final minutes the machines start to collapse, belts fly off wheels, gear and cogs slip and grind until, at the very moment of total collapse, everything is reigned in and in a bubbling, pinging woosh, it ends. Easily one of the best live performances I've seen this year!
http://www.mediaf!re.com/?x1du17l22x6izl9 (note: Bill Nace is erroneously listed as Ben Nace in the tag. Didn't realize this until after it was uploaded. Change at your discretion).Next is "Courtney Love Killed da Cobain" again featuring Moore and Bill Nace on guitar this time with Paul Flaherty on alto and tenor sax. Similarly awesome, perhaps a little more out of control than the above set. Somehow Corsano's methodical drumming had a propulsive effect and drove the piece above forward. Here there are no boundaries. It certainly doesn't suffer for it but it's a very different listening experience. Three tracks in increasing length (3:38, 24:23, and 40:45) making it a good 15-20 minutes longer. It's brilliant but an exhausting listening experience. Flaherty's sax pierces and jabs, skreeing over searing high end guitar feedback and chugging, pummeling low end reverb. The soundtrack to society collapsing, perhaps? Completely brilliant!
http://www.mediaf!re.com/?bvlub2psu9w3yme#2
http://www.mediafire.com/?b7k98pxlzzalttchttp://www.youtube.com/watch?v=kDwKySSxe7o (http://www.youtube.com/watch?v=kDwKySSxe7o)http://www.mediafire.com/?k1sdh741szh605uhttp://www.youtube.com/watch?v=sGoP1lEHPZ4 (http://www.youtube.com/watch?v=sGoP1lEHPZ4)http://www.mediafire.com/?w7te18n9tceootvhttp://www.youtube.com/watch?v=tQvVoURwZy8 (http://www.youtube.com/watch?v=tQvVoURwZy8)http://www.mediafire.com/?bz4ysq5nfa4veechttp://www.youtube.com/watch?v=9tLmcSIMDKo (http://www.youtube.com/watch?v=9tLmcSIMDKo)Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
Sing the phrase "I'm just a Bill, yes I'm only a Bill" to any American between the ages of 25 and 40 and they'll answer "and I'm sittin' here on Capitol Hill" without thinking twice. "I'm Just a Bill" was only one of dozens of School House Rock! animated videos that ran on ABC Saturday morning TV throughout the '70s ...
Beyond the undeniably delicious nostalgia trip, the compilation shows the surprising songcraft of the original tunes. The fabulous "Interplanet Janet" performed by Man or Astroman? could easily be mistaken for a proto-punk space saga. Matching the songs with alt-pop darlings like Better Than Ezra, Ween, Buffalo Tom, and the Lemonheads is a logical progression, continuing the tradition of melody-centered pop carried by earnestly pretty singing.
There are also some great surprises. Biz Markie turns in a stride piano version of "Energy Blues," which sounds remarkably like the original. Moby udpates "Verb:That's What's Happening" with an Ant music beat and crackly vocal effects. Blind Melon is perfect for the '70s feel-good vibe of "Three Is a Magic Number." It's proof of the power of nostalgia when a song about multiplication, with its rolling jam-band rhythms and naive imagery of a nuclear family "a man and woman had a little baby/and that's a magic number," along with Shannon Hoon's wispy vocals, has unexpected resonance of lost childhood.
1. "Schoolhouse Rocky" - Bob Dorough and Friends
2. "I'm Just A Bill" - Deluxx Folk Implosion
3. "Three Is a Magic Number" - Blind Melon
4. "Conjunction Junction" - Better Than Ezra
5. "Electricity, Electricity" - Goodness
6. "No More Kings" - Pavement
7. "The Shot Heard 'Round the World" - Ween
8. "My Hero, Zero" - The Lemonheads (with Melissa Auf der Maur and Gibby Haynes)
9. "The Energy Blues" - Biz Markie
10. "Little Twelvetoes" - Chavez
11. "Verb: That's What's Happening" - Moby
12. "Interplanet Janet" - Man or Astro-man?
13. "Lolly, Lolly, Lolly, Get Your Adverbs Here" - Buffalo Tom
14. "Unpack Your Adjectives" - Daniel Johnston
15. "The Tale of Mr. Morton" - Skee-Lo
http://www.mediaf!re.com/?7pcaq33d0evm8nd
http://www.mediafire.com/?7addiwpqnqsmj3aYou must download this if you like Made Out of Babieshttp://www.mediafire.com/?ajjggub1ai9dwn2Really great Japanese hip hop, in the vein of the late nujabeshttp://www.mediafire.com/?5qbclb6ylctgd5zBandcamp (http://wearedangers.bandcamp.com/album/messy-isnt-it)http://www.mediafire.com/?m59acl80bvacuaoListen to the whole thing on their website (http://www.circasurvive.com/album/blue-sky-noise/)http://www.mediafire.com/?5gajc0jk7f8m33kDown (http://www.youtube.com/watch?v=Z1Ysf-S9QPk)http://www.mediafire.com/?q7v647ga78vxdd3http://www.mediafire.com/?iz175s11mz1nwdb(http://img130.imageshack.us/img130/4495/philipriversstoked.jpg)(http://imgur.com/uv5xF.gif)
Alli you just made my day thanks my gaydar has been pinned in the red with all this folk and "dub-step" pr0n tunes
Sounds like Trent Reznor/Primal Scream/Pinback went into the studio and made Failure and Hum worship
http://www.mediafire.com/?ug3c0sy885takg1
http://www.mediafire.com/?19qnm0y3voj886m
We've got a tiny handful of the latest Semantica release, courtesy of Instra:mental. 'Sun Rec' sees the duo swing into mid-tempo mode with cruising machine breaks offset by trickling IDM-esque synth arpeggiations. 'Love Arp' pays tribute to one of their favourite boxes at a 130bpm electro flex with spiraling synth twists and their characteristic melodic shifts. Comes housed in plain card sleeve, get one while you can.
http://www.mediafire.com/?emeqh587bullurwHi-concept inter-dimensional disco-tronic fusions from Space Dimension Controller, aka Belfast's Jack Hamill. The young producer has created something quite special for the second release on Kinnego Records (run by Boxcutter and friends) taking cues from jazz-fusion inspired disco-house, electronica and perhaps a touch of the auld dubstep to create two gorgeous groovers with an uncannily well-defined character. A-side 'The Love Quadrant' contains the space-waif vocals of Kat Kirk over skweeed purple synths with distant keys and a grandly spacious atmosphere backed up by a story that we won't go into right now (you'll have to buy it to find out!), while the flipside takes a more abstract and dubbier option overidden by a uniquely odd sense of melody and harmony with a strange metallic sound sphere. Maybe the best way we could put it would be if Boxcutter met Black Devil Disco club for a session on Mir, and Buzz Aldrin recorded it from the next pod, it may sound like this. Check!!
