I know theres no requests, but if anyone has their 2003 album (All your summer songs), I would love you forever ;)
Cheers!
http://www.mediaf!re.com/?wumjoqrynqgNew Damien Jurado
Caught In the TreesCode: [Select]http://www.mediaf!re.com/?ivndtdy4d3y
If you don't know him, his style lies somewhere in the vincinity of Bonnie "Prince" Billy and Ryan Adams
http://www.mediafire.com/?0nyzix2quiu
Here's "Chemistry for Changing Times" by The Blacktop Cadence. Recorded wayyy back in 96/97, and remastered/rereleased in 2003, it's a fairly varied take on the Braid/American Football midwestern emo sound, and features Chris and George (vocals/guitar, and drums, respectively) from Hot Water Music.
Some of us cannot work with .wma files. Can you rip to .mp3 and re-upload this, please?
http://www.mediaf!re.com/download.php?vlwjmaybgnthttp://www.mediaf!re.com/?mtznm2ymzaohttp://www.mediaf!re.com/?0oj2duonzeyhttp://www.mediaf!re.com/?mwzwzgjoxqdhttp://www.mediaf!re.com/?fmemaotjg3ghttp://www.mediaf!re.com/?ztzznggtddyhttp://www.mediaf!re.com/?gohwyooztezalso, shouldn't there be an '09 reboot of this thread now?
It doesn't get any better than this. On Don't Back Down the rip-roaring punk songs with no melody ("No Tit," for instance) are more than counterbalanced by the many mind-blowingly catchy songs ("Punk Rock Girls," "Number One," "Janelle, Janelle," ad nauseam). Some of the songs, dare it be said, even surpass many of Brian Wilson's perfect pop songs. Whereas the Ben Weasel-fronted group the Riverdales aspire to be nothing more than Ramones imitators, the Queers successfully use the musical vocabularies developed by the Ramones (as well as Brian Wilson and others) and take their songs to new levels.
http://www.mediaf!re.com/?mdf22zcxjrjhttp://www.mediaf!re.com/?2jwdjwzfdakI think this is another one that had some production help from Atsuo. .m4a files, can rip to .mp3 if you guys need it (not my link).
You're from some weird future where Death Cab started to suck, then?GMT -5
www.mediafire.com/?jqwdxmjunnwListen to Livingston Storm, Spirtualize, Ball of Energy, hell listen to THE WHOLE DAMN THING. It's so great. Sorry about the outrageous enthusiasm but I just can't stand keeping this to myself. I need other people to know about them, because very few people do. Check it out folks! :-) Enjoy!www.mediaf!re.com/?gxummqbs83pwww.mediaf!re.com/?m9wqirlcyyvwww.mediaf!re.com/?fszkxvsdclpJust in case you've never heard of Cyne, their a rap group that has avoided the material trappings of mainstream “hip-hop” as well as the lyrically self-congratulatory social consciousness of much of today’s underground, the 2 emcees and 2 producers of CYNE are everything hip-hop should be - lyrical commentary that opens minds and moves bodies. Hailing from West Africa and the cultural melting pot that is Florida, CYNE has spent the past four years working to make sense of the world through the introspective interplay of emcees Akin and Cise Star. Akin attacks the mic with a conversational flow that runs with a sense of impassioned urgency, while Cise Star’s delivery rolls over the listeners with an uncanny self-assured smoothness. Together, they reach back to the self-reflective days of hip-hop’s past, they engage themselves and the world in discussion of matters social and personal import. Beneath the lyrical venom of Akin and Cise Star is the dynamic, layered genius of Speck and Enoch. Combining elements of rock, trip-hop, jazz and countless other influences, they create atmospheric landscapes of simple complexity that push the creative capabilities of hip-hop. You have to check these guys out. Best hip-hop you will ever hear.
Here'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 PterodactylCode: [Select]http://www.mediaf!re.com/?0nyzix2quiu
http://www.mediafire.com/?tjmmz22nmuk
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
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www.mediaf!re.com/?mxvwqcbws3pwww.mediaf!re.com/?4fvgtm5pmjvwww.mediaf!re.com/download.php?3x2wwb0xxdmhttp://www.mediaf!re.com/download.php?lkjvtjlx4kyhttp://www.mediafire.com/?rztz4yittyehttp://www.mediafire.com/download.php?5twldbar9y4I assure you that this band will make you rock so hard you will be left mesmerized after listening. Download now.
http://www.mediafire.com/?vc2q51tzyty
Why do we need two mediaf!re threads?
http://www.mediafire.com/?tlkxyenzumzhttp://www.mediafire.com/?mtyy2emy1my
Why do we need two mediaf!re threads?
well we should have one for every year. the 08 thread was so amazing, so i felt that i should start an 09 thread and try to make it even better. we got to keep this going, and spread good music.
http://www.mediaf!re.com/?0qzfym2xmmfI'm pretty sure there would be many pages of dead links in the 08 one.
I'm pretty sure there would be many pages of dead links in the 08 one.
AMG Quote
Greg Dulli returns to his Twilight Singers project with the atmospheric Blackberry Belle. This time around, the dirtily soulful self-hater/lover is joined at one point or another by multi-instrumentalist Mathias Schneeberger, guitarist Alvin Youngblood Hart, Galactic drummer Stanton Moore, the incomparable Petra Haden, and Mark Lanegan, who takes main vocal duties for the shadowy devil of closer "Number Nine." Apollonia even makes an appearance as a backing vocalist for a few tracks. Somehow, even with its grainy appropriations of trip-hop (especially "Teenage Wristband," which sounds like a holdover from the first half of the Singers' 2000 debut), everything on Blackberry Belle begins to eventually sound like Leonard Cohen. The moody black-and-white palm tree cover art is no joke — this is an album that views sunlight through the cracked blinds of a claustrophobic hotel lounge. "There's a riot goin' on/Inside of me/Won't you come inside/See what I see?," "I think we're lost, don't worry/I've been here before," "If you're in trouble then I'll follow" — it's melancholy and death wishes in the first person here, and love only exists as a means to a bitter end. These are themes that Dulli has made a habit of discussing; nevertheless, they're made newly potent over Blackberry's dusky, shifting rhythms. Things are too scary to be danceable, although the album definitely has a groove. "Decatur St." mixes Massive Attack with Afghan Whigs, while "Follow You Down" is shimmering and stripped-down, with only frail guitar and piano to guide its death wish lyrics. Drummer Moore injects some funk into "Feathers," and "Esta Noche" finds the inherent beat in a European dial tone. Quietly building opener "Martin Eden" might make the defining statement of the record with its initial lines: "Black out the windows/It's party time." Cohen's melancholy is coursing through Dulli's tortured veins; it's good to see that he's still getting top-notch talent to aid in the nightly bloodletting.
http://www.mediafire.com/?mnymwukqyy2AMG Quote
Addiction, as Greg Dulli knows, is an all-consuming occupation. Finding your next fix is what drives every move, every breathe, every word. It is your devil and it is your god, your sickness and your well-being. It is, in short, your entire life. And so the fact that Dulli sobered up in the time between the Twilight Singers' previous album, She Loves You, and Powder Burns doesn't make it surprising that this latest release is about that disease. But Dulli's too smart — and was too intimately involved with drugs — to make a nice, clean record with easy, straightforward statements that float like bubbles into his audience's outstretched, pudgy fingers. Instead, he spits and growls and coughs questions into our thin, gaping faces, questions that he knows have no answers, and that even if they did, he wouldn't want to hear them anyway. Because Powder Burns is too personal. It's a debate within Dulli himself, an argument that twists and wrenches itself through 11 different conversations and ends up with nothing more than a sigh and a wistful prayer for salvation. Musically, the album is as hard as the group has ever gotten. From the intense, driving opener that crashes into "I'm Ready" like a wall of water, to the hedonistic snarl in "My Time (Has Come)," Dulli is pure carnal emotion. Even in the slower songs, with the slinking drums of "Candy Cane Crawl," or the greasy, nasally promises he offers in "Forty Dollars," it's nothing but his own blood that's pushing the music along, pulsing with the beat itself. Though he's singing from different perspectives, trying to take on other personas, it's obvious that everything he's saying is about him, his own problems, his own story. The songs reference each other, reference other songs and literary works, bite into one another like a pack of hungry dogs and leave blood and patches of hair wherever they've been, but continue to limp down that smudged path that separates pleasure from pain. And Dulli's a genius at straddling that line, sliding into that muddy spot between sobriety and being high ("daylight is creeping, I feel it burn my face," he moans), that dangerous place between the flame and the coals, where he crouches, the hair on the back of his hands singed, hoping that maybe somehow he'll be able to get out successfully. If Powder Burns is any indication of his strength and cunning, he's already found an escape.
http://www.mediafire.com/?kiwzgmmnjjzIn anticipation for the Gutter Twins' debut, and following up an excellent album, Greg Dulli and the Twilight Singers released A Stitch in Time in late 2006 on iTunes, which did well enough for One Little Indian to issue the EP in physical form in January of the following year. Though the two songs with the former Screaming Tree Mark Lanegan are covers, the way the singers' voices, both rough with cigarettes and acceptance, work together, especially on the darkly pulsating version of Massive Attack's "Live with Me," promises something spectacular to come on their original material. The longing present in their voices becomes a nearly tangible being, subject to the same suffering that everyone else is, and as the guitars howl in the background, there's a sense of foreboding danger in the request, "I've been thinking about you baby; come live with me." Dulli's work with Joseph Arthur on "Sublime" is good, too, showing off his softer, less anguished side, and the originals, "The Lure Would Prove Too Much" and "They Ride," reflect the two types of songs, the sweeter, reflective ballad and the driving, carnal rock, that were found on Powder Burns. At this point, Dulli has already proven his versatility and immense talent as a musician, but that just means A Stitch in Time is a gift that you should be grateful to receive.
http://www.mediafire.com/?wgmyzwzi0kocan someone re-up animal collective (merriweather post pavillion) please?
yeah. this.
http://www.mediafire.com/download.php?z3mmnhlgyim http://www.mediafire.com/download.php?amyyyzyvyck http://www.mediaf!re.com/download.php?lzjjyjemclkhttp://www.mediaf!re.com/?y2kmmzuiztq
Well if your familiar with the genius of The Afghan Whigs, Then you'll love this, which to me is even more genius. This is The Twilight Singers...
Dude, I think that was an agreement.
http://www.mediaf!re.com/?iylcczmtsfxThe music of Brooklyn's Yeasayer is an eclectic, genre-bending journey into pop, rock, Middle Eastern and African musics, folk, and dub. Vocalist/keyboardist Chris Keating and vocalist/guitarist Anand Wilder were both raised in Baltimore, where they honed their vocal skills in a barbershop quartet and played in a high-school band, Sic Transit, before leaving town to attend different colleges. Years later, the two relocated to New York and began shaping the project that would soon become Yeasayer. Wilder's cousin, Ira Wolf Tuton, joined as the group's bassist, and drummer Luke Fasano was the last member to climb aboard in May 2006. The band set to work on recording its debut album, All Hour Cymbals, which was unveiled to much critical acclaim (not to mention a healthy blogosphere buzz) in October 2007. International tour dates followed, during which the band honed its blend of live instrumentation and prerecorded samples.
http://www.mediafire.com/?mitm5zjzjtzhttp://www.mediafire.com/file/yioz2jmgnyj/Coathangersp1.zip
http://www.mediafire.com/file/anzamqkzjxx/09 Dont Touch My Shit.m4a
http://www.mediafire.com/file/xqjlkz1jwmr/coathangersp2.ziphttp://www.mediafire.com/?n3im2w3cgm0
http://www.mediaf!re.com/?znmzzlhwwwyIt's truly sublime, a piece of optimistic springtime in its unfailing optimism and energy, and in its charming freshness.http://www.mediaf!re.com/?vzyjn3wvvmjOnce the old one goes away, I suppose I'll do another Boris Megapost/discog.
Though, I still don't have the split with Tommydski.
Stuff
http://www.mediaf!re.com/?y3omxmuyrdk
http://www.mediafire.com/?wnzoghqzdydhttp://www.mediafire.com/?c02yd4xnjow"Whatcha Gonna Do" will get stuck in your head and never get out, but you'll love it.Once the old one goes away, I suppose I'll do another Boris Megapost/discog.
Though, I still don't have the split with Tommydski.
What I read.
http://www.med!afire.com/?qtin5zwmyw0
http://www.mediaf!re.com/?elyq3mnmymzhttp://www.mediaf!re.com/?mziwztyydiy
Oh man, I'd been meaning to check out Algernon Cadwallader. last.fm keeps suggesting them to me whenever I listen to Colossal. Thanks!
Oh man, I'd been meaning to check out Algernon Cadwallader. last.fm keeps suggesting them to me whenever I listen to Colossal. Thanks!
No prob. I would probably say that Look Mexico is more similar to Colossal, though. Algernon Cadwallader is more like the carefully considered guitar arrangements of American Football and the wonderfully messy energy of Cap'n Jazz got into a high-speed head-on collision.
Anytime a band tinkers with its core sound, inevitably fans will be won and lost. California Crossing has a strong up side; Fu Manchu's distinctive fuzzy guitar sound has been refined into polished nuggets served fresh from the land of palm trees and endless summers. Its still hard rock, but this is a smoother machine that eases off the gas to feature breezing So-Cal hooks on "Thinkin' Out Loud," "Wiz Kid," "Mongoose," "Squash That Fly," and "Hang On." Wisely conjuring '70s pop sensibilities more closely resembling Cheap Trick than oft-compared Sabbath might realistically break Fu Manchu into radio markets and attract larger audiences without mosh-pits. However, there is a down side that may lose the interest of diehards still hell-bent on 1996's sludgy classic In Search Of or expecting King of the Road II. Scott Hill's reluctant vocals are usually nestled in amplified feedback and heavy drumming, but on this outing they are lifted to the surface exposing moments of range limitations with occasionally vague lyrics. Also, Brant Bjork's drums sound muted in the overall mix; only on "Ampn" and the juicy ending instrumental "The Wastoid" does he really gallop. Amicably leaving the Chu after this recording to pursue solo endeavors, Bjork was replaced by Scott Reeder (of Orange County's Smile) who's technical drumming suits CC's sound better. Lastly, Mammoth's delays and promotional copy proliferation several months prior to the official release hardly fueled precious momentum. Despite waves of bad timing for this album, these songs nevertheless strengthen Fu Manchu's status as a premier live band while showing future promise as musicians.
http://www.mediafire.com/?zktmifjnx22
http://www.mediaf!re.com/download.php?zmm2mziymmohttp://www.mediaf!re.com/download.php?oknzgnme0auhttp://www.mediaf!re.com/?eh3dm44ntdthttp://www.mediaf!re.com/?4tzzyytladahttp://www.mediaf!re.com/?mltyewkm0nmhttp://www.mediaf!re.com/?d0tzyttwwhzhttp://www.mediaf!re.com/?l0dkywtmdnz
http://www.mediaf!!!re.com/?bddiberl8tw(http://1.music.bigpond-images.com/images/AlbumCoverArt/252/XXL/Computer-Love.jpg)http://www.mediaf!!!re.com/?bddiberl8twPart 2http://www.mediaf!!!re.com/?bddiberl8tw(http://img391.imageshack.us/img391/4702/hermitudelq0.jpg)http://www.mediaf!!!re.com/?wytynugzkcc(http://4.music.bigpond-images.com/images/AlbumCoverArt/411/XXL/Flying-Colours2.jpg)
http://www.mediaf!re.com/?w2kywynm35whttp://www.mediafire.com/?mqoztz20dyvsince i've been cold pimpin this thread for such a long time i figured i'd add something to it.Thank you so much, this is awesome
the complete original soundtracks from all wes anderson's films. enjoy!
let's try that again.
perfect summer loveliness is here for you in the form of:
LAKE "Oh, The Places We'll Go"
(http://i37.tinypic.com/2clxsh.jpg)
http://www.mediaf!re.com/?qtin5zwmyw0
http://www.mediaf!re.com/download.php?dnm4k4zw5ghhttp://www.pitchforkmedia.com/article/record_review/23408-yura-yura-teikoku-sweet-spot
http://www.mediaf!re.com/?jdynrunmmazHere are two EPs apiece from my two favourite bands of the moment.
I already uploaded Algernon Cadwallader's full-length album a few pages back. Here are a demo they released in 2006 and a fresh, new 7" called Hot Green.
http://www.mediaf!re.com/?j42inm4tzfmhttp://www.mediaf!re.com/?ir2gimmnzzwhttp://www.mediaf!re.com/?dtmmew0cznoBack in 2003, Matthew Dear was a little-known DJ, but a handful of singles on an unkown label changed all that. EP1 and EP2 were some of the first waves of “microhouse” to emerge from American shores and their impact on DJs and producers is truly palpable. One of the true classics of this period, Dog Days was the first single from his Leave Luck To Heaven album and features a killer remix by Perlon’s Pantytec. Spectral Sound presents a compilation of the singles that started it all. The highly influential Irreparably Dented, Stealing Moves, EP1, EP2, Dog Days and Anger Management/Future Never Again are all accounted for here. In celebration, we have released a limited re-press of these 12”s but none of these singles have been released digitally before. Beginning Of The End: The Spectral Sound Singles, which will carry all 19 tracks along with 2 never before released tracks from the EP1/EP2 sessions.
http://www.mediaf!re.com/?nh2mrzuejyh12" one-sided clear vinyl with an etching by Savage Pencil. Table of the Elements continues to celebrate its 15th anniversary with the ninth installment in its Guitar Series Vols. 3 & 4. It’s a 12xLP romp of deviant fretnoise by some of experimental music’s most prominent players, including Christian
Table of the Elements say: "Simply put, Christian Fennesz is a pioneer. As much as any artist, he is responsible for establishing the laptop computer as both a compositional tool and concert instrument. Subsuming electro-acoustic strategies into a bedrock of pop, he terraforms vast new worlds of sound, within which both AMM and the Beach Boys can cozily coexist. His Guitar Series contribution, June, is a suitably lush transformation, as electric guitars flow into deep streams of sound."
http://www.mediaf!re.com/?mkyvl2iyhjvWhat a mess -- from all the sloppy guitar ramblings to the constant rhythm changes assuming that the rest of the band was barely aware of Doug Martsch's tempo swings, Ultimate Alternative Wavers is all over the place. But somehow, Built to Spill bounce off each other by using this technique of improvising what direction the sound is going to next. And with this being their first record, it's almost as if they're taking a cue from the likes of early Sonic Youth and Dinosaur Jr. when it comes to their more experimental influences. But what keeps it together are Marsch's soulful but bleak vocals, which make lyrics like "nowhere, nothing, f*ck-up" seem like a pleasant singalong.
http://www.mediafire.com/?yyt4myx5m0nPt2http://www.mediafire.com/?mznoy23gqmjhttp://www.mediaf!re.com/download.php?2gyjtynnz3mPicking up where A Flight and a Crash left off, Hot Water Music is all about delivering tight and melodic hardcore on Caution. With even less vocal interplay between singers, the band further refines its music and allows its songs to shimmer with more production gloss. This only helps the group, which has an incredibly tight sound but hasn't always had the resources to make sure it sounded right. Here you can hear every little guitar flourish and snare snap nicely, which reveals the wealth of excellent melodies and lyrics the band is capable of. Every song hits the ground running, offering bountiful amounts of anthemic choruses and ringing guitars, while the music alternates between flattening listeners with a sonic barrage ("It's All Related") and lightheartedly bringing them along for the ride ("Not for Anyone"). Most importantly, the bandmembers display variety that doesn't intrude on their songwriting style but instead complements their thuggish attitude and aggressive delivery. They manage this by taking the general structure (i.e., fast tempos, singalong choruses, dynamic chord changes) and tweaking it so that certain songs are guitar-heavy romps while others allow the bass to carry the vocals on a bouncing beat. They've always hinted at this sort of songwriting strength, but they just needed the right people behind the boards to bring it out of them. By offering stronger melodies than last time but generally following the same pattern, Caution is the strongest album from the band since Fuel for the Hate Game.
Boris - Vein (hardcore version)Code: [Select]http://www.mediaf!re.com/?bcc71tjs11c
http://www.mediaf!re.com/?vjrzbdxk1js
Boris - Vein (hardcore version)Code: [Select]http://www.mediaf!re.com/?bcc71tjs11c
YESSSS BORIS THAT I HAVE NEVER HEARD BEFORE NOM NOM <BONER>
http://www.mediaf!re.com/?zn0mujzkin4http://www.mediaf!re.com/?g4ylzqymmgjhttp://www.mediaf!re.com/?jw3inlwmwmmhttp://www.mediaf!re.com/?m2b31tzkar8http://www.mediaf!re.com/?dwmdwogznxnhttp://www.mediafire.com/?ynrz2l2wdfm
http://www.med!afire.com/?ytdaior3mknIn September 2001, Will Oldham, Jason Molina of Songs: Ohia, and Alasdair Roberts of Appendix Out met up in Louisville to record what would become this EP, a one-off project called Amalgamated Sons of Rest. Given the core trio of forlorn voices involved, this seven-song (including a bonus cut) album sounds like about what you'd expect: dark, wistful, and sparse. A general format is followed: One singer takes lead vocals and the other two add backup. The instrumentation is mostly acoustic, with drums and piano making brief appearances. Roberts starts things off with a reading of the traditional "Maa Bonny Lad." Oldham follows with an almost spoken-word interpretation of the whaling ballad "My Donal," while Molina completes the circle with his own brooding tale, "The Gypsy He-Witch." Roberts' "The Last House" and Oldham's "Major March" pass somewhat unnoticed, but the EP ends nicely with Molina's "Jennie Blackbird's Blues." The trio finally jelling, it's the only song that doesn't sound at all tossed off. (The EP ends in earnest with an obligatory-sounding hidden track, "I Will Be Good," which was written by Oldham and sees the trio singing in the round, trading off lead.) While there aren't a lot of surprises here, Amalgamated Sons of Rest is a pleasant enough curiosity for fans of any of these three indie folk standard-bearers.
http://www.med!afire.com/?jzy2yg50lmdThe collection of musicians on this album is incredible: Jim O'Rourke, David Grubbs, Douglas McCombs, and many others. But, despite the caliber of the performers, something seems to be missing. This album was recorded as the soundtrack to the movie Dutch Harbor, and consists of improvised pieces recorded in one day. The film is a documentary about the fishermen of Alaska, and some of the scenes are rather bleak and depressing, but unfortunately most of the music is as well. This is not to slander gloomy music, but the compositions on this album are depressing from a thematic standpoint. There is no doubt that this is a collection of more than apt musicians, but the feeling perpetuated on this album is one of over-electronic and expansive monotony. This music might be ample accompaniment to the film itself, but lacks concrete direction and enthusiasm. The mere comparison of this effort to Last Place to Go, the improvised pieces taken from the movie's European tour, evidences the disappointing nature of the original soundtrack. Both O'Rourke and Grubbs experiment with ambient, synthesized guitar sounds on tracks like "Introduction" and "Ship Supply" to no avail. The highlights of the album come with the more organic sounding "At Sea," "In Closing" and the Will Oldham composition, "Ebbs Folly." Despite these high moments of more inspired playing the lack of continuity remains. Perhaps if more time had been allotted to record this album better results might have resulted. Although admirable for its completion in one day, the Dutch Harbor Original Soundtrack could still use some work.
http://www.mediaf!re.com/?z5iyijdqyqnWill Oldham's first album under the Palace rubric, There Is No-One What Will Take Care of You, seemed to emerge from under a cloud of mystery on its first release in 1993. The first edition had no credits save a list of names under the heading "Impossible Without," leading to all manner of speculation in the indie community about who was responsible; the album sounded as if some ancient songsters who had somehow escaped Harry Smith's attention years before had recorded a session in their living room, which somehow found its way to the offices of Drag City. On There Is No-One What Will Take Care of You, Oldham sounds like a lost-lost cousin of the Louvin Brothers who, after ending up on skid row, is equally convinced that Satan is real, since he smells his foul breath every waking moment of his life. Oldham's stark, intimate tales of sin, lust, alcohol, and hopelessness are fascinating, horribly compelling stuff, and while it would be easy for this material to sound ironic or condescending, it isn't -- Oldham makes his characters' shame, confusion, and desperate search for grace real and genuinely moving. There Is No-One What Will Take Care of You may not be the best Palace album, but it is the work where Will Oldham's obsession with sin and redemption shines forth with the most painful and absorbing clarity.
http://www.mediaf!re.com/?hnzfgzjruzlThe second album from Palace Brothers would seem to barely qualify on either count -- at a shade over 27 minutes, Days in the Wake seems a bit skimpy in the era of the 80-minute CD, and only one song, "Come a Little Dog," clearly features any musicians besides Will Oldham and his rickety acoustic guitar. But the stark simplicity and audio vérité ambience of Days in the Wake builds on the already dramatic emotional power of There Is No-One What Will Take Care of You, and if Will Oldham's obsession with sin and retribution is less forcefully stated in these songs, that's not to say it isn't clearly present on most of these songs, especially the cautionary tale "You Will Miss Me When I Burn," the mournful but fiercely proud "No More Workhorse Blues," and "Pushkin," which begins with the declaration "God is the answer/God lies within," without making it sound like a concept in which Oldham can take much comfort. Oldham's lyrics would become increasingly cryptic from this point on, but while the literal meaning of songs like "Wither Thou Goest" and "I Am a Cinematographer" is elusive, the emotional power of these performances is as eloquent as anyone could hope for. Days in the Wake is the simplest work in the Palace canon, and among the very best. (Days in the Wake was originally released simply as Palace Brothers.)
http://www.mediaf!re.com/?jqiymmnzkwoWell, this one is a surprise. The Brave and the Bold is an all-covers collaboration between Bonnie "Prince" Billy (Will Oldham) and Tortoise, and it's got a set of songs that has to be among the most eclectic of any such project, ever. From Melanie to Devo to Richard Thompson to Lungfish to Milton Nascimento, this is one interesting mix. Some of the songs are done reasonably faithfully to the originals. "Some Say (I Got Devil)" is so faithful that the gender is left intact! And while "Cravo é Canela" keeps the rhythm and melody of the original, it benefits from beefed-up instrumentation, great production, and a surprisingly spirited Portuguese vocal from Oldham. "Love Is Love" trades the guitar grind of Lungfish's original for an industrial synth sound. Others are completely transformed, like the brooding "Thunder Road" and the newly ominous "Daniel." The Minutemen's "It's Expected I'm Gone" loses its tense punk rock edge but gains a great "out" solo section, and the cover of "Calvary Cross" is fantastic, but they should have let the guitar outro go on longer. This is a fun project to be sure, but don't expect more than that. It sheds a bit more light on what kind of eclectic music fans these guys are, and shows that Tortoise are consummate musicians, able to tackle virtually any style convincingly. It's not the new Tortoise album (that comes later in 2006), and it's clearly not your standard Bonnie "Prince" Billy effort, either. Approach it as a slightly goofy one-off, and you won't be disappointed.
http://www.mediaf!re.com/?3jwozd2mooqWill Oldham's musical personality is strong and distinct enough that when he collaborates with another artist, with rare exception he firmly takes the lead (whether or not that was the intention). And while guitarist Matt Sweeney (formerly of Chavez and Zwan) gets equal billing with Oldham's alter ego Bonnie "Prince" Billy on 2005's Superwolf, one listen confirms that this is primarily Oldham's work, with Sweeney obviously second in command. (The liner notes state that Oldham wrote the lyrics and Sweeney wrote the music, though to these ears Sweeney is either remarkably gifted at channeling Oldham's musical notions or the lyricist passed along a few melodic ideas as well.) However, this isn't to say Sweeney's presence isn't strongly and clearly felt here -- Superwolf exists in a musical landscape very much like Bonnie "Prince" Billy's earlier recorded work, such as Ease Down the Road and I See a Darkness, but Sweeney's periodic interjections of hard guitar lines give this a firmer musical texture and a stronger structural backbone than one might expect. Also, with Sweeney on hand, Oldham has kept some of his less appealing musical eccentricities in check -- this is one of his strongest and best-focused works in years, with the slow tempos adding drama to songs that manage to go somewhere in dramatic fashion despite their deliberate pace, and Sweeney's spare but evocative guitar lines fill the spaces without cluttering the frames. Even if Oldham ends up being front and center on Superwolf, the results make it clear the man works best with a strong collaborator, and it's hard not to hope Oldham and Sweeney continue to work together in the future.
http://www.mediaf!re.com/?jmzxzr2dzdwOne of the more perplexing of Will Oldham's between-album projects, All Most Heaven is also one of the most satisfying once fully digested. A joint release with well-traveled Chicago sideman Rian Murphy (who produces here), this release is the lighthearted counterpart to the somber and prayer-like Get on Jolly EP, which was released around the same time. Grandiose and overblown in almost every way except it's length, this four-song, bite-sized EP has the sound of a Disney movie soundtrack. Arranger Jim O'Rourke leads an indie rock all-star team which includes a good chunk of Drag City label roster -- from Smog's Bill Callahan to David Grubbs to Edith Frost -- not to mention Stereolab's Laetitia Sadier and Archer Prewitt. On top of this lush, intentionally overwrought musical backdrop, Oldham, with his trademark warble, belts out some of the best nonsense verse since Lewis Carroll, which, hilariously, is printed on an enclosed lyric sheet. (Sample: "fame I'd a said all a ba hoo/fame all a nod is a game/a fagen horror/and a low berra don.") The effect of all of this, because Oldham only just hints at actual English words, is that not only do you hear something different instrumentally with each listen, but you hear different words too. For those willing to put in the effort, All Most Heaven has one of the best four-song payoffs of anything in Oldham's canon, not to mention a ridiculous must-see rear cover showing he and Murphy leg wrestling.
http://www.mediaf!re.com/?wti5zyjg5m2Once again, Will Oldham emerges out of the murky, Midwestern haze with another helping of lovely, low-key musings on his fourth full-length album, Arise, Therefore, this time recorded under the name Palace Music (previously Palace Brothers, Palace Songs, or just plain Palace). Much quieter than Viva Last Blues and less-Appalachian in its folk spirit than Palace's earlier music, the songs on Arise, Therefore shift and moan with breathy cracks and shivers; Oldham's meandering, poet-speak vocals; and guitar accompanied by his brother, Ned's bass, David Grubbs' piano, and (surprise!) a Maya Tone drum machine. The lyrics (included for the first time) are beautiful in their stark, pale honesty as often as they are indecipherable. "I watch things painted on public walls/Now but I see other things as well/Behind but right f*ck in front of my spirit is how the real road's laid out in a line," he sings on "Kid of Harith." Don't ask for an interpretation: It will come with time, or it won't.
http://www.mediaf!re.com/?mbgzdynyxyyThis incarnation of Palace, one of its more impressive, sees frontman Will Oldham turning out some of the strongest bleak country-rock in his career and taking the music in a few intriguing and even upbeat directions. With a great supporting cast that includes, among others, Sebadoh's Jason Loewenstein on drums and Oldham's brother Ned on bass, the group busts out laid-back twangy tunes that can really rock when the opportunity comes up. Most notably, tracks like "Work Hard/Play Hard" and the opening "More Brother Rides" are brimming with energy that may not overwhelm, but certainly provides a hefty backbone. Alternately, slower brooding tracks like the longing "New Partner" see the band proving their chops in a more refined setting. Oldham's cracking backcountry voice may be a bit of an acquired taste, but it's worth the time, as his inflections are capable of powerful feelings and certain honesty. The Palace team has put out many a record, but as far as accessible and slightly upbeat musical ruminations go, Viva Last Blues certainly sees the players near the top of their game. Things are a little thicker and dirtier than on the more laid-back acoustic records this prolific artist has put out, but the rock approach adds worlds to the delivery and creates a powerful palette for the equally important lyrics. Oldham is a truly underrated American talent, and this is among his best work, so take the time to find it.
http://www.mediaf!re.com/?jtzqihanyjyDespite the overall excellence of albums like There Is No-One What Will Take Care of You and Viva Last Blues, Will Oldham tended to save his best Palace offerings for the group's singles; Lost Blues & Other Songs is a career-capping collection of those 7" releases which serves as a superb overview of the Palace project's mercurial history. Although a few stray tracks (like the German-only "Gezundheit," a cover of Lynyrd Skynyrd's "Every Mother's Son," and the live Lounge Ax single) are MIA, the set includes all of the truly crucial Palace singles from the first (1993's "Ohio River Boat Song") to the last (1997's "Little Blue Eyes"), along with unreleased material like "Valentine's Day," "Lost Blues," and a more ragged rendition of the debut album's classic, "Riding." The highlights are many, but the true standouts are the anthemic cover of the Mekons' "Horses" and both sides of the "West Palm Beach"/"Gulf Shores" single, a luminously pastoral effort reminiscent of Red House Painters. A stunning recapitulation of a truly unique musical vision, Lost Blues & Other Songs is an essential record from an essential band.