http://www.mediafire.com/?e3ieri8q8vgihalRamadanman switches to his Pearson Sound alter-ego for two killer Juke-infused roll-outs on Hessle Audio. 'Blanked' is the one you want, mapping percussive patterns somewhere on the cusp-of-'ardcore-and-garage, and Chicago Juke styles with a stunning midway drop sounding like early '90s Autechre pads. 'Blue Eyes' takes the flipside for a straighter revision of the Juke sound with brittle, splintered rhythms and succinct synth drops and that infectious female vocal snippet, but for the most part this is just a perfectly formed naked roller ready for mixing by able DJs. While the distinctions between his two sonic personalities are becoming blurrier, there's a much-reduced aesthetic to these tracks that set them apart from pretty much all his recent material, making this a certified winner. Big twelve!
http://www.mediafire.com/?97jz15g3k1gb52q
http://www.mediafire.com/?wd5a221ncxeqrvc
http://www.mediafire.com/?m3ixrtaxjciadyrTo mark the imprint's 10th anniversary n5MD has assembled a very special compilation with a slightly different viewpoint. “The Reconstruction of Fives” features songs from the n5MD catalog covered by a hand picked group of like minded and personally admired artists. Pale Sketcher (Justin Broadrick/Jesu/Final), Nadja, Architect (Daniel Myer/Haujobb), worriedaboutsatan, Bersarin Quartett, Ben Lukas Boysen (Hecq), Jasper TX, Rafael Anton Irisarri (The Sight Below), Boy Is Fiction, and Miwon all re-envision their favorite n5MD tracks in their own signature styles. Two of n5MD latest signings Dalot and Winterlight also weigh in on covers from two of the label's alumni. A different perspective on n5MD's output which is a must have for fans of the label or any of the participating artist's bodies of work.
http://www.mediafire.com/?q8tcdjl7i39nm81^ http://www.youtube.com/watch?v=8huZw7W3_pc
http://www.mediafire.com/?cmtfpy08oqiz8cv
http://www.mediafire.com/?ba2949dhfor21shhttp://www.youtube.com/watch?v=brOt1Tlm8lI (http://www.youtube.com/watch?v=brOt1Tlm8lI)http://www.mediafire.com/?75de7ea24rkk9cahttp://www.youtube.com/watch?v=x0uZbYf23I8 (http://www.youtube.com/watch?v=x0uZbYf23I8)http://www.mediafire.com/?nk8uiibe1zoltgmhttp://www.youtube.com/watch?v=KKtg-TdUxVk (http://www.youtube.com/watch?v=KKtg-TdUxVk)http://www.mediafire.com/?ejaaw0rae371h8zhttp://www.youtube.com/watch?v=PHT_NNx7XVw&feature=related (http://www.youtube.com/watch?v=PHT_NNx7XVw&feature=related)http://www.mediafire.com/?2wh0bblv5u0418dhttp://www.youtube.com/watch?v=6imUqGCNMGg (http://www.youtube.com/watch?v=6imUqGCNMGg)http://www.mediafire.com/?elsd8s2wvekb4emhttp://www.youtube.com/watch?v=LpMUsp8e4bg&feature=related (http://www.youtube.com/watch?v=LpMUsp8e4bg&feature=related)http://www.mediaf!re.com/?raa5zda95h1soh5http://www.mediaf!re.com/?czrturdr3cgfmaa
Michael Cassete - Temporarity
Bandcamp: http://lafemme.bandcamp.com/
Download: http://www.mediafire.com/?1en4j18cjj349qq
La Femme - Le Podium #1 : La Femme
(http://imgur.com/i93nU.jpg)Code: [Select]Bandcamp: http://lafemme.bandcamp.com/
Download: http://www.mediaf!re.com/?1en4j18cjj349qq
Apparently it wasn't edited though.
http://www.mediafire.com/?n8jxjs1twb378wbAvailable digitally for the first time, Hype Williams' 'Han Dynasty' 7" tracks, plus a bonus cut not previously available on the vinyl. From the sound of duppied R&B in pt.1, pt.2 fragrances a more secluded post-punk space with zombied bass guitar hook and probably-drooling vocals delivered so slack-lipped and munted that drugs or strong religious invocations must have been involved. Part 3 is the most substantial, wandering along some cheap casio keyboard with a faded baroque, chamber music-like quality that sounds like Spencer Clarke starting to suffer fatigue in the 57th hour of a nonstop ritual performance. If you've not checked it before, these tracks only serve to heighten Hype WIlliams' deeply mysterious and inexplicable style. Awesome.
http://www.mediafire.com/?07i0ts3b1vo7gdmSamhain Slant Azimuth is a 50 track sound and music collage that was performed and mixed by Pre-Cert's Anworth Kirk and Demdike Stare between 23.30 and 00.39 on 31st October 2010 (Hallowe'en). Taped at a mutual domestic residence for the entertainment of family and friends, Pre-Cert have pressed a very limited amount of physical copies available exclusively here. Adhering to their Part Art/Part Trash research model, this 69 minute session delves into the macabre, combining the label's key influences including sound research libraries / V.H.S. video culture / electronic Folkways records / Germanic Kunstmärchen / Italian Fumetti / Indian Horror Films / sound poetry / tape manipulation / outsider art and field recordings to name just a few. Boasting the signature characteristics of Demdike Stare's vinyl trilogy and the newly released Anworth Kirk LP, 'Samhain Slant Azimuth' continues to give a stylistic nod to the folkloric/industrial landscape of the anti-labels local history while providing a glimpse at their soon to be revealed archive of disparate noise.
http://www.mediafire.com/?dcc2xzm8u9dttmkhttp://www.mediafire.com/?tkm38a6552uodc2*First in a series of three albums to be released from Demdike Stare this year - taking in broken sound experiments, unfurled dub and haunted strings...* Lancashire's sons of occult darkness push off into the night with the first in a triptych of spellbinding vinyl-only LP's. 'Forest Of Evil' is a direct elevation and expansion of the ideas expressed on the debut album, 'Symbiosis', literally breaking down multiple elements to run as two extended pices - one on each side, giving more scope to suck us into an abyssal vortex of inky blackness without interruption. The sides are themed as 'Dusk' and 'Dawn', entry and exit points for a trip where owt can happen in between. On the palindromic 'Dusk' tentative strings with one eye on Alice Coltrane imbue an astral sense of wonderment before plunging us head first into the cold water of elliptical percussion. With lungs and ears flooded we're churned in a current of Shackleton-esque percussion at the bottom of a tarn, high in the hills before returning to the coruscating strings on the surface. With 'Dawn' a battery of warlocks forge a martial tattoo, like Regis sent to the dark ages to live out his fantasies with a medieval drum circle. And then, out of nowhere, an ominous veil of layered strings emerges out of nothing to sweep us away with vintage elements and ghostly traces of sound last heard on the sublime last album from the Caretaker as quivering subbass tremors threaten to open the ground beneath the turntable. Approach this when under the influence of magic potions for maximum rewards... Very Highly recommended.