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http://www.mediaf!re.com/?ncitzymlmwnTo describe their sound is to describe the very essence of atmosphere and sorrow, because few bands can conjure these in perfect conjunction within the black metal context. Not only do Fen excel, but they do so with a near mint mix and an onslaught of clean chorus like vocals, some acoustics and beautiful songwriting. "Exile's Journey" is an excellent opening track, conjuring directly to the front the band's heavier side with some beautiful blasted riffs under swelling ambient synthesizers. "A Witness to the Passing of Aeons" begins with a subversive, swampy vibe, some flute like sounds and creepy whispered rasp over a plodding bass line, almost as if a corpse were rising slowly to it from the depths of a peat bog, waterlogged and horrifically preserved by natural forces. "Colossal Voids" is a dreamlike post-rock segue which breaks into melodic shoegazing riffs under snarls. "As Buried Spirits Stir" is another glorious track with several captivating layers of subtle melody. "The Warren" is a delightful, bluesy and folkish piece which finally shifts into the driving black form near its climax. "Lashed by Storm" is the most black metal and 'epic' of its kind on the album, and "Bereft" is another haunting but melodic piece which ends the album much as it opened.
This is the very substance of a job well done, a lovingly crafted piece of atmospheric and sad black metal which should appeal to both the kvlt sects of the depressive, tortured style and the multitude of artsy, romantic black fans who adore bands like Lifelover or Agalloch. I'll go out on a limb and say it will also tickle the bearded and braided chins of the epic Viking/folk metal crowd. It's a phenomenal debut album deserving much time and attention, and there is nothing quite like it haunting the weed choked waterways and shadowed glens of the Isles of late.
http://www.mediaf!re.com/download.php?1nzzzjjyjmyPart of the extended Squirrel Bait family tree, Bitch Magnet was one of two bands that guitarist David Grubbs joined in the wake of his departure. Unlike the other one, Bastro, Grubbs wasn't a charter member of Bitch Magnet, nor was he the leader; that duty fell to bassist/vocalist Sooyoung Park. Much like Bastro, however, Bitch Magnet played a blistering and intellectual brand of post-hardcore punk, which often drew comparisons to Steve Albini's Big Black; they were also grouped with a more direct Squirrel Bait descendant, Slint, albeit more relentless and somewhat less nuanced. Sooyoung Park founded Bitch Magnet in 1986 while a student at Oberlin College in Ohio, joining with guitarist Jon Fine and drummer Orestes Delatorre (aka Orestes Morfin); despite their Oberlin roots, the trio was actually based in Chapel Hill, NC. Bitch Magnet signed with the indie label Communion and debuted in 1988 with the Star Booty 12" EP, which was produced by Steve Albini himself and earned the band some notice on the underground rock scene. For the follow-up, 1989's full-length Umber, they added second guitarist David Galt (a later CD issue appended Star Booty as well). Galt's place was taken by David Grubbs later in 1989, and Grubbs toured with the group in between commitments with Bastro. Grubbs appeared on the EP Valmead and on Bitch Magnet's final album, Ben Hur, both issued in 1990. After Bitch Magnet's breakup late that year, all four members went on to other projects: Park formed the acclaimed Seam; Grubbs returned to Bastro, which evolved into the seminal Gastr del Sol; Fine played with Vineland and Don Caballero; and Orestes Morfin resurfaced in Walt Mink.
http://www.mediaf!re.com/?wtnzcqwz0dyhttp://www.mediaf!re.com/?qjoijioz5hfhttp://www.mediaf!re.com/?ygnxgqd1hjf^Jim's link, not mine.
I strongly recommend starting with the first Palace records and working forwards.
Retiring the Palace moniker for no reason other than a whim, Will Oldham doesn't necessarily explore new territory on his first official solo album, Joya. He sticks to the simple, slow, acoustic country-folk songs that dominated the latter-day Palace albums, and like before, the songs teeter between apparent sincerity and inscrutable irony. The hushed dynamics of the music and his whispered vocals suggest that Oldham means what he's saying, but his appropriation of American folk imagery and impenetrable wordplay suggest otherwise. As always, there are a few songs that have a quiet power (including "Antagonism" and a collaboration with the Silver Jews' Dave Berman), but the overall effect of Joya is a familiar one -- it's a promising, ultimately unfulfilling record that doesn't quite prove whether Oldham is a songwriter of pretense or genuine talent.
http://www.mediaf!re.com/?tzoedew3jy0Keeping up to date with Will Oldham's complete output can be an arduous task -- he has always exploited the shorter formats of the 7" and EP, producing a healthy amount of material in between his full-length releases. However, seeking out the 7" and EP formats can be rewarding, as the material often matches -- and occasionally surpasses -- the quality of his albums. The genesis of Western Music (released by the combined forces of two obscure labels for The Affliction Series) is typical, coming from a variety of sessions. Two tracks are solo Oldham, while Mick Turner and Jim White of the Dirty Three and former Gastr del Sol member David Grubbs play anonymous roles elsewhere. On nearly every song, Oldham approaches the level of his best work although, ultimately, each has its shortcomings. "Always Bathing in the Evening" relishes in its simple language. "Wade in/Wade in," he sings, as voices in the distance chime in with "Blowing/Jump in/Waiting/Jump in." While there is little lyrical matter to speak of, it sounds fantastic. Western Music's most complete song is "Jump In Jump In, Come In Come In," though even this, with its plodding tempo, feels more like a rehearsal on disc. Inspiration only seems to strike with the final verse. Only on "Three Photographs" (an oddity in a career full of them) does Oldham manage to throw us yet another curve. It's an intriguing, fragmentary story told through pictures. Over the most rudimentary, lo-fi guitar strum, Oldham's voice is sped up slightly, producing a humorous, Paul Simon effect. Western Music came during a particularly prolific time for Oldham, though Joya, his full-length album from the period, is more consistent.
http://www.mediaf!re.com/?dnzmojzmoteThroughout his career, Will Oldham has returned to the setting of Black/Rich Music. Beginning with his 1994 Palace Brothers album Days in the Wake, some of Oldham's best songs have been recorded solo. Not a great guitar player, Oldham relies on a basic, strummed accompaniment for the acoustic material on Black/Rich Music, and songs seem to have been written and recorded with little editing or refinement. Still, the simply hewn melodies and one-take feel of the performances are all part of what is endearing about Oldham's approach.
The EP is a miniature song cycle commissioned by Estep Nagy for the film The Broken Giant. It consists of four songs (two originals and two covers) linked together by their melodic "themes." Played on guitar and organ, the latter are brief and primitively constructed, so the heart of Black/Rich Music rests in the four songs they revolve around. One "cover" is a lengthy excerpt from D.H. Lawrence's poem The Risen Lord. Attempts to put such weighty material to music are typically unsuccessful and often awkward at best. In this case, it's a rambling narrative set to an unadorned backing of acoustic guitar. For better or worse, the performance is effective, because Oldham's own songs can seem similarly cumbersome. "Black/Rich Tune" passes by, failing to offer much that's musically memorable. The two covers come too close to Oldham on autopilot; thankfully, the best songs here are the two originals. He seems most engaged on "Do What You Will Do," and "Allowance" features the collection's best melody. Stripped of his peculiar vocal inflections in this intimate setting, it's a reminder of why Oldham should continue to record in this manner.
Black/Rich Music definitely has a place in the Oldham fan's collection. For others, he has recorded better material in this vein and the EP should be passed over for his next full-length release.
http://www.mediaf!re.com/?ymmzznjqynzWill Oldham's Ode Music, the soundtrack to Kelly Reichardt's film of the same name, takes the simplicity of his style to an extreme -- with just a few simple, endlessly repeated acoustic guitar figures and some muted pianos and organs, he creates a subtly captivating suite of film music. The album's hypnotic nature also makes it pleasant background music; the Eastern music-meets-bluegrass feel of "Ode #2" and the brittle sadness of "Ode #4" are particularly affecting. Though this album lacks the sweep and scope of Joya and I See a Darkness -- or any of Oldham's Palace material, for that matter -- it's still an enjoyable album that will please completists.
http://www.mediaf!re.com/?jm2yjzozyzoGuarapero/Lost Blues 2 gathers seven years' worth of rarities from Will Oldham, including an unusual reading of D.H. Lawrence's poem The Risen Lord, with a clunky, cheesy drum machine in the background, as well as a radical reworking of Lynyrd Skynyrd's "Every Mother's Son." Several of these songs come from BBC sessions, but the sound quality on tracks like "Gezundheit" and "Let the Wires Ring" suggests they were recorded on wax cylinder and transmitted by a crystal set, which, of course, only amplifies the songs' sparse, timeless feel. "The Spider's Dude Is Often There" and "For the Mekons Et Al" are among the most exuberant Palace songs on Guarapero, while Oldham tracks like "No More Rides" and "Sugarcane Juice Drinker" trace his development as a performer and songwriter. Due to the time span it covers, it's natural that Guarapero/Lost Blues 2 is a bit disjointed; nevertheless, it fills in the gaps for Oldham completists and is an entertaining, if scattered, look at some of his musical sketches over the years.
http://www.mediaf!re.com/?ym2d2nzmuinOne of many non-full-length releases Oldham churned out during his solo career, the four-song, 27-minute EP Seafarers Music is wholly instrumental soundtrack music to a documentary about seafarers in Rotterdam. Each of the four meditative acoustic pieces served as a theme for one of the four sailors profiled in the film. It's the kind of stuff where you can hear the fingers sliding on the strings and the strings hitting the instrument, soothing but not so tranquil that it's devoid of moodiness. It's pleasant, slightly somber ambient music, but not one of Oldham's more notable side projects, the tracks probably working better in the context of the documentary than they do as naked listening.
http://www.mediaf!re.com/?lj233vkndvoWith his gentle guitar picking and detailed lyrics of heartfelt relationships from yesteryear, Bonnie Prince Billy is actually Will Oldham taking a break from his full-time Palace project. But what makes this alias solo project impossible to separate from the aforementioned band is Oldham's distinctive vocals that never stop cracking. But this "Peter Brady syndrome" is part of his appeal for both Palace and Bonnie Prince Billy -- the later of which also carries a rocking influence of Neil Young. Best listened to alone with all the lights out.
http://www.mediaf!re.com/?dyg4ndtdmwmhttp://www.mediaf!re.com/?wuhxzzkmqyjhttp://www.mediaf!re.com/?ogmnzgy1yanBonnie "Prince" Billy's album I See a Darkness seems to pick up where Will Oldham's 1997 album Joya left off; a more melodic style than the veteran Palace listener might be used to. Oldham definitely hasn't abandoned his foundation of mordant lyrics and minimalist arrangements, but he has built a variety of different layers that make this album an emotional and pleasurable listening experience. In "Nomadic Revery," Oldham draws upon his classic Appalachian sound; it's the kind of song that begs you to join in. Oldham has always given the kind of energy to his character's voices that most people are afraid to relate to. This is all too evident in "Death to Everyone," Oldham punches out his bitter poetry in his most somber voice. The album takes its most surprising turn on "Madeleine-Mary," a Celtic-style folk song set to a Rastafarian guitar sound. "Today I Was an Evil One" introduces a horn section that drives home his morbid words in a strangely elegant manner. The album closes with a short and rare love song called "Raining in Darling"; Oldham stretches his voice to its most impressive limits, and the number is touching and hopeful.
http://www.mediaf!re.com/?lggtwqjzirdWill Oldham has long confused record buyers with his constantly changing monikers. Though the persona attached has remained fairly consistent, his releases under Bonnie "Prince" Billy brought a subtle but undeniable shift. Following the cracked, wayward style he adopted on 1997s Joya, Oldham settled on the steady understated "Bonnie" voice of I See a Darkness. The lyrics became more direct and the narrator's strange mythology deepened. If that album embraced its subject as a necessary, even beautiful aspect of life, Ease Down the Road finds the singer comfortable with this new-found acceptance. Backing Oldham is a cast of new and old faces who deliver their parts with an unusually soft, smooth touch. The singer eases into this setting, singing of his estranged upbringing, plans to construct his own kingdom (through questionable means), and love. The latter is Oldham's biggest preoccupation, finding its way into nearly every song, like the album's subplot. Though unable to choose between the love of one woman and the ability to be with whomever will suit his needs, the narrator is largely unconcerned with the conflict. Ease Down the Road features some of his most direct dealings with the subject on "May It Always Be" and "After I Made Love to You." As the album develops, this material is balanced with the more characteristic musings of "The Lion Lair," "Sheep," and "Grand Dark Feeling of Emptiness": songs that trace the same fictional histories found on I See a Darkness. The end result is the natural and necessary expansion of a unique songwriting voice. Seeming more confident than ever, Oldham's Ease Down the Road is a wonderful addition to a catalog that should earn him a place among the finest songwriters of his age, or any age.
http://www.mediaf!re.com/?jgydnyugnkmThe fourth Bonnie 'Prince' Billy record in six years finds Will Oldham relaxing into a beautiful groove; similar to 2001's Ease Down the Road, Master and Everyone is quite melodic compared to his Palace or self-titled releases, with less of the dire apocalyptic imagery and more reflections from his literate, anti-romantic backwoodsman. Like most of Oldham's recordings, this one rewards close attention, which reveals recording ambience ranging from creaking wood to a soft patting on the floor (a foot keeping time), and, of course, Oldham's half-resigned, half-plaintive croon. Little gets in the way of these songs. Circular lines from an acoustic guitar demarcate the choruses, a cello adds a bit of emotional warmth to one song, and a few others have the wheezing keys of what sounds like a pump organ. Fortunately, the songs stand up to the examination. "The Way" ("Love me the way I love you") is very nearly sweet, stranded between desperation and hope. Elsewhere Oldham is a true fatalist, resigning himself to the inevitable power of love to ruin his life and using the creepiest of old-timey metaphors to get his point across. On the title song, he explains the situation ("You tell me there are other fish in the sea, and another gathers roses for me/On this we will agree"), then uses the chorus to illustrate his worst fear: "I'm now free, master and everyone/Servant of all and servant to none." "Wolf Among Wolves" is especially eerie, with the merest whisper of feedbacked guitar and a wordless vocal punctuating the puzzled lyrics, "Why can't I be loved as what I am?/A wolf among wolves, and not as a man among men." One of the few guests on Master and Everyone is Marty Slayton, who contributes duet vocals to a pair of songs, a surprisingly close crossover to the folk crowd sparked by the success of O Brother, Where Art Thou? Mostly, though, Oldham concentrates on crafting unremittingly introspective and confessional material in a spare, old-timey format. As sometimes happens on the recordings of his kindred spirit Cat Power, however, such unstinting uniformity can be a curse as well as a blessing.
http://www.mediaf!re.com/?2hyzo5l11ithttp://www.mediaf!re.com/?cznizgwbde4As 2007 wound down, Will Oldham, as Bonnie "Prince" Billy, entered the Hexam Head studio in Philadelphia with Greg Weeks and Meg Baird and recorded seven cover tunes and a lone original. Given Oldham's delightfully idiosyncratic method of working, one would expect these tunes (titled only by their writers' names, so it's up to you to figure out what songs he's actually singing) to be radically strange versions of songs both popular and somewhat obscure. While it's true that these are not straight-up readings, they are also far from strange. In fact, what Oldham has done is create a half-hour of relaxed -- if sometimes harrowing and melancholy -- personally interpreted music he enjoys performing. Despite the fine sound and full presence of both Oldham and Baird, there is the distance of reverie, memory, regret, and distance in these songs. There are no stutter steps, loose lyrics, or unexpected interruptions that have made earlier records more marginal, and perhaps -- to some -- more interesting. The bottom line is that only a songwriter could read these songs so subtly and yet inflect them with the kind of immediacy that makes them sound as if they were his own. This is no mean feat when some of the tunes here are considered -- in their respective circles -- as having already been read that way. A case in point is Oldham's version of Gayle Caldwell's "Cycles," which is (and will continue to be) utterly defined by the persona of Frank Sinatra reading it. Nonetheless, as Bonnie "Prince" Billy, he and Baird in duet sing it as if it were some self-reflective back-porch ballad looking on the passage of time and the stages of life. Unless you actually knew this tune well enough, you'd never associate the two versions -- though Weeks does a nice job of injecting some of the original's instrumental and sonic tropes.
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http://www.mediaf!re.com/?mzouavujyyy Imagine if Stephen Pastel actually threw Aggi off the bridge and married Black Tambourine’s Pam Berry and had three four babies that formed a pop band.
Meet The Pains of Being Pure at Heart, a New York four-piece who plays sweet & noisy POP with boy/girl vocals, blissful melodies and blistering drums.
http://www.mediafire.com/?oyk000zoqanhttp://www.mediafire.com/?w9yrntkrzgmFrom its kaleidoscopic array of junk-culture musical styles to its assured, surrealistic wordplay, Beck's debut album, Mellow Gold, is a stunner. Throughout the record, Beck plays as if there are no divisions between musical genres, freely blending rock, rap, folk, psychedelia, and country. Although his inspired sense of humor occasionally plays like he's a smirking, irony-addled hipster, his music is never kitschy, and his wordplay is constantly inspired. Since Mellow Gold was pieced together from home-recorded tapes, it lacks a coherent production, functioning more as a stylistic sampler: there are the stoner raps of "Loser" and "Beercan," the urban folk of "Pay No Mind (Snoozer)," the mock-industrial onslaught of "Mutherfuker," the garagey "Fuckin' With My Head (Mountain Dew Rock)," the trancy acoustic "Blackhole," and the gently sardonic folk-rock of "Nitemare Hippy Girl." It's a dizzying demonstration of musical skills, yet it's all tied together by a simple yet clever sense of songcraft and a truly original lyrical viewpoint, one that's basic yet as colorful as free verse. By blending boundaries so thoroughly and intoxicatingly, Mellow Gold established a new vein of alternative rock, one that was fueled by ideas instead of attitude
http://www.mediaf!re.com/?nzidmwtim1yWithin months of the release of Mellow Gold, Beck released his second album, Stereopathetic Soul Manure, a schizophrenic collection of lo-fi recordings from between 1988 and 1993. Much of the music on the album draws from the noisy, experimental post-punk of Sonic Youth and the dirty, primitive junk rock of Pussy Galore; his absurdist sense of humor surfaces only rarely, and only in the guise of such sophomoric cuts as "Jagermeister Pie" and "Satan Gave Me a Taco," while his sense of songcraft is inaudible. Essentially, the record was both a palate cleanser, one designed to scare away the "Loser" fans, and a bid for indie credibility, since the music on Stereopathetic is equally as uncompromising and as unlistenable as Sonic Youth or their many imitators at their most extreme.
http://www.mediaf!re.com/?muzd2dmnojyOne Foot in the Grave appeared not long after the noisy freak-out of Stereopathetic Soulmanure, and its quiet, folky textures couldn't be more different than those of its predecessor, or the genre-bending Mellow Gold, for that matter. Recorded before Mellow Gold, the record showcases Beck as a postmodern folkie, and the results are revelatory. Stripped of the intoxicating production that dominated Mellow Gold, Beck's songs prove to be wonderful, vibrant tunes, teeming with emotion, haunting wordplay, and simple, memorable melodies. It's alternately haunting and jubilant, and Calvin Johnson's occasional harmonies lend the record an intimate warmth. It's a gentle record, and its collection of small gems are every bit as impressive as the songs on Mellow Gold or its 1996 follow-up, Odelay.
http://www.mediaf!re.com/?oguw2nngzniBeck's debut, Mellow Gold, was a glorious sampler of different musical styles, careening from lo-fi hip-hop to folk, moving back through garage rock and arty noise. It was an impressive album, but the parts didn't necessarily stick together. The two albums that followed within months of Mellow Gold — Stereopathetic Soul Manure and One Foot in the Grave — were specialist releases that disproved the idea that Beck was simply a one-hit wonder. But Odelay, the much-delayed proper follow-up to Mellow Gold, proves the depth and scope of his talents. Odelay fuses the disparate strands of Beck's music — folk, country, hip-hop, rock & roll, blues, jazz, easy listening, rap, pop — into one dense sonic collage. Songs frequently morph from one genre to another, seemingly unrelated genre — bursts of noise give way to country songs with hip-hop beats, easy listening melodies transform into a weird fusion of pop, jazz, and cinematic strings; it's genre-defying music that refuses to see boundaries. All of the songs on Odelay are rooted in simple forms — whether it's blues ("Devil's Haircut"), country ("Lord Only Knows," "Sissyneck"), soul ("Hotwax"), folk ("Ramshackle"), or rap ("High 5 [Rock the Catskills]," "Where It's At") — but they twist the conventions of the genre. "Where It's At" is peppered with soul, jazz, funk, and rap references, while "Novacane" slams from indie rock to funk and back to white noise. With the aid of the Dust Brothers, Beck has created a dense, endlessly intriguing album overflowing with ideas. Furthermore, it's an album that completely ignores the static, nihilistic trends of the American alternative/independent underground, creating a fluid, creative, and startlingly original work.
http://www.med!afire.com/?gq353e2vjtwAccording to party line, neither Beck nor Geffen ever intended Mutations to be considered as the official follow-up to Odelay, his Grammy-winning breakthrough. It was more like One Foot in the Grave, designed to be an off-kilter, subdued collection of acoustic-based songs pitched halfway between psychedelic country blues and lo-fi folk. The presence of producer Nigel Godrich, the man who helmed Radiohead's acclaimed OK Computer, makes such claims dubious. Godrich is not a slick producer, but he's no Calvin Johnson, either, and Mutations has an appropriately clean, trippy feel. There's little question that with the blues, country, psych, bossa nova, and folk that comprise it, Mutations was never meant to be a commercial endeavor — there's no floor-shaker like "Where It's At," and it doesn't trade in the junk culture that brought Odelay to life. Recording with his touring band — marking the first time he has entered the studio with a live band — does result in a different sound, but it's not so much a departure as it is a side road that is going in the same direction. None of the songs explore new territory, but they're rich, lyrically and musically. There's an off-the-cuff wit to the songwriting, especially on "Canceled Check" and "Bottle of Blues," and the performances are natural, relaxed, and laid-back, without ever sounding complacent. In fact, one of the nifty tricks of Mutations is how it sounds simple upon the first listen, then reveals more psychedelic layers upon each play. Beck is not only a startling songwriter — his best songs are simultaneously modern and timeless — he is a sharp record-maker, crafting albums that sound distinct and original, no matter how much they may borrow. In its own quiet, organic way, Mutations confirms this as much as either Mellow Gold or Odelay.
http://www.mediaf!re.com/?zfwj4cqf5jwBy calling the muted psychedelic folk-rock, blues, and Tropicalia of Mutations a stopgap, Beck set expectations for Midnite Vultures unreasonably high. Ironically, Midnite Vultures doesn't feel like a sequel to Odelay -- it's a genre exercise, like Mutations. This time, Beck delves into soul, funk, and hip-hop, touching on everything from Stax/Volt to No Limit but using Prince as his home base. He's eschewed samples, more or less, but not the aesthetic. Even when a song is reminiscent of a particular style, it's assembled in strange, exciting ways. As it kicks off with "Sexx Laws," it's hard not to get caught up in the rush, and "Nicotine & Gravy" carries on the vibe expertly, as does the party jam "Mixed Bizness" and the full-on electro workout "Get Real Paid," an intoxicating number that sounds like a Black Album reject. So far, so good -- the songs are tight, catchy, and memorable, the production dense. Then comes "Hollywood Freaks." The self-conscious gangsta goof is singularly irritating, not least because of Beck's affected voice. It's the first on Midnite Vultures to feel like a parody, and it's such an awkward, misguided shift in tone that it colors the rest of the album. Tributes now sound like send-ups, allusions that once seemed affectionate feel snide, and the whole thing comes off as a little jive. Musically, Midnite Vultures is filled with wonderful little quirks, but these are undercut by the sneaking suspicion that for all the ingenuity, it's just a hipster joke. Humor has always been a big part of Beck's music, but it was gloriously absurd, never elitist. Here, it's delivered with a smug smirk, undercutting whatever joy the music generates.
http://www.mediaf!re.com/?nymmijytzgjhttp://www.mediaf!re.com/?v0tymnzydhrBeck has always been known for his ever-changing moods — particularly since they often arrived one after another on one album, sometimes within one song — yet the shift between the neon glitz of Midnite Vultures and the lush, somber Sea Change is startling, and not just because it finds him in full-on singer/songwriter mode, abandoning all of the postmodern pranksterism of its predecessor. What's startling about Sea Change is how it brings everything that's run beneath the surface of Beck's music to the forefront, as if he's unafraid to not just reveal emotions, but to elliptically examine them in this wonderfully melancholy song cycle. If, on most albums prior to this, Beck's music was a sonic kaleidoscope — each song shifting familiar and forgotten sounds into colorful, unpredictable combinations — this discards genre-hopping in favor of focus, and the concentration pays off gloriously, resulting in not just his best album, but one of the greatest late-night, brokenhearted albums in pop. This, as many reviews and promotional interviews have noted, is indeed a breakup album, but it's not a bitter listen; it has a wearily beautiful sound, a comforting, consoling sadness. His words are often evocative, but not nearly as evocative as the music itself, which is rooted equally in country-rock (not alt-country), early-'70s singer/songwriterism, and baroque British psychedelia. With producer Nigel Godrich, Beck has created a warm, enveloping sound, with his acoustic guitar supported by grand string arrangements straight out of Paul Buckmaster, eerie harmonies, and gentle keyboards among other subtler touches that give this record a richness that unveils more with each listen. Surely, some may bemoan the absence of the careening, free-form experimentalism of Odelay, but Beck's gifts as a songwriter, singer, and musician have never been as brilliant as they are here. As Sea Change is playing, it feels as if Beck singing to you alone, revealing painful, intimate secrets that mirror your own. It's a genuine masterpiece in an era with too damn few of them.
http://www.mediaf!re.com/?ozk1mmizjtzEver since his thrilling 1994 debut with Mellow Gold, each new Beck album was a genuine pop cultural event, since it was never clear which direction he would follow. Kicking off his career as equal parts noise-prankster, indie folkster, alt-rocker, and ironic rapper, he's gone to extremes, veering between garishly ironic party music to brooding heartbroken Baroque pop, and this unpredictability is a large part of his charm, since each album was distinct from the one before. That remains true with Guero, his eighth album (sixth if you don't count 1994's Stereopathetic Soul Manure and One Foot in the Grave, which some don't), but the surprising thing here is that it sounds for all the world like a good, straight-ahead, garden-variety Beck album, which is something he'd never delivered prior to this 2005 release. In many ways, Guero is deliberately designed as a classicist Beck album, a return to the sound and aesthetic of his 1996 masterwork, Odelay. After all, he's reteamed with the producing team of the Dust Brothers, who are widely credited for the dense, sample-collage sound of Odelay, and the light, bright Guero stands in stark contrast to the lush melancholy of 2002's Sea Change while simultaneously bearing a knowing kinship to the sound that brought him his greatest critical and commercial success in the mid-'90s. This has all the trappings of being a cold, calculating maneuver, but the album never plays as crass. Instead, it sounds as if Beck, now a husband and father in his mid-thirties, is revisiting his older aesthetic and sensibility from a new perspective. The sound has remained essentially the same — it's still a kaleidoscopic jumble of pop, hip-hop, and indie rock, with some Brazilian and electro touches thrown in — but Beck is a hell of a lot calmer, never indulging in the lyrical or musical flights of fancy or the absurdism that made Mellow Gold and Odelay such giddy listens. He now operates with the skill and precision of a craftsman, never dumping too many ideas into one song, paring his words down to their essentials, mixing the record for a wider audience than just his friends. Consequently, Guero never is as surprising or enthralling as Odelay, but Beck is also not trying to be as wild and funny as he was a decade ago. He's shifted away from exaggerated wackiness — which is good, since it wouldn't wear as well on a 34 year old as it would on a man a decade younger — and concentrated on the record-making, winding up with a thoroughly enjoyable LP that sounds warm and familiar upon the first play and gets stronger with each spin. No, it's not a knockout, the way his first few records were, but it's a successful mature variation on Odelay, one that proves that Beck's sensibility will continue to reap rewards for him as he enters his second decade of recording.
http://www.mediaf!re.com/?lkjyf5tyghzWhen all is said and done, Beck's Guero might be the quintessential album of 2005. Not the best, nor the one that captured the sound of the year, but the album that illustrates that in 2005, there was no such thing as a finished album — that a set of songs could be packaged and repackaged in so many forms, it never really seems to exist as a finished work. That's because in the course of the year there were roughly five different incarnations of the album. At the beginning of the year, the unfinished album was leaked on the Internet, causing such a commotion that it was reviewed on the front page of Salon. A couple months later, the album was officially released as a 13-track edition, along with a greatly expanded 20-track special edition, containing a few remixes and several songs that didn't appear on the 13-track album but did appear on the leaked bootleg. Then, after a couple of import editions containing various bonus tracks, Guerolito appeared at the end of the year. Guerolito is a remix of the entire album, with each track being remixed by a different act, including Air, Boards of Canada, Octet, and Ad-Rock. Sometimes these songs bear different titles than their source material — "E-Pro" became "Ghost Range," for instance; this practice was in place for the deluxe version of Guero as well — and Guerolito itself had its own alternate edition, which was packaged and sequenced slightly differently from its main edition, plus an import with a bonus track. All this packaging and repackaging, mixing and remixing, titling and retitling has the effect of diluting a good set of songs by Beck — there may be many ways of enjoying these songs, but having them exist in different physical and musical forms makes them harder to grasp, not easier to appreciate. And while the mixes on Guerolito are, by and large, good, they neither illuminate the original songs, nor do they offer much new — they don't expand the songs, they still try to keep the basic structure in place, so it's not a good showcase for the remixers. Instead, they just reconfirm the suspicion that this set of songs was never quite finished or sequenced, it was just released. And while that may be a very 2005 experience, that doesn't mean that each grouping makes for satisfying listen. After all, given all the capabilities you have at home these days, why not make your own mixes and play lists of the Guero material? The deluxe edition of Guero even gives you the ability to remix it on your computer — which means there may be many more versions than five of this album floating out there in the ether.
http://www.mediaf!re.com/?wtn0nknmy2rBeck began work on 2006's The Information after Sea Change but before he reunited with the Dust Brothers for 2005's Guero, eventually finishing the album after Guero was generally acclaimed as a return to Odelay form. So, it shouldn't come as a great surprise that The Information falls somewhere between those two records, at least on sonic terms. Musically, it's certainly a kindred spirit to Guero, meaning that it hearkens back to the collage of loose-limbed, quirky white-boy funk-rock and rap that brought Beck fame at the peak of the alt-rock revolution, with hints of the psychedelia of Mutations and the folk-rock that was the basis for Sea Change. Since this is a Nigel Godrich production, it's meticulous and precise even when it wants to give the illusion of spontaneity, which isn't necessarily a bad thing, since it also pulls the album into focus, something that the generally fine Guero could have used. Guero had many strengths, but its biggest weakness was the general sense that it was unfinished, a suspicion fostered by its endless issues in deluxe editions and remixes. Beck embraced these changes, most extravagantly on the cover of Wired, where he was hailing the future of the album, which would now no longer be seen as finished: it would be a project that covered a certain amount of time, the artist would package it one way, then listeners would offer their own spin. That is precisely what Guero turned out to be, so it would have made sense that The Information would run further down that field, particularly because it has a design-your-own-art for its cover and is supplemented by a DVD filled with quick-n-dirty videos for each of its songs. But Beck isn't so easily pigeonholed: as it turns out, The Information is far more of a proper album than Guero, coming fully equipped with recurring themes and motifs, feeling every bit the concept album Sea Change was. Credit might go partially to his collaboration with Godrich -- who is nothing if not a taskmaster, helping to sharpen and focus erratic talents like Paul McCartney and Stephen Malkmus (for good in the former, not as good in the latter) -- but this also feels like the work of a refocused Beck, who shook off the cobwebs by reuniting with the Dust Brothers, thereby getting his "return to Odelay form" notices out of the way, and then getting down to the real work here on The Information, as he tackles the hyper-saturated info-world of the new millennium here...
http://www.mediaf!re.com/?yqxmezdfajyAt first glance, it seems like the teaming of Beck and Danger Mouse is a perfect pairing of postmodern pranksters, as neither musician has shaken the first impression he's made: for most, Beck is still seen as that ironic Loser, trawling through pop culture's junk heap, while Danger Mouse is the maverick of The Grey Album, the mash-up of the Beatles and Jay-Z that reads like a joke but doesn't play like one. Close listening to either man's body of work easily dispels these notions, as Beck has spent as much time mining the murky melancholia of Mutations as he has crafting neon freakouts like Midnite Vultures. He's made a career bouncing from one extreme to the other, occasionally revisiting the cut 'n' paste collage that would have seemed like a natural fit for the sample-centric Danger Mouse, but when he partnered with Danger Mouse in 2008, Beck's pendulum was swinging away from the Odelay aesthetic, as he spent two records on the lighter side, thereby dictating a turn toward the dark. As it happens, this is Danger Mouse's true forte, as his productions have almost uniformly been dark, impressionistic pop-noir, whether he's working with Damon Albarn on the Gorillaz or the Good, the Bad & the Queen, or collaborating with Cee-Lo as Gnarls Barkley (whose fluke hit "Crazy" had nasty rumbling undercurrents) or even blues-rockers the Black Keys. So, he turns out to be a perfect fit for Beck, just perhaps not in the way that many might expect, although the title of their album Modern Guilt should be a big tip-off that these ten tracks are hardly all sunshine and roses...
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Jason Forrest's The Unrelenting Songs of the 1979 Post Disco Crash is a Day-Glo burst of wacked-out samples, clattering percussion, sun-kissed melodies, and general electronic insanity. Unless you are the sourest of electronica purists, you can't help but be knocked out by the sheer amount of wit, skill, and joy on display here. Forrest has a knack for the perfect sample and a predilection for classic rock. So you get bits of Starship's "Jane," the Cars' "Let the Good Times Roll," Elton John's "Bennie and the Jets," and plenty more chopped and manipulated in strange and supercool ways. Which could come off as just cute and silly, but Forrest builds dazzlingly constructed tunes around them that would be swell even without the samples. The most impressive on the album do need their samples, however: "10 Amazing Years" folds, mutilates, and spindles the Who's "Who Are You" into a glittering cube of post-postmodern art that will leave you shaking your head in admiration. You could lump Forrest in with fellow sample-mad groups like the Avalanches, and that would make a lot of sense as they certainly share an everything-but-the-speaker-cables approach. Or with mash-up artists like Soulwax, though Forrest does more than just juxtapose. Whatever you do, make sure you track down The Unrelenting Songs of the 1979 Post Disco Crash because it is the feel-good record of the summer of 2004.
http://www.mediaf!re.com/?nuggm33zgwyJason Forrest's brilliant The Unrelenting Songs of the 1979 Post Disco Crash announced Forrest to the electronic masses as the new king of sample-tronica, and while it can't replicate the shock to the system that Unrelenting provided, his follow-up, Shamelessly Exciting, is just as impressive a record and just as full of dazzling technical and musical achievements. In fact, it is a perfect follow-up record, giving plenty of what you loved about the previous record but tweaking it enough to keep things exciting and fresh. As with Unrelenting, it is a blast throughout to play "find the sample" and marvel at the skill and dexterity Forrest uses to fit them together. Check the ease with which he turns his 36 favorite punk songs into "My 36 Favorite Punk Songs," the little riff fragments and occasional shouts blending into a storming electro-punk track. Or check "Dreaming and Remembering," a track that manages to melt '70s soft rock, disco and hardcore techno into a glittering treasure. Forrest is less apt to sample AOR references; he's gone the soft-rock route this time digging into Gary Wright, Gerry Rafferty (with a cool mashed-up "Baker Street" sample on "Skyrocket Saturday" [an awe-inspiring track that also features a cameo by the hook from Starbuck's "Moonlight Feels Right"]) and Seals & Crofts, among others. The whole record is filled with these head-shaking moments of wonder, as on "New Wave Folk Austerity" (which somehow manages to sample both Yes and Blondie and make it work), the thundering "War Photographer" (which features chopped up Blood, Sweat & Tears samples), the foundation-shaking, slide-guitar workout "Storming Blues Rock" and the surprisingly gentle and sweet electro-pop ballad with lyrics penned and sung by one-time fellow WFMU DJ (and alt-country goddess) Laura Cantrell. "Nightclothes and Headphones" is a tribute to the late John Peel that gives the album some soul and depth and captures the feeling of being enraptured by the radio perfectly. "Evil Doesn't Exist Anymore" closes the album on a dramatic, epic-length note with guest vocals by Maja Solveig Kjelstrup Ratkje, who unleashes Björk-on-Red Bull voices over a thumping, clattering beat and a melody that sounds like the funeral march of a Eastern European dictator. It is a bracing and satisfying way to bring Shamelessly Exciting, an album that truly lives up to its billing, to a close. You will find yourself playing this record over and over, hipping your friends to it and generally wishing everyone else with samplers had as much imagination as Forrest.
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Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" -- the brightest, most hopeful moments on the record -- are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.
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http://www.mediafire.com/?wmmbiznwymjDo you remember the days when psychedelic rock reigned supreme on the radio airwaves with Norman Greenbaum’s tune, “Spirit in the Sky,” and the carnival-tinged atmospherics of The Beatles album, Sgt. Pepper’s Lonely Hearts Club Band was played 24/7? If you are like me, you probably were not even born yet, but you know this music by heart because its played daily on classic rock radio stations around the world. Kay Kay and his Weathered Underground have revived the fuzz rock and flower power child pop of the late ‘60s and early ‘70s on the band’s self-titled debut release. Made of two former members of Gatsby’s American Dream, lead vocalist/guitarist Kirk Huffman and keyboardist Kyle O’Quinn, Kay Kay and his Weathered Underground’s music feels like it was greatly inspired by the soundtrack from the Las Vegas show, “Love” which is based on the music of The Beatles. With the addition of cellist/backup vocalist Phillip Peterson, Kay Kay and his Weathered Underground’s debut release blends rock and orchestral tones like they were made to be paired.
http://www.mediafire.com/?dzjtm2vmzel http://www.mediafire.com/?zzmlijftwzw Following his work with The Black Keys and Gnarls Barkley, Danger Mouse's production of this effort from The Shortwave Set makes him, this month at least, the hardest-working man in showbiz. And one of its more diversely talented exponents, as he slips smoothly from their respective nu-blues and new-age soul to the Set's psychedelic indie-rock. He's not the only interesting figure involved, the south London trio having also enlisted the services of the omni-talented Van Dyke Parks, whose baroque-pop string arrangements garland tracks such as "Yesterdays To Come", "Replica" and "House of Lies". The result is warm, fuzzy songs that recall recent psych-pop offerings from the likes of Dean & Britta, Viva Voce and Joy Zipper. "We'll make our music always off-key/ It's twisted and wrong, some kind of joke symphony," the Set sing on "I Know", but they protest too much, as for all their armoury of theremin whines, electric harpsichord, mellotron and juddering vibrato guitar, this second album is a tasteful, mellifluous affair.
http://www.mediafire.com/?xinm5zwz5mnA four-CD-plus-DVD behemoth packaged in a wooden box, Sojourner was recorded in four different locations by Magnolia singer/songwriter Jason Molina with help from a cast including engineer Steve Albini, Cracker's David Lowery, and singer/violinist Andrew Bird. In small doses these acoustic dirges and country-rock laments -- played at tempos that make Crazy Horse sound like Slayer -- pass by indistinctly, but over time, the slow-blooming guitar solos and age-old folkie melodies of tracks like "Bowery" and "Trouble in Mind" reveal their sturdy, dignified strengths.
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With lesser songs to call his own *Johnny Foreigner *vocalist Alexei Berrow would struggle to tempt the average listener through even three of the thirteen tracks that make up this debut album proper after last year’s Arcs Across The City EP. His shrill shrieks, at times matched wince for wince by back-up screamer Kelly Southern, a bassist likely to be a fixture on the bedroom walls of indie kids too young to have caught Melissa Auf der Mar or Charlotte Hatherley a few years back, are an acquired taste to say the least; some will flee as he crams syllables too many into a timeframe too short. Those that last the length, though, will be rewarded handsomely.
Like many music lovers unable to keep perfect pace with the ever-shifting landscape of the British underground, I was first alerted to the potential of Johnny Foreigner – affectionately known by fans, and certain DiS staffers, as JoFo, and so they shall be henceforth here – by this site’s review of Arcs Across The City (find it here). Ten out of tens are rightly rare, and while I couldn’t agree wholly with the perfect score after sampling the seven-tracker for myself, there was no denying its positives: once the barrier of that voice is broken down, one swiftly realises the excellent songwriting in action, the masterful combining of avant-indie guitar tendencies with immediate pop hooks the size of battering rams (and possessing all the subtlety). Clearly JoFo have influences that most mainstream radio listeners will never have heard of, but by manipulating these touchstones into manageable portions of frenzied riffing and fret twiddling they’ve successfully made their own material hugely accessible.
A couple of Arcs tracks make the jump from short-play release to fully formed album: ‘The End and Everything After’, essentially the opening to Harvey Danger’s ‘Flagpole Sitta’ given the once over by indie-punks super short of attention spans, is characterised (as so many of these songs are) by Berrow’s breathless diatribes, Southern chipping in to add a little sweetness to shout-along chants of “God knows what you think of us”. Throughout, third member Junior, drummer and keys, provides an essential backbone to proceedings; without this anchor of sorts, chances are the furious guitar lines would run riot entirely out of control. JoFo would display the necessary energy but lack the even more vital pop nuances. The band is, clearly, far more than the simple sum of its parts.
The other EP song to progress to this LP is ‘Yes! You Talk To Fast’, again opened by guitar work that’s impressive of pace but controlled by some propulsive drum pummelling. What Berrow is actually on about – pirates are mentioned, and there’s a decent “yo ho ho!” in there – is anyone’s guess (it’s their Blues Brothers song according to our Track-by-Track - Ed) but there’s a naggingly addictive edge to it, ensuring the song’s one of many here that firmly bed themselves into the grey matter after but a week in the album’s company. Of a similarly speedy execution are album-preceding singles ‘Our Bi-Polar Friends’ and ‘Eyes Wide Terrified’, although both also display a tenderness not always evident on JoFo’s wilder arrangements. The latter, in particular, is notable for its softly sung opening 30 seconds – a chance for Berrow to take a breath proper prior to launching into the band’s formulaic – that’s not meant in a disrespectful sense – structure of verse, chorus, verse, scream a lot.
In the album’s middle section sit two of its true standouts, ‘Hennings Favourite’ (should that have an apostrophe? It doesn’t here…) and ‘Salt, Pepa and Spinderella’. The first is in the vein of much that surrounds it – bombast and bluster, squeals and screams – but latches a sizeable motif that recalls Minus The Bear’s experimental pop-rock meanderings to a structure that’s already considerably memorable. The result is a track that’s both weirdly alien and infectious like the finest Girls Aloud offering, a song that knows not its place in the genre scheme of things. ‘Salt…’ might be named after a popular hip-hop group, but it’s sure as hell not a rap number. Rather, it rides a pulsing keys ‘n’ beats intro which Southern and Berrow vocally joust across the top of before tripping into a spoken-word tirade from our frontman. Everything’s weirdly tranquil until two minutes and six seconds in, and then: bang. Everything’s rocked up to eleven, Southern’s repeated “do-do-do”s seeping into the bloodstream. Addiction to JoFo comes easy, then, given just the right amount of exposure.
Which is, by my reckoning, roughly three and a half plays of this debut album, a record that shows other sides to this band’s personality – ‘DJs Get Doubts’ is a sweet paean to the touring life, while many lyrics relate to events unfolding in their hometown of Birmingham; ‘Cranes And Cranes And Cranes And Cranes’ shouts its fuck-yous the way of developers destroying England’s second city’s cultural draws to erect housing blocks – without ever allowing them to stray too far from the source: the yelp-at-home histrionic rock ‘n’ roll that’s already won over legions of admirers. Me, I’m another recruit to the campaign – given touring enough, and a little radio luck, it’s impossible to imagine Johnny Foreigner not becoming a household name.
Not with the parents, you understand; even I’m almost too old for this sort of passionate squall. No, the kids: it’s the kids who are going to make sure Johnny Foreigner matter for the foreseeable future. So long as they’re dancing to songs as near perfect of pop-rock shape and size as these, the world is a better place. Waited Up ‘Til It Was Light is an album of escapism, of sorts: sweat your troubles away, guys, because tomorrow’s another day and we can all deal with that shit then. It’s no 10/10 – to award such a mark for a debut album would be to ask the band to call it quits, as they’re unlikely to ever trump it – but it is a definite contender, alongside Los Campesinos!’s Hold On Now, Youngster, Foals' 'Antidotes' and Wild Beasts’ forthcoming Limbo, Panto, for home-grown debut of the year.
* Johnny Foreigner 8 / 10
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It’s funny how Birmingham has spawned two bands of such differing quality that one is practically the critical polar opposite of the other. On one side you have The Twang, purveyors of lad-rock dirge and kings of all-things shit-core; on the other, Johnny Foreigner. Surely you don’t need a diagram to clarify which act is just about the best damn band to emerge from the nation’s second city for a long time.
Their first album – a seven-track mini-album, Arcs Across The City – introduces Johnny Foreigner as the excitable kids of new-wave indie music. This is pop music packaged with added E-numbers and dancing feet that never misstep.
The boyx2 girlx1 three-piece make clever, fast, instant guitar music. Throwaway, you say? I can tell you, with conviction, that this record hasn’t left my earphones in weeks, save for a couple of days of obligatory Radiohead listening. Be it the sweet, closely matched male-female vocal interplay that sounds the length of ‘Suicide Pact, Yeah?’, or the ADHD guitar on ‘Champagne Girls I Have Known’, this band leave you reaching for the repeat button. They’re everything good you can say about Sonic Youth, Bloc Party and Los Campesinos!, taking the best parts of said bands and twisting the mixture it into something original.
Brilliance extends way past any collective influences, though, as Johnny Foreigner have enough of their own fuel for nostalgic nuances to be ignored.‘Sofacore’ adopts a hyperactive rapid-fire formula and morphs it into a short two-minute manoeuvre, while slower acoustic number ‘All Moseley Gardens’ is tagged on as a hidden track for necessary respite – a move which should put a hush to naysayer tongues suggesting the band are limited to one cheap trick. Come the release of their debut full length, Johnny Foreigner will be unstoppable, if they’re not already at that stage already.
Arcs Across The City is the counter argument to empty bands with emptier songs, to the indie lyricists solely reliant on quick wit and cool urban references. There’s nobody in this band with a fuckwit ‘rock ‘n’ roll’ moniker, there are no retrospective ska leanings, and nothing to chant along to in drunken karaoke. It’s too fast and too clever for the usual clichés. People will complain that it would be impossible to make a music video for them without shooting it in double-speed a la _something from the television show of famous milkman Benny Hill, and that there are too many _twists and turns and bangs and wooshes for a three-minute slot on daytime radio. But I’ll tell you that the usual methods of criticism cease to matter, because this is_ a ten-out-of-ten record if ever I heard one, and I can’t name one other British band deserving of the highest accolade this year. Johnny Foreigner will have you revert to the excitable teenage fanboy that would go out and buy a band’s single in every format just for the b-sides. Y’know, _just because.
Seven songs, 21 minutes, and some of the most exciting indie-pop sounds committed to record by a British band in a long while. Arcs Across The City is the domestic debut album release of the year, hands down.
* Johnny Foreigner 10 / 10
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http://www.mediafire.com/?tdnotjmhlgzhttp://www.mediafire.com/?njhmemetjmihttp://www.mediaf!re.com/?9mn9nyopmxwIt actually took me a while to get into The Gaslight Anthem, and I frequent Punknews.
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I'd kinda been avoiding this because it got such critical acclaim..now I see why. That's a fuck of a good album.
so i know there's no requests...however; does anyone know if anyone posted any of the beatles albums...i'm in desperate need of them all! aside from the greatest hits of course...
i'm on it
so i know there's no requests...however; does anyone know if anyone posted any of the beatles albums...i'm in desperate need of them all! aside from the greatest hits of course...
i'm on it
Let me know if you need any assists in this effort. Once I am done with my uploads for today, I can probably start working on the Beatles tomorrow.
I listened to it and at first nearly vomited from the blatant Springsteen vocal rip. I soon got over it for the same reason you sited above.
http://www.mediaf!re.com/download.php?n2ydtzzdqdmJoni Mitchell's debut release is a concept album. Side one, subtitled "I Came to the City," generally exhibits songs about urban subjects that are often dour or repressed in some way. "Out of the City and Down to the Seaside," by contrast, is a celebration of nature and countryside, mostly containing selections of a charming, positive, or more outgoing nature. What sets this release apart from those of other confession-style singer/songwriters of the time is the craft, subtlety, and evocative power of Mitchell's lyrics and harmonic style. Numbers such as "Marcie," "Michael From Mountains," "The Dawntreader," and "The Pirate of Penance" effectively utilize sophisticated chord progressions rarely found in this genre. Verses are substantive and highly charged, exhibiting careful workmanship. "Song to a Seagull" has graceful and vivid lyrics about the joys of freedom set to a haunting, wide-ranging vocal line. Conversely, "Cactus Tree" explores the downside of a no-strings-attached approach to life, the fear of committing to a relationship (ironically wedding these words to a hopeful melody and pulsating guitar texture). "Marcie" utilizes poignant, twisting music set to desolately lonely lyrics about a jilted woman; the recurrent use of red and green imagery in the verses is especially clever. Character studies such as "I Had a King" and "Nathan la Franeer" are painfully bleak in contrast to the lithe domestic scene of "Sisotowbell Lane" and the winsomely reserved love song "Michael From Mountains." Unusual in her oeuvre are the overlapping dialogue prose manner of "The Pirate of Penance" and the jaunty honky tonk stylings of "Night in the City." Mitchell sings in a light, gossamer, at times diffident manner; vocal harmony is sparingly employed here. David Crosby's production is simple and effective. This excellent debut is well worth hearing.
http://www.mediaf!re.com/?nblkzyeknilClouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen.
http://www.mediaf!re.com/?mo3zqfmgmjtThis wonderfully varied release shows a number of new tendencies in Joni Mitchell's work, some of which would come to fuller fruition on subsequent albums. "The Arrangement," "Rainy Night House," and "Woodstock" contain lengthy instrumental sections, presaging the extensive non-vocal stretches in later selections such as "Down to You" from Court and Spark. Jazz elements are noticeable in the wind solos of "For Free" and "Conversation," exhibiting an important influence that would extend as late as Mingus. The unusually poignant desolation of "The Arrangement" would surface more strongly in Blue. A number of the selections here ("Willy" and "Blue Boy") use piano rather than guitar accompaniment; arrangements here are often more colorful and complex than before, utilizing cello, clarinet, flute, saxophone, and percussion. Mitchell sings more clearly and expressively than on prior albums, most strikingly so on "Woodstock," her celebration of the pivotal 1960s New York rock festival. This number, given a haunting electric piano accompaniment, is sung in a gutsy, raw, soulful manner; the selection proves amply that pop music anthems don't all have to be loud production numbers. Songs here take many moods, ranging from the sunny, easygoing "Morning Morgantown" (a charming small-town portrait) to the nervously energetic "Conversation" (about a love triangle in the making) to the cryptically spooky "The Priest" (presenting the speaker's love for a Spartan man) to the sweetly sentimental classic "The Circle Game" (denoting the passage of time in touching terms) to the bouncy and vibrant single "Big Yellow Taxi" (with humorous lyrics on ecological matters) to the plummy, sumptuous title track (a celebration of creativity in all its manifestations). This album is yet another essential listen in Mitchell's recorded canon.
http://www.mediaf!re.com/?kaxmyomwzdjSad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell's songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity; even tracks like "All I Want," "My Old Man," and "Carey" — the brightest, most hopeful moments on the record — are darkened by bittersweet moments of sorrow and loneliness. At the same time that songs like "Little Green" (about a child given up for adoption) and the title cut (a hymn to salvation supposedly penned for James Taylor) raise the stakes of confessional folk-pop to new levels of honesty and openness, Mitchell's music moves beyond the constraints of acoustic folk into more intricate and diverse territory, setting the stage for the experimentation of her later work. Unrivaled in its intensity and insight, Blue remains a watershed.
http://www.mediaf!re.com/?zlk2hz4mzznOn For the Roses, Joni Mitchell began to explore jazz and other influences in earnest. As one might expect from a transitional album, there is a lot of stylistic ground explored, including straight folk selections using guitar ("For the Roses") and piano ("Banquet," "See You Sometime," "Lesson in Survival") overtly jazzy numbers ("Barangrill," "Cold Blue Steel and Sweet Fire," and hybrids that cross the two Let the Wind Carry Me," "Electricity," "Woman of Heart and Mind," "Judgment of the Moon and Stars"). "Blonde in the Bleachers" grafts a rock & roll band coda onto a piano-based singer/songwriter main body. The hit single "You Turn Me on I'm a Radio" is an unusual essay into country-tinged pop, sporting a Dylanesque harmonica solo played by Graham Nash and lush backing vocals. Arrangements here build solidly upon the tentative expansion of scoring first seen in Ladies of the Canyon. "Judgment of the Moon and Stars" and "Let the Wind Carry Me" present lengthy instrumental interludes. The lyrics here are among Mitchell's best, continuing in the vein of gripping honesty and heartfelt depth exhibited on Blue. As always, there are selections about relationship problems, such as "Lesson in Survival," "See You Sometime," and perhaps the best of all her songs in this genre, "Woman of Heart and Mind." "Cold Blue Steel and Sweet Fire" presents a gritty inner-city survival scene, while "Barangrill" winsomely extols the uncomplicated virtues of a roadside truck stop. More than a bridge between great albums, this excellent disc is a top-notch listen in its own right.
http://www.mediaf!re.com/?jujnbuyytd2Joni Mitchell reached her commercial high point with Court and Spark, a remarkably deft fusion of folk, pop, and jazz which stands as her best-selling work to date. While as unified and insightful as Blue, the album -- a concept record exploring the roles of honesty and trust in relationships, romantic and otherwise -- moves away from confessional songwriting into evocative character studies: the hit "Free Man in Paris," written about David Geffen, is a not-so-subtle dig at the machinations of the music industry, while "Raised on Robbery" offers an acutely funny look at the predatory environment of the singles bar scene. Much of Court and Spark is devoted to wary love songs: both the title cut and "Help Me," the record's most successful single, carefully measure the risks of romance, while "People's Parties" and "The Same Situation" are fraught with worry and self-doubt (standing in direct opposition to the music, which is smart, smooth, and assured from the first note to the last).
http://www.mediaf!re.com/?zdnoqtzj2xkLike most live albums, this two-record set was a profit-taking release on which the artist re-presented many of her old songs for a new acceptance now that she had a larger pop audience. Backed by the pop-jazz ensemble the L.A. Express Mitchell reprised the best from her first five albums, pointedly ignoring Court and Spark, and including two new cuts, "Love or Money" and "Jericho."
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http://www.mediaf!re.com/?ogjzyytjugeJoni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop.
http://www.mediaf!re.com/?wmddw5oyqt2Joni Mitchell's Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; "Song for Sharon" utilizes the static, pithy vocal harmonies from Ladies of the Canyon's "Woodstock," "Refuge of the Roads" features woodwind touches reminiscent of those in "Barangrill" from For the Roses, and "Coyote" is a fast guitar-strummed number that has precedents as far back as Clouds' "Chelsea Morning." But by and large, this release is the most overtly jazz-oriented of her career up to this point — hip and cool, but never smug or icy. "Blue Motel Room" in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. "Coyote," "Black Crow," and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches. None of these cuts are traditionally tuneful in the manner of Mitchell's older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell's verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of "Furry Sings the Blues" and the ambivalent speaker of "Song to Sharon," who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on "Amelia." Performances are excellent, with special kudos reserved for Jaco Pastorius' melodic bass playing on "Refuge of the Roads" and the title cut. This excellent album is a rewarding listen.
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http://www.mediaf!re.com/?tzdw20qmnnlA big chunk of the pop audience Joni Mitchell had earned with Court and Spark in 1974 deserted her in 1975 and 1976 when the follow-ups, The Hissing of Summer Lawns and Hejira, proved more difficult works. With the pretentious double album Don Juan's Reckless Daughter, Mitchell lost many of the loyal fans who'd stuck with her from the beginning, but who, upon hearing her here as she spread her obscure poetic observations and thin melodies across whole sides of the album, found her disengaged from the close, personal observations that filled her best songs. This was Mitchell's last album to go gold.
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http://www.mediaf!re.com/?gyitjzottxzIn the months prior to the passing of legendary jazz bassist Charles Mingus, Joni Mitchell had been personally summoned by the bop pioneer to collaborate on a musical version of T.S. Eliot's Four Quartets. The project would entail Mitchell to condense the text for Mingus to score instrumentally. He planned on utilizing a full orchestra, as well as the more traditional guitar and bass. They would accompany Mitchell's vocals and the narration of selected portions of the text. After a few weeks of consideration, Mitchell's reaction was that "[she]'d rather condense the bible." Mingus then bestowed Mitchell with six melodies -- "Joni I" through "Joni VI" -- penned specifically for her. Mitchell spent a few weeks with Mingus -- who was totally immobilized from amyotropic lateral sclerosis (aka Lou Gehrig's Disease) -- during the spring of 1978. Their partnership advanced the half-dozen tunes. More importantly, it shook Mitchell from a three-month long writer's block/drought -- yielding two of her best late-'70s compositions: "God Must Be a Boogie Man" and the revisitation and completion of a track she'd been wood-shedding, now titled "The Wolf That Lives in Lindsey." Incidentally, the former piece was inspired by the opening chapters of Mingus' autobiography, Beneath the Underdog. Initial recordings during Mitchell's stay with Mingus in New York City produced several interesting experimental sessions with the likes of Stanley Clarke (bass), Jan Hammer (keyboards), John McLaughlin (guitar), Gerry Mulligan (baritone sax), and Tony Williams (drums). A few of these recordings -- while rumored to have been lost, destroyed, or made otherwise unavailable -- were leaked into the trading community in the late '90s. Arguably, Mitchell could not have chosen any finer musicians than the sextet she ultimately incorporated into this work. The luminaries include Herbie Hancock (electric piano), Wayne Shorter (soprano sax), Jaco Pastorious (bass/horn arrangements), Peter Erskine (drums), Don Alias (congas), and Emil Richards (percussion). Sprinkled amongst these soulfully jazzy pieces are five "raps," or aural snapshots of the time Mitchell and Mingus spent together. Sadly, Charles Mingus passed before he was able to listen to this timeless and ageless paean to his remarkable contributions to bop and free jazz.
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Shadows and Light is Joni Mitchell's second live album, and it serves as a good retrospective of her jazzy period from 1975-1979. As expected, she assembles a group of all-star musicians including Pat Metheny (guitar), Jaco Pastorius (bass), Lyle Mays (keyboards), and Michael Brecker (saxophone) who give these compositions more energy than on the studio recordings. The musicians are given room to jam, and they sound terrific on uptempo songs such as "Coyote" and "In France They Kiss on Main Street." If there is a general theme of these songs, it's about growing older and maturing after the failed idealism of the late '60s (the album opens with audio clips from the movie Rebel Without a Cause). Although this album is pleasing, the live arrangements are not different enough from the studio versions to warrant higher marks. In fact, Mitchell has always been an album artist who recorded studio albums that had a sound and feel all their own. While Shadows and Light provides a nice summary of her experimental period for casual fans, interested listeners should start with Hejira or The Hissing of Summer Lawns.
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http://www.mediaf!re.com/?1zizio0yeljOn her first new studio album of original material in five years and her debut for Geffen Records, Joni Mitchell achieved more of a balance between her pop abilities and her jazz aspirations, meanwhile rediscovering a more direct, emotional lyric approach. The result was her best album since the mid-'70s.
http://www.mediaf!re.com/?iymymywmmjxJoni Mitchell here turned to guests like Michael McDonald, Thomas Dolby, Don Henley, James Taylor, and Wayne Shorter, continuing to straddle the worlds of California folk/pop and jazz fusion. Musically, it worked, although as a lyricist, Mitchell again took off after abstractions (one song railed against "The three great stimulants of the exhausted ones/Artifice, brutality and innocence"), such that, even when you could figure out what she was talking about, you didn't care.
http://www.mediaf!re.com/?lzitzumirddLong before Frank Sinatra made his Duets album, Joni Mitchell cast a variety of name singers in prominent roles for the songs on Chalk Mark in a Rainstorm. Peter Gabriel sings with her on the leadoff track, "My Secret Place," and Don Henley is heard on "Lakota" and "Snakes and Ladders," Billy Idol and Tom Petty have roles in "Dancin' Clown," and Willie Nelson brings his dry phrasing to "Cool Water," while ex-Cars singer Benjamin Orr and ex-Prince associates Wendy Melvoin and Lisa Coleman also have backup parts. Mitchell uses the vocal firepower over spare tracks heavy on percussion (by Manu Katche) and programming to tell stories and comment on social issues. "Lakota" deals with Native American and environmental matters, "Cool Water" (a Mitchell rewrite of the Bob Nolan original) discusses water pollution, "The Tea Leaf Prophecy (Lay Down Your Arms)" and "The Beat of Black Wings" tell war-related tales. But Mitchell's main theme, which encompasses those topics, concerns the evils of contemporary culture in which one struggles to be "Number One," rises and falls like a game of "Snakes and Ladders," and suffers "The Reoccurring Dream" brought on by advertising. Chalk Mark in a Rainstorm rarely makes these points personally enough to stir the listener, and the trendy percussion sound (popular with artists like Gabriel and Kate Bush in the '80s) is already beginning to sound dated. But the songwriting and Mitchell's voice remain impressive, especially when she recalls her past with a revised version of "Corrina, Corrina" at the end.
http://www.mediaf!re.com/?yyg0za1tywkCutting back on the guest musicians of her previous effort and paring down to a basic small group of musicians helps add immediacy to Night Ride Home. While this release features several of Joni Mitchell's favorites, nothing here would become a hit, as Joni tended to buck trends and follow her own beat. Very involved and a rather tough listen, but well worth the attention, this would be her last for Geffen, where she languished unnoticed while the label went heavy metal crazy.
http://www.mediaf!re.com/?yyo2dt0hevmJoni Mitchell returned to the relatively spare style of albums like Hejira and her early folk collections on Turbulent Indigo, emphasizing her acoustic guitar strumming and singing on a series of songs that detail the political and social discontent she had previously explored on Dog Eat Dog and Chalk Mark in a Rain Storm. In the brief opener, "Sunny Sunday," a woman tries to shoot out a streetlight with a pistol and misses every night, a metaphor for the individual's futile struggle against civilization, and Mitchell repeats much the same message in songs like "Sex Kills," a generalized criticism of everything from lawyers to the hole in the ozone layer; "Turbulent Indigo," which describes the inability of people to understand artists; "Last Chance Lost," which treats romantic disappointment; and "Not to Blame," about spousal abuse. The low-key music and restrained vocals stand in contrast to the lyrics — over and over, Mitchell's imagery refers to guns and violence. Turbulent Indigo provides a disturbing view of modern life made all the more compelling by its calm presentation.
http://www.mediaf!re.com/?myxnyzml3nqThis 1998 disc from Joni Mitchell harks back to the days when she heard the hissing of summer lawns and the jazzier essays of her Hejira days. The only difference between then and now is her use of a guitar synthesizer for her aural textures and melody templates. Always employing the best of musicians to help her out, Mitchell takes off on a trip through "Harlem in Havana" and ending up with "Tiger Bones" to show for it. Along the way, she puts forth "No Apologies" and rocks things up with "Lead Balloon" (which will remind one of "Big Yellow Taxi"), and contains one of her best opening one-liners ever. With "Taming the Tiger" dedicated to her newfound daughter and grandson, "Stay in Touch" could be about them, or almost anyone Mitchell's been close to. Either way, it's a great tune. Taming the Tiger is her most pleasing and consistent disc since the mid-'70s; even after all these years, Joni Mitchell continues to expand her music while keeping her integrity intact. This is definitely one of her best.
http://www.mediaf!re.com/?twjz2xymmmcEx-husband Larry Klein, who serves as co-producer and musical director, explains in his liner notes that Joni Mitchell intended to tell the story of a "modern" romantic relationship in the songs, most of which come from the '30s and '40s. If so, her concept of a modern relationship is very troubled -- most of the selections are unhappy love songs. Vince Mendoza's arrangements -- a third of them played by a gigantic 71-piece orchestra, a third by a regular-size orchestra, and a third by a swing-style big band -- often suggest the oceanic sweep and serious, melancholy tone of film noir movie music. They also do a lot of Mitchell's work for her. As a singer, she has never had much projection or power, but she is a master of phrasing and tone. Mitchell often sounds like an alternate Billie Holiday, with the breathiness and note decay characteristic of later Holiday, if none of her delayed timing. Both Sides Now is not revelatory in a musical sense, but it does achieve its intention of reconceiving Joni Mitchell as an interpretive singer.
http://www.mediaf!re.com/?ktn3nnmtgydAccording to Joni Mitchell, Travelogue is her final recorded work, and if that is so, it's a detailed exploration of moments in a career that is as dazzling as it is literally uncompromising. Over 22 tracks and two CDs (and as stunning package featuring a plethora of photographs of Mitchell's paintings), Travelogue is a textured and poetic reminiscence, not a reappraisal, of her work -- most of it from the 1970s through the 1990s. A 70-piece orchestra, as well as jazz legends Herbie Hancock, Wayne Shorter, and Kenny Wheeler, drummer Brian Blade, bassist Chuck Berghofer, producer Larry Klein, and organist Billy Preston, among others, accompanies her. It's true that Mitchell dabbled in this territory in 2000 on Both Sides Now, but that recording only remotely resembles this one. Cast in this way it is true that this is no easy cruise, but given the nearly 40 years of her sojourn in popular music, Mitchell's work, particularly from the mid-'70s on, has been difficult for many to grasp on first listen and always gives up its considerable rewards, slowly making her records age well over time; they are not disposable as much of the music from her peers is. These completely recast songs cover the entirety of her career, from her debut, Song From a Seagull, to Turbulent Indigo (with certain albums not being represented at all). It's true there aren't high-profile cuts here except for "Woodstock," which is radically reshaped, but it hardly matters. When you hear the ultrahip, be-bopping "God Must Be a Boogie Man," there is an elation without sentimentality; in the scathing and venomous "For the Roses" and "Just Like This Train," the bitterness and aggression in their delivery offers the listener an empathy with Mitchell's anger at the recording industry -- and anyone else who's crossed her. But while there is plenty of swirling darkness amid the strings here, there is also the fulfillment of prophecy; just give a listen to this version of "Sex Kills" that bears its weight in full measure of responsibility and vision. Her voice, aged by years of smoking, is huskier and is, if anything, more lovely, mature, deep in its own element of strength. The restatement of W.B. Yeats, "Slouching Toward Bethlehem," is more stunning now than ever before as is "Hejira." In "The Circle Game" and "Slouching Toward Bethlehem," you hear the ambition in Mitchell's musical direct as she has moved ever closer to the tone poem as a song form. Though it may not be as easy on first listen as Court and Spark, Travelogue will continue to unfold over time and offer, like her best work, decades of mystery and pleasure.