http://www.mediafire.com/?ylwihrhfg1ugjobType records break new ground with Jed Bindeman's Heavy Winged trio. Contemporary avant and heavy instrumental rock fiends will probably be familiar with the group's sprawling, cacophonous mass of CDRs, cassettes and wax for NNF, Digitalis and Aurora Borealis, but unless you're in the band yourself, you've never heard them playing quite like this before. The underground safety net of lo-fi recording techniques has been torn down in order to reveal electrifying sheets of distorted guitar noise and a heavy welt of blast drums with unsettling proximity the listener. There's still enough grit in the recording to demonstrate that we're not listening to a major studio production, but the new found clarity brings us closer to a "real" representation of the group, comparable to actually sitting in the room with them while they power through two extended tracks of transcendent, ritualistic and incredibly dark music. The intuitive balance of fidelity and dirt, harmony and discord makes this album worthy of comparisons with both Yellow Swans and early Mogwai or Sonic Youth, and if that means anything to you, then 'Sunspotted' requires your immediate attention. Highly recommended.
http://www.mediafire.com/?meszfpwc4lg88dbNight Slugs introduce the debut proper from the highly touted Jam City, following his essential estival anthem 'Ecstasy'. While he's been tipped as "the most exciting prospect in House" by the likes of Fact magazine, the three tracks of 'Magic Drops' are fundamentally influenced by early Grime, specifically Wiley's lean and efficient Eski Beat. The lead cut rolls off a damn cold fusion of taut, swaggering crunk snaps and glassy bleeps with glaring robo-grime synthline and a necessary trace of heat from alien-exotic, neon-lit keys. On the flip the equally sparing 'Scene Girl' will make lesser producers blush at his virile R&G moves while the dancefloor won't be able to hold back, and then there's the more dense and menacing '2 Hot', gliding into tranced-out instrumental Grime zones with sublimely suspended halfstep syncopation. You can bet your life there's gonna be some killers from this guy in 2011, but for now this 12" makes us very happy...
http://www.mediafire.com/?xarc1hh0ar1l7rgMichael Cassete - Temporarity
I know this is from a ways back, but man this is good.
http://www.mediaf!re.com/?fhorr65v88b90hv
Expanded digital edition of this dope debut from Light Club, now including remixes from V.C, Grimace, Miramichi and Boss Kite. Like we said before **He gets top marks just for the title of 'Scirroco Night Drive', but the woozy, Carpenter-esque synths and spindly crunk beats reall ain't too shabby either. Following this, 'Sweet' is fonky little Skweee-like HipHop number, but matters get much more muddied with the ghoulish construction of 'Ghost', which sounds like some crooked Benelux darkwave experiment beamed into a wonky 2010, and 'Nick Nolte' is left to dot he Mr. Soft strut in style** For the remix session V.C. gives a lushly smudged revision of 'Scirroco', Grimace reinforces 'Sweet' for the club and Miramichi redoes 'Ghost' with a hero theme propulsion.
http://www.mediafire.com/?zexcsip40etdv20http://www.mediafire.com/?m6xbhhbfxq3u2m8It doesn't get any easier writing about dark-ambient music, and certainly there are only so many adjectives you can usefully throw around the place to describe the music at hand. Often in this genre, what separates the good from the mediocre, and in turn the great from the good, tends to be something intangible that resides within the atmosphere a piece conjures, and (speaking from first-hand experience) trying to verbalise just what that is can often make you sound like a bit of a divvy. Having said all that, Rafael Anton Irisarri's music is rich in imagery, and like Wolfgang Voigt's corpus as Gas it seems to paint a synthesized portrait of a particular place and time without getting too directly involved in it, in the more documentary style of Chris Watson and the like. During The North Bend you'll hear sounds that draw you into natural landscapes, but also muffled micro-melodies and huge, immersive sonic vistas fashioned from gusty electronic plumage. The standard and scope of production places Irisarri within the upper crust of artists in his field, and as with his work as The Sight Below the well-rounded depth of his sound will keep you returning time and time again. From the anthemic, looped fanfare of 'Traces' to the intoxicating, balmy orchestrations of 'Blue Tomorrows', every corner of this album brims not only with artistry and accomplishment but also a stealthy emotive grandeur that holds your attention for long after the record has finished. So yes, it's a struggle to convey the sense of what this music is without getting a little bit wishy-washy or sentimental, but The North Bend is without doubt one of the more worthy albums of its kind and deserving of your full and immediate attention. Highly Recommended.
http://www.mediafire.com/?9213sr6fqbfiiucGorgeously cinematic, beatless ambience from Dutch synth boffin and amateur astronomer Jos Lieferink. 'Glaciers' sounds like it could have taken from a vintage library record, which is kind of explained by the fact that he's been actively making this stuff since the mid 1970s. His contemporary analog, Legowelt, offers a mix of 'Interface Phrase A', adding a Chicago jack engine and his trademark vintage synth works for added drama. Ace.
http://www.mediafire.com/?rbeudygqzh37y4nAfter their incredible dystopian debut crept out of a sewer somewhere, Raime drop the 2nd Blackest Ever Black release, backed with an exceptional Regis remix. 'If Anywhere Was Here He Would Know Where We Are' is another side of hugely evocative dread minimalism, all suggestive tones and ghoulish rhythms writhing somewhere between Dubstep and ritualistic industrial zones. If anything this track offers less melody and even fewer stylistic signposts, while equally creating a greater space for the arcane mind to inhabit. In a stroke of A&R genius, the label has also secured one of Regis' finest remixes of recent years o'er on the flip - and coming from some of his biggest fans, we don't say that lightly. Versioning 'This Foundry' from the 1st 12", Regis dowses for the darkest Techno substance, wading chest deep in dank, fetid and ethereal ambience while propelled by a current of subs-driven steppers techno drums more akin to Shackleton than anything you've heard from him before. Darkside b'stards, your time!
http://www.mediafire.com/?3lckffz7f76wzuaShackleton enters the void left by Skull Disco with the launch of a brand new and somewhat unexpected new imprint: Woe To The Septic Heart! It's become a noticable trend that when Shackleton produces for other labels he tends to adjust ever so slightly towards their aesthetic, but Septic is clearly the place to go for the most esoteric, personal strains of his sound. 'Man On A String Parts 1 & 2' maps out a florid jungle scene populated with telepathic drum circles and spiraling sequences of melodica-like tones organised in ritual formations over a sprawling 10 minute duration. By contrast 'Bastard Spirit' is like the evil character lurking in the undergrowth, beating a super slow and martial bass tattoo with groovesome swagger and all of the melody emitted from tilted percussive timbres and the presence of menacing subbass harmonics, all designed to put dancers in a drowsy, hypnagogic state in order to be infiltrated by the titular entities. With the awesome full colour artwork from Skull Disco sleeve designer, Zeke Clough, this looks like being the start of something very special indeed. Deadly.
http://www.mediafire.com/?e13dv0ppatxc1ryChunky bundle from Starkey, combining his 'Space Traitor EP' 12" with remixes from Egyptrixx, Kaiser, Rudi Zygadlo, ARP101, and Ital Tek. These are some of his first new productions since the 'Ear Drums And Black Holes' LP dropped at the other end of the year, firing out the lurid rave ruffige of 'Robot Hands' and the mad grimey string slashes of 'Holodeck' plus a laidback moment with regular vocalist Anneka. The CD also includes his exclusive 'Lenses', next to the slippin' cyber Funky remix of 'Robot Hands' by Egyptrixx and a splendidly screwed and agitated Wonky revision of 'Paradise' by Arp101. Perhaps most impressive of all is Ital Tek's dread-filled sci-fi-step version of 'Playing With Fire'. Heavy stuff.