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Beatboxing -- using only one's voice to create often highly intricate and funky drum patterns -- is a well-respected art in the hip-hop community. But if the ability to beatbox well commands respect, the ability to do so at a virtuosic level commands something more along the lines of disbelief and can give rise to suspicion that the beatboxer has crossed the line into mere gimmickry. Kid Beyond goes one step further than virtuosity, not only creating beats and sounds that seem humanly impossible, but looping and layering them with his sung vocals and thereby creating complete musical compositions. If he could beatbox in a manner that would have you disbelieving your ears, that would be interesting for about three minutes. But because he invests his amazing skills in the creation of fully realized music, the result is music that is interesting in and of itself, regardless of how it was made. Kid Beyond's debut release is an eight-track EP containing three original compositions, a jaw-dropping arrangement of Portishead's "Wandering Star," and four remixes, all of which are fun enough but (ironically) none of which is as interesting as the original on which it's based. Highlights include the frenetically jungly "Mothership" and the more meditative and dreamy "Deep Inside." There's a deeply human sweetness to Kid Beyond's attitude, yet another aspect of his art that tends to set him apart from the hip-hop mainstream. The full-length follow-up can't come soon enough.
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New Franz Ferdinand leaked:Bleugh link doesn't work.
http://www.ziddu.com/download/3155159/TonightFranzFerdinand2009.rar.html
I'm downloading it now.
I listened to it and at first nearly vomited from the blatant Springsteen vocal rip. I soon got over it for the same reason you sited above.
I've heard all the Springsteen comparisons, but I'm not one to notice them. Mostly because I have never had the chance to listen to him. I wouldn't know where to start, really.
http://www.mediaf!re.com/?ykmijmrnzjwWhen Hendrik Weber isn't playing bass for Stella or making tracks as Gluhen4 or Panthel, he's producing haunted microhouse as Pantha du Prince. This is Weber's first album under the alias, following a 12" from 2002. The reasons why he's on Lawrence and Turner's Dial label are made apparent right off the bat. Not unlike Lawrence or Carsten Jost, Weber's tracks are equally fit for the club and as a companion for staring out of your bedroom window on a lonely overcast day. Cavernous 4/4 rhythms are joined by downcast elements — subtle clicks and pops, gentle swarms of synthetic strings, snow-blind keyboards, dulled-out chimes. Weber's own infatuation with '80s miserablists is often in effect; while Lawrence has swiped Morrissey lyrics for track titles, Weber either approximates or lifts the sounds of the frostbitten guitars from early Cocteau Twins and Cure records. "Eisregen" twinkles darkly, while "Circle Glider" — its frantic palsy coming off like a missing track from Herbert's Globus Mix, Vol. 5: Letsallmakemistakes mix — opens and closes with samples from the Chills' fatalist classic "Pink Frost." The concluding "Glycerine," cloaked in midnight fog, is the eeriest of all, with panning ripples inducing further turbulence. A deep male voice intones like it's spinning a ghost story: "So we went down that way to the castle/Everything was...foggy." If it hadn't already been made readily apparent, Dial has positioned itself as the premier goth (not Goth) label. This album challenges Lawrence's The Absence of Blight as the label's best to date.
http://www.mediafire.com/?jtz3kdikzduBlack Tambourine was one of the first (and finest) bands to grace the Slumberland catalog -- the label's reissue of their work collects all of the material from the short string of singles they released before moving on to other projects. Slumberland's decision to collect and reissue the material is commendable -- Black Tambourine's work can truly be described as seminal, not only because the band's members moved on to such excellent projects (Archie Moore and Brian Nelson to Velocity Girl, and Pam Berry to the Glo-Worms and the Castaway Stones), but also because the band's sound practically defines the state of indie rock in the early '90s, when many American bands were looking to Britain's shoegazing trend for inspiration. As one might expect, Black Tambourine's noisy guitars and ethereal female vocals tend to sound like a more conventionally indie pop-based warm-up to the blissful noise of Velocity Girl's Copacetic -- in fact, the material on Complete Recordings frequently surpasses Copacetic, with its shambling and C-86 influences lending it a purity and indie charm that was traded for focus and complexity at the onset of Velocity Girl's career. The album also serves as a time capsule for the indie-pop culture of its contemporaries -- there's the inordinate number of songs about crushes, songs about crushes on Stephen Pastel ("Throw Aggi from the Bridge"), a high level of attention to British music, and all of the other indie-pop hallmarks that spread during the '90s (as typified by some wonderfully nostalgic liner notes). It's doubtful that too many of the bands that followed in this vein drew their inspiration specifically from Black Tambourine, but there's still a heavy debt owed to them, and Slumberland's reissue of Complete Recordings is an excellent way to pay it.
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I've heard all the Springsteen comparisons, but I'm not one to notice them. Mostly because I have never had the chance to listen to him. I wouldn't know where to start, really.
(Lots of The Boss.)
http://www.med!afire.com/?sharekey=0e1a52e4b7c149f6d2db6fb9a8902bdaTracklist: re-upped by request
Tobacco - Fucked Up Friends
Part 1Code: [Select]http://www.mediaf!re.com/?nk0zyjgyjnhPart 2Code: [Select]http://www.mediaf!re.com/?2dtnzyztyjl
uploaded in two parts because mediaf!re was being a jerk.
The Elephant 6 Orchestra Live at Chicago Oct. 21 2008
Parts 1 and 2:Code: [Select]http://www.med!afire.com/?sharekey=0e1a52e4b7c149f6d2db6fb9a8902bda
The Elephant 6 Orchestra Live at Chicago Oct. 21 2008? Because I will download it anyway, but I'm just interested in some background info.
Parts 1 and 2
http://www.mediafire.com/download.php?tujrdm4fxtmhttp://www.mediafire.com/download.php?yxmmnzht2n0
Consisting of ex-Jawbreaker frontman Blake Schwarzenbach, ex-Texas Is the Reason drummer Chris Daly, and ex-Handsome vocalist/guitarist Jeremy Chatelain, Jets to Brazil could be considered an amalgam of their forefathers with a slightly darker and more mature musical perspective. With the 1998 release of their first LP, Orange Rhyming Dictionary, Jets to Brazil took the expectations of their peers and turned them on their heads, surprising most with their breed of music that is fresh and excitingly powerful. As the bandmembers continue to move away from their namesakes and become more comfortable with their expanding sound, the world could see something quite intriguing evolve. Jets to Brazil followed up with Four Cornered Night in August 2000. Two years later, the band returned with their darkest, most inspirational material to date; Perfecting Loneliness appeared on Jade Tree in October 2002 and reflected mega-tight musicianship from the band.
http://www.mediaf!re.com/?uzzjmc3idnmBeing one of the more anticipated independent releases of 1998, Orange Rhyming Dictionary combines emo-inflected pop sensibilities with the occasional keyboards. Despite the occasional use of wah-wah pedal guitars in "I Typed for Miles," which sounds almost identical to Nirvana's "Heart Shaped Box," Jets to Brazil live up to their hype. Most of the songs clock in at an epic length while containing storytelling lyrics with Blake Schwarzenbach's (formerly of Jawbreaker) trademark raspy vocals. Mood swings also accompany the sound of Orange Rhyming Dictionary, which can move from laid-back and gloomy too upbeat and not as gloomy, all in a good sort of way though. Definitely recommended.
http://www.mediaf!re.com/download.php?bjyezykjidoLeaving his punk roots completely behind him, Blake Schwarzenbach, former singer/guitarist for Jawbreaker, plays it very sweet on Four Cornered Night, the second record from his slightly arty indie rock project Jets to Brazil. His songs have always been melodramatic, even Jawbreaker's most fiery, emo-punk classics like "Chesterfield Kings" or "I Want You." But with Four Cornered Night, he indulges in the sort of over-the-top sentimentality that is more reminiscent of a lengthy novel by Proust than anything you'd expect from a rock band. But these ballads do rock at a lazy pace, and while "All Things Good and Nice" is too sappy and self-centered, other numbers like "In the Summer When You Really Know" and "Pale New Dawn" are lovely, heartfelt beauties and among the best tunes Schwarzenbach has ever penned. With Four Cornered Night, it is obvious that Schwarzenbach is making exactly the sort of record he wants, and though his old punk fan base has long since fled, indie kids go bonkers over his more sensitive side, as they should.
http://www.mediaf!re.com/download.php?jmmmyyzwcjnPerfecting Loneliness finds Jets to Brazil continuing their trajectory from Jawbreaker to Orange Rhyming Dictionary to Four Cornered Night. With this outing, the band develops their folk-pop repertoire via a set of summer-tinged, bittersweet memories. With deeper instrumentation, undone piano melodies, and larger-than-life orchestration, Schwarzenbach and company manage to turn intimate observations into moments of transcendent grandeur — and while the album might not sound exactly like Nick Drake, the effect is the same. It's an emotional journey for sure, as songs like "Psalm" drift into the territory reserved for the likes of James Taylor. But Jets to Brazil maintains just enough rock crunch to keep the album driving. It's not all gloomy and glum — "Autumn Walker" and "William Tell Override" still seethe with the punk-pop power of Hüsker Dü and Sugar and a relentlessly optimistic groove. But the final song, "Rocket Boy," is the most ambitious, and it will leave listeners welling up with nostalgia and yearning.
The Elephant 6 Orchestra Live at Chicago Oct. 21 2008
http://www.mediaf!re.com/?sharekey=d9ff7e0a539b7560d2db6fb9a8902bdahttp://www.mediaf!re.com/?hzxgyoj23lm
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I am just going to listen to some Major Organ and sulk.
http://www.mediafire.com/?txxomiwniu3Jawbreaker could be easily described as a pop-punk band with more of a dark side. Not that this isn't true, but it just wouldn't do this trio any justice to their poetic lyrics and complex song structures. With Unfun, a very influential record way ahead of its time, they make a name for themselves -- not as your run-of-the-mill punk band with a verse-chorus-verse style, but rather as a band that provides fitting background to the personal side that they're not afraid to show. For example, take one of the more energetic songs on the album, "Busy," in which the person offers a helping hand to a friend on the verge of mental collapse ("When nothing seems to be quite worth it and sleep becomes the only sure thing/I'm here to help you out of it/Come and see me for a lift"). But two tracks later, self-doubt and guilt are present in "Wound": "Feel my burning rash/Old scabs on my back/Deep red welts from hating myself/I was once, once so strong." Quite an emotional roller coaster, but at the same time it gives Unfun its edge and originality.
http://www.mediafire.com/?iyyyexywodeListening to Jawbreaker is likely to get you thinking about countless other grunge/thrash pop bands, from Nirvana to Sugar to Helmet. That shouldn't scare you away from Bivouac...Guitarist Blake Schwarzenbach is a ferocious string mauler who adds deft twists and turns to his ultra-loud rush of chords, vocalizing in a scream/sing/shout manner...Bivouac is for the most part a faster and louder proposition defined by speedy guitar raunch and smart (smartalecky?) songwriting. "Chesterfield King" is a wonderful boy-meets-girl story rife with understated awkwardness and sexual tentativeness, while "Tour Song" succinctly and accurately sums up the pros and cons of gigging...
http://www.mediafire.com/?cyngwqvdo2gMore trials and tribulations than an average episode of Melrose Place, Jawbreaker continues to explore their personal struggles on their third album, fittingly titled 24 Hour Revenge Therapy. Continuing on the Jawbreaker tradition of poetic lyrics that provide a mental image to each song, the band deals with their endeavors through music instead of wallowing in them, making this record not entirely bleak. "Do You Still Hate Me," for example, has the persona dishing out the friction of a relationship gone sour through talking to the person in question: "I wrote you a letter/I heard it upset you/How can I do this better/We're getting older/But we're acting younger." Being critiqued and ostracized from their scene during the height of their popularity was another headache singer/songwriter Blake Schwarzenbach dealt with around the time this album was released (their previous album, Bivouac, provided them with a huge cult following). This no doubt inspired the song "Indictment," which talks about not caring what anyone thinks of their songwriting ("I just wrote the dumbest song/It's going to be a singalong/Our enemies will laugh and be pointing/It wont bother me, what the thoughtless are thinking"). Providing the perfect flow of temperamental pop to go along with these stories is proof enough that 24 Hour Revenge Therapy is the pivot of Jawbreaker's creative output.
http://www.mediafire.com/?woynymm4i3z1995's Dear You finds Jawbreaker cleaning up and streamlining their punk-pop sound and coming up with a sleek, slick punk-grunge classic that relies as much on clever songwriting and restrained emotions as it does on the group's trademarked high-energy attack. From the opening chords of the anthemic "Save Your Generation," Blake Schwarzenbach's vocals are the star. He was coming off of throat surgery that robbed him of a lot of his vocal power but gave him a smoky intimate sound that gives the feeling that he is whispering right in your ear. On songs like "I Love You So Much It's Killing Us Both" or "Jet Black," he sounds wounded in a way that screaming could never convey. The album is a powerful mix of jumpy punk-pop like "Bad Scene," "Everybody's Fault," "Fireman," and the aching "Chemistry" and mid-tempo tracks like the amazing "Jet Black," "Million," and "Basilica that escapes being tied to the time of grunge-by-the-numbers by being melodic and heartfelt without going over the top, by being just punk enough to be real and just epic enough to rise above the often boringly earnest approach of too many punk bands. Along with Weezer's Blue Album, Dear You is one of the cornerstones upon which emo and late-'90s punk-pop were built. Certainly Jimmy Eat World wore out their copy, as Bleed American sounds like a less produced younger brother, and Dashboard Confessional's whole oeuvre sounds like a lesser version of Dear You's acoustic "Unlisted Track." Depending on how you feel about emo, there is either a lot to blame Jawbreaker for or be thankful for here. Either way, Dear You is one of the best rock records of the '90s and a fitting last testament to a great band.
I am just going to listen to some Major Organ and sulk.
impossible!
Number Girl - School Girl Distortional AddictCode: [Select]http://www.mediaf!re.com/?tr2ybrkmogm
http://www.mediafire.com/?zydmng5mmxthttp://www.mediafire.com/?ydghzmjyn4ghttp://www.mediafire.com/?fyw5ywtwguzThe Elephant 6 Orchestra Live at Chicago Oct. 21 2008
Whoever you are, I love you.
EDIT: Except the songs aren't tagged properly. Oh well, better than nothing.
October 27, 2008 - It was a magical and historic night for indie-rock. For the first time in more than a decade, the founding members of the widely adored and influential Elephant 6 Collective, including Robert Schneider (The Apples in Stereo) and the famously reclusive Jeff Mangum (Neutral Milk Hotel), took the stage together for a sprawling live performance. The group, which featured 15 artists from 10 different bands, served up more than three hours of joyous, psych-tinged singalongs under the glow of the rainbow-colored lights at Chicago's Bottom Lounge on Oct. 21, 2008.
The Elephant 6 Collective "is definitely back," tour organizer Julian Koster (Neutral Milk Hotel, The Music Tapes) said after the show. "Somehow, everything's happening for us now. I don't know why we were ever interrupted, and why all this is happening now. But we're all just so happy. It just seems like a fact now. [Elephant 6] is back."
After forming in the early '90s and releasing a number of acclaimed albums, The Elephant 6 Collective — a large family of likeminded bands — eventually dissolved, as members moved on to other projects or went on indefinite hiatus. Though loose configurations of the group have given a handful of one-off performances since, most recently in 2005, the current tour marks a new beginning.
Oooooo...I lost most of my Jets to Brazil a while ago and have been missing it a little. Thanks a ton!
Asobi Seksu-HushEither this is down, or med!afire stopped making me happy.
http://www.mediaf!re.com/download.php?mulziomkwnv
http://www.mediaf!re.com/?mcmjzjndd4o
Frightened Rabbit-Sing The Greys
Sing the Greys is Frightened Rabbit's first full-length album.
They are a Scottish Folk Rock band.
They are just good and that's all you need to know.
I will post their latest album very shortly.
I'm new to this tell me what I did wrong because I know something isn't right.
http://www.mediafire.com/?sharekey=7e9d47b3a764773791b20cc0d07ba4d2f96dd9f5a96b76bchxxp://www.megaupload.com/?d=W4LBQ2HAhttp://www.mediafire.com/?xz4hvotmonmFever Ray - Fever Ray (2009)Code: [Select]hxxp://www.megaupload.com/?d=W4LBQ2HA
(http://img67.imageshack.us/img67/3700/coverpz6.jpg)
Here ya go:Fever Ray - Fever Ray (2009)Any chance you could put this on medaf!re?
Megaupload is doesn't seem to be working and I'm super excited to listen to this :(
Thanks
http://www.mediafire.com/?2mmyz02nknzPart 2: http://www.mediafire.com/?gldqtjrd3z0
http://www.mediaf!re.com/?sharekey=7e9d47b3a7647737d2db6fb9a8902bdahttp://www.mediaf!re.com/?sharekey=7e9d47b3a7647737d2db6fb9a8902bdaLatter Days-http://www.mediaf!re.com/?sharekey=7e9d47b3a7647737d2db6fb9a8902bda
http://www.mediaf!re.com/?sharekey=7e9d47b3a7647737d2db6fb9a8902bdaSeveral Pages back someone posted SomethingAboutAirplanes, saying it was the only dcfc album anyone needed to know.New coconut records out...anyone find it? It's called DavyIt's on Sordo
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Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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http://www.mediafire.com/?y3mmmywmiyzhttp://www.mediaf!re.com/?htzwjwmnjmmThe obvious followup: why didn't you, and then post it here if you wanted people to know about it?
http://www.mediaf!re.com/?cydmzci3niyThis is perfect party music! Upbeat and very funky.http://www.mediaf!re.com/?25zjlzjrznnI do not own any other Architecture In Helsinki albums. This one is fun though.http://www.mediaf!re.com/?jkmueyjyywfAbout as close as I could ever possibly get to country music.http://www.mediaf!re.com/?oyz14nywtylEiS is more like an audible season than a band. They are a crisp, cold winter day with a bright sun, where sound freezes in the air before dropping to the ground.http://www.mediaf!re.com/?nnw1wizzfvm(Ditto).http://www.mediaf!re.com/?aqfjzojitj1Sad music!http://www.mediaf!re.com/?miyvz3q4zolBEEP BLEEP BLOOP.http://www.mediaf!re.com/?mjimyyzzzydA whole bunch of remixes of the original Minus The Bear album. Some of them are pretty funky.http://www.mediaf!re.com/?5dzzahmznzyLike every other Modest Mouse album ever.http://www.mediaf!re.com/?rmm2gbninzyOh man this is so good.
http://www.mediaf!re.com/?z4dmnzymdmgI guess Mogwai hated this album but nobody else does.http://www.mediaf!re.com/?mmzzev0xm4wSO GOOD.http://www.mediaf!re.com/?u422omumwngx2!http://www.mediaf!re.com/?4zymglj04jgReally light, fluffy, summer's-eve bedtime music. Pretty much every song is in a commercial somewhere.http://www.mediaf!re.com/?4mzmtnjfyzzIt's Radiohead.http://www.mediaf!re.com/?zkjntdmnefzThis too.http://www.mediaf!re.com/?tjwmzg2myymUh huh.http://www.mediaf!re.com/?woqt2qzjqvvThis is the best one.http://www.mediaf!re.com/?zfem4mgezowReally beautiful music. The opening track is so uplifting.http://www.mediaf!re.com/?qyzyex4ioa0Beautiful, but less focused, music. Fewer strings, too.
http://www.mediaf!re.com/?mnzbqhyznz0Really different from Funeral. Quiet and somber.http://www.mediaf!re.com/?o2mxuyymh4mAlso very good! Cute and goofy.http://www.mediaf!re.com/?gxvmxytvtxqWay better than any other thing.http://www.mediaf!re.com/?h2y3jd5ntjzNot as good as the original, but it has "The Grey Estates" so it makes up for things.http://www.mediaf!re.com/?ykomd3mlcymThe lead singer is really cute I swear!
http://www.mediaf!re.com/?eurqdvwyxylhttp://www.mediaf!re.com/?gnftdymfobuhttp://www.mediaf!re.com/?mdrwm1i4gywhttp://www.mediaf!re.com/?gjxzentmy2xhttp://www.mediaf!re.com/?tmn0nneymjwhttp://www.mediaf!re.com/?yjogrldzlnlDananananaykroyd were due to release their debut mini-album in early March. This has been scuppered by, apparently, a lack of money at Jealous Records. Seeing as this only happened a few days ago, it seems a little premature to be begging the band to hear it and writing a glowing review because you're scared that no labels will go after it and give it the release it deserves. But here we are.
Sissy Hits could be a very important recording, and not just for Dananananaykroyd. So concentrated and consistent is its brilliance that you wonder whether they'd be able to keep it up for a whole LP… but we don't have to think about that until it happens. Even if they did bugger it all up on a full-length release, we'd all still have this work to appreciate. Their clarity of musical expression is blinding, but with intricacies that suggest something far cleverer. This doesn't mean the whole changing time signatures instrumental wizardry thing, nor does it mean the whole lyrical-constructs-beyond-comprehension thing either. What it does mean is utterly delirious, insane fun with subtle touches in each corner to elevate these already-brilliant songs to a territory clearly marked 'genius'. This territory is located between other territories clearly marked 'stupidity' and 'ecstasy', obviously. Those are good too.
'The Greater Than Symbol And The Hash' takes delight in its struggle, the initial double-drummer marching insistency finally giving way to a demented acceleration and the kind of squealing guitars we haven't seen this convincingly since Siamese Dream. Vocalist Calum S. Gunn barks amiably about musical terminology ("dotted lines mean that you repeat it!") over a particularly tight din, and the overall effect is simple exhilaration. But the struggle,_ the struggle. Things reach optimum velocity, those squealing guitars are held, built, bred with so much percussion and finally released. Things are, you feel, stretched as far as they might go. But the struggle continues. A solemn hi-hat beats four and we're dragged by the teeth through a deformed version of earlier themes while Gunn's head explodes. Finally, _finally we can see the end in sight when the toms are beaten, oarsman-style, slower and slower and slower and slower and slower, accentuating the off-beats, until we're completely fucking dead.
That's the first song done.
Ha! Obviously it can't continue at such bollocking ferocity, and we kind of calm down after that. The light pomp of the verses in 'One After One' is a daintily perfect antidote to the grungy chorus and chant of "WE ARE THE PARTY!", for example (I think that's what they're shouting). Then we begin to realise all that stuff about these being astonishingly catchy pop songs. 'Cleaning Each Other' has a particularly righteous guitar-harmony-led chorus that, for all the world, is better than any of Thin Lizzy's. Similarly, '1993' is the right side of funky to retain its rock credentials in some completely, idiotically, carelessly colossal riffs. Another epic in the vein of the opening 'The Greater Than Symbol…', this closer (effectively, seeing as the last track is less than a minute's doodling) shows ample evidence that this band could survive on its melodies and nothing else. David Roy's carefully widdled guitar lines during the second section are beautifully played, and flanked by dinky xylophone and vocal scales. Then it blows your brains off again for a few seconds. After that, the final doodle, 'Infinity Milk' stomps around and finishes with wild and hilarious screams. Wicked, thanks. These are the best twenty minutes of music you'll hear all year, probably.
We could carry on and describe the glumly effervescent humour that pervades each track, or the idiosyncratic nods to music theory and tour bus larks, but you can discover those yourself. Treat!
As you, the readers of DiS, are fully aware, comments left after reviews tend to disagree with the review more often than they agree with it (that might just be mine). So, conversely, I'm personally appealing to anyone who may disagree with this review and asking them not to comment. If you agree with it (even if only partly) then leave a comment saying that you think Dananananaykroyd deserve a record deal and lots of money so they can take over the world in the most rocktageous way imaginable. It'll be right good.
* Dananananaykroyd 10 / 10
http://www.mediaf!re.com/?ddmi5hwjzmg
http://www.mediafire.com/?klzfym2oxwjhttp://www.mediafire.com/?noymdm1mtnghttp://www.mediafire.com/?dziyyyzym5zhttp://www.mediaf!re.com/download.php?zjgymzmdnyjThe Lonesome Crowded Westhttp://www.mediaf!re.com/?j2jgogzzziyThe Moon and Antarcticahttp://www.mediaf!re.com/download.php?23khxm1cnzlThree of my favorite MM albums, if you don't have them, get them. If you do then keep on looking dowwnn.http://www.mediaf!re.com/?ij0wikwnemjhttp://www.mediaf!re.com/?jmmimggwlwy
Despite being a cliché of the laziest type, the idea of the ‘difficult’ second album is one that has endured simply because so many bands seem to be unable to avoid falling into its trap. Leeds’ ¡Forward Russia! launched themselves into so many people’s hearts two years ago with Give Me A Wall, an album so tightly coiled that every one of its enigmatic songs seemed to be bursting under the force of its own tension. It was a collection of songs defined by the whip-crack of drummer Katie’s snare and hi-hat, which meant that while it was instantly recognisable as part of the post-DFA dance/punk buzz it stood out enough for it to be a still-stunning work that can justifiably be called of the best debuts of the century so far.
And Life Processes is by no means a sequel; it feels more like the work of an entirely different band. Where …Wall was concise and focussed this sprawls and swirls, with a new label (Cooking Vinyl) signifying their break with the past in the form of no longer working as closely with Dance To The Radio. Sod Joe’s Well, this is a record pitched at Brixton Academy: every note drips with a laudable ambition and vision that is lacking in so many bands around nowadays who simply want to retread some half-arsed scene or exist in a lineage that immediately bestows upon them some kind of credibility. And while ¡FR! aren’t wholly successful – Life Processes is flawed, but agreeably so – at least they’re trying ridiculously hard.
First, the bad news. ‘We Are Grey Matter’ is symptomatic of the album as a whole, anchored as it is by a horribly tacky synth line and a mawkish “Call… response!” lyric that is so poorly executed it’s impossible not to question what they were thinking. Despite the song soon progressing beyond the aberrant opening into something recognisably ¡FR! (riffs that slice over one another in rigid straight lines, Tom’s histrionic, earnest vocals, a real punchy energy), it’s not until ‘A Prospector Can Dream’ that the album starts to fall into place. But even this is handicapped by the lyric “Did you ever study the Israelites? / They made a new life for themselves with such a peculiar change” – is anyone really going to be able to reply in the affirmative? Again, it’s hugely impressive that they’re trying to hard to gain such an epic scope in their music when, arguably, no one would have expected them to move in such a direction, but they fall short of unequivocal success. And ‘Fosbury In Discontent’ is a fine attempt at real emotional nakedness, populated by just Tom and an airy piano that does battle with the singer for domination of the upper register, but has none of the raw power or rawness you’d expect from such a stripped-back song.
But while it undeniably takes a few listens before everything clicks into place (first-time ¡FR! listeners will be able to approach the album quicker – fewer expectations, y’see), it’s the most outwardly inaccessible song that proves the real gem of the album. ‘Spanish Triangles’ has already been unveiled – all nine minutes of it – but it demonstrates a stunning calmness and fluidity. It builds slowly, powerfully but effortlessly, growing organically into itself. It’s worth noting that ‘Gravity & Heat’, for example, is almost three minutes shorter but feels much longer – ‘Spanish Triangles’ is the real culmination of their work post-…Wall and stands as the impressive, brilliant centrepiece. And ‘Don’t Reinvent What You Don’t Understand’, one of the shortest songs on the album, managed to move from one-two dance-punk to something undeniably epic, helped no end by Whiskas’ chiming guitars that seem air-lifted in direct from Explosions In The Sky’s Those Who Tell The Truth… era. And ‘Some Buildings’ is a three-minute lament stretched gloriously out for almost seven minutes, again given the chance to breath and mutate on its own. It doesn’t cut right to the feet like their earlier material but instead takes up residence in the gut, and by the third time you hear it all doubts will be blown away.
So it’s a second album, and it’s certainly difficult. But it’s also an album peppered by moments of brilliance and not held back by its few brave failures and one that no one can have reasonably expected the talented quartet to have come up with. It’s not the instant adrenal injection some were hoping for, but it is certainly more than worth your time.
* ¡Forward Russia! 8 / 10
http://www.mediaf!re.com/?mo2ohe4wm2d
http://www.mediafire.com/download.php?zzmiyywmqeyDigital Ash In A Digital Urn-http://www.mediafire.com/download.php?h2nzyo3ttkzEvery Day and Every Night EP-http://www.mediafire.com/download.php?nbygxn2y2mgFevers and Mirrors-http://www.mediafire.com/download.php?jjw4lemujjjI'm Wide Awake, It's Morning-http://www.mediafire.com/download.php?zcumymyem1gLetting Off The Happiness-http://www.mediafire.com/download.php?ogmmfdwmqzwLifted Or the Story Is in the Soil, Keep your ear to the Ground-http://www.mediafire.com/download.php?zay2nfmxkyiBright Eyes and Neva Dinova: One Jug of Wine, Two Vessels EP-http://www.mediafire.com/download.php?hdwnygrgyzmWell that's all the Bright Eyes I have. I have some Conor Oberst solo cd but I think I got it from here.Hella Mogwais
Radiohead - Kid A
THIS is the best one :wink:
And where do we find The Ott (yes, this is the only name he provides; them studio techies love their pseudonyms) in this year of 2008? Not moving that far, to be honest. Much of his psy-dub execution remains unchanged, within his sonic scope and the genre as a whole; anyone who’s had a passing familiarity with this kind of music since even the Megadog era won’t find much innovation. Reggae rhythms, trippy atmospherics, cultural-fusion, ethnic samples... stop me if you have heard this before.
What Skylon lacks in inventiveness, however, Ott more than makes up for in musicianship. Mellow melodic moments that move the mind and soul? Yep. Catchy chants that hook into your mind? You bet. Intriguing effects-play that tickle the ol’ psyche in imaginative ways? Ya’ guy. Beats and bass giving your feet a case of the funky shuffles? F’sure. There may not be many songs offered on this album, but each one delivers in a way that is quite satisfying as the CD plays through.
In case that broad stroke of a description isn’t incentive enough for you to check Skylon out, here are some highlights to pique your curiosity further: The Queen Of All Everything, after lazily cruising along with melody, hits a lovely little synth climax -not to be outdone, dub-cut Signals From Bob pulls the same, with results that are thrilling for the ears; Daisies And Rubies is quite the free-flowing bit of spacey dub, with musical indulgences to spare -but the theremin towards the end is a delight to hear; if Ott was ever given the opportunity to cross over, the bhangra-influenced Rogue Bagel proves he definitely has the chops to pull it off; just as potent a dancefloor weapon is Roflcopter, where dubby breaks, cheeky samples, and trippy effects make this track a potent weapon for those outdoor parties.
Lowlights, then? None, really. About the only fault one could be nitpicky about is sometimes Ott’s production can come across as too polished. While it never seems as though he’s unintentionally stripped the soul of his music in the way other studio-obsessives have, nor does Skylon really have any of those pure unpredictable psychedelic moments that some of the best psy-dub albums of the past contain.
Of course, there’s also the argument this isn’t the kind of music that everyone will enjoy, but if psy-dub isn’t your bag then chances are you haven’t even read this far to begin with. Besides, Ott has managed to produce an album that should be appealing to those looking to get their feet wet. Although long-time connoisseurs of the genre may come away somewhat underwhelmed, Skylon offers more than enough infectious rhythms, pleasing melodies and engaging harmonies to please all parties.
http://www.mediaf!re.com/download.php?dnzwol2d1njFrom AMG:
The debut album from this Brooklyn-based dub-and-downtempo collective helped define the architecture of a sound that would come to be uniquely identified with the Brooklyn scene: a dark, slow and almost mystical fusion of dub reggae rhythms, Middle Eastern textures and sophisticated jungle elements, all of it leavened with a sometimes explicit religiosity that teeters between Islam and Rastafarianism. The approprately-titled Dub in Fusion blends all of those different styles and elements quite nicely, though not always completely successfully. "Ancient of Days" takes the ethereal and wordless vocals of Divaship and weaves them through a rich mix of hip-hop beats, North African stringed instrument samples and treated electric bass and guitar; "South Side" features the Brooklyn Jungle Sound System, which appears to be primarily a vehicle for the dubwise junglisms of Dr. Israel. "The Conqueror and the Mute Sea" is a nice piece of dark exotica that would have been much better if Dr. Israel had contributed more than grunts and yelps. The album's only real misstep comes with a contribution from former Last Poet Umar bin Hassan, whose "Trust" consists of 6 minutes of cliches delivered in his typically overwrought and arrhythmic rapping style. Highly recommended overall.
http://www.mediaf!re.com/?0tijj9nnwoqFrom Dusted:
Somewhere between the modern noir that DJ Shadow perfected in the suburbs of San Francisco and the Gallic stonerism of DJ Cam lies New York's DJ Wally, except he's significantly weirder than both and he knows it. He'd like you to know it, too. Compared to other DJs who ooze understated coolness, Wally is an oddball, having worked with David Byrne's misfit Luaka Bop imprint and also collaborated with Luscious Jackson on the Titan A.E. soundtrack (?!). Recognizing this, the idea of his recent signing with a small Belgian label for some reason doesn't seem too strange, nor do the two costumed Children from the Corn on the cover of The Creepy Crawlies, his latest album.
Picking and choosing among his obviously deep collection of vinyl, Wally serves up a huge blend of music slathered on top of straight-ahead hip-hop drum beats. Sometimes the breaks are perky, sometimes they're foreboding, but then sometimes they're just ill. The boundaries for sound sources run as far and wide as reggae, Bill Haley and the Comets and porno orgasms, all fair game for DJ Wally's mixer. Running throughout The Creepy Crawlies are liberally used samples of tight-assed Wonderbreads saying corny things for comedic effect. It's an entertaining smorgasbord, perfectly designed for those who choose to smoke the reefer (one sample on the last cut, entitled "Out There in Dub Minor," features some guy yelling "I'm stooooned!" in case you didn't get it over the previous 11 tracks).
"The Crawlies," the third track, is probably the most exemplary of the album. Warbling strings melt on top of a very thick heard-it-before drum beat and then the whole mix is slashed with a heavy guitar riff until the kitschy Hollywood finale suddenly appears and simmers away. But wait! Those are only the main parts and there are easily half a dozen other minor things going on in the background. You could either take a Ritalin and listen to it again in case you missed something or kick back in preparation for "Walk With Limp," a mellow, psychedelic chunk of Saturday afternoon. Acoustic guitars, dub synths and loopy tracers abound on this one like so many curls of smoke. "Hybrid Sermon" is a good demonstration of DJ Wally's skill at sound manipulation. The opening beat grinds down into nothing and is then followed by more sluggishness. It's ugly and discordant but the humorous payoff comes halfway through the track when, during a momentarily pretty switch, a voice informs the listener "In fact, it's so beautiful, it has many magical powers," presumably referring to the track itself.
DJ Wally's ability to paste together disparate sounds into something clever and new deserves respect but the best aspects of The Creepy Crawlies tend also to be its problems. DJ Wally has a healthy sense of humor and he is too eager to show it off. The many, many ironic soundbites from TV shows and movies become repetitive at times. He also has a good ear for what sounds dope but too soon his attention wanders elsewhere, often leading to inexplicable alterations in his tracks just when a nice groove is being built. Maybe it's all part of having a little short-term memory.
http://www.mediaf!re.com/?gz2mruhdzziPt. 2http://www.mediaf!re.com/?ymmwnn2yuwzThough Dan Berridge is not a hardcore veteran producer, he is quickly becoming one of the most accomplished. As much as there was stylistic improvement from Compassion to The Vessel, so is the improvement from The Vessel to In Finite. Even the most inattentive listener could hear this, as Dan himself said, "It's my 3rd album, but at the same time my first. I've found a sound that I've been looking for." Relevant to this continuing evolution is the complete lack of vocals on this album, instead placing focus solely on aural construction. Far less noticeable sampling takes place here as James White returns from Vessel with several new guest musicians to give BP's chamber cinematics a more visceral, live atmosphere, with less of a static approach to the record pop loops which come standard on almost every Broadway Project track produced.
"Raga" basks in Capitol K's "City" territory with that trip-hop filtered guitar reminiscent of the distorted guitar-like vocal sample from the peak of Blockhead's "Insomniac Olympics," but the advancing aptitude of Berridge's production and white noise/picture show style, obvious and distinct to anyone who hears all three projects, is present throughout. He just keeps getting better. Album highlight "Blood In The Temple" may be the darkest and hardest BP song yet, matching a hard-hitting DJ Shadow growl beat with his own delicate layering of menacing organic sounds. Simply put, In Finite is more intelligent and better mixed/mastered than BP has ever been.
http://www.mediafire.com/?mgmj0mj4zimhttp://www.mediaf!re.com/?0wncqw2mz4z
Dance indie band from Liverpool, England. Self-described as writers of "Hyperactive Nursery Rhymes". Similarities to Los Campesinos! are well-founded through quick paced guitars and playful synths while lyrics are slightly under par. However, well worth a listen.
http://www.mediaf!re.com/?olog5jej0fq
The Arcade Fire - Neon Bible
Really different from Funeral. Quiet and somber.
http://www.mediafire.com/?cedd3m623yjhttp://www.mediafire.com/?gjngnjgjbmohttp://www.mediafire.com/?ygj5zwzxzqihttp://www.mediaf!re.com/download.php?wtmnvdczjry
The Arcade Fire - Neon Bible
Really different from Funeral. Quiet and somber.
Also really much better than Funeral!
I don't know if this has already been posted. New Matt and Kim.
Matt and Kim - Grand
(http://rockonthestreets.com/wp-content/uploads/2008/08/matt_kim.jpg)
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http://www.mediaf!re.com/download.php?oz4trmonmm2Liars Academy boasts powerfully crafted rock n roll layered with poignant melodies, irresistible hooks and earnest lyrics - a combination all too rare in "underground" music today. For its sophomore album Demons, Liars Academy joined forces with producer J. Robbins (Promise Ring, Jets to Brazil, Jawbox, Government Issue), bringing forth a mature and honest display the band hardly knew they had in them. Vocalist/guitarist Ryan Shelkett gives a particularly cathartic performance, exorcising ghosts and confiding innermost secrets throughout. Autobiographical themes of despair, regret, hope and redemption abound, complementing a superlative musical performance, making Demons Liars Academy's defining release.
http://www.mediaf!re.com/download.php?odcmz5ylmdnLed by singer/guitarist Chris Goss, Masters of Reality were something of an anomaly on the late-'80s/early-'90s rock scene, playing a strongly Cream- and Zeppelin-influenced brand of hard rock with modern touches. Their original members included bassist Googe, guitarist Tim Harrington, and drummer Vinnie Ludovico. Because they took their name from the title of a scorching Black Sabbath album, some assumed they were a heavy metal band. But in fact, their forte is a bluesy approach with a late-1960s/early-'70s type of appeal. Though subtle traces of Sabbath can occasionally be heard on a few of their songs, their sound owes a lot more to Ten Years After and the Doors. This impressive offering was produced by Rick Rubin and has the markings of a Rubin production. Goss broke up the band shortly after their well-received, self-titled debut album in 1989; he reformed the group as a trio a few years later with Googe and legendary ex-Cream drummer Ginger Baker. However, Masters of Reality never quite fit into prevailing hard rock trends, and they remained a well-kept secret to most of the listening public. In hindsight, their retro obsessions and warm, spacious guitar sound set a clear precedent for the '90s stoner rock movement; while the Masters' less metallic sound wouldn't have been a perfect stylistic fit, the link was reinforced by Goss' acclaimed production work on three of the four Kyuss albums.
http://www.mediafire.com/download.php?mzvqu3jjzzmI was playing on youtube and realize I never posted this last year. Kid Beyond is a livelooping beatboxer who more or less builds a song then sings over it. The EP includes a Portishead cover and is truly astounding.
Kid Beyond - Amplivate
(http://image.allmusic.com/00/amg/cov200/drh400/h416/h41625avu17.jpg)Quote from: AMGBeatboxing -- using only one's voice to create often highly intricate and funky drum patterns -- is a well-respected art in the hip-hop community. But if the ability to beatbox well commands respect, the ability to do so at a virtuosic level commands something more along the lines of disbelief and can give rise to suspicion that the beatboxer has crossed the line into mere gimmickry. Kid Beyond goes one step further than virtuosity, not only creating beats and sounds that seem humanly impossible, but looping and layering them with his sung vocals and thereby creating complete musical compositions. If he could beatbox in a manner that would have you disbelieving your ears, that would be interesting for about three minutes. But because he invests his amazing skills in the creation of fully realized music, the result is music that is interesting in and of itself, regardless of how it was made. Kid Beyond's debut release is an eight-track EP containing three original compositions, a jaw-dropping arrangement of Portishead's "Wandering Star," and four remixes, all of which are fun enough but (ironically) none of which is as interesting as the original on which it's based. Highlights include the frenetically jungly "Mothership" and the more meditative and dreamy "Deep Inside." There's a deeply human sweetness to Kid Beyond's attitude, yet another aspect of his art that tends to set him apart from the hip-hop mainstream. The full-length follow-up can't come soon enough.Code: [Select]http://www.mediaf!re.com/?jut2mzu0yht
http://www.mediafire.com/download.php?y2dciyvtjjn After I upped, realized that track 2 was missing, now fixed. sorry.http://www.mediaf!re.com/download.php?uu3jzt5iwtmHere's what I have to say:http://www.mediaf!re.com/?dnybqol54iihttp://www.mediaf!re.com/?nl4ecyojdnm
I literally posted that Kid Beyond album two pages ago. I am quoting it here. The link should still work
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
Repost the rules at the top of each new page.
http://www.mediaf!re.com/download.php?mewzjyx0izn
I don't know if it may not be for everyone else, but for me it says that it won't play because, "the file is corrupt or invalid"
http://www.mediaf!re.com/?hmnjwmn2g2ehttp://www.mediaf!re.com/?yvt4o1zz0z4Pt2http://www.mediaf!re.com/?wgmcqiuimuzhttp://www.mediaf!re.com/?yndjemzowywhttp://www.mediaf!re.com/?wfz5ezkkkwnhttp://www.mediaf!re.com/?nmyienmkm5nhttp://www.mediaf!re.com/?5yuy0mzm2qwhttp://www.megaupload.com/?d=GLSBQ2ND
http://www.mediaf!re.com/?zljmd1lm15mFrom Sordo:
From the farthest reaches of space and the soul comes Release the Drones, a collection of various songs that go from psychedelic doomy to fun and groovy. Layers of guitar, drum machine, samples, effects, filters, and just general weirdness. Darkly psychedelic and dangerously hypnotic, emotionally charged and slightly neurotic. So stomp your feet, clap your hands, drink some booze, take some Shamanistic substances, and lock yourself in the darkest room in the house with a lampshade on your head. The main thing is, enjoy yourself.
http://www.mediafire.com/?yejb190ynjxhttp://www.mediafire.com/?rzlbqhmp1dthttp://www.mediafire.com/?owbmxlmxsa5http://www.mediafire.com/?lntx125jhdl
http://www.mediaf!re.com/download.php?izthzwzwtwthttp://www.mediafire.com/download.php?omeygmywiwnTigers Jaw - Self Titledhttp://www.mediaf!re.com/download.php?gwzdhjvzwmmThe New Deal - S/T http://www.mediaf!re.com/?mzjjzzjiauhhttp://www.mediaf!re.com/?lmtw3mx2zzzThe New Deal - Gone Gone GoneFrom Tribe:
Mind Bombin’ is a nice mixture of glitchy breaks and heavy down-tempo with some good guest vocals/ MC work mixed over a sonic palette that very much leans towards the low end. The tracks here ooze with ridiculously hefty bass and beats that completely embrace the digital realm of musical expression and totally ignore convention when melding their influences. I mean seriously, in theory it’s easy to think that combining hip-hop, dancehall, IDM glitch, digital funk, down-tempo and breakbeats would work, but in execution it’s no small feat. And 3B makes it look silly easy here.
BreakbeatBuddha’s latest offering is a great attempt at interjecting a bit of social awareness into the dance scene via breakbeat and come-down-tempo. Mind Bombin’ presents the ideals of collective consciousness to crowds who, let’s be honest here, sometimes have a difficult time even grasping its simpler, more marketable little brother – PLUR. But too few have made the effort to positively influence dance culture and 3B has to be applauded in this regard.
The point here is made with a solid musical backdrop and playfully accessible titles like ‘Buddha Bounce’ and ‘Sleezy Geeza’. The tracks ably blend a large array of influences (musical and otherwise) into one very cohesive thump, and on the dancefloor the outcome is more than a good effort - it’s a good time. As a whole, this album manifests its artists’ passions and lets the message mix with the music and makes them both bump.
http://www.mediafire.com/?xyrmw2dmnynhttp://www.mediafire.com/?23ylyjwjqdm
i fail to see how posting "THIS IS NOT A REQUEST" with a blatant request makes it not a request. if you really must break the rules, at least have the stones to do it blatantly. or better yet, here's a tip:
"INSERT ARTIST NAME HERE"+"INSERT ALBUM NAME HERE"+"INSERT NAME OF UPLOAD SITE HERE"
^ put this in google. not really that difficult. i do this all the time and it's rare there'll be anything i can't find within a few minutes.
i fail to see how posting "THIS IS NOT A REQUEST" with a blatant request makes it not a request. if you really must break the rules, at least have the stones to do it blatantly. or better yet, here's a tip:
"INSERT ARTIST NAME HERE"+"INSERT ALBUM NAME HERE"+"INSERT NAME OF UPLOAD SITE HERE"
^ put this in google. not really that difficult. i do this all the time and it's rare there'll be anything i can't find within a few minutes.
You're like a page and a half late mang.
(Don't have a flamewar in this thread, fuckers).
Soul of the Phoenix - Release The Drones
(http://farm3.static.flickr.com/2202/2364608364_6508cc89dc.jpg)
If Broken Social Scene had come not from Toronto, but from the brainy enclaves of Cambridge, MA (where leader Thom Moran is a research scientist at MIT), they would have sounded quite a bit like the Bon Savants. With tongue in cheek lyrics heavily informed by Moran and guitarist Kevin Haley's day jobs -- the title track is about their time working in Germany after the end of the cold war, "I Am the Atom Bomb" concerns the conflicted feelings of the scientists who split the atom, and as a local in-joke, the title of "Mass Av and Broadway" namechecks the east-west boundaries of MIT itself -- and a with name that means "good scientists" in French, the band has the potential come off as a sort of clique-ish giggle, not unlike, say, hockey-themed pop-punks the Zambonis. However, Moran has an unexpectedly appealing voice and conversational singing style that's far removed from the angsty whine of so many contemporary indie rock singers and a perfect vehicle for his smart, funny lyrics. Similarly, the band takes the placid atmospheres and slow-building dynamics of post-rock and sharpens them into concise three-minute pop songs with prominent hooks and actual choruses. A deeply satisfying debut, Post Rock Defends the Nation proves that bands can be book-smart and musically accessible at the same time.
http://www.mediaf!re.com/?mtgjqjnymmn
And I was wonder if the band The Paper Tiger Sounds is out there somewhere because i dk if i'm not looking hard enough or what but i have one song by them and can find any more.
Oh god, I feel an Indie Pop renaissance coming on, with Paper Tiger being just the band to herald it in. Folk infused pop, or vice versa - While You Are Gone showcases five intricate and predominantly acoustic tracks that unravel in the melding of the musical minds and instrumental diversity of this Adelaide sometimes four piece. Think melodica, viola, glockenspiel, Hammond, dual vox and the intelligence to contextualise them perfectly in endearing melodies; it's bound to rival your favourite Candle records release as a trademark of Oz indie pop gods [think Lucksmiths et al]. Hell, there are even pop sensibilities here to rival the kings and queens of that department, Belle And Sebastian, with the same lyrical naivety and discovery of the quirky banal.
http://www.mediaf!re.com/?5m4wwilqumo
This is a very fun and lovely band from Cambridge, Mass.
Paper Tiger - While You Are Gone
http://www.mediafire.com/download.php?oyeztzr0itihttp://www.mediafire.com/download.php?dy1exmztmyvhttp://www.mediafire.com/download.php?mjnnq33mtz1http://www.mediafire.com/download.php?tkr2apkcbuxhttp://www.mediafire.com/download.php?ezmwmyw0mdispoon_of_grimbo: Almost everything you've posted in this thread is sickie gnar gnar. Thank you.
sickie gnar gnar
Oh and here is a Fucked Up album I have been meaning to post for sometime.
(http://ecx.images-amazon.com/images/I/41dpMt6%2BRwL._SL500_AA240_.jpg)
Epics In MinutesCode: [Select]http://www.mediaf!re.com/download.php?ezmwmyw0mdi
Listen to the song "Generations" and try to tell me punk is dead.
http://www.mediaf!re.com/?x2kkioq5kbjhttp://www.mediaf!re.com/?gznzi2zyjyjhttp://www.mediaf!re.com/?dwi2m1fomm3
Oh and here is a Fucked Up album I have been meaning to post for sometime.
Epics In MinutesCode: [Select]http://www.mediaf!re.com/download.php?ezmwmyw0mdi
Listen to the song "Generations" and try to tell me punk is dead.
pretty hot compilation. colour removal's the best track on there though. everyone should check out career suicide - the drummer from FU is the guitarist, and as FU have got worse CS have got better. i'll upload one of their records later when i have full use of my bandwidth.
basssssssssssssneeeeeeeccccccccctttttttaaaaaaarrrrrrr commmmin yoooooo wayyyyyy
http://www.mediafire.com/?ndyndedmlmn An absolute perfect way to break it down for 23 Minutes and 28 Seconds.http://www.mediafire.com/?0eyhzdjehlc This is where the Vex'd Remix came from, I believe.http://www.mediafire.com/?3rwemmjfqn4 For those not in the know, Skream is like Benga, but less "I'm gonna make you shake your body cause you just gotta move" and more "Music so dark light cannot escape it's touch" while still being totally danceable, IMO.http://www.mediaf!re.com/?owv2nnrlxkhhttp://www.mediaf!re.com/?bayztbcxplnhttp://www.mediafire.com/?pznaxcjcljbwww.wheelerenv.com/2007_EP.zipBecky Stark's vocals soar and dive from whispery soprano to somewhere deeper and darker, backed up by pianos, violas, violins and cello. It's no longer anything new to blur the line between the musical worlds of classical and pop but rarely are they brought together as well or as beautifully as they are here.
The band do fast and furious on Oh No and Side Of The Lord; slow and heartbroken on Garden Rose, I'll Never Lie Again, Bring Me A Song and the lullaby-like closer When You Wake For Certain; pure pop on Open Your Heart and Here Comes One. Add in tribal beats on Like An Arrow, while on Dance Until It's Tomorrow, you can almost hear the glass beginning to shatter as Stark's voice reaches higher than any human should be allowed to before My Shadow Is A Monday wanders through a bar where the moonshine flows freely, sweetly and illegally.
And so it goes on, across 12 tracks of pure musical perfection. Forced at gunpoint to pick a favourite, it would have to be the piano tip-toe and brass reply of Bring Me A Song or perhaps Find A Way, which channels the ghost of Nico and teaches it to sing, but in truth there's not a single duff track showing its face anywhere remotely close to here.
http://www.mediaf!re.com/?1unomo25wzeAs with their 1995 breakthrough, Glow, the Innocence Mission's Befriended is an album of small gifts rendered with a craftsman's touch. Karen Peris has an endearing and pure voice, her refined intonations glide over the music like a brave bird singing on an cold autumn morning. She and guitarist (and husband) Don and bassist Mike Bitts, works in ethereal atmospheres on such songs as "Sweep Down Early" and "Tomorrow on the Runway." These songs revolve around past lives, families, and reminiscences -- sort of an emotional scrapbook of music and memories.
http://www.mediaf!re.com/?mtmtettztzjThere is an edge of melancholy throughout: the jangly guitars, ringing bells, and joyous keyboards betray talk of fear, of being blown away by the wind—and lead singer Michael Nau admits that we are all dogs, begging for scraps from the divine. In “Junkyard,” the most cryptic, and the darkest track, Nau tells us that this Christianity not only requires us to "lie there patiently" but to have life "shake us like a bad dream," even if the dream was about "the truest song that was never true."
If all of this sounds oddly intense, it should. Hello, Dear Wind feels like people talking quietly in a circle, a collection narratives of confusion and shame. Things you would hear at retreat centers, AA, the confessional booth, bible studies, and the like. It is easy to mock lo-fi emo boys with their four-track, singing love songs to girls who will never really love them—now imagine finding that girl who will love them forever: all of that trepidation about adolescent desire remains, but there is a surety amongst the doubt.
http://www.mediaf!re.com/?zgnd5menxz5One of Come, I'm a Lion's biggest strengths is its ability to be full without being stuffed, to sound uncluttered but never sparse. Every sound and word contained herein comes across as necessary, and in most cases it is. Michael Nau and his band of musical collaborators has forged a real gem with this album. They've managed to pull off poetry without pretentiousness, and without sacrificing a solid musical backbone. Both are vital organs, and on Come, I'm a Lion they combine beautifully.
http://www.mediaf!re.com/?gjtnnlynmngThis braiding of the unconscious with the Unknown, as crookedly rendered as it might be, is Telephone's greatest charm-- an inventive intertwining that gives the record a woozy, playful charisma. Like Danielson's Daniel Smith, Nau creates a loopy musical world concerned with the extratextual elements of organized religion, with any converts he attracts along the way merely interested in playing along. Like religion, music only exists inasmuch as it is performed, and on Telephone's closer "Casting Day", Nau seeks to recruit a new crop of participants for his next show, asking: "Who do you wanna be? In that crooked afterlife, at the bottom of the sea?"
http://www.mediaf!re.com/?zktwgw5dm5z
http://www.mediaf!re.com/?sharekey=0e1a52e4b7c149f691b20cc0d07ba4d21efc59881449c390From Pitchfork
This, the self-titled debut from Olivia Tremor Control mastermind Will Cullen Hart, is one of the few albums I've heard that can effectively blur the line between real-world time and dream-world time. With its illusory, ethereal production, wistful melodies, and oft-funereal pace, this is one of those rare albums that can completely absorb you in such a way as to almost dissolve the world around you, and make you feel like you've been transported to another realm of existence within the course of 58 minutes.
While not an Olivia Tremor Control release by name, there are very few elements here that will be unfamiliar to fans of the band. Aside from Bill Doss, just about everyone who's ever contributed to an OTC release is present, making for a grand total of 21 musicians involved in its making. Given the sheer volume of people contributing, and Cullen Hart's history with layering sound, it's no surprise that Circulatory System is a sonically dense album. But here, more than on any Olivia Tremor Control record, Cullen Hart displays an almost supernatural talent for melding these sounds into a single entity that is absolutely enveloping, and for shaping that entity around a powerful melody. In some ways, the absence of Bill Doss seems to be a blessing, turning the once-Olivia sound inward as Hart is left to explore his own lyrical and sonic ruminations on time, death, and the nature of humanness.
9.5/10
These Friends of Mine doesn’t feel quite as hurried as her last two records, especially 2003’s Only with Laughter Can You Win. “Whether you are a musician, painter, or whatever, there is a passion that sometimes gets lost because all of the sudden you have to clock-in or have deadlines”, she says in her press literature. “I sort of wanted to get back to that time when I played music for nothing”. She seems to have found the right vibe: there’s a lot of joking between tracks, and the songs have a very pleasant, comfortable air that works well with Thomas’ childlike voice and the spare instrumentation. Stevens’ banjo shows up on “Why Waste More Time” to great effect and there are a lot of songs built around simple, finger-picked guitar. Thomas is in fine form, and songs like “Kite” and “Much Farther to Go” and “If This City Never Sleeps” are as good as anything she’s done.
http://www.mediaf!re.com/?mm1ttm0nfkzWhen Rosie Thomas isn’t careening through adorable acoustic songs, she’s a stand-up comic. Her alter ego is named Sheila. This, along with her previous album title (Only With Laughter Can You Win), leads us to believe comedy plays an important role in her artistic existence. On her latest musical venture, If Songs Could Be Held, we find her music is no laughing matter. No chuckles, giggles, cackles, or guffaws.
As Rosie Thomas grows older, it seems her main struggle remains in the department of love. Her songs reflect her frustration, lost and rediscovered hope, and desire to find companionship and reliability. The songs on this album are full of remorse and regret, as well as a shot or two of encouragement. Thomas, through her simple and clean arrangements, aims to make sense of her problematic relations. As she presses on, trying to keep cheerful, we think back to Sheila. A sad clown situation comes to mind. The victims in Rosie Thomas’ songs are pained but try to mask grief with unconvincing hope. Her vulnerability pries through the gentle instrumentation and gains our sympathy.
Unlike her labelmate Sam Beam, Rosie Thomas suffers from a lack of mysticism, folklore, and grit, which isn’t necessarily a bad thing; but her safe approach and noble pursuits of happiness may keep her in the coffee house. There is obviously something deeper brewing here. Behind the funny girl and simple, cozy-sweater ballads, there must be some sort of filth or corruption. Granted, Thomas does handle her songs well — the nursery rhyme innocence of "Pretty Dress" and the airy rendition of "Let It Be Me" are both intriguing and captivating. But with the bare bones approach of song and singer, there must always be an additional "something." An error, a secret, a myth. Rosie Thomas is just a little too ordinary, despite her concealed alter ago.
http://www.mediaf!re.com/?tj2cfy5qdhnI stand steadfast. I will not be shifted. It may have taken six months for this undeniable feeling to bloom, but now it's here and will not budge. If you told me a debut concept album about childhood, written and performed by a female stand up comic would be my favourite, most dearly loved album of the year at the beginning of 2002, I would have laughed and sneered at you. With derision. But then again life isn't a linear path, shaped by your own solid rock sense of predestination. It constantly surprises, shocks and disappoints. When We Were Small is a beautiful surprise.
Rosie Thomas was born into a family of musicians in Detroit, yet she first gained some popular currency as a stand up comic in the guise of a neck braced uber-geek called Sheila. She started playing her solo scripted songs (she served time in a Detroit band called Velour 100) to live audiences as well as starting an association with fellow troubador Damien Jurado. Jonathan Poneman of Sub Pop, a man not known for his appreciation of melancholic folk pop, caught her act and signed her up without due hesitation. Set free in the studio she was told she could do what she wanted. Well, as long as it was the same array of affecting delicate songs he had seen her hypnotise audiences with.
http://www.mediaf!re.com/?zldm2ydy0ziMostly, the contradictions that Thomas deals in are still the contradictions that have pained—and secretly pleased—knowingly sensitive souls with instruments since the 1970s. Though narcissism from the likes of Joni Mitchell (from whom the album title is drawn) leaves Thomas’s own feeble self-involvement eating dirt, there remains the faint hint at times of someone pleased at finding out what delightful playthings her own emotions make. When that happens, and it happens too often, the album is reduced to mere prettiness, perfect music for self-reflecting—cup of tea in hand, of course—at the end of a tiring day.
In theory, I believe that art should do more than simply giving its audience that easy, reassuring feeling. But for those who have no problem with art doing “only” that, they could do much worse than making a home for Rosie Thomas’s humane, unsmug optimism. And even if you agree that art should inspire more than a nice, toasty feeling, “Sell All My Things” and “Red Rover” (and “Tell Me How” in its lines about death and God) make a compelling case for this album indeed doing more.
http://www.mediaf!re.com/?jgnymnihddzWhen Idlewild lead singer Roddy Woomble turned up on Kate Rusby's last album, his low tones jarred with her sweet singing, so it comes as a surprise to find that when it's Kate supplying the harmonies, it works brilliantly.
With due respect to Woomble's songwriting, it's the harmonies of Rusby, along with the production and violin of her husband John McCusker, that make the solid bed to build his beautiful songs on.
That said, it's a close call whether the epic "Waverley Steps", sung with Rusby, or the heart-bursting title track, which sees the fantastic Karine Polwart on harmony duties, is the real show-stealer.
Tender and epic, enormous yet touching, Woomble's secret may not be his silence, but the brilliance of his musical friends.
http://www.mediaf!re.com/?nzdvznzukem
Oh and here is a Fucked Up album I have been meaning to post for sometime.
Epics In MinutesCode: [Select]http://www.mediaf!re.com/download.php?ezmwmyw0mdi
Listen to the song "Generations" and try to tell me punk is dead.
pretty hot compilation. colour removal's the best track on there though. everyone should check out career suicide - the drummer from FU is the guitarist, and as FU have got worse CS have got better. i'll upload one of their records later when i have full use of my bandwidth.
How the hell have FU got worse? Oh generations has no meaning whatsoever the band wrote it as a joke. Smiam is punk rock for old people
progressionally not as good live and on record really really fuckin disappointing with the most recent one.