http://www.mediafire.com/?itz7e6u5jfpi3o4Second release on Venetian Snares' Timesig imprint is a much touted collaboration between himself and RHCP's guitarist John Frusciante. To date they've only played a handful of shows together, concentrating largely on what sounds they can carve out of a 303 and 808. To be totally fair, 'March_Three-3' just sounds like a typically spazzy V. Snares composition. Perhaps there is an underlying melodic structure which isn't always at the root of an Aaron Funk track, but basically Frusciante's input isn't immediately noticeable. Much the same can be said of 'March_Four', but again, this sounds like it could just be from Snares' Last Step project. Either way, hardly anyone else out there makes music as twisted and beguiling as this, so you now what to do.
http://www.mediaf!re.com/?rjs6sw3svkpo82b
http://www.mediaf!re.com/?ypaj9qyiafcp7az
Michael Cassete - Temporarity
I know this is from a ways back, but man this is good.
I'm also just discovering this (and lovinggg it). Previous link is down, here's a good copy:Code: [Select]http://www.mediaf!re.com/?fhorr65v88b90hv
http://www.mediaf!re.com/?2f4p55xwk23c661
http://www.mediafire.com/?v74cx2dt9jder5hhttp://www.myspace.com/momentumtheband/music/songs/The-Conduits-Lead-66562258 (http://www.myspace.com/momentumtheband/music/songs/The-Conduits-Lead-66562258)http://www.mediafire.com/?r7qy2ew17h873oihttp://www.youtube.com/watch?v=Gf6hS6ZRUr0 (http://www.youtube.com/watch?v=Gf6hS6ZRUr0)http://www.mediafire.com/?ditd1l30il2wd0phttp://www.youtube.com/watch?v=vvEhEraDYJA (http://www.youtube.com/watch?v=vvEhEraDYJA)For those who like The Appleseed Cast, Explosions in the Sky, Radiohead, Pomegranates, Pedro the Lion and Wintersleep.
http://georgerogersclark.bandcamp.com/album/all-ive-known-is-being-alive-e-p (http://georgerogersclark.bandcamp.com/album/all-ive-known-is-being-alive-e-p)
Eglo's enigmatic secret weapon drops three fluoro R&B heavyweights for the future funkateers. From the crushed and discombobulated acid boogie of 'Flush' on the A-side you know this is gonna be a special session, before cruising the interstellar funk vortex to a proper low-rollin' cosmic-gangsta ride on 'Korg-A-Tron'. Finally 'Ac!d' tips the scales back into resplendent Dam-Funk territory, fingers dripping with greazy synth juices but still causing enough friction through fizzing, spasmodic drum machine splurts for that bona fide funk itch. The likes of Benji B, Martin Cark, and Alex Nut are understandably all over this one...
http://www.mediaf!re.com/?3520d458bn6tj7dNot heard from Point B for a while following on from his excellent twelves for Scsi and Combat a couple of years back, with this latest twelve for the Frijsfo Beats imprint displaying a more robust approach to electronic science with a sound somewhere between UK Garage, Dubstep and IDM. "Detritus" opens the set with a sped-up Garage formulation complete with dubby stabs and nicely stripped synthwork before "No Smokes" hooks up a modified square bassline for a shuffling stepper with a good dose of spannered synths thrown in for good measure. "Istocity Meter" on the flipside is the best thing here, getting hold of a demented 2-step vibe supported by a nicely freaked out vibe with elements of Bassline and IDM thrown into the pot, before Kuoyah's remix of "Someone Else's Past" closes the set with another re-built Garage template doing the trick with considerable low-end savvy. Good twelve.
http://www.mediaf!re.com/?1k4zoe0e1od6a34
http://www.mediaf!re.com/?kwzyznnaemd
http://www.mediafire.com/?i3ugmm4049e12jx
http://www.mediaf!re.com/?81onwch6t6d4wlfhttp://www.mediafire.com/?x8h2r3qckjhndei
Rules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
http://www.mediaf!re.com/?4a3r47ck760c4b0Part 2:http://www.mediaf!re.com/?7z2e3gd13aren5d[http://www.mediaf!re.com/?mv7o0gdn3eqq1y7/code]http://www.mediaf!re.com/?8y1sgzxdz72pbxehttp://www.mediaf!re.com/?n52b6dzx46dg0toFujiya & Miyagi - Ventriloquizzing (2011) (320kbps)
http://www.mediafire.com/?h3lv59v5tj9235chttp://www.mediafire.com/?47yk1p8sml3rfn9http://www.mediafire.com/?cxz891wrff5p0o8http://www.mediafire.com/?9a7rat5157bne27
http://www.mediaf!re.com/?thyjvwiwwnz
http://www.mediafire.com/?js41sns3h41s16chttp://www.mediaf!re.com/?5sftsimn7csbpbhhttp://www.mediaf!re.com/?2o7t1uotq7921xy
In the 1930s, there was great demand in Germany for jazz music, as well as swing, which mixed elements of the big band sound. However, such African and American influences were viewed as counter to goals of German racial purity and by 1935 were outlawed. An underground jazz scene persisted in Berlin. Here, band leader Lutz Templin and drummer Fritz Brocksieper brought together key swing figures of the late 1930s, including singer Karl Schwedler ("Charlie"), clarinetist Kurt Abraham, and trombone player Willy Berking. They escaped notice by pasting pro-German lyrics over sheet music and using instruments like harpsichords for boogie rhythms.
Propaganda minister Joseph Goebbels recognized that both art and propaganda was meant to bring about a spiritual mobilization in its audience, and was well-aware of the popularity of swing and big band music in Allied countries. He gave permission to bring Berlin's best jazz musicians into the music propaganda program, and in 1940 Charlie and his Orchestra were born.
As an official Reichsministerium band, the group made over 90 recordings between March 1941 and February 1943. Arrangements were by Templin, Willy Berking, and Franz Mück, with lyrics written by the Propagandaministerium. Schwedler was allowed permission to travel to neutral and occupied countries to collect jazz and dance music, which helped the band and propaganda ministry to craft more recordings. Outside of their official duties, many members of the band supplemented their income by playing in underground venues.
By 1943, bombardment by Allied planes took a toll on German broadcast operations and the studio, employees, and musicians were moved to southern Germany to perform on station "Reichssender Stuttgart". Even when the city finally came under attack, the band played jazz hits live on international shortwave radio while German domestic stations were playing the "cuckoo" air raid warning.