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Circulatory System - Circulatory System
Amazon.com's Best of 2000
With The Man Who, Scottish quartet Travis captured the very essence of their homeland, and unassumingly blew us away. The moderately paced, longing melodies, and lead singer Fran Healy's quietly desperate vocals, provide a haunting mask on what is actually a rugged, enduring, and entirely beautiful slice of Brit-rock.
http://www.mediaf!re.com/?vw1znqkc35yAmazon.co.uk Review 1995
Elastica were accused of many things in the wake of this debut album, not least that many of their songs bear a striking resemblance to stuff from New Wave punks Wire ("Connection" is said to have the same riff as their "Three Girl Rhumba"). But that's all missing the point. Here we have 15 spiky songs crammed into less than 40 minutes, a hit-and-run of an album in which Justine's detached, bored rich-girl vocals complement the addictively energetic "Stutter" and "Waking Up". There's a satisfying smattering of filth throughout, too, as "Car Song" has Justine cooing, "Every shiny bonnet / makes me think of my back on it," and it doesn't take a genius to work out what she's on about on "Vaseline". This stunning debut is bloody good fun. It's frantic, sexy and makes you want to leap about like an idiot, and, really, nothing else matters.
http://www.mediaf!re.com/?2dyrqycgmjnAmazon.com's Best of 1998
If not the album of the year, it's at least the punk-rock album of the year, fiercely representing a musical ethos that has suffered the ignominious shame of commercial popularity. "We want the airwaves back!" shrieks singer (if you can use that word) Dennis, and over the course of The Shape of Punk to Come's 12 sonically stunning tracks, they reclaim the right to rage, rant, and innovate. The Refused broke up soon after recording this album, but they've left behind an invigorating manifesto.
http://www.mediaf!re.com/?zmhm2thj0oeallmusic Review 2002
For Stars' brand of sadcore packs a punch on its third disc. "Wires" thunders along after its tentative start; "How It Goes" is expansive synth rock. Though Carlos Forster's vocals waver on the edge of annoying ("People Party"), there's a containment in his delivery (as on the ballad-like "Back in France" and "The Astronaut Song") that reveals he could sing just about any way he wants if he chose to. It's the silly but modern keyboard sounds that really distinguish what For Stars are doing: A mix of ethereal indie rock and space rock with traditional pop that's so unselfconscious there's every chance the band has no idea how timeless it is. If a young dBs were making records these days, they'd sound like For Stars.
http://www.mediaf!re.com/?wzwigmmnz4callmusic Review 1993
At the time, Phair's gleefully profane, clever lyrics received endless attention (there's nothing that rock critics love more than a girl who plays into their geek fantasies, even -- or maybe especially -- if she's mocking them), but years later, what still astounds is the depth of the writing, how her music matches her clear-eyed, vivid words, whether it's on the self-loathing "Fuck and Run," the evocative mood piece "Stratford-on-Guy," or the swaggering breakup anthem "6'1"," or how she nails the dissolution of a long-term relationship on "The Divorce Song." Each of these 18 songs maintains this high level of quality, showcasing a singer/songwriter of immense imagination, musically and lyrically. If she never equaled this record, well, few could.
http://www.mediaf!re.com/?xorzyjmokikRollingStone Review 1994
Angie Hart's little-girl voice is startlingly fresh with subversive beauty. Fresher still is the way this Aussie foursome's lean folk-art arrangements (spare piano, acoustic guitar) propel snappy rhythms and jazzy melodies. Off-kilter pop, their songs boast a dry poetic suggestiveness (think Suzanne Vega or Nick Drake) – they come across like knowing nursery rhymes for sexy, wised-up children. Fourteen gemlike tunes, Marvin is a superb first album – "Labour of Love," a classic single about the ambiguity of desire (catchy, too); "Ordinary Angels," an emancipatory life lesson ("Don't be smart, be a beginner"); "Most Beautiful," a bent bossa nova. And Hart's a real find, whether belting like a Swinging London dolly bird ("No Time") or straight-talking smoothly ("Girl").
http://www.mediaf!re.com/?gviiyyzjzmghttp://www.mediaf!re.com/?z15dva5eyvyThis is a live album consisting of good songs from several great albums.Dance indie music from girl band The Pipettes. This album contains the original line-up and the single 'Pull Shapes'.
http://www.mediafire.com/?mdyu2zjjetwJ-pop/technopop from one of Japan's most famous current bands.
http://www.mediafire.com/?yiglkw0zmokhttp://www.mediafire.com/?rd5nfqfmyzdRosie Thomas - These Friends Of Mine
Rosie Thomas - If Songs Could Be Held
Rosie Thomas - When We Were Small
Rosie Thomas - Only With Laughter Can You Win
http://www.mediaf!re.com/download.php?myhyqjrodhxhttp://www.mediaf!re.com/?2yzmjmnnrfjPt.2http://www.mediaf!re.com/?mmzdmzj4mqiPt.3http://www.mediaf!re.com/?5mntynkmnywPt.4http://www.mediaf!re.com/?mztm0nzhutoJamaica's Augustus Pablo took what was essentially a child's toy, the melodica, and turned it into something else again. The exotic, eerie, slightly Far Eastern and delicately mournful sound that Pablo coaxed from the instrument soon became a staple of Jamaican reggae and dub releases in the 1970s. Given his reticent nature, though, and his tendency to avoid the limelight, Pablo never achieved commercial stardom (if indeed that was ever even an aim of his) and while his influence on modern Jamaican music is immense, he actually only had one hit on the island, his 1971 single "Java," which single-handedly ushered in the so-called "rockers" style (the version collected here is a re-do from 1982). This five disc (four discs of music and a disc of videos) overview of Pablo's life and canon probably won't change that, but this kind of survey of his vital and unique achievements in the recording studio is exactly what his many admirers have been waiting for, and for the most part, it delivers the goods in fine style. Every aspect of Pablo's talent is touched on here, from his session work with seemingly every musician on the island, his innovative dub efforts, his fascinating solo projects, and his later work as a producer and nurturer of new talent. Among the key tracks included here are "East of the River Nile" (in its definitive 1977 version), "King Tubby Meets Rockers Uptown" (a restructuring of "Cassava Piece" and an acknowledged dub classic), and the intriguing "AP Special," which features Pablo playing the xylophone (Pablo could play countless instruments, including guitar, piano, and organ, as well as the melodica). Pablo was partial to minor key arrangements, and the so-called "Far East" sound that resulted from this fascination is as haunting as it was influential and pervasive, and aside from maybe Yabby You, few Jamaican musicians pursued the dark, lonely beauty of the minor keys with Pablo's focused devotion. This set shows the breadth and consistency of Pablo's musical vision, but it really isn't for the casual listener, since Pablo's sound can get a bit overwhelming and it really doesn't vary a whole lot, so a single disc selection like Original Rockers or East of the River Nile might make for a better starting point for those new to this utterly unique musician.
http://www.mediaf!re.com/?jnyzn1mw2yj
Rating: 85%
Combined Rating: 80%
“But who knows if ‘eight days a week is not enough to show I love you’ is a good idea, or a bad idea, or any kind of idea at all? And who cares? The joy of pop music is that it can deliver you from such questions by its immediacy, and provoke them by its impact.” – Greil Marcus, Mystery Train: Visions of America in Popular Music
“It’s all controlled karaoke / la la la la la / this song is phony.” – Nodzzz, “Controlled Karaoke”
There are a lot of hard lessons underneath the choruses of Nodzzz. That may be an odd thing to say for an album so brimful of juvenile enthusiasm; if songwriters are chefs, then Nodzzz are confectioners, their songs made entirely of sugar and syrup, shaped into something either airy or brittle. They seem liable to crumble under the slightest scrutiny; but there’s a real sense of disillusionment, slash cynicism, slash a hundred other things underneath a song as effortlessly brilliant as “In the City (Contact High),” the best Guided by Voices song Bob Pollard never got around to writing. “You got no money? / then beat it buddy / or stand there looking cool,” Anthony Atlas sings, letting out a sarcastic “cool!” over a drum fill. It’s easy to read this as a lazy indictment of The Scene, and perhaps it is, but the way the singer sings “You got no talent? Then beat it, buddy” suggests a direct quote, a remembered insult. Slagging the scene is a rite of passage for all of us, of course, as is the humiliation of walking into any situation without the right currency—money, knowledge of the bands on the Dangerhouse roster, being at a specific basement shows six months ago. So when he sings the song’s second title in the chorus, is it a dig at a poseur—someone not participating in the events of the room but being there anyway—or is it a lived-in sketch of the wallflower? Or is it a simple admonition: hey kid, fake it till you make it?
Or is it none of these things? It takes a writer a good half hour to think that all up and write it out; the song is over in 2:15, and the album itself is only seventeen minutes long. All of this I offer as evidence that the pop music found on Nodzzz is top shelf. Recorded on a four-track, physically only available as a 12” LP (a digital copy is available) and influenced by “British New Wave singles of the ’70s and ’80s” (so they say on their Myspace, but they never specify which ones, so you can only surmise they mean all of them, which seems about perfect), it’s the kind of album that gets passed around like a secret that everyone wants to share. Us writer types like it because it lets us play Connect the Influences: Alan tells me that it reminds him of “Dirt Dress, if Dirt Dress decided to be the Feelies and the Feelies decided to be Weezer circa Green.” That’s totally fine, but I prefer my own RIYL (“Jonathan Richman, Sebadoh, Vivian Girls/Jay Reatard/Brooklyn generally, ice cream, the ocean breeze, wet kisses, life itself”). Fans like it because it’s catchy, well performed, and funny. Sentimental types like it for songs like “Losing My Accent,” an impossibly left-handed and sly coming of age analogy about moving out and, possibly, down. “Think I traded it for rent,” the vocalist mutters of his titular childhood possession, and one has to whistle: yeah man, growing up sucks, and it only gets worse.
Those kind of songs in that kind of aesthetic make it hard to get an exact bead on the band. Atlas speaks, whines, and squeaks his way through the record, and in every song he hits at least one note that is just so wrong. Check the chorus of “Simple Song,” which is actually about outgrowing simple songs and ends on a catastrophe of a note (re: my notes; “this really puts the false in falsetto, n’yuk n’yuk”). But then he hits the same note again on the next chorus, and the brain demands to know if it’s being put on, whether its love of the goofy pop hook is luring it into deeper water or into sudden exposure, that a practical joke is around the corner as penance for your enthusiasm. I doubt it means any of that. Nodzzz is, finally, the ultimate fuck you to the aging process, a glorious embrace of sugar rushes and wide-eyed enthusiasm.
http://www.mediafire.com/?12zhzzddmth
Rating: 84%
Combined Rating: 82%
The everything-but-the-kitchen-sink approach to instrumentation is typically associated with lo-fi aesthetics. Paavoharju are out to change that. Even more than the fantastic Yhä Hämärää (2005), Laulu Laakson Kukista translates the homespun psych-folk that distinguishes the Fonal label into near-epic, shockingly lush strokes of impressionist pop. Here also is everything that lies in between classical orchestration and musique concrete; the music of Paavoharju constantly expands and contracts in ways which are humble, majestic, and just out-and-out phenomenal. The fact that the band happens to be part of a mysterious Finnish commune of devout Christians is probably dwelt on too much in reviews, but it’s pertinent in at least one way: how else do you explain something so labored over and yet so earnest and void of pretension, except to say that the band’s channeling something greater than themselves? Suffice it to say speculation about what exactly makes this band so vivid and unlike anything else out there at the moment is bound to produce hypotheses of questionable substance and more than a little delirium, but bear with me—this music is more than worth it.
Comparisons to other music are as inevitable as they are insufficient; there’s any number of maverick acts out there that I could compare Paavoharju to. But that comparison would only work to describe a sense of shared ground with other bands that use any and all means to achieve a specific sound. Rather, I’d hazard to say that Paavoharju are one of the first bands to fully incorporate what found-sound masters like Philip Jeck have developed into a pop framework. Which is to say that Laulu Laakson Kukista sounds like fragments of a thousand pop records, but rather than assembling them into a drifting ambient landscape like Jeck the band build these fragments back into pop songs. Now, they don’t try and pass it off as straightforward pop; they allow all the static, disembodied voices and samples, and lost/undiscovered choral etudes to organically coalesce into silken, marmoreal slices of transcendence, and then they allow them to break apart again. For example, the fact that “Kevätrumpu” carries melodies that wouldn’t be out of place on an Annie or Róisín Murphy single is astounding in itself; the fact that the static and backwards AM radio samples are always poised around its Röyksopp-esque production in an almost subliminal way is something like a miracle. The modus operandi of this album, besides attempting to unite virtually every contemporary strain of Scandinavian music from Peter Bjorn & John to Kemialliset Ystävät, could be to show how much even the slickest pop will someday become an artifact.
Still, the fact that it’s not—that this is the premeditated, controlled work of a specific group of people (even if the details and credits are somewhat hazy)—is what casts this beast beyond the realm of accidental masterpieces. Leena Uotila’s voice is central, or at least as central as it’s possible to be in a sonic universe where everything is ephemeral, and she sings in crystal-clear soprano, offering up the strange persistence of clarity amidst the blooming chaos of nature. Some of the more pop-oriented tracks feel like lost torch songs, blasting through the fury of static and crumbling instruments as if they needed to announce themselves with unabashed grandeur before they drown in the noise. This quality is equally evident on the tracks where whoever handles the male vocals sings, especially “Uskallan”: opening and closing with the cut-up sound of a baby gasping for air, the track builds into a disco-rhythm with synths alternately smooth and static-drenched threatening to consume the vocals halfway through.
The melodies are astounding on their own—even if you don’t speak Finnish—but far more important is how the band refuses to take them for granted. Outside of the disco-pop of “Uskallan” and “Kevätrumpu,” melody is treated in a similar way to Alejandra & Aeron’s documentary/folk field recording Bousha Blue Blazes (2003): melodies are employed as a means of evoking another time and place, and considering how much of Laulu Laakson Kukista picks through Romantic and Baroque relics, it succeeds brilliantly. Of course, in the spirit of an album which constantly refuses to be pinned down, this is only half the story: sometimes the band breaks through with something so immediate and bracing it’s hard to believe it sits perfectly alongside the album’s restless experimentation. “Italialaisella Laivalla” is instructive in this regard: it starts as a simple folk song with gentle guitar-picking and vocals but then begins to introduce menacing electronics and bows scraping against strings erratically. But this dark shroud is only hinted at; the song breaks off into an outro of slow, carnivalesque French accordion. It sounds like something that should be too suffocating in its wealth of ideas to be evocative, but somehow in combination it creates something listless and urgent at the same time, like The Catcher in the Rye.
If there’s any relationship between Paavoharju and other contemporary Christian music, it lies in the fact that both tend to completely ignore all sense of “fashionable” melody in favour of something achingly naïve and immediate. There are also the traditional choral arrangements of piano/organ/vocals on tracks like “Sumuvirsi” and “Kirkonväki”; these melodies reflect Bach and a long tradition of church music moreso than anything current. The latter track also happens to feature some demented, horribly distorted and slowed-down voices, though oddly they only add to the reverence of the track as a whole.
Which brings me to my one point of contention, or at least confusion. The band makes a point of stating their Christian beliefs in what little publicity they offer and even state in their website’s 10-point primer that they’re “against the use of drugs.” Far be it from me to challenge the band’s beliefs, and I can even understand to a certain extent the latter point—when Agaetis Bryjun (1999) dropped Sigur Rós made a point of disavowing any relationship between their music and narcotics and perhaps Paavoharju have a similar agenda—but it seems that as a perceptual experience Laulu Laakson Kukista is too open to decry any method that one might use to approach it, drugs included. And while much of its strength lies in its sense of sober precision, it’s a long cry from asceticism. Maybe I need to understand the Finnish lyrics to comprehend the band’s spiritual convictions, and yet when I listen to them I can’t help but feel something that transcends any specific religion: something that involves purity and innocence, and darkness and light and struggle. Perhaps it’s proof that an artist’s statement always betrays the intentions of the artist, as all these emotional triggers will combine in different ways for every listener. Maybe that’s the real spiritual value of the album: rather than impress their personal convictions, the band acts as a conduit for all these forces to combine and radiate like a prism.
progressionally not as good live and on record really really fuckin disappointing with the most recent one. who gives whether generations has no meaning? isn't it obvious from the lyrics. irrespective it's still a really good song.
The Mystic World Of Augustus Pablo - The Rockers Story (2008, Shanachie)
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This is eargasmic!
I do not own any other Architecture In Helsinki albums. This one is fun though.
The Mystic World Of Augustus Pablo - The Rockers Story (2008, Shanachie)Man, I'm Jamaican and I've never heard of him. I think I'm doing something wrong.
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http://www.mediaf!re.com/download.php?dhzzntw5nnkAlthough the two aren't musically alike, Neil Young and Devin Townsend follow a similar approach to making music. Young uses his hard-rocking band Crazy Horse to recharge his batteries, so that he can go off and pursue other musical areas of interest as a solo artist. And Townsend has the same setup — returning time and time again back to "the band thing" (heavy metallists Strapping Young Lad) before tackling other styles as a solo artist. While Townsend's 2006 solo outing Synchestra does let quite a few headbanging elements slip through the metal detectors, Townsend's quirkiness continues to bubble to the surface throughout. Since Townsend first broke on the scene as a member of Steve Vai's band (1993's Sex & Religion), it's understandable that a few obviously Vai-ish bits should be detected, such as the track "Babysong." But Townsend is certainly not a one-trick pony, as evidenced by the Faith No More-ish instrumental "Vampolka" and a quartet of prog metal epics stacked side by side: "Gaia," "Pixillate," "Judgement," and "A Simple Lullaby." As evidenced by Synchestra, Townsend seems to be getting more musically daring with each subsequent release, unlike some other veteran rockers who start to play it safe as the years roll on.
http://www.mediaf!re.com/download.php?uvtgtt25ytmOn Sleep and Release, Aereogramme combines abrasive guitars, feedback, and distorted vocals into rock that, in its own way, is as crunchy and dynamic as Weezer, though as decidedly outsider as Mogwai. "Indiscretion #243" is a beautiful way to start an album: a mash of assaulting guitars, moaning keys, a strange hymnal chorus, and enough exploding melodicism to render their debut meek by comparison. From there, the band soars with Sigur Rós grandeur-gone-folk-rock (the string-laden "Black Path"), subtle electro-psychedelia (the glitchy and somber "A Simple Process of Elimination"), and slinky post-rock that would find a kindred spirit in the 90 Day Men ("No Really, Everything's Fine"). What sets these Scots apart, though, from their massive contemporaries (like Godspeed You Black Emperor! or Mogwai) is their ability to unleash simple and sunny pop hooks, and then pile layers on top of them, like on "Wood." Of course as soon as the song catches your attention with these grooves, the band totally destroys them, clearing the table in one fell swoop of epic heavy metal. Then they come back to the pop. It's brilliant and, in a word, riveting.
http://www.mediaf!re.com/download.php?ztgjmmznj5tFour years after Disco Volante, Mr. Bungle returns with California, which immediately distinguishes itself from its predecessors — it's probably their most heavily orchestrated record to date and their most melodic overall, as well as the least dependent on rock styles. That's certainly not to imply that this is a tame or immediately accessible record, nor that Mr. Bungle has suddenly gone sane. There is a stronger lounge-music orientation to the group's trademark rapid-fire genre-hopping; we hear more pop, swing, rockabilly, country & western, bossa nova, Hawaiian and Middle Eastern music, jazz, Zappa-esque doo wop, arty funk, post-rock, space-age pop, spaghetti-Western music, warped circus melodies, and even dramatic pseudo-new age, plus just a smidgen of heavy metal. Sure, some of those sounds have appeared on Mr. Bungle records past, but the difference this time is the focus with which the band deploys its arsenal. California is their most concise album to date, clocking in at around 45 minutes; plus, while the song structures are far from traditional, they're edging more in that direction and that greatly helps the listener in making sense of the often random-sounding juxtapositions of musical genres (assuming, of course, that you're supposed to even try to make sense of them). As with any Mr. Bungle album, California requires at least a few listens to pull together, but its particular brand of schizophrenia isn't nearly as impenetrable as that of Disco Volante, even if it will still make you marvel at the fact that such a defiantly odd, uncommercial band recorded for Warner Bros.
http://www.mediaf!re.com/?ukndx34wyjtIn Flesh Tones should appeal to fans of the laptop-ier side of Radiohead, Smashing Pumpkins (specifically, Adore), the Notwist, and Broken Social Scene-- maybe imagine an album's worth of "Anthems for a Seventeen Year-Old Girl"-- but these comparisons are insufficient, and this is a crucial part of Azeda Booth's appeal. At a time when many popular bands' touchstones can be divided without remainders into Blogger tags, there simply isn't anyone doing exactly what these guys are doing right now. From the first fluctuating tones and galloping, hard-panning snares of "Ran"-- even before the first airy gusts of singing appear-- you feel yourself immersed in a profoundly intuitive musical vision.
Azeda Booth - In Flesh Tones
(from some members of Women)
I don't know if anyone else does, but I find it hard to keep up with this thread. To fix this, I spent tonight hacking together a parser in python that creates an RSS feed for the mediaf!re thread. It crawls the latest page of the thread, and generates a list of links contained within. It *tries* to get a title and description from the post as well, but is only successful around half the time, depending on how people format their posts. Hopefully I'll be able to improve this when I get some more time.
The feed is at http://chrisgrice.com/rss/mediafeed.rss.xml . It updates twice a day; again, this will be improved once I have some time.
If anyone wants to improve the parsing, or just the code in general, you can grab it at http://github.com/cgrice/qc-musicthread-scraper/tree/master
If doing this is a Bad Thing, or if people would rather I didn't, let me know and I'll take it down. Hopefully some people will find it useful though! Also any suggestions to improve it will be greatly appreciated.
http://www.mediaf!!!re.com/?yfzyu4gzyyjBefore he hit the big (or at least moderately sized) time as a solo artist with the release of his official debut, Dead Ringer, on El-P's Definitive Jux label, RJD2 put together the extremely limited-edition Your Face or Your Kneecaps more or less as a promotional item. Irregardless of its semi-legitimate status, the album managed to get the producer noticed by Rolling Stone magazine, and it is definitely worth tracking down. It is conspicuous as the rawer blueprint for what Dead Ringer would eventually succeed fully at becoming: self-contained instrumental hip-hop of the highest order. Your Face or Your Kneecaps is of a much rougher finish -- it is a self-described "mix CD," after all, and lacks the glossy veneer of a studio product -- but it also has spontaneity and a ragged bedroom soul in spades. The album's main course is "Poorboy Lover Megamix," a virtuoso display of the art of the sampler. The song's 37 snippets (the majority of them cherry-picked out of the 1960s and '70s) mostly run no longer than 30 or 40 seconds apiece, but the whole 39-minute collage comes together like the greatest obscure, free-form funk 'n' jive live jam you've never heard. Both "Rain" and "Find You Out" have the same sort of effect, but on a much smaller scale. While they feel much more rooted in the earth, they are just as haunting as the mystical landscapes of DJ Shadow. And they help make the album more than simply a warm-up from a extraordinary artist.
Azeda Booth - In Flesh Tones
http://www.mediaf!re.com/?hhymkmmnz2dFrom NPR:
The Austin-based instrumental quintet My Education composes wordless songs through vast, gorgeously orchestrated soundscapes. From squealing electric guitar wails to screeching viola yelps, the band's music has all the vocals it needs, drawing its narrative tension from ambient dischord.
Each track on the group's new album, Bad Vibrations, offers a buildup and release that's equally commanding and cathartic. But with all the musical strife, much of the album proves tranquil and soothing in its atmospheric nature, as the band paints a beautiful musical picture with layers of brooding instrumentation.
The album's title track places a simple, rhythmically strummed and picked acoustic guitar against a rich orchestra of floating strings and ambient keyboard dips and swells. The composition creates a vivid aural landscape, lending the song an ethereal feel. This lush tapestry of sound proves mesmerizing for its eight-minute entirety.
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http://www.mediaf!re.com/download.php?iuyppzndjdgSong-http://www.mediaf!re.com/download.php?xixlftzpacxBlanket Warm-http://www.mediaf!re.com/download.php?mgnjvlc3mw0http://www.mediafire.com/download.php?mny2zzcmnzzSuch Great Heightshttp://www.mediafire.com/download.php?yldmnln0lvmThe District Sleeps Alone Tonighthttp://www.mediafire.com/download.php?wym5y4qwq21We Will Become Silhouetteshttp://www.mediafire.com/download.php?2zjwdnzxjtiYep. There you go.http://www.mediaf!re.com/?jmwyzmgtwczhttp://www.mediaf!re.com/?dyjmt5mgtjyhttp://www.mediaf!re.com/?wytgdjmnwmmhttp://www.mediaf!re.com/download.php?ozizwvzlhwjhttp://www.mediaf!re.com/download.php?vrzqrjmjbtzTaking what talents they've garnered from previous bands such as Hominy and Whiskeytown, lead singer Jesse Sykes and guitarist Phil Wandscher are onto something far bigger than the two could have foreseen. The opening title track lends itself as much to Margo Timmins as it does to a latter-day Lucinda Williams à la "Lonely Girls" in its almost morose tempo and arrangements, making the nearly seven-minute song glide along effortlessly and, to the listener, far shorter. The following numbers offer the same barren sounds, evoking images of members recording the songs in a log cabin. The well-trodden but solidly produced tracks never waver, especially "Doralee" and the slightly upbeat, honky tonk of "Lonely Hill." Resembling a trace of Neil Young's "Harvest Moon," the tune discusses heartbreak over a cross between Appalachian music and traditional country twang. "Don't Let Me Go" is another fine gem that doesn't stray too far from Sykes' strong points. While not having a dynamic range, she certainly knows what works. Only on "Drinking With Strangers," with its harmonies and backing instruments, does it sound a bit forced and too over-the-top. Returning to the melodic, swaying sound of "Love Me, Someday," the band is very well versed in a quasi dirge-country. A very sound and gentle series of heartbreaking vignettes makes this album so adorable.
http://www.mediafire.com/?zmhnmzmxz3z
part 1: http://www.mediaf!re.com/?mdnuyimgond
part 2: http://www.mediaf!re.com/?5yecoownn1o[mp3 | 256 | 99Mb]
http://www.mediafire.com/?zgn2mjtzftzhttp://www.mediafire.com/?jmgwmtmnh1eGroup Bombino is the latest salvo from the Agadez music scene. Led by the guitar virtuoso Omara Mochtar (Bombino), the group’s debut LP-- Volume two in the Guitars from Agadez series, represents the latest chapter in the modern sound of the Tuareg revolution. As of 2008, the Tuareg rebellion is in full force again, and Bombino is in exile to parts unknown. Agadez has been cut off from the rest of Niger. The only road that connects this legendary city with the rest of the country is littered with land mines and the only escorts are the military. This music and its messages of hope, justice, and desire for validation of the Kel Tamachek way of life ring louder than ever. Group Bombino are gaining mythic status in and around the Tuareg community for their incendiary live performances. Coming from the same scene as Group Inerane and sharing some of the same musicians, Group Bombino showcase both sides of the Tuareg Guitar style. Side one features the “Dry Guitar” sound, an unplugged selection of songs sung among the dunes and stars of the Tenere desert. Side two showcases the electric fury of the full band, a melding of heavy, psychedelic guitar heroics with a raw garage sound, back beat percussion, all swirling in extended trance rock moves. Recorded live and unfiltered in Agadez and the surrounding desert in early 2007, with the band’s equipment powered by generators and an unflinching dedication to the rebellion, Group Bombino’s music transcends any influence and ignites the raw passion of its message to the outside world.
(http://thegalleyboys.com/wp-content/uploads/2008/08/beat-konducta-vol-5-dil-cosby-suite.jpg)
Page France - Hello, Dear Wind
(http://i199.photobucket.com/albums/aa219/livbarrob/hellodearwind.jpg)QuoteThere is an edge of melancholy throughout: the jangly guitars, ringing bells, and joyous keyboards betray talk of fear, of being blown away by the wind—and lead singer Michael Nau admits that we are all dogs, begging for scraps from the divine. In “Junkyard,” the most cryptic, and the darkest track, Nau tells us that this Christianity not only requires us to "lie there patiently" but to have life "shake us like a bad dream," even if the dream was about "the truest song that was never true."
If all of this sounds oddly intense, it should. Hello, Dear Wind feels like people talking quietly in a circle, a collection narratives of confusion and shame. Things you would hear at retreat centers, AA, the confessional booth, bible studies, and the like. It is easy to mock lo-fi emo boys with their four-track, singing love songs to girls who will never really love them—now imagine finding that girl who will love them forever: all of that trepidation about adolescent desire remains, but there is a surety amongst the doubt.Code: [Select]http://www.mediafire.com/?oijyhj3wmtg
Page France - ...and the Family Telephone
(http://i199.photobucket.com/albums/aa219/livbarrob/andthefamilytelephone.jpg)QuoteThis braiding of the unconscious with the Unknown, as crookedly rendered as it might be, is Telephone's greatest charm-- an inventive intertwining that gives the record a woozy, playful charisma. Like Danielson's Daniel Smith, Nau creates a loopy musical world concerned with the extratextual elements of organized religion, with any converts he attracts along the way merely interested in playing along. Like religion, music only exists inasmuch as it is performed, and on Telephone's closer "Casting Day", Nau seeks to recruit a new crop of participants for his next show, asking: "Who do you wanna be? In that crooked afterlife, at the bottom of the sea?"Code: [Select]http://www.mediafire.com/?nmkzco22wzm
Fugazi - "Red Medicine" (1995)
http://www.mediafire.com/?tjfwn0aywwjOn their Verve Forecast debut album Limits of the Sky, the Oxford, Alabama-based quintet the Bridges unveils a disarming brand of heartfelt, harmony-laden pop-folk-rock that combines youthful exuberance with surprisingly mature songcraft.
http://www.mediafire.com/download.php?eymtjzzmjmm
http://www.mediaf!re.com/?vz5k1oy5mjyCD 2http://www.mediaf!re.com/?trtmaryt2wmCD 3http://www.mediaf!re.com/?zywgwyn0mmjCD 4http://www.mediaf!re.com/?j4i4njdnwunCD 5http://www.mediaf!re.com/?ghnrzzjmmmjCD 6http://www.mediaf!re.com/?3udyynjhmmiCD 7http://www.mediaf!re.com/?ymez3e3zmylCD 8http://www.mediaf!re.com/?jz2gtnzm3mlLies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right is a book of political commentary and satire by comedian and political commentator Al Franken, published in 2003 by Dutton, a subsidiary in the Penguin Group. Franken had a study group of fourteen Harvard graduate students known as "TeamFranken" to help him with the research.[1] The book's subtitle is an ironic parody of Fox News' tagline "Fair and Balanced." Fox sued Franken over the use of the phrase in a short-lived lawsuit, which has been credited with increasing the sales of the book.
Lies is one of several books published in 2003 written by American liberals challenging the viewpoints of conservatives such as Sean Hannity, Ann Coulter, and Bill O'Reilly. These books by Franken and fellow authors such as Joe Conason, Michael Moore and Jim Hightower were described by columnist Molly Ivins as the "great liberal backlash of 2003."
New Beirut
Beirut - March of the Zapotec / Realpeople - Holland
[IMG]http://i44.tinypic.com/2dkic7q.jpg[/imgCode: [Select]http://www.mediaf!re.com/?tjfwn0aywwj
It's a split release that's all Zach Condon. March of the Zapotec is Condon backed by the 19 piece Jimenez Band, while Realpeople is Condon performing solo (the band name was one he used before starting Beirut)
Matt & Kim - GrandCode: [Select]http://www.mediaf!re.com/?hmnjwmn2g2e
Matt & Kim - GrandCode: [Select]http://www.mediaf!re.com/?hmnjwmn2g2e
Anyone else having problems putting this on iTunes? It'll only add like 4 of the tracks.
With the 2001 release of their fourth official studio album, Converge has put the final sealing blow on their status as a legend in the world of metallic hardcore. A relatively logical extension from the chain of events that led from Halo in a Haystack up to their split LP with Agoraphoric Nosebleed, Jane Doe seems completely watertight and flawless. Their churning, chaotic guitars are more dense and layered -- fleshed out. Jakob Bannon's vocals seem somehow even more raw in the right places, more beautiful and ethereal in the others. Rhythms are as hectic and ADD-driven as ever, ripping back and forth, locking into mindless grooves, and then blurting back out in a structured mess. Experimentation with texture and mood unravels itself throughout the 12 tracks, yet maintains some cohesive element of undefined focus. Throughout all of the morphing and movement, some element of feeling remains, insisting that this album is an experience -- an encyclopedic envelopment of so much at once.
http://www.mediafire.com/download.php?jndgqtzldy2pt. 2http://www.mediafire.com/download.php?m1vmy21ytzz
QuotePage France - Hello, Dear Wind
Page France - ...and the Family Telephone
Re-upped with new links.
allmusic Review
Freed from the Sugarcubes' confines, Björk takes her voice and creativity to new heights on Debut, her first work after the group's breakup. With producer Nellee Hooper's help, she moves in an elegantly playful, dance-inspired direction, crafting highly individual, emotional electronic pop songs like the shivery, idealistic "One Day" and the bittersweet "Violently Happy." Despite the album's swift stylistic shifts, each of Debut's tracks are distinctively Björk.
http://www.mediaf!re.com/?nzmlmmqtnmvAmazon.com Review
The last release from the Roger Waters-led incarnation of the band, The Final Cut is easily the most darkly provocative entry in the entire Pink Floyd catalog. Many fans and critics tend to think of it as a Roger Waters solo album, though it certainly hangs together much better than The Pros and Cons of Hitchhiking or Radio K.A.O.S.. Others view it as a sequel to The Wall--and indeed, The Final Cut tackles many of the same issues (the futility of war, the innate powerlessness of the individual in modern society), albeit with twice the bile and intensity. The anger that fires songs like "The Hero's Return" and "Not Now John" is certainly legitimate, and Michael Kamen's orchestral arrangements are absolutely stunning, but the entire listening experience can be pretty draining. On the other hand, if you found The Wall to be too soft or commercial, The Final Cut is definitely the record for you.
http://www.mediaf!re.com/?jltvmznjwlyRollingstone Review
Conor Oberst may grow to regret encouraging Jenny Lewis, leader of the idiosyncratic California band Rilo Kiley, to release her debut solo album on his label. The inviting, country-fried disc -- with its warsh-your-sins-away vocal harmonies (from folk duo the Watson Twins), barbed lyrics and homespun arrangements -- makes her a strong contender for his crown as Gen Y's premier old-school singer-songwriter. Her girlishly seductive vocals are more versatile than ever; she sounds like Lucinda Williams' clean-living little sis on the gorgeous, full-moon ballad "Happy" and delivers a poppy chorus with Sheryl Crow-ish Zlan on "Rise Up With Fists!!" Perhaps best of all, Lewis enlists Oberst and Death Cab for Cutie's Ben Gibbard to risk their indie cred with an affectionate cover of a dad-rock fave, the Traveling Wilburys' "Handle With Care."
http://www.mediaf!re.com/?nimiwkzmyyiBoston Globe Review
Boston's Bang Camaro is more than a metal band. It is its own metal universe; a self-contained cosmos encompassing the last quarter-century of metal – pop metal, hair metal, speed metal, thrash metal, glam metal – writ large, loud, and proud.Yes, you've heard all the riffs before, back when you were a kid hanging in a heavy metal parking lot in the 'burbs, cranking Dio or Iron Maiden, and plotting the weekend itinerary for the Def Leppard concert (cue up "Pleasure [Pleasure]"). Which is precisely the point. Like fellow throwbacks Waltham and Damone, Bang Camaro – a local supergroup of sorts comprised of members of some of Boston's best past and present rock bands (the Good North, Model Sons, Taxpayer) – is all about the good times that were shunted aside and put away all too soon when "adulthood" beckoned. The Camaro's debut full-length rights this egregious wrong with tracks like the Thin Lizzy-esque, shredded-be-thy-name rock holiness of "Rock of Mages," the narcissistic grandeur of "You Know I like My Band," and, of course, a power ballad ingeniously titled "The Ballad" (one for the ladies, and lovers everywhere). Fear not: Bang Camaro have come to save our sorry, rock-depleted souls, and they're taking no prisoners. They've brought "electric fire," a gazillion guitars, and, like, 20 singers, dude. Sure, KISS may have had their Army, but Bang Camaro *is* the Army.
http://www.mediaf!re.com/?nivfzajgmidAmazon.com Review
Leadbelly is a folk musician by association not art. He was a bluesman, pure and simple: a howler, an astonishingly prolific composer, and a murderously driving guitar slinger. His catalogue is immense, and though the complete Folkways Leadbelly Legacy series is probably the best way to get a picture of his importance, this single disc of early 1930s field recordings, made shortly after Leadbelly left prison, has some crucial tracks and rare, alternate takes like "Packin' Truck Blues," "Roberta 1 & 2," "You Don't Know My Mind," and "Pigmeat."
http://www.mediaf!re.com/?nbt0uzmmzknallmusic Review
Few young singer/songwriters have quite so quickly won the sort of acclaim that Idaho-born Josh Ritter gained with his first self-released album, which won rave reviews, earned him slots opening for Bob Dylan, and made him a minor celebrity in Ireland, where he's already headlined several tours. Ritter's second disc (and first nationally released album), Golden Age of Radio, makes it clear that his sudden success is well deserved, and based on genuine talent. Ritter's moody, evocative songs seems to reside in a middle ground between Richard Buckner and Ryan Adams, but without suggesting he's lifted anything from either of those performers; his quiet but assured vocals and carefully drawn verbal images on numbers like "Come and Fine Me" and "Lawrence, KS" are the work of a writer far more mature than his years would suggest, while the more up-tempo numbers with his band (especially "Me & Jiggs" and "Golden Age of Radio") have a scrappy enthusiasm that suggest early Whiskeytown, without their overbearing arrogance. As both as writer and a performer, Ritter displays a modesty that's at once winning and just a bit of a drawback; a few of the acoustic numbers are just a shade too spare for their own good, and he works well enough with a band that it's hard not to wish that they'd be willing to put a little more of their weight behind the arrangements. But the best moments on Golden Age of Radio are truly splendid, and if the album suggests that Josh Ritter is still learning the ropes, what he knows already is more than many artists will ever figure out. Great stuff.
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http://www.mediafire.com/download.php?cmx2gws59m3IF you really want that page france, I have 3 albums in my f!re account.
I don't see how you could possible live without him.
Sorry I'm cranky.
Page France Hello, Dear Wind- as a token of apologies.Code: [Select]http://www.mediaf!re.com/download.php?cmx2gws59m3
Who are the Bicycles?
Xiu Xiu continue to push the envelope with their third album in two years, Fabulous Muscles. While their mix of low-res electronics, flamboyant synth pop, and experimental rock sounds slightly more accessible than it has before, that just makes it easier for Jamie Stewart's confrontational vocals and lyrics to sink in that much deeper. As always, Xiu Xiu juxtapose their heroic doses of misery with lovely, if rough-edged, music: the drooping synth lines and chunky beats on "Crank Heart" and "Brian Vampire" sound like the music from some unspeakably sad video game, while "Little Panda McElroy"'s acoustic guitars have a hesitant prettiness that makes lyrics like "I can stop hating my own heart/I can do it because of you" even more intimate. Stewart either whispers obsessively or shout-sings, as if he's trying to drown out his own thoughts, and does both on the brilliantly morose "I Luv the Valley OH!," on which he vows, "It's a heart that you made/And I won't rest until I break it." More so than with many other bands, Xiu Xiu's music immerses the listener in the band's world view and the songs' characters: "Bunny Gamer" is an extraordinary portrait of yearning and self-loathing that begins as an internal monologue of an unrequited lover and then becomes a painful dialogue between him and the object of his affection, who is much more careless and carefree. The song's dead-calm desperation borders on the creepy and pathetic, but this is the uncomfortable territory that Xiu Xiu claim as their own. Much like the musical equivalent of Todd Solondz or Harmony Korine, Xiu Xiu set out to disturb their audience in pursuit of higher artistic goals. More often than not (and arguably more often than Solondz and Korine), the group succeeds. "Support Our Troops OH!," which graphically depicts a U.S. troop killing a young girl, could have been played for shock value, but the palpable anger that runs through the track is more implosive than strident. Similarly, "Nieces Pieces (Boat Knife Version)" explores a dysfunctional family with quiet contempt and dark humor rather than outright rage. It all culminates on "Fabulous Muscles (Mama Black Widow Version)" — its effeminately macho title is yet another one of Xiu Xiu's dualities — a mix of sex, violence, and sadness that features the lyrics "Cremate me after you come on my lips, honey boy/Keep my ashes in a vase beneath your workout bench" and manages to be horrific, romantic, and funny at the same time. Fabulous Muscles might be the best expression of Xiu Xiu's unrepentantly original music; even if the world that the band creates isn't necessarily one you'd want to visit all the time, it remains fascinating.
http://www.mediafire.com/?eyn2zzuitmoWinter Gloves are so new on the Canadian music scene that these Quebecers don’t even have a Wikipedia entry yet (the gold standard these days of determining a band’s freshness). The group originally began as leader Charles F’s solo project but was soon fleshed out with three additional members (Vincent Chalifour, Pat Sayers, and Louis Fernandez) to form a quartet.
Recorded with a single microphone and tinged with ambient noise, their synth-laden debut About a Girl features hand claps, a strong focus on melody, and a Wurlitzer that Charles F certainly charms some pretty sounds out of.
A glockenspiel tings sweetly in the background of “Party People,” “I Can’t Tell You,” and “The Way to Celebrate” to name a few, leading the band to jokingly refer to themselves as “glock-rock.” Undulating waves of synth and an electronic horn section blare in “Factories,” one of the album’s more danceable tracks, while “Glass Paperweight” is a more stripped down, more guitar driven tune. They save the best for last with “Piano 4 Hands,” which has a sweet, hummable, and most importantly, memorable melody.
Winter Gloves’ lyrics are steeped in urbanity; these suburb kids are open about their love of the city. Charles’ vocals are not unlike sushi in that they’re a bit of an acquired taste, but that statement could really be made about the band’s eclectic sound in general. That being said, even though Winter Gloves are fresh faces on the scene, there’s always a first time for sushi.
http://www.mediafire.com/?tmdmb2kzkntNote: The tracks are in .m4a. If you would like an mp3 upload, just ask.http://www.mediafire.com/?ncnh02wroerThe Bicycles are a five-piece group from Toronto and The Good the Bad and the Cuddly is their brilliant debut album. Taking the best of pop (with a capital P) music from the last 40 years, like chamber/baroque pop horns and strings, bubblegum melodies, indie pop charm, Brill Building-worthy songcraft, the energy of garage rock, and new wave do-it-yourself attitude, the band's sound is a glorious testament to the beauty and wonder of pop music large or small. Using the classic pop lineup of guitars, vocal harmonies, various keys, and small doses of horns, the Bicycles and their friends from similar bands like the Hidden Cameras, the Golden Dogs, and the Meligrove Band have created something very cool here. The Good the Bad and the Cuddly is made up of hard-charging rockers ("B-B-Bicycles," "Please Don't Go"), ramshackle rockers ("Gotta Get Out," "Luck of Love"), rollicking Kinksy pop ("Paris Be Mine," "Sure Was Great"), good old breezy indie pop ("Homework," "Longjohns and Toques") and surprisingly poignant ballads ("I Will Appear for You," "Australia," "Ghost Town"), each song arranged simply and deftly, and sung with innocent fervor or heart-stopping sweetness as the occasion dictates. The only thing that slows down the record a bit is the cover of the Harry Nilsson-penned Monkees song "Cuddly Toy"; it somehow breaks the spell that has been cast over the previous ten songs. Maybe it's because it makes specific reference to the group's influences; maybe it's due to the band's original being so strong. Either way the album would have been better off omitting it. Still, we're talking magic here, a record that knocks the competition out with ease. For example, fans of the Apples in Stereo or the Elephant 6 scene and alumni who thought they had the market cornered on this kind of stuff will be floored by this little band that wears matching shorts emblazoned with the letter B. Maybe the only other band to recently work such a magical blend of influences, hooks, and inspired playing is Bikeride on their criminally ignored 2002 masterpiece Morning Macumba. Like that album, The Good the Bad and the Cuddly is a tiny moment of genius destined to be overlooked by all except for an very lucky few.
http://www.mediafire.com/?xltthlnnm5m
http://www.mediaf!re.com/download.php?mzozmigx5yzBusiness time. Page France anyone?http://www.mediafire.com/download.php?mjmnd2o32wlcome, i'm a lionhttp://www.mediafire.com/download.php?kdn0ymnvmy3pearhttp://www.mediafire.com/download.php?nnk22zyzgamsister pineconehttp://www.mediafire.com/download.php?nvnmyw2joydwell that's all he's got, except for tomato morning EP and i can't nor really want to find it, i didn't hear good things. ENJOY!http://www.mediaf!re.com/download.php?by3b2xatjyghttp://www.mediafire.com/download.php?wsem2fe2j5g About A Girl - Winter Gloves
I saw Winter Gloves a couple months ago. They were pretty awesome live. Also, have you heard the newer Bicycles album?
New Beirut
Beirut - March of the Zapotec / Realpeople - Holland
yay yay yay yay
thank you thank you
Strip away the music of an Andrew Bird song, and you're left with brilliant prose ("across the great chasms and schisms and the sudden aneurysms"), vignettes about mentally fending off plane crashes, infiltrating characters like the kings of Macedonia and Lou Dobbs, and titles such as "Yawny at the Apocalyspe." It's hard to believe that, really, his music reigns, but when Bird adds understated acoustic guitars, Wurlitzer and Rhodes, and his own mesmerizing pizzicato violin, his songs take on a progressive mood all their own. The Chicago Bird's tenth album (and his debut for extraordinary Mississippi blues label Fat Possum) is perhaps his most diverse, expansive, and resourceful yet, catering to a half-dozen genres of music while exploring storylines that are naïve ("Dark Matter"), candid ("Fiery Crash"), and blatantly comical ("Armchairs"). Making no palpable effort to crack the conventional with overflowing melodies and love songs, Bird instead latches up the intellect to create tiny packages of literature that make always leave you thinking--and snapping your fingers at the same time.
http://www.mediaf!re.com/?zdwcz1itnj1
The Bridges - Limits of the Sky
(http://www.pastemagazine.com/articles/2008/06/10/limits_of_the_sky_300x300.jpg)
i use to hang out with the girl on the far right, stacey. i took her to her first mewithoutyou show. super nice girls and guy from my hometown.
When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
also
Anyone into Screamo, Grindcore, Power-Violence, Digital HXC Music, Machine abuse/digital error, type shit?
Holla if anyone is cuz I've been trying to find some on here and it doesn't look like too many posters on here dig it.
When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
Also, have you heard the newer Bicycles album?
When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
To upload to mediaf!re you have to have an account. It takes like 0.4 seconds, just requires your email and a p/w.
then once that is done you simply click the green upload files button on your main mediaf!re page, it'll open a window where you can select from your computer's files what you want to upload.. please just make sure you archive a file before you upload it to mediaf!re.
That's basically it, everything else is a figure out as you go type thing.
http://www.mediaf!re.com/download.php?mqjmzqvcmtn
What the fuck does it matter whether he needs an account or not? I gave him the information on how to do it.When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
To upload to mediaf!re you have to have an account. It takes like 0.4 seconds, just requires your email and a p/w.
then once that is done you simply click the green upload files button on your main mediaf!re page, it'll open a window where you can select from your computer's files what you want to upload.. please just make sure you archive a file before you upload it to mediaf!re.
That's basically it, everything else is a figure out as you go type thing.
filthy lies!!! but no seriously, you don't need an account. just go to the main m-f!re page and click the "upload a file" link, and then "upload without account" and go from there.
http://www.mediaf!re.com/download.php?y2jeiixjkyzSometimes-http://www.mediaf!re.com/download.php?jtxymzg0hyvCity and Colour is the amazing acoustic solo project of Dallas Green of Alexisonfire.http://www.mediafire.com/download.php?9zslziamwy2
Too many soundtracks feel interchangeable, and rare are the composers who really capture a movie's core. But Javier Navarrete has succeeded in his Oscar-nominated score for Guillermo del Toro's Pan's Labyrinth, a dark fantasy set in 1944 Spain. The first cue, "Long, Long Time Ago," sets the melancholy tone with piano and voice; the spectral piano pops up several more times, and the theme is more fully developed in "Mercedes Lullaby." But it's the second track, the aptly titled "The Labyrinth," that really gives the listener insight into the movie's tenebrous universe. While Navarrete can certainly do short, intimate pieces dotted with telling arrangements (like the few trumpet notes adding a subtle Spanish flavor to "Rose, Dragon"), he excels on the longer tracks, such as "Not Human," which goes through a succession of moods, each one increasingly scary, without ever going overboard into cheap, demonstrative effects. Navarrete has already had a long career as a film scorer in Spain, and this won't be the last American audiences hear from him.
http://www.mediafire.com/?ejn5o2cyzgk
http://www.mediaf!re.com/?qyj3mnjtxzghttp://www.mediaf!re.com/?jmgu0xulnbzhttp://www.mediaf!re.com/?neojgmckcg4http://www.mediaf!re.com/?2kif2tc1ifuhttp://www.mediaf!re.com/?zgfgjxhwnfnhttp://www.mediaf!re.com/?d9zterjvxzbhttp://www.mediaf!re.com/?gtr9zooltdjhttp://www.mediaf!re.com/?zgjbsy5mjoehttp://www.mediaf!re.com/?m2obbmd2x9k
http://www.mediaf!re.com/?cnzjdmch1m0http://www.mediaf!re.com/?ofh3y3mtmo2Thanks for posting that soundtrack. As it downloads, I'm very much hoping that it will have the tracks that Captain Vidal was listening to while he was shaving (the record playing awesome spanish pop songs), but I feel like I may be disappointed.Sorry to disappoint. I just spent half an hour trying to find that tune, too, but nobody seems to mention it on IMDB, youtube, or any blogs that I could find. D:
Borne by aspiring novelist and writer Mikel Jollett during a tumultuous period in his life, the Airborne Toxic Event (named after a section in American authorDon DeLillo's novel White Noise) were based in Los Angeles, and quickly made a name for themselves, earning a spot on the Top 25 /MySpace bands in Rolling Stone magazine in 2006. That award was notable given that the band formed earlier that same year, initially as a duo consisting of Jollett and drummer Daren Taylor. Soon, a roster expansion was needed, and classically trained violinist Anna Bulbrook was brought in to play viola and keyboards, jazz bassist Noah Harmon joined up, and the guitar slot was filled by Steven Chen. Their first show as the Airborne Toxic Event took place in fall of 2006, and was followed by a regional rise to stardom, attracting an indie label and critical attention. 2007 would see the Event record their first EP and single (both titled Does This Mean You're Moving On?), which only helped to heighten the band's standing in the scene. In 2008, the band signed with MajorDomo Records, and released their first album, The Airborne Toxic Event, later that year. The Event played the CMJ Music Festival twice (2006 and 2007 editions) and in 2008 were to be seen at the Austin, TX South by Southwest Music Conference. In further promotion for their debut, the Airborne Toxic Event had a full festival appearance schedule lined up for 2008, playing all over the United States, as well as a handful of shows in Canada and the U.K.
http://www.mediaf!re.com/?yt0qhzyeztxpart 1 : http://www.mediaf!re.com/?2me5zny1ymm
part 2 : http://www.mediaf!re.com/?nomgu2k5mej01 Diplo - Newsflash (feat. Sandra Melody)
02 Daft Punk - Harder Better Faster Stronger (Diplo Work Is Never Never Over Remix)
03 M.I.A. - Paper Planes (Diplo Remix)
04 Spank Rock - Put That Pussy On Me (Diplo Tonite Remix)
05 Kano - Reload It
06 Diplo - 200
07 Bloc Party - Where Is Home? (Diplo Remix)
08 CSS - Lets Make Love….. (Diplo Remix)
09 Bonde Do Role - Solta O Frango
10 Samim - Heater (Diplo Extended Edit)
11 Hot Chip - Shake A Fist (Diplo Remix)
12 Diplo - Way More Brazil
13 Black Lips - Veni Vidi Vici (Diplo Remix)
14 Claude Vonstroke - The Whistlerz (Diplo Remix)
15 Diplo - Smash a Kangaroo
16 Peter, Bjorn & John - Young Folks (Diplo Youngest Folks Remix)
The Airborne Toxic Event - Self Titled
http://www.mediaf!re.com/download.php?lzzjjsynzqzhttp://www.mediafire.com/download.php?zwncnmxyqcuI think his other album "Ghost" is on here somewhere, Ben Cooper makes up one half of Electric President.Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
Repost the rules at the top of each new page.
http://www.mediafire.com/?it0m2h4jwanhttp://www.mediafire.com/?ntymmkqnh0qhttp://www.mediafire.com/?mlm2zdtzdouhttp://www.mediafire.com/?2g3tzzknm2ghttp://www.mediafire.com/?inmmqehrjvnhttp://www.mediafire.com/?wtnwjnydz2yhttp://www.mediafire.com/download.php?jzxnqycnretThis is what their myspace says about them:A lushly lit riser at center stage holds a man inside a semicircle of tabla (Indian hand drums). Next to him is another man playing a sarangi, which looks like a giant egg slicer bowed like a cello (and believe me, that's not as silly as it sounds). At stage left are a full modern drumkit and a small bank of keyboards, leaving room in front for a fellow with an electric bass. On the other side two men sit at a table behind laptops, mixing and sampling in real time; further over is a DJ's turntable used for the odd vinyl scratch. Occasionally a chanteuse with a spill of big wild hair strolls out to provide some beautiful singing, enchanting even though hardly a word is in English.
http://www.mediaf!re.com/?zmn0w0yaejrhttp://www.mediaf!re.com/?tt2mqmrmywnhttp://www.mediaf!re.com/?qmwhnnvmtw4http://www.mediaf!re.com/?zmzzzmawynw4AD will be realeasing Dark Was The Night on February 17th. The compilation is filled with indie-tastic contributions and was produced by Aaron and Bryce Dessner of The National. The release will be available as a double-cd, triple-vinyl, and online download and all profits will benefit the Red Hot Organization, which is an international charity dedicated to fundraising and awareness for HIV and AIDS. The album will contain 32 exclusive tracks specifically recorded for the compilation. Let me just throw out a sampling of contributors to whet your indie appetite: Andrew Bird, Antony, Arcade Fire, Beach House, Beirut, Bon Iver, Jose Gonzalez, Cat Power, The Decemberists, Kevin Drew, Feist, Ben Gibbard, Grizzly Bear, Iron & Wine, My Morning Jacket, The National, The New Pornographers, Conor Oberst, Gillian Welch, Spoon, Sufjan Stevens, Yo La Tengo, and more.
http://www.mediafire.com/?gzn45mhdxyehttp://www.mediafire.com/?wkim0kzyzz4
http://www.mediafire.com/download.php?jyndlmzntwbSongs 11-20http://www.mediafire.com/download.php?mzkmwjvexoxI didn't see this one anywhere on here so I figured I'd throw it on uppppp
Those of you downloading Dark Was the Night better be ordering the actual album as well. It's a charity benefit album, for fuck's sake.
http://www.amfar.org/
Miles Davis - On The Corner
Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines interact with distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers. Davis and band move the music way over to the funk side of the street -- though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. "One and One" begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of "Helen Butte/Mr. Freedom X," where guitars and horns careen off Henderson's cracking bass and Foster's skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician.
Code:
http://www.mediaf!re.com/download.php?onm12ii3aq4
QuoteThose of you downloading Dark Was the Night better be ordering the actual album as well. It's a charity benefit album, for fuck's sake.
Or you could simply donate $ to a foundation that competitively awards grants for HIV research. Awareness is one thing, finding a cure is another.
American Foundation for AIDS ResearchCode: [Select]http://www.amfar.org/
QuoteThose of you downloading Dark Was the Night better be ordering the actual album as well. It's a charity benefit album, for fuck's sake.
Or you could simply donate $ to a foundation that competitively awards grants for HIV research. Awareness is one thing, finding a cure is another.
American Foundation for AIDS ResearchCode: [Select]http://www.amfar.org/
Because god forbid anybody nowadays buys music for any reason, ever!
http://www.mediaf!re.com/?mn3zjn0yzmm
Review by Jason MacNeil
The leader of Nile has created another sonic adventure with this album, melding the Middle Eastern flavors, rhythms and percussion with a guitar style that would bring to mind Jimmy Page sitting down with an acoustic guitar. The opening "Awaiting the Vultures" is a perfect example of this as Sanders evokes a mystical track that has a thick thread of tension throughout. The acoustically-leaning "Of the Sleep of Ishtar" is more in line with the likes of Kitaro, but to a lesser extant as Sanders' playing and vocals are almost choir-like. A pan flute can be also heard as the song plods along slowly over its nearly ten minutes. For some listeners it might be hypnotic, but for others it might put you to sleep too easily despite its strong ending. It's as if Sanders is conjuring up the ghosts of Zeppelin, Floyd and Queensrÿche to help make his own statement. "Luring the Doom Serpent"'s melody falls into place instantly and despite its deliberate, heavy percussion, Sanders' guitar and bolero-like style is quite appealing. "Contemplation of the Endless Abyss" has a distinct Gregorian chant aura to it as vocals ebb in and out of the quasi-ethereal effort. Throughout the album, Sanders seems intent on creating epic, cinematic music, particularly on the grandiose feeling of "The Elder God Shrine," the first tune that seems to have a definite groove. "Dreaming Through the Eyes of Serpents" again revisits a cross between Middle East and a spaghetti Western soundtrack. Here Sanders is at his finest in creating a mood and building upon it. Perhaps the sleeper pick is the meticulous and detailed "Whence No Traveler Returns," which resembles Adrian Legg if backed by a large ensemble. The drone that opens the closing "Beckon the Sick Winds of Pestilence" takes the rather ambitious and hypnotic album out the same way it came in. It's an album that is quite alluring, always challenging and rarely boring.
http://www.mediaf!re.com/download.php?jzza5fao2my
http://www.mediaf!re.com/?ukndx34wyjthttp://www.mediaf!re.com/download.php?morymy0oyozPart 2http://www.mediaf!re.com/download.php?zwm30nzogzhWan Light singer Krister Svensson's voice is nearly a dead ringer for that of Mercury Rev's Jonathan Donahue, which means it's also not unlike Neil Young's -- high, reedy, perhaps a little bit of an acquired taste, but surprisingly affective and resonant. The Swedish duo's music also bears out some broader comparisons to those artists, and to California's like-minded Radar Bros., in its power to evoke an expansive sense of moodiness and melancholy that's comforting and gently hopeful rather than despondent, but that's hardly to suggest that Wan Light are imitators in any sense. What sets them apart are the varied and often unexpected ways they go about creating such a mood, which are remarkably eclectic considering the general consistency of affect, and their simple but endearing songwriting, which is unerringly melodic but never feels straightforwardly poppy and upbeat even at its peppiest. Their Labrador debut Let's Wake Up Somewhere Else encompasses earnest, gently drifting ballads ("It Doesn't Have to Be in Your Lifetime," "In the Heart of Sarah Freeman"), jangly pop songs built around snappy percussion loops and acoustic guitars ("Get It Straighter," "Awake, Drunk and Average," "All Things Go Round"), and assorted brief instrumental interludes. Texturally it ranges from the sparse, traditionalist piano accompaniment of "Freedom Fighters" to the skittering electronics of "Soul Sisters" to the lush blend of synths, symphonics, and an oddly poignant computer-voice sample on the gorgeous standout "The Astronauts." It's a lot of territory to cover in 40 minutes, but Let's Wake Up never comes across as rushed or overly ambitious, merely as a relaxed and refreshing glimpse into the hearts and minds of a couple of talented but unpretentious sentimentalists. As inventive as it is listenable, this is exactly the sort of album that habitually inspires laments about inevitable and undeserved obscurity, so spread the word; seek it out, soak it in, and share it with your loved ones.
http://www.mediaf!re.com/download.php?ryhwwlezooiWan Light's sophomore set doesn't stray appreciably from the template established by its predecessor, employing a blend of 21st century indie rock, folk, symphonic pop, and gentle electronic textures to create an inviting, sweetly melancholic, and emotionally cohesive whole despite a considerable range in musical approach. Let's Wake Up Somewhere Else may not have contained anything as raw and ragged as "A Good Day for a Good Day Off," or a chorus as big-sounding as "The Eskimo in Me"; Carmaline is slightly lighter on the acoustic guitars and pianos and heavier on the synthy atmospherics -- but these aren't significant departures from the group's overarching aesthetic. Nor is this album, as a whole, any more (or less) rocky or upbeat or sonically fleshed-out, although it may be slightly wider-ranging -- once again, one of the most impressive things about Wan Light is their ability to balance these sets of attributes, and their myriad impulses and influences, to suggest a core consistency within their variety, resulting in something unified but far from uniform. (Another noteworthy novelty is the gossamer "Sketch for Vini," a brief homage to Durutti Column main man Vini Reilly that nails the guitarist's style and sound perfectly.) In the case of music this endearing and unassumingly distinctive, there's absolutely nothing wrong with more of the same; indeed, it's hard to imagine what Wan Light could have changed to make their music more deeply satisfying and enjoyable. When and if the duo gets around to making a third full-length, another album of the same vein and the same high quality would again be more than welcome; for the time being, there's plenty to recommend repeated listens to either of Wan Light's first two.
http://www.mediaf!re.com/download.php?dgwuzkuo21x
Diplo - Decent Work For Decent Pay, Collected Works Volume One
The Chuck Ragan-related project I promised earlier:
Rumbleseat - "Is Dead"
(http://img216.imageshack.us/img216/6858/rumbleseatisdeadjb2.jpg)Code: [Select]http://www.mediaf!re.com/?mn3zjn0yzmm
The Chuck Ragan-related project I promised earlier:
Rumbleseat - "Is Dead"
(http://img216.imageshack.us/img216/6858/rumbleseatisdeadjb2.jpg)Code: [Select]http://www.mediaf!re.com/?mn3zjn0yzmm
umm... what's the password?
Why? I don't want to start an argument, I'm just wondering.
I agree with shutting down the mediaf!re thread for a while. Where it used to be a place to post music you wanted people to hear, now, a lot of people upload giant batches of music. Entire discographies are nice and all, but I don't think downloading an album to check out the artist and downloading the artist's entire collection of recorded works is equally defensible from a moral ground - I am coming off as more than a little preachy here, but honestly, I think that as fans of music that is as dominantly released by indie labels as this forum's readers seems to be, we have an obligation to actually buy albums too. I used to be of the naive school of thought that if people stop making money of music only the dedicated artists will be left, which would have been a good thing, but then I realized most bands rely on being able to earn a dime off their albums to record albums and have time to tour on top of it - Joe Lally (or was it Brendan Canty? Someone find their copy of OBCBYL!) of FUGAZI, for instance, was reluctant to go on tour before he saw it was economically feasible.
Also mind if i bring up the mediaf!re thing again? I am kind of concerned with that
The mediaf!re thread feel like a giant garbage dump. In there is something that somebody will find cool every once in a while but the rest of the stuff is just trash. And it sucks and is horrible wading through it. Kiff's suggestion is a pretty good one, if we are to continue it. However I just think it needs to be put down. As Darryl has been saying, it makes us fat and lazy. Finding new music from it nowadays is so boring. We can start making finding music more exciting again by not uploading it and making the kids use google blog search or some other tool to find it. At least then your digging a little bit, instead of just picking it up off the ground. And the megaposts are just horrendous. They never have any sort of description ever and it is just boring. As it is right now, I really dislike the mediaf!re thread. Perhaps another incarnation of it in the future could be better, but now it is just kind of shit.
(beause i am concerned with these kinds of things)
I was being facetious...
http://www.mediafire.com/?3igonmxtedcPt2http://www.mediafire.com/?2zimxjn0dj1Pt3http://www.mediafire.com/?qn5jn2wt2wkFor all its post-Biggie flossing, draped in glaciers and platinum dentistry, rap has developed into a remarkably blue-collar occupation as of late. The Weezy Era has come to fruition through Wayne’s commitment to hitting the studio on a ludicrously frequent basis—churning out free mixtapes for the masses to share and hopping on damn near every prominent hip-hop single of the past three years—and it seems his contemporaries have taken extensive notes. Young Chris, citing he’s “up there with Lil Wayne and Juelz Santana,” made a push for prominence with a verse-per-day campaign throughout November; Killer Mike followed the unmitigated boastfulness of I Pledge Allegiance To The Grind Vol. 2 (2008) with a weekly freestyle series; the Clipse delivered a year-end sucker punch that trumped a majority of proper albums in an attempt to whet anticipation for the forthcoming Till The Casket Drops. If I hadn’t been so hopelessly lethargic during our year-end awards, these three promotions would’ve been the nominees for “Best Usage of the Internet Grind” or some such, but a majority of these attempts at more face time malfunction as cartoonishly as Inspector Gadget’s hat. Another Lloyd Banks mixtape? I’m good, thanks.
Which brings me to Freeway, he of the eternal “What We Do” and Ghostfacely growl. His missives on Philadelphia Freeway (2003) leaned perhaps too heavily on vocal idiosyncrasies as he croaked, rasped, and stumbled his way through verses, grizzly-like in his cadence. The worst were salvaged by sterling production and the odd face-twistingly great line (“If my kids hungry, snatch the dishes outcha kitchen”) could sometimes exemplify a supreme level of potential, a burgeoning knack for unusual diction melded with an undeniable sincerity that permeated the album’s highlights. And then that spark seemed to gasp and extinguish rather quickly: Free apparently got entangled in a major label mess with G-Unit and Roc-A-Fella and Free At Last (2007) spilled out of the womb feet-first two years after Freeway slipped into the neglected peripherals of the public’s consciousness.
But wait, is that smoke emanating from the kitchen? I believe someone left the stove on. There’s a crack joke in there somewhere, and I’m sure Free could mine it capably, but he seems to have something larger clenched in his bearded jaws this go round. Month of Madness, the ostensibly ill-advised track-per-day promotion Freezer carried throughout December, is a sweeping manifestation of self and maybe the most actualizing submission since Drought 3 (2006): Freeway bursting out of the cocoon of obscurity, dishing out knuckle sandwiches and two hour sermons. Where Weezy giddily bastardized the top 40, Freeway farms his own deep stable of producers, his diatribes soundtracked in equal competence by the fluctuating synths of Don Cannon and the sonorous thump of Tryfe’s compositions. Free’s collaborators weave something of a bursting walk-in closet worth of tailor-made suits, each distinct and dapper. Of course, slap designer duds on, say, Keak Da Sneak, and watch him soil it with mustard in mere seconds. Freezer makes these shits sing.
Speaking of: Lord, that flow. The overwhelming gruffness that sufficed but failed to inspire on Free’s previous work has metamorphosed into the equivalent of the night sky, each word placed seemingly wherever it’s pleased to be but deceptively held in place by an invisible, elegant force, every syllable brilliant, intoning on its own the full spectrum of emotion conveyed by the whole. “Straight Madness” is precisely that, scratches and percussion stabbing in and out, one that might beg for an ugly mauling—haphazard automatic weapon fire—but Free dials the delivery down a notch, assassin cadence slashing windpipes, while providing every drop of intensity the beat demands: “Anybody wanna transgress, I will show you how to pop this here / This is Jay-Z’s version of Craig Mack / Drop me from Fade To Black, put the little red laser in ya ear.”
At the center of all this sharp, burbling execution is the naked sobriety of “When I Die,” which smacks of the nostalgia of “Doo Rags” or “I Am, I Be.” Free’s voice sounds battered as he retraces his steps, relating Roc-A-Fella’s disintegration to divorce and the necessity of his fend-for-self worldview. It’s all implied beautifully: loneliness, disenfranchisement, and determination. Reassurance, too. Free, alluding to Barack Obama’s victory, is pleased he finally “got to see the day they let us in (yeh!).” It’s understood that’s enough spiritual sustenance to keep on treading. Back to the grind.
As his encore, the bouncing “So Cold” hums along with the same staunchness as the exercise’s opener, and our host, after unequivocally demolishing all placed before him over the past two hours, ominously proclaims “‘09, you’ll see,” like he hasn’t even shifted into second gear yet. It becomes apparent that, shit, Freeway’s proving every boast in triplicate. Free is stonefaced self-assurance personified about this, letting his glee out in the guttural “yeh!“s that punctuate particularly furious verses, but he knows. He knew before we did that he could go in this diamond-cutter hard, and Month of Madness is that internal drive, spawned from doubt and neglect but clad in glimmering hunks of undiluted color, the breezes of internet accessibility blowing this document to our feet like a ransom note. More importantly in the world of rule #4080, it may serve as the catalyst to get his third full-length into mastering and onto record store shelves.