After the war, the musicians reorganized under Fritz Brocksieper with the band name "Brocksieper Freddie", but were still recognized as "Goebbel's band". They played for US Armed Forces clubs in Stuttgart and Ludwigsburg. Conductor Lutz Templin became one of the founders of the ARD broadcast network. Schwedler, by various accounts, either emigrated to the US in 1960 or became a businessman who retired at Tegernsee.
http://www.mediafire.com/?9hhe6k7622bnrobhttp://www.mediafire.com/?dzyml3gkckc4md2
http://www.mediafire.com/?b511yfgipdy310bMyspace (http://www.myspace.com/kimonosjp)
http://www.mediaf!re.com/?zzkynmuyotnhttp://www.mediaf!re.com/?mnbxzmulmnehttp://www.mediaf!re.com/?mqvomdnw2lrhttp://www.mediaf!re.com/?n9dnw2elidehttp://www.mediaf!re.com/?tvmmqtjdmkw
http://www.mediaf!re.com/?2kz3hozi6y5v77rhttp://www.mediafire.com/?ejtxgg5zlczhttp://www.mediafire.com/?qn2bta3zz3y91yjhttp://www.mediafire.com/?k5thdz1k676xard
**Limited Edition one-sided, black label copy housed in monotone, hand screen-printed sleeve** Cast your mind back to the beginning of this year and you might remember a jaw-dropping obscurity from New York's Chasing Voices on the Slow To Speak-affiliated Preserved Instincts label. From what we can fathom, this is a collective of producers working anonymously within the context of reactionist rhetoric, as the labels states "The affecting despondency of the anonymously disseminated Chasing Voices series confirms this project is more an act of survival than an exercise in cultural luxury"... "There is no "artist" in this equation, no ordained or predestined genius operating behind the mystified veil of divined talent". But regardless of who made it, 'Ex Nihilo Nihil Fit' is amazing. It has the same sense of dark intensity which lodged their previous 12" deep in our minds, only this time conveyed via vintage-sounding techno circa 1994 (read: classic AI era). The mood is unrepentantly dystopian, yet paradoxically infused with the positive, rebellious spirit of the anti-CJB era, and comes very close to a sound dear to the hearts of many. Highly recommended!
http://www.mediafire.com/?o93tv5tc18o8o8cAfter a bit of a pause, Andrea returns with an invigorated sense of funk and a bad case of scuffed shelltoes. A generation after Chicago House irreversibly infected the Northern club scene, Andrea soaks up and sweats out the latest footworking Chi-town developments with a distinctive melodic flourish and innate feel for the floor. 'Retail Juke' keenly latches on to that feeling of delirious suspension that marks the best productions from RP Boo, Roc, Nate or any of those agile young cats, matching their flighty rhythm programming toe-for-toe, while tweaking the vibes with a fine-cut pop sensibility. It opens up with an impatient metronome and sparkling Rhodes keys ushering in spasmodic sample edits and unregimented drums, honing that slow-fast thing that's impossible to describe and so bizarrely effective. On the flip, 'Write-Off' sounds like an Ice Cream van taking a wrong turning and ending up wheel-deep in some hyperrealist dayglo forest without SatNav or a working sense of direction to hand. It finds that filigree balance of tension between rapid-fire sample textures, twinkling melodies and dragging bass undulations, keeping an implosive, centripetal sense of funk deep in the pocket and yet still quite melancholy in its own fidgety way. Highly recommended.
http://www.mediafire.com/?8zn6f5k8jd1ssyoI only got this last week but it's making a huge, huge impression on me. Black Math are from Chicago and reside on the Permanent Records imprint, and on their latest LP they vacillate between the goth-glam disco of The Hundred in the Hands and a more pop-friendly version of Big Black. Considering I never really took to Steve Albini's lyrical provocations this is a very good thing for me. It's helped immensely by the lo-fi production (and I'm generally not enamored of lo-fi sound) and the "live" feel of the music.Boomkat said this:
Oozing out of the Chicago underground courtesy of Permanent Records, a mysterious darkwave transmission from Black Math. This is their much-anticipated follow-up to a highly sought-after debut (it was limited to only 100 copies), available in an edition of 500 copies. 'Phantom Power' contains nine tracks of uniquely bleak and often harsh dark-wave pop made with electric cello, drum machines, guitars and grizzled synths, pointing to the likes of Depeche Mode and Big Black as major influences on their sound. Peering through the tape hiss fug of opener and album highlight 'Reckless Thoughts' we can also discern strains of Cold Cave or The Cure executed with panache, while there's a speed-freak grunge to the likes 'This Love's Got To Change', and 'Suck City'. Early Blank Dogs immediately spring to mind listening to their cover of The Anals 'Commando Of Love' and but they're at their most effective when the driven by stentorian drum machines on tracks like 'Bottomless Sea'. Comes with code for free download redeemable from the label.
http://www.mediafire.com/?tca34m74q22ypzk*Strictly limited copies of this third and final part in a trilogy of Demdike Stare albums for 2010. Spread over 50 minutes and featuring all new and exclusive material mastered and cut at dubplates and mastering in Berlin, featuring supremely righteous artwork by Andy Votel* "Voices of Dust" is the third and final part in Demdike Stare's trilogy of albums for 2010. The album opens with an analogue tape drone that seems to suck the light out of whatever environment you might find yourself in, powering up Demdike's machinery for the bellydance disco assault of "Hashshashin Chant" that follows. "Repository Of Light" takes another diversion, this time wading through the gaseous environs that made the MVO trio's debut album so memorable earlier this year, before "Desert Ascetic" flips things over for a dusted, relentless assault on the souk. The album ends with the decaying loops of "A Tale Of Sand", leaving you with a bittersweet aftertaste and absolutely no sense of closure whatsoever...
http://www.mediafire.com/?r39st6t41nr9ncfRather crucial sounds from the Blank Tapes camp, dropping the Appleblim and Peverelist rework of Bass Clef's 'Promises'. The rampant original appears on the B-side, seething with airless, urgent, tin-tapping Afro percussion at 150bpm, all driven by lustrous bass and blown wide open with skyscraping synth pads. Flip the plate and Bristol's Appleblim & Peverelist breathe new life into the track, reducing the groove to a flickering shadow of its former self, full of echo chamber space where dynamic synth arpeggios strafe about the sound sphere with an untamed kinetic energy. This one is all about grooving in between the lines and comes well recommended to all DJ and dancer. Limited white label copies only!
http://www.mediafire.com/?q9aluy7bx5y7773
http://www.mediafire.com/?nofqevxk273fs6lNever Gonna Change (http://www.youtube.com/watch?v=89S6u_-o3ZI)http://www.mediafire.com/?evzcikic33b3lm7Yellowbrite Smile (http://www.youtube.com/watch?v=XWJnjKazN3E)
http://www.mediaf!re.com/?l2copsw0n98ds1rhttp://www.mediaf!re.com/?d1143w4ix7hf59nhttp://www.mediaf!re.com/?o1d5zdt8e4652fk
http://www.mediafire.com/?wbbg42wp7n88s5d
http://www.mediaf!re.com/?a921iac2wfjavc2I am in love with the nazi jazz
http://www.mediaf!re.com/?1ydvb36qvtv2y15http://www.mediaf!re.com/?rj2146sg0sl79k2
http://www.mediaf!re.com/?qhhmx3335scipwsAn alternative link for the Blakey album (it's INCREDIBLE by the way), for when teh interwebz police start taking links down:what is funny is this one was removed first.