So this notion, perhaps re-realization, in hip-hop that “I’m a great rapper, and I’m just gonna flat out rap better than everyone else” is a refreshing one. This is the same bit of noise all those neo-Native Tongues rappers were shouting at a number of years ago, only without the finesse or knowledge of nuance this new class of MCs seems to possess in spades. The prospect of where rap is headed in ’09 sends me fluttering on my way like some smitten adolescent because it feels competitive again. Wayne’s debut of his latest lascivious incarnation, “Yes,” concludes a harangue with a triumphant croak, “Bitch I’m the best!” It finally looks like someone might rebut that claim with some legitimacy this year: Dillatroit has been percolating some marvelous artistry for a bit, Jeezy just released the best record of his career, the Cool Kids are wielding their aesthetic with authority, Killer Mike recently hooked up with TI’s Grand Hustle imprint, Big Boi is lurking in the background somewhere, and now Freeway is no longer “that guy who rapped next to Jigga awhile back.” Just shorten that to “next.”
When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
also
Anyone into Screamo, Grindcore, Power-Violence, Digital HXC Music, Machine abuse/digital error, type shit?
Holla if anyone is cuz I've been trying to find some on here and it doesn't look like too many posters on here dig it.
check out "son of sulphur" by crowpath. i'd up it, but mediaf!re's being a cock again.
When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
To upload to mediaf!re you have to have an account. It takes like 0.4 seconds, just requires your email and a p/w.
then once that is done you simply click the green upload files button on your main mediaf!re page, it'll open a window where you can select from your computer's files what you want to upload.. please just make sure you archive a file before you upload it to mediaf!re.
That's basically it, everything else is a figure out as you go type thing.
QuoteThose of you downloading Dark Was the Night better be ordering the actual album as well. It's a charity benefit album, for fuck's sake.
Or you could simply donate $ to a foundation that competitively awards grants for HIV research. Awareness is one thing, finding a cure is another.
American Foundation for AIDS ResearchCode: [Select]http://www.amfar.org/
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
Repost the rules at the top of each new page.
When I use the mediaf!re links on here it has that one click thing to download the album, how do I do that when I upload shit to mediaf!re? I've been trying to figure it out.
also
Anyone into Screamo, Grindcore, Power-Violence, Digital HXC Music, Machine abuse/digital error, type shit?
Holla if anyone is cuz I've been trying to find some on here and it doesn't look like too many posters on here dig it.
check out "son of sulphur" by crowpath. i'd up it, but mediaf!re's being a cock again.
Downloaded it. Its pretty cool. I like listening to it just over and over, don't really remember single songs.
- An implicit goal of this thread is to bring good music to the attention of more people, but it is impossible to distinguish between good and bad music, or interesting and non-interesting music.
http://www.mediafire.com/?inmmzooiwobPt. 2http://www.mediafire.com/?zntgwjznnznI keep seeing this word “hipster” scattered about like so much mucus (it’s flu season). If derisive friends both old and new are to be believed, I live in one of the great hipster nexuses of the megaverse, or at least of the Midwest. I buy vinyl near the Pitchfork offices. I see Flosstradamus on the train sometimes. A guy that lives across the street from me takes photographs of Joanna Newsom. You are already pissed off: “He must be a hipster.” But I don’t think I am. No hipster does, I realize. But for real! If I am, someone let me know. I see these hipsters clicking about my hood, or at least the people who technically would be considered hipsters and are actually just taller and skinnier and have better facial hair than me (meaning any). They seem to be having fun, looking like pirates as they do.
But there is this concern and correlating antipathy toward hipsters and hipsterdom, or where hipsters hang out or what the hipsters like and how that all totally fucking sucks man. This is displeasing unto me. Why give a fuck? Hating groups of people doesn’t really work unless the group adheres to a strict definition—like Cincinnatians, Juggalos or bike mechanics, my three least favorite. Hating groups of people is cool, within reason; it shows that one draws lines in the sand. (It becomes uncool when that line is around, like, Haitians or whatever, but still.) In absence of a definition, though, being a group-hater just makes you a douchebag. Hipsters like lots of things and dress like lots of different types of pirates and vampires. But I can’t just call everyone who’s skinny and has better facial hair than me a hipster and then hate them, because then I’d have to hate my friend Jon. He’s very skinny and has phenomenal facial hair. And he’d hate being called a hipster, even though he wears tight jeans.
I’m treading water here. But there’s a part of me that listens to Fear & Loathing in Hunts Vegas and sits utterly enthralled at the encyclopedic hotness on display and then hears a sniveling catcall from the peanut gallery: “Hipster rap!” What could this criticism mean? I know to whom it applies: the kingly Cool Kids, Diplo (present), Kidz in the Hall, maybe Wale (present), maybe Charles Hamilton, maybe Lil Wayne if he hadn’t up and sold a record to everyone in America. Still, the name doesn’t make any sense. If hipster rap is intelligent, fashion-conscious, and proudly underrepresented I don’t know what differentiates it culturally or critically from golden era Native Tongues or backpack rap from the late ’90s or Def Jux from the early aughts—and all these epochs of rap are cool to still like, I think, and were generally just considered “good” in their time. I have problems with the delineation hipster in the first place, since the group doesn’t seem to actually exist outside of the editorial mission statement of Vice magazine, and I have bigger problems still with those who would rail against this Jabberwocky. This notion of “hipster rap,” or even rap that only hipsters like, is the utmost extension of this nonsense. Which party did the Cool Kids not sound good at, again?
Well, okay: you may not feel the Cool Kids. You’re wrong, but this mixtape, cobbling unknown Georgian emcees with baleful fire via the Block Beataz and a couple better-known hipster rap DJs, is different. Indeed, if this mixtape, the production of which often makes me feel like a T-1000, superficially resembles anything, it’s that oft-flagellated emblem of hipsterdom, ye olde gacking Girl Talk. I have come out against Greg Gillis since I knew Greg Gillis existed; at Lollapalooza, which sucked anyway, I openly jeered him; when he comes up in even casual and friendly conversation, I ready my gauntlet of criticisms. But Girl Talk doesn’t suck because of whom Girl Talk appeals to (“hipsters”), because that group even includes my one friend Jason who wears Zoo York hats. Girl Talk sucks because Girl Talk sucks, lacking any ear for flow or tonal complexity and snickering malevolently at the juxtaposition of familiar white indie rock against brutally decontextualized rap lines.
There is some of that in this. Here, too, we find Sam Cooke chipmunked, Weezer twirling out familiarly beneath coke raps, Trainspotting synthesizer melancholia, Prince chintz and so on. We find again an insistence upon partying. But the difference between Girl Talk and this mixtape is that when Girl Talk references a party or partying it is exactly one thing—a euphemism for blow—whereas the undercurrent of melancholy sustained here implies a more nebulous party as a corollary to a more nebulous desperation. The frequently misogynist braggadocio of these raps draws no chuckles; rather, presented in their entirety and not as catchphrases bleated ad infinitum, the words sting with the profound ugliness such sentiments merit. The semi-screwed hook “Rollin rollin rollin / We ain’t slept in weeks” doesn’t leave the listener yearning to join the caravan but instead wondering from what desperate blankness these emcees have fled.
Instead of whatever base fashionista subjugation of hip-hop may be implied by the term “hipster rap,” this Paper Route Gangstaz’ mixtape sounds like an exploration of a solitary type of melancholy, that sort of sad way of being fly that the best of this decade’s mainstream hip-hop has rendered as code. The anger that defined this form fifteen years ago has subsided in popular thought to a constant weariness evinced by T.I., by Jeezy, by Kanye and Hova, and so many more. Only recently has that cocksure worldliness filtered into the underground and unsigned, and it’s this exact phenomenon that’s been iced as “hipster rap.” If this is hipster rap, then fine: these blankfaced hipsters are on point, where/what/whoever they are. People’s problem is not with the hipsters or with Girl Talk, it’s with reductionist logic and token appropriation. Call it like it is. The way Girl Talk subjugates hip hop’s long history into a squirrelly sequence of punchlines: backlash there. The way those skinny dudes with good facial hair lavish praise upon the Cool Kids or Weezy alone, ignoring (say) Freeway: backlash there. But where is that reductionism or tokenism here? Eviscerated by the friction blaze of hi-hats ticking against sublime rhymes, Weezer sample dancing solo nearby. Call it like it is. It’s a rap album.
Clayton Purdom :: 21 January 2009
http://www.mediafire.com/?mmdmttyiyr5He may be a around 6’5” and 300 pounds with a prefix of “Killer” on his name, but Mike is as friendly as a teddy bear if you ever happen to come across him in the A. Put a mic in front of the man’s face and you find out quick fast how he got that prefix as he raps like a hungry, caged grizzly bear. Mike is as ferocious as they come on the mic, with the command and presence reminiscent of Chuck D or Ice Cube. Just like those legends, Killer Mike is determined to enlighten the ghetto, albeit in his own way. The former Outkast disciple is more Saigon than Immortal Technique; there is plenty of sugar to help the medicine go down on his latest venture I Pledge Allegiance To The Grind II.
“10 G’s,” complete with its chopped and screwed Biggie sample, serves as a great appetizer for the rest of the LP. Killer delves into the deeper content with his double time flow on “Can You Hear Me”; “okay yeah, like most black males/I done made my fair share of crack sales/how could you not want to see me prevail?/how could you wanna see me locked in jail?/how could you ignore my people in hell?/in Adamsville, in Mechanicsville/how could you take all our honor and jobs/and expect us not to steal and to rob/…/so we took the crack and put it in rap/now your kids is high off that.”
Mike teams up with rhyming hero Ice Cube for “Pressure,” and it’s a politically charged joint as you may expect. Mike puts the Killer in his name in the final verse when he gets really vicious. It also sounds like it was would have fit better on Cube’s last album than this one given the production. Another like-minded emcee in Chamillionaire joins Mike for some shit talking one of the albums biggest tracks, “Big Money, Big Cars.” “God Is In The Building” is that ghetto gospel that would make Pac proud; “god emcee boy, ex d-boy/only thing real in a room full of decoys/angel wings got a nigga fly higher/I hope my success burn you like hellfire/I hope seeing me with cars dressed fresh, torments your ass like a man possessed.”
Mike continues Outkast’s "Art of Storytelling" with the underworld classic “City of Dope.” While it’s a great song, it’s a questionable closer to the album. “If I Can’t Eat Right,” Mike’s motivational seminar, is the obvious closer in my opinion. Much like at the end of his classic “That’s Life,” Mike is as good preaching to the listeners as he is rapping to them; “Ask you a question, how you finna go to bed right now when you gonna wake up in the morning broke? How you gonna go to bed right now knowing that your kids gonna wake up hungry?...Get about your money man, if you knew better you would do better man. If you knew how much you was worth you would ask for more than you get. You understand me?”
You’ll be hard pressed to find complaints about I Pledge Allegiance To The Grind II. Sure, it could have finished better and a couple songs wouldn’t have been sorely missed (“You See It,” “I’m The Shit”), but this is a pretty easy front to back listen. While there is certainly a lot of dead presidents talk, Mike spends more time telling you how to get it than telling you what he’s got. Unlike many of his regional counterparts who are only concerned about telling you how they shine and all the rocks in their palm, Mike is unquestionably looking out for his people; even when he takes that route. There are few rappers in Hip Hop today that the game truly needs; Killer Mike is one of them.
Christian indie rock? It had to happen, what with Christian metal and punk rock having been around for a decade or longer. Singer/songwriter David Bazan of Pedro the Lion is surely devout, but rather than preach a clean lifestyle or dedicate his music to Jesus, his songs are about believing in, questioning, and challenging his faith. His fans are more indie than Christian, digging his lilting whine of a voice and his downbeat, somber tunes, which occasionally rock but more often drone. Control is in no way a departure from his other albums. Bazan, who plays guitar, drums, bass, and keyboards on Control and often handles all the instruments on his records, is joined this time by Casey Foubert on bass, percussion, and keyboards. Bazan is a fine guitarist and his tunes are strong but he's no Elliott Smith yet. Perhaps if he expands his songwriting and subject matter, he could be a future heir to the tragically vacated indie rock confessional throne Smith occupied.
http://www.mediaf!re.com/download.php?yxlgoyue5mjthat seems reasonable. i'll respost only the less known shit and i'll do it over time. Feel better?Don't ask me. I'm not upset.
After having been covered on the live circuit with some excitement by MM’s Cath A, Everything Everything have been serving up a range of impressive, but equally baffling live performances. Their sound, as many will attest, is not one that can be easily defined. A mixture of rock, post rock, afrobeats, prog, deep harmonies and indie spikes, the lead track “Suffragette Sufrragette” is addictive. The rhythm conspires to throw you off beat, whilst a vocal skips into falsetto before the structure rumbles into a head shaking middle eight, which seems completely at odds with the stifled, dub assisted strums.
Everything Everything aren’t different for the sake of it and there’s no disjointed distillation of influences either. This single is an inspired charge at the established order. It defines it’s own genre, at the same time, spinning out an intelligent barrage of guitar arrangements, mixed tempos and sing-a-long angelic harmonies. If you want a clue as to what else they can do, the next song “Luddites & Lambs” is crammed with jangling prog / post rock guitar phrases and sweet, but off-kilter vocalisations. There are a lot of new bands on North West scene, never mind the UK as a whole, but if I had to back one act for 2009 - and one that has instantly woken me up to something completely new - it’s Everything Everything.
http://www.mediaf!re.com/download.php?zh4jyjzygog
http://www.mediafire.com/download.php?fjd9keietgzTracks on here are as followsAnd an easy way to solve the whole tooo much music at once thing...GET A MEDIAF!RE ACCOUNT. hit save it to your files! lol
http://www.mediafire.com/?cgzn4ztl2mbThis comes highly recommended. Stay tuned throughout, because it's a lot more rewarding than it might seem at first glance.http://www.mediafire.com/?3om3mmmnzzmThis one is my personal favorite from Chapel Hill foursome Archers of Loaf. Make sure to listen to Bachmann's writing.
And an easy way to solve the whole tooo much music at once thing...GET A MEDIAF!RE ACCOUNT. hit save it to your files! lol
thought this should be extra prominent because i did not know you could do that! SWEET
http://www.mediaf!re.com/?sharekey=d05294188549691ae7c82ed4b8f0c380acde67bbb0c2e23b5621d66e282a0ee8That folder has a bunch of stuff that i uploaded, feel free to grab w/e you want.http://www.mediaf!re.com/?2ytgomyu4wjwww.myspace.com/vinylwilliamsHaving an entire discography in front of you kind of ruins the magic, you know?
This is stupid. I could just as easily say "Having any music at all right in front of me kind of ruins the magic, ya know?" Once you decide to use this thread for sharing music you can't compromise based on some intangible principle that means nothing. All you are doing is punishing people who want to listen to new music (the point of the thread) such as this guy:What the fuck?
Where did all those albums go?!!
SAD. :cry:
I'm not gonna repost all that shit. but if you want any of it you can sort through it on mediaf!re.You're the man.Code: [Select]http://www.mediaf!re.com/?sharekey=d05294188549691ae7c82ed4b8f0c380acde67bbb0c2e23b5621d66e282a0ee8That folder has a bunch of stuff that i uploaded, feel free to grab w/e you want.
That Ra Ra Riot demo was never released. It was a bunch of remixed songs and they're pretty good. I don't remember where i picked it up.
I was also thinking of having a members only thread. Or, like some forums do, lock it to members with 50(or whatever) or less posts. This is a little bit of a double sided sword though, because I'm sure some member's first post was here, and they gave some great music.
I also hate the idea of the different thread for each genre. THAT ruins the fun more than anything.
http://www.mediafire.com/?dg1ywrjymlzPart 2:http://www.mediafire.com/?dmdzbjh2myjhttp://www.mediaf!re.com/download.php?klkjtxjwtej
Brand new vinyl only EP release from the grimm Cascadia black metal horde: Wolves In The Throne Room. 2 brand new songs (1 per side) that further solidify their death like grip on the jewel throne of American Black Metal. As with their mind blowing debut: "Diadem of 12 Stars", Jamie Meyers (Hammers of Misfortune) lends her beautiful voice to the track on Side A "A Looming Resonance".
The "Malevolent Grain" EP is the first to feature their new guitar player Will Lindsay (formerly of Middian) who had been the band’s touring bass player. The sound of this new recording blazes down similar paths as their past albums but seems to have even more depth and darkness than before.
http://www.mediafire.com/download.php?jyktzhdmjtz
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
No hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
Repost the rules at the top of each new page.
http://www.mediafire.com/?yl5mzwwyiym2008 was a banner year for the Hotel Café, whose popularity soared as songwriters like Priscilla Ahn, Meiko, and Ingrid Michaelson -- three artists who routinely graced the Hollywood venue's stage -- all released fine albums. The Café's female alumni hit the road in late 2008 as part of the Hotel Café Tour, allowing Joshua Radin the chance to release his own record during the lull. Simple Times is the songwriter's second album, building on the hushed guitar 'n' vocals combo that helped push his debut effort, 2006's We Were Here, onto the soundtracks of several television shows. His craft has improved since then -- after all, We Were Here collected the singer's earliest material, appearing only two years after his decision to give songwriting a shot -- but Radin still struggles with the balance between mood and melody. Simple Times is a warm, easygoing album geared for Sunday afternoons and Monday mornings, and its most interesting moments only occur when Radin invites somebody else into the vocal booth. Meiko lends her voice to "Sky," which balances commonplace lyrics with a radio-bound pop melody, while the up-and-coming songbird Erin McCarley harmonizes throughout "They Bring Me to You." Radin could use the musical input of those two artists, yet he relegates their role to that of a background vocalist, forcing them to sing major thirds over melodies that, frankly, pale in comparison to the girls' own material. The presence of Patty Griffin during "You Got Growing Up to Do" shows that Radin's potential may be evident to more veteran songwriters, but it's nevertheless muddled on this record, which offers an entirely pleasant listen but fails to pack the melodic wallop of Radin's Hotel Café peers.
http://www.mediafire.com/download.php?ebwg1hloltyhttp://www.mediaf!re.com/?lndwiegmytzpart 2: http://www.mediaf!re.com/?mleontklzznhttp://www.mediaf!re.com/download.php?tvwomky4nhqhttp://www.mediaf!re.com/download.php?j3zmrz1nmngPt. 2http://www.mediaf!re.com/download.php?mmoi2yzdmz2Pt. 3http://www.mediaf!re.com/download.php?nlyhnzyicdehttp://www.mediaf!re.com/download.php?rqyywjzjrzzDon't meeeaaaan to be a dick butttt if you do happen to go toward the direction of page 119; you'll find more beck than beck himself knows what to do with, including a working version of sea change. 8===B<---- :roll:Thanks, don't know what i'd do without you.
http://www.mediaf!re.com/?n2emdnymizohttp://www.mediaf!re.com/download.php?vcm001rxmjiFigured this would go over well considering the previous Minus the Bear postings.haha, slow down there big guy, are you accusing ME of something?!??!?!! :-o (yes i had to use the smilie, it was necessary)
http://www.mediaf!re.com/download.php?oxtswibx03v
New Damien Jurado
Caught In the TreesCode: [Select]http://www.mediaf!re.com/?ivndtdy4d3y
If you don't know him, his style lies somewhere in the vincinity of Bonnie "Prince" Billy and Ryan Adams
AH! thank you!! listening to it right now and this is pretty different from his other stuff. in a good way. but different. more up beat.
please take this as a big hint...... i loooove damien and only have a bunch of random crap downloaded from limewire........... :wink:
http://www.mediaf!re.com/?lefwmk3tfzjhttp://www.mediaf!re.com/?mqvjtq31di3
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Mr. Tool,Sure thing.....but no eye contact.
This Malajube leak...
Let me blow you?
http://www.mediaf!re.com/?v4jztznzyjtIrish noise-oiks Therapy? throw caution to the wind gambling their career on a scuzzy, mangy, beast of an album, and come up with a handful of aces.
Comeback albums. Fucking great aren't they? Either you're losing all bladder control in anticipation of your favourite band's return from hiatus, or you're wrapped in a pre-meditated smugness that says "they're so 4 years ago, they'll never top [insert critically acclaimed album.]" But either way, there's usually plenty to keep the hype machine rolling and the suspense levels high. But put yourself in the shoes of Andy Cairns and Michael McKeegan in 1999. Along with childhood friend Fyfe Ewing, they'd steadily built up a reputation as a solid touring band with a penchant for making their particular brand of melodic metal-edged punk a little more twisted than their contemporaries, when seemingly out of nowhere, their record sales went up tenfold with the release of Troublegum in 1994. A period of rock-star overindulgence followed, resulting in some rather unhealthy drug habits and the overblown (yet underrated) Infernal Love a year later. This period culminated in Ewing leaving the band, and replaced by Graham Hopkins and Martin McCarrick, before the whole band were shoved into a studio with record company expectations of them emerging with an album that would make them "The Irish Metallica." When the unprecedentedly strong Semi-Detached was released in 1998 after a string of stressful recording sessions, the band's record company repaid their efforts by folding and leaving the band for dead.
This brings us back to 1999. Commercially crippled by such a false start for the new incarnation of the band, Therapy? were label-less, near penniless, and as far as the general public were aware, defunct. So, in a last ditch attempt to hold onto their career as musicians, they gathered what money they had together and began recording what would become Suicide Pact - You First. Shortly after recording had commenced, they signed to the well-respected, but relatively small indie label Ark 21, informing their new bosses that the album they'd recieve in a few weeks' time would be uncompromising, un-commercial, and un-promoted. To release an album of such a petulant nature on such a small label (as a proposed comeback, no less), is like shaving a swear word in your pubic hair - you've got to really go out of your way to get many people to notice. Sure enough, Therapy? took razor to crotch and, smiling devilishly, began carving a massive "FUCK YOU!"
The lack of melodic hooks and commercial sheen to be found on Suicide Pact are indicative of the band's attitude at the time, and through the thick layers of distortion and fuzz, Cairns' songwriting panache and trademark black humour shine through brilliantly. Lines like "A handful of sour glory, a cup of poison joy/We're the devil's playthings; hate, kill, and destroy!" give insight into the mind of man with nothing to lose. It's no coincidence that Cairns adopts a much more menacing and growly vocal style here - it would seem that the general mindset of the band when writing these songs was "This could be our last record, so let's make sure we go out with a bang." Throwing convention to the wind, the melodic guitar lines and soaring vocal melodies of previous outings are all but absent here, replaced with scuzzy, dirty rock riffs, and a production that makes the listener feel as if he or she is sat in the middle of a darkened room while the music creeps menacingly out from the shadows, leaving a trail of dust and cobwebs behind it.
This dark and menacing feel perfectly compliments the angrier songs, like the groove-tastic "Jam Jar Jail" and the wild-eyed punk spazz-out that is "Other People's Misery," but the album centrepiece and surely one of the most emotionally hard-hitting songs Therapy? have written to date, "Six Mile Water" takes the darkness to new depths. Sounding like the bastard son of Joy Division and Lynyrd Skynyrd, it combines the bleak depression of the latter with the former's affinity for epic ballads laced with soulful guitar licks, all topped off with subtle cello work from McCarrick, making for a cinematic, beatiful piece of music. Another groove-based highlight is "Ten Year Plan," a savage spitting of bile at bands who "work for the man," showing that the band still harbour bitterness towards the major-label system that chewed them up and spat them out, but this anger only helps fuel the album's fire even more. All the anger and mournfulness collides with the "fuck you" attitude and comes to a head on album closer "Sister", itching and crawling with menace before exploding into a full-on rock chorus with Cairn's overdubbed wails carrying the album to an end.
Without promotion, the band had to rely solely on the strength of the music and their hard-touring work ethic to continue. Suicide Pact - You First was the sound of Therapy?'s last stand, a huge risk, and 8 years and 4 albums (and counting!) down the line, it's one that has paid off massively. No pretences, no tricks, no compromises; this is Therapy? Take them as they are or not at all.
4/5
I pulled this from website that I didn't remember the name of; so I'm just saying I won't take credit for this little tid-bit of info:
Swedish piano-based indie trio Eskju Divine has broken up and frontman Gustaf Spetz is going solo.
I have been offline for some time, but now I'm on again, and upping Ghost of David and Where Shall You Take me
EDIT:
Ghost of DavidCode: [Select]http://www.mediaf!re.com/?lefwmk3tfzj
Where Shall You Take MeCode: [Select]http://www.mediaf!re.com/?mqvjtq31di3
This CD is part of an ambitious reissue program of folklorist (did someone say saint?) Alan Lomax's library of recordings. Recorded during a 1960 trip by Lomax to the Eastern Shores of Virginia, these are not the velvet voices of today's high-gloss studio productions. These are the actual voices of the gospel choirs, jubilee singers, and fisherman who continued to honor their African American musical traditions long after the rest of the world had plunged into the modern age. Colonial fife-and-banjo music is represented by the fascinating song "Joe Turner." The sparkling call-and-response of the "Menhaden Chanties" shows how fishermen once used song to lighten their load when pulling in their nets. But most impressive are the gospel groups the Silver Leaf Quartet and the Bright Light Quartet. Contrary to its title, "So Tired" by the Bright Light Quartet will have you doing cartwheels in the aisles and working happily all through the day
http://www.mediaf!re.com/?nqddorxztnwhttp://www.mediafire.com/?et3njmqjvmehttp://www.mediafire.com/?ddmizwant5zhttp://www.mediaf!re.com/?eejwegj49wcI LOVE FORUMS. IVE BEEN CRUCIFIED BY TECHNOLGY NERDS. I DONT UNDERSTAND YOUR JARGON. CAN YOU EXPLAIN INSTEAD OF SOUNDING LIKE A BABY WHO HAS BEEN GIVEN A BOTTLE THAT HASNT BEEN WARMED UP. IM SHARING MUSIC. IM SORRY TO HAVE BROKEN THE FORUM RULES YOU TAKE SOOO SERIOUSLY. IM LAUGHING AS I TYPE THIS
LOVE- DA CAPO
http://www.mediaf!re.com/?ahe00z4jbwv
Sparrows Swarm and Sing - Untitled #2Thanks a bunch for this. I picked up their debut album a few years ago at my local record store.
http://www.mediafire.com/?izyddzzejidVelocity Girl would be very much what one would call Those-Who-Did-What-Asobi Seksu-Did, but that would be unfair because it isn't entirely true. These guys have a harder edge, and their shoegaze tendencies are much less dreamy and atmospheric. They're almost punk shoegazers.http://www.mediafire.com/?zzqwdkirkmjSomething that needs to be listened to to understand. The closest comparisons are likely for me early Enon, but that's because a bit of Enon is what was left over after Brainiac died.MICHAEL CASHMORE AND ANTONY
http://www.mediaf!re.com/?c6tzn1t1xwtJOANNA NEWSOM- YARN AND GLUE
http://www.mediaf!re.com/?6oyjqyizhyiMYRIAM RIBEIRO- APRESENTADO
http://www.mediaf!re.com/?b37md5x4xmdDJ PREMIER- OUTSIDE LOOKIN IN
http://www.mediaf!re.com/?j3j9ygymmmeDIPLO- PEACH MIX
http://www.mediafre.com/?tewmuczzwmyDJ WHITE OWL- PROTECT YA KNECK 2008 WU MIX
http://www.mediaf!re.com/?gbmxgdigvzmQUASIMOTO- THE FURTHUR ADVENTURES OF LORD QUAS
http://www.mediaf!re.com/?4gbxgtwed1n
QUASIMOTO- THE UNSEEN
http://www.mediaf!re.com/?ftznmjojnwwROMANOWSKI- STEADY ROCKING
http://www.mediaf!re.com/?mwxyctmzoyjSALEM (2 RELEASES IN 1 ZIP)
http://www.mediaf!re.com/?zj0nzirx9urSISTER NANCY- ONE TWO
http://www.mediaf!re.com/?dgy7mbxzyhcSOUL JAZZ PRESENTS 100% 200% 300% 400% 500% 600% DYNAMITE
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SQUINCY JONES- NINTENDUB
http://www.mediaf!re.com/?lztzgyzuirgSUNN O)))- ORACLE
http://www.mediaf!re.com/?0kiozexvwunLEE PERRY- SUPER APE
http://www.mediaf!re.com/?7lerjbmohgmTHE SHAGGS- PHILOSOPHY OF THE WORLD
http://www.mediaf!re.com/?fm3mlcv5njyTHE ZOMBIES- BEGIN HERE PART 1&2
http://www.mediaf!re.com/?fbz2a3mdtyt
http://www.mediaf!re.com/?ezboo3jx1usTUNNEL OF LOVE- EP
http://www.mediaf!re.com/?clq3xrj3rtdVASHTI BUNYAN- JUST ANOTHER DIAMOND DAY
http://www.mediaf!re.com/?8kti3i5qzgqEEK A MOUSE- WA DO DEM
http://www.mediaf!re.com/?ewmznnj1kztWITCHCRAFT- ST
http://www.mediaf!re.com/?dwdnzmmoeznYAHANADAI- RISE?
http://www.mediaf!re.com/?5mmxccd2xwcJUST PUTTING THIS STUFF OUT THERE. SORRY ABOUT THE LACK OF DESCRIPTION OR ALBUM ART.Code: [Select]SOUL JAZZ PRESENTS 100% 200% 300% 400% 500% 600% DYNAMITE
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SORRY ABOUT THE LACK OF DESCRIPTION OR ALBUM ART.
what does trolling mean?
From Forced Exposure:
The CD compilation which is not an album. 8 tracks + interludes + remixes from Akufen (Force Inc.), Dimbiman (Perlon), Isolee (Playhouse) And Noze (Circus Company). Ark, half angel, half devil... An artist who has never made any concessions and who will always stay authentic through out his work. After having released some EP's on quality labels such as Brif records, Karat, Perlon and Circus Company, Ark comes back to longer formats with alleluyark. It's the opening for Circus Company's solo series (CCS). This project gathers 3 EPs on which you will find all his influences, humor and diversity that make him one of the most interesting French electronic music artists. That's probably why he's been collaborating with such talented artists. From Pépé Bradock to Mr Oizo and Cabanne? All of them would agree on that point: Ark's got a unique sensibility in music.
http://www.mediafire.com/?m23mjydmt5zhttp://www.mediaf!re.com/?zn2uqdjnmkqhttp://www.mediaf!re.com/?1nnvnjzmejyhttp://www.mediaf!re.com/?zqmj4nky2imhttp://www.mediaf!re.com/?iolt0odndntSQUINCY JONES- NINTENDUBCode: [Select]http://www.mediaf!re.com/?lztzgyzuirg
what does trolling mean?
Im not sure if this is a troll... haha
It means you say something just to get a response.
Basically the internet forum version of anal cunt
I present to you lovely people something a bit different.
The Alan Lomax Collection: Southern Journey, Vol. 8 - Velvet Voices
(http://img99.imageshack.us/img99/355/5152k9pefylss500fv7.th.jpg) (http://img99.imageshack.us/my.php?image=5152k9pefylss500fv7.jpg)
Review from amazon:QuoteThis CD is part of an ambitious reissue program of folklorist (did someone say saint?) Alan Lomax's library of recordings. Recorded during a 1960 trip by Lomax to the Eastern Shores of Virginia, these are not the velvet voices of today's high-gloss studio productions. These are the actual voices of the gospel choirs, jubilee singers, and fisherman who continued to honor their African American musical traditions long after the rest of the world had plunged into the modern age. Colonial fife-and-banjo music is represented by the fascinating song "Joe Turner." The sparkling call-and-response of the "Menhaden Chanties" shows how fishermen once used song to lighten their load when pulling in their nets. But most impressive are the gospel groups the Silver Leaf Quartet and the Bright Light Quartet. Contrary to its title, "So Tired" by the Bright Light Quartet will have you doing cartwheels in the aisles and working happily all through the day
The review does quite a good job; basically it's a collection of recordings by Alan Lomax featuring a bunch of different southern musicians. Most of its' bluesy-ish songs with simply amazing, baritone harmonies that I can only describe as swirling. If you've seen O Brother Where Art Though, you know what roughly to expect. Plus, most of the songs are either about dirty dirty sex or religion, and how can you resist that?Code: [Select]http://www.mediaf!re.com/?nqddorxztnw
edit: forgot to put it in the quote tags
NICE, thanks for the info. And I thought it was snow that eskimos had a ton of words for :PSick Broski, you're the man.
No idea where I got My Best Friend Daniel from, probably oink back in the day, but i'll put it up in a little bit.
...Checkpoint Savage wades along distinctly deeper shorelines, piranhas nibbling at the bones of indie that might peg it out as end-of-Mean-Girls music. “The Howling,” one of the record’s more straightforward of the nine pieces, is old-school Snow Patrol on Viagra: one in the eye for Gary Lightbody and the pact he made with the ambassadors of dadrock. Frontman Richard Anthony’s vocals wear his Scottish colours with pride, bonding the waves of ideas from the band as they master their snailshells and shelvaphones (they made that last one themselves from steel shelving brackets, apparently). “Throwing Bones” takes a rocket ship ride through cool Roxy Music and tweaks it with Jim Beam and acid—the homemade stuff