very very nice.
the ducktails too
Just my luck...I'll re-up after the Christmas festivities have ended.An alternative link for the Blakey album (it's INCREDIBLE by the way), for when teh interwebz police start taking links down:what is funny is this one was removed first.
http://www.mediafire.com/?4m7sh0w9385iy8y(http://www.thelineofbestfit.com/wp-content/media/2010/12/Tanlines_Volume-On_small.jpg)http://www.media!ire.com/?acq2w18e03lh3qf(http://cdn.imposemagazine.com/__data/der-tpk.3.jpg)"Teenage Panzerkorps (or DER TPK) is the raw revisit to your top eight punk records mashed with eight seminal records so obscure they've yet to grace your ear, but knowing that DER TPK was inspired enough to incorporate their aesthetic into its idea of German Reggae is a comforting first step toward discovering those allusive treasures.
I love DER TPK for reasons I've yet to understand, but I feel as though I'm getting closer. German Reggae is loose, droning, visceral, mechanical, rigid, maddening and yet, it captures fits of catchy collective thought. Remove Bunker Wolf's foreign newspeak delivered from a echo-y loudspeaker and it's dudes ripping through the revolt of punk from its Stooges blues to the PiL dubs and the Mark E. Smith wired weirdness. The separation is DER TPK reduce their influences into a pummeled, droned feedback.
Bunker Wolf is the final connecting dot that took the San Fransisco kids from Detroit to London to Manchester and sequestered in Berlin. Wolf's German commands will either alarm your neighbors or earn their respect, as they draw the same connections made thus far, only to be thrown off by the public service announcements over the fantastic noise." --Impose
http://www.mediaf!re.com/?4p55r5gupwvs9ec
http://www.mediaf!re.com/?c7n1xlyai7wq1n5(http://static.boomkat.com/images/400710/333.jpg)http://www.mediaf!re.com/?9c7yjudhcgcfcac
http://www.media!ire.com/?l96hatk7vp3s6k5(http://static.boomkat.com/images/364402/333.jpg)http://www.mediaf!re.com/?aqk1ing39nh0188(http://static.boomkat.com/images/337374/333.jpg)http://www.mediaf!re.com/?o45ygs943km96wt(http://static.boomkat.com/images/366336/333.jpg)http://www.media!ire.com/?ao3vinmptdhofcb(http://static.boomkat.com/images/339946/333.jpg)http://www.mediaf!re.com/?2kocmdzzlm8w19k(http://static.boomkat.com/images/391051/333.jpg)http://www.mediafir!e.com/?2mpyghf2s46t7lb(http://static.boomkat.com/images/379434/333.jpg)http://www.mediafi!re.com/?ogdezqdumm4(http://static.boomkat.com/images/391080/333.jpg)http://www.mediaf!ire.com/?nmynh2ggq8mhbev(http://static.boomkat.com/images/391109/333.jpg)http://www.mediaf!ire.com/?aehyloc85rssk47(http://static.boomkat.com/images/317950/333.jpg)http://www.mediaf!ire.com/?0d19scyn0jhjj28
http://www.media!fire.com/?82yv5wb3x44kga3Readying is the cavernous, trance-inducing new album from Married in Berdichev, the solo project of Denver visual artist + Caldera Lakes member Brittany Gould. Beautiful opening track “Wait” sets the tone for the rest of the record, as Gould’s fleeting melodies and hauntingly ethereal layers + loops unfold and float by like a blurry half-dream. Buy Readying complete with hand-embossed woodblock cover art (pictured) here, and look for a new Married in Berdichev record to be released on Woodsman’s Fire Talk Records in the near future.
http://www.mediaf!ire.com/?9s62sx5a262l03p(http://www.raccoo-oo-oon.org/np/images/RH2.jpg)Will anyone ever fully catch on, be able to keep track of, or catch up with Jeff Witscher’s mysterious output? like trying to understand alien technology, like feeling space and time itself like a drug, this cassette of new Rene Hell material falls easily amongst Witscher's best offerings and falls like a prelude to his upcoming LP on Type. An intense abyss of ambiguous voices, decaying rhythm tracks, synth ambience, super hi fi production and panning techniques, Baroque Arcade endlessly stretches out from the speakers like some new world being born.
http://www.mediafi!re.com/?0279hxyxdjsk9vs(http://static.boomkat.com/images/372384/333.jpg)Barn Owl and Higuma's Evan Caminiti is capable of doing amazing things with the humble guitar. With experience gleaned from the processes of his previous solo releases, the majestic 'Psychic Mud Shrine' and the obscure 'Digging The Void', he's reached a level of impressive maturity, making 'West Winds' comparable to totems of the drone/desert rock sound like Earth's 'Hex' and something yet more magical and searching akin to Popol Vuh or Roy Montgomery. This album will utterly absorb fans of his previous works. Highly recommended!
http://www.media!fire.com/?e6ej5wq43nsdz63
Yo, that Night Slugs links to the awesome and much-appreciated new Eluvium. Fixies?
http://www.mediafire.com/?mpgu12zpbhw7moeOn the second night of tour, we played in Koiwa(neighbourhood in Tokyo) at this place called BushBash with one of Japans biggest punk/hardcore bands, Vivisick. Now, Vivisick matieral is easy to find, but what I’m about to post is entirely different: A two-peice powerviolence/grindcore band (female vocalist/guitarist and male drummer) called SETE START SEPT and their album REVISIONS IN NOISE, which is…well… I’m pretty sure this is THE loudest goddamn album ever. That’s it, thats all im going to say. this might be the fucking heaviest record in the whole world. I am dead fucking serious. EVER.
incredibly highly recommended, I very rarely post things that are just “kinda cool” - Revisions in Noise is jaw-dropping and pretty unbelievable. If you dig more extreme music, this is for you.
EluviumCode: [Select]http://www.mediaf!re.com/?4m7sh0w9385iy8y
http://www.medi!afire.com/?yu1dvkq6mf8c8at
http://www.med!iafire.com/?1a4d55i9zys9v4i
Superb comeback from Clone's out-of-action Dub sublabel, presenting the debut from young Dutch producer Astroposer. 'Meet My Brother' clearly recalls the advanced, bit-crushed electronic hiphop of Funckarma, EOG and Machinedrum, which is no coincidence because Astroposer was directly inspired by those records from his older brother's collection. Carefully avoiding any sentimental remakes, these six tracks are like a more 'lectronic adjunct to the Beat Dimensions series, still HipHop at heart, but very forward thinking. Hand-stamped copies, with free download code redeemable from the label. Tipped for fans of classic Skam and IDM/Hiphop!
http://www.mediaf!re.com/?29bl1jucpbfr04pFresh outta Bristol's Rooted Records hub, Headhunter lays down the latest Idle Hands 12". He appears to be on a Soca-Funky/Dubstep mission with both tracks. This works out best on the smartly poised 'Lost Prophet', syncing galloping drums with lung-collapsing subs before a majestic techno synthline comes in to remind us who we're listening to. On the flip 'Chasing Dragons' goes harder with a bulked-up drum palette compatible with more techno-inspired Funky, Juke and Dubstep tracks. Absolutely deadly twelve - there's no predicting what sounds this label will put forth...
http://www.mediaf!re.com/?5923wbrwb9u08fnSuper slick future HipHop and Garage from the mysterious eLan and the man in NYC, Falty DL. We still haven't a clue who eLan is but if you like your beats butterd with Dilla-style beat and supremely hazy BoC synths, 'I Can't Breathe' is an absolute must have. Equally, the convulsive, scissoring hi-hats, skipping rhodes and subbass ructions of Falty DL's 'Large Flash' should be recommended to lovers of the finest fututre garage delicacies.
http://www.mediaf!re.com/?4stxy1w8srqyjilFresh boogie-house heat from man-of-the-moment Krystal Klear, currently on a mission with tracks out for Hoya:Hoya, Dub Organizer, and now All City. Backed up with a Hudson Mohawke remix, 'Tried For Love' enters that dreamy late '80s zone with sparkling plastic synths and swung soul rhythms while 'Boogie Wan' slips into romantical mode with a slow jam for the lovers. 'Dekryptic' is the one you need to watch out for though, bringing it pure '86 styles with full-on soul-controlling synth licks. Out on his own tip entirely, Hudson Mohawke's remix opens into electro-acoustic boogie business before dropping into a Haç-ready piano-house bomb.
http://www.mediaf!re.com/?c81cl3t2t6iseu6http://www.mediaf!re.com/?p1bzpdsc3ahdz9nWhen Peter Christopherson died, I listened to this album whilst going through my grief, and it helped quite a bit. I'd always been a much bigger fan of Coil's late-period run of drone-y/folk-y mysticism than its earlier, harsher music, and Demdike Stare looks to be, at least on some level, picking up that mantle. A lot of the songs here could have fit perfectly in the Equinox/Solstice series of Coil EPs (particularly "Regolith" and "The Stars Are Moving"). Top-shelf dark ambience. They're even named after a famous witch! I haven't had a chance to catch up with their other albums released this year (Voices of Dust arrived on vinyl just yesterday) but given the quality of this album I have high hopes.
*Second of three Demdike Stare albums to be released in 2010, 45-minutes long, mastered at Berlin's Dubplates & Mastering* The second of three Demdike Stare albums for 2010 is upon us. Its title 'Liberation Through Hearing' is a direct reference to the 'Tibetan Book Of The Dead', an ancient text intended to guide the reader through the experience of the consciousness occurring during the interval between death and the next rebirth, a subject also hinted at in Western culture by the Skull Disco label and explored by psychonauts such as Timothy Leary. If 'Forest Of Evil' was the push-off, we're deep into the session now, rendering those intermediary hours of the trip when we're untethered from reality and deposited in the moment, an interzone of harrowing drones, acousmatic sampledelics and arcane intentions designed to create a state of psychedelic submission. The dark currents run deep, seeping from the billowing sub tones and heavenly choirs of 'Caged In Stammheim' , through the Köner-like spherical bell hum and grazed shellac textures of 'Eurydice' before craftily phasing your sense of spatial perception as 'Regolith' expands to the five corners of audition. Further in, 'The Stars Are Moving' flickers with electro-static pulses and petrified key changes before 'Bardo Thodol' circles the senses with hypnotic chants and percussion. Finally the pellucid meditative drift of 'Matilda's Dream' brings us closer to the light, describing harmonised ambient chords and a bleak yet centred sense of self.
http://www.mediaf!re.com/?ry70k2j0f5naaui
Not heard from Point B for a while following on from his excellent twelves for Scsi and Combat a couple of years back, with this latest twelve for the Frijsfo Beats imprint displaying a more robust approach to electronic science with a sound somewhere between UK Garage, Dubstep and IDM. "Detritus" opens the set with a sped-up Garage formulation complete with dubby stabs and nicely stripped synthwork before "No Smokes" hooks up a modified square bassline for a shuffling stepper with a good dose of spannered synths thrown in for good measure. "Istocity Meter" on the flipside is the best thing here, getting hold of a demented 2-step vibe supported by a nicely freaked out vibe with elements of Bassline and IDM thrown into the pot, before Kuoyah's remix of "Someone Else's Past" closes the set with another re-built Garage template doing the trick with considerable low-end savvy. Good twelve.
http://www.mediafire.com/?92xmfjh14gheww5http://www.mediafire.com/?9xvx10vr7wknp55Hemlock have a habit of thrusting highly impressive new artists upon the world - think James Blake, Untold, or Fantastic Mr Fox. London's Breton are the latest in line, emerging fully formed with a sound that's equal parts post-dubstep, rakish indie bloke vocals and Big Dada-style leftfield HipHop. Their five track 'Counter Balance EP' has already won favour with er, Coldplay's Chris Martin, and is set to achieve much acclaim going into 2011. The minimal framework of African guitar, crisp halstep drums and ethereal cockney vox in 'RDI' hints at something on the edge of dubstep, while the rest of the EP is driven by moody HipHop beats, with the highlight of 'December' clearly primed for bigger things. Can you smell major labels or is it just us?
http://www.mediafire.com/?qayovyw04le1d0tWe really cant offer much better value than this... On this Slit Jockey digital sampler is 7 choice cuts to showcase some of the great music coming from the US label and all for the more than tempting price of £1. Topping the list is Philadelphia's king of bass - Starkey, as well a Rustie remix of a track from the Glaswegian / Slovenian / London female nomad - 8Bitch. Also on the sampler is Dev79, Kaiser, Numan, DZ and a brand new track from SDUK.
http://www.mediafire.com/?ihvl9carpwnca1a
(http://img524.imageshack.us/img524/9310/333fd.jpg)
Conquering Animal Sound - Bear / Plinth
thanks KvP :) whats the source of the Echo Lake :-oBought it on Boomkat... Apparently it was some sort of fuckup on their part because when I went back for the cover art it said it would be available in February. Who knows, maybe I dreamt buying it in the first place.
Oh cool! It's quite good.thanks KvP :) whats the source of the Echo Lake :-oBought it on Boomkat... Apparently it was some sort of fuckup on their part because when I went back for the cover art it said it would be available in February. Who knows, maybe I dreamt buying it in the first place.
http://www.mediafire.com/?b99nl898blkaabj
Tapes 'n Tapes - Outside (V0)
Deerhoof – Deerhoof vs. Evil (2011) 320 w/booklet
That's my friend Jamie! Although I've never heard this stuff, he only gave me his Japanese War Effort tracks (which are totally good, too! Check it out)
http://www.mediaf!re.com/?yi318ka54ikbwfvusing the iPad and additional instruments: Korg Vocoder, Ukelele, Microkorg, Omnichord, Moog Voyager, Melodica, Guitar, Piano, and Korg Monotron. Recent collaborators Mick Jones and Paul Simonon add guitar and bass on two tracks, while Bobby Womack sings and plays guitar on track 13, “Bobby in Phoenix”. The entire record was recorded between Montreal and Vancouver over 32 days during Gorillaz’s 2010 North American Tour.
http://www.mediafi!re.com/?14tb14v3rvbyhm3http://www.mediafir!e.com/?24ad6gq03k1qtdihttp://www.media!fire.com/?0c87bk8owmy9e3thttp://www.mediaf!ire.com/?nsfjjw5k707shaehttp://www.mediaf!ire.com/?zzdp3h421dkk98zhttp://www.medi!afire.com/?3dsfdf47dlg6j8ehttp://www.mediafir!e.com/?y1fae9p5b9p3bqdhttp://www.med!iafire.com/?ra7a4y5z9w3i244http://www.media!fire.com/?jhfa5zflr563acghttp://www.mediafir!e.com/?5a8j7nnahc53bc9http://www.medi!afire.com/?ljcujvxi53x9brjhttp://www.media!fire.com/?snq6kvibddl79n2http://www.mediafi!re.com/?w6t29kc3kvki9uuhttp://www.mediaf!ire.com/?vtcibottv4d0212
http://www.mediafire.com/?nbfq87eulbzadxjhttp://www.mediafire.com/?34i1h5opf7hf57ahttp://www.mediafire.com/?dwmdbpblnpigdd4http://www.mediafire.com/?4gjnbwwvkb0rom8http://www.mediafire.com/?oa3cayxw7jctn5yhttp://www.mediafire.com/?4igplm4ds71hdz7http://www.mediafire.com/?6ubm8bm7m72h8f8http://www.mediafire.com/?1bmzeyjmy3kfl59http://www.mediafire.com/?voox2d38rmi3meshttp://www.mediafire.com/?eqjaso4soee1gm7http://www.mediafire.com/?ggz5q50rcxi8a56http://www.mediafire.com/?o5lhz1czqb889e3http://www.mediafire.com/?xumx8bvdnspexpphttp://www.mediafire.com/?yw290l1y600dn5uhttp://www.mediafire.com/?l96hatk7vp3s6k5http://www.mediafire.com/?kjzz3qwuyrfv81vhttp://www.mediafire.com/?0d19scyn0jhjj28http://www.mediafire.com/?uctdh8ppkx6v4uvhttp://www.mediafire.com/?yc1fl5tz9op1vtlhttp://www.mediafire.com/?guljrnsig98g0w9http://www.mediafire.com/?tmziwznijmzhttp://www.mediafire.com/?f38061zg9i49uom
You know Conquering Animal Sound? Rad! Wait... I think we've had a conversation like this before?
http://www.mediaf!re.com/?uw25g2g5e1rjw4wRules:
The first rule of mediaf!re thread is you do not talk about mediaf!re thread.
The second rule of mediaf!re thread is no smoking.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums. 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.
it says there's a password - any idea what it is?
Hey bros, the folks in Echo Lake have contacted me and have asked me to pull down that EP link. If by any chance you have re-hosted said link before I pulled it, I'd ask you to do the same because they sound pretty dejected about it and I feel like an asshole!
That's what I get for actually leaking things instead of waiting for a release date.
http://www.mediafire.com/?0jyt205wk0csko0http://www.youtube.com/watch?v=PeBKjdyjJ1A (http://www.youtube.com/watch?v=PeBKjdyjJ1A)http://www.mediafire.com/?hyc2jfc0i5gyh4jhttp://www.mediafire.com/?tnlc5k5o93m33wbhttp://www.mediafire.com/?g55418b3dusbi5q
Hey bros, the folks in Echo Lake have contacted me and have asked me to pull down that EP link. If by any chance you have re-hosted said link before I pulled it, I'd ask you to do the same because they sound pretty dejected about it and I feel like an asshole!
That's what I get for actually leaking things instead of waiting for a release date.
Download: http://www.mediaf!re.com/?zai7robgbf19d11
MySpace: http://www.myspace.com/tennisinc
Also, God! Have you met people? What do you mean, "people will do the right thing"?I do the right thing. i didn't when i was 20, but i do now. i guess once you grow up and realize what life consists of, you change your mind about things. working to make money and purchasing albums... you know, the right thing... it's fun to do that sometimes.
http://www.mediafire.com/?abujafnpglnd6u5http://www.youtube.com/watch?v=nMLwGGUhTks (http://www.youtube.com/watch?v=nMLwGGUhTks)http://www.mediafire.com/?sn9uiam9zb6jr3shttp://www.youtube.com/watch?v=FjAi7MgRBhM (http://www.youtube.com/watch?v=FjAi7MgRBhM)
Tennis - Cape Dory
http://www.mediafire.com/?93c63evb5m6ggdp
Hey everyone, my names Thom, I'm in Echo Lake and I just wanted to say to the person who uploaded our EP don't worry or feel like an asshole for leaking it. These things happen. It's just that I spent and long time writing, recording and mixing those songs and it just felt like a bit of an anticlimax to it being released. I seriously have no problem with people downloading our stuff, I do it all the time with bands I like. I'm just glad people wanna hear it.
It's on loads of different sites now anyway but all I will ask if that everyone on this blog waits a few more weeks until it's released on valentines day and then share it with as many people as you can!
Please don't think badly of our label either, No pain in pop are a fantastic label and by no means after big bucks, we're all just trying to release a good record for you all the have, hold and enjoy.
I'm glad I discovered this blog anyway, lot's of good stuff here!
Much love
Thom
Also, God! Have you met people? What do you mean, "people will do the right thing"?I do the right thing. i didn't when i was 20, but i do now. i guess once you grow up and realize what life consists of, you change your mind about things. working to make money and purchasing albums... you know, the right thing... it's fun to do that sometimes.
and let's be realistic, you don't start your own fucking business w/out illusions of getting wealthy. There's no such thing as selflessness, or at least that's what these indie rock bands are teaching me.
Also, God! Have you met people? What do you mean, "people will do the right thing"?I do the right thing. i didn't when i was 20, but i do now. i guess once you grow up and realize what life consists of, you change your mind about things. working to make money and purchasing albums... you know, the right thing... it's fun to do that sometimes.
and let's be realistic, you don't start your own fucking business w/out illusions of getting wealthy. There's no such thing as selflessness, or at least that's what these indie rock bands are teaching me.
are you trolling or are you actually retarded?
it is just darwin's theory at work.
http://www.mediafire.com/?5im2t905kllhv79
it is just darwin's theory at work.
lolz at libertarians
(http://img828.imageshack.us/img828/6466/333esk.jpg)
Erik K. Skodvin - Flare
http://www.mediaf!re.com/?ytytnmgnkzm
one of the first mixed-race bands, active at a time of great political and social upheaval in American bla bla bla
one of the first mixed-race bands, active at a time of great political and social upheaval in American bla bla bla
Eeew man.
Love - Forever Changes (1967)
one of the first mixed-race bands, active at a time of great political and social upheaval in American bla bla bla
Eeew man.
Your problem being...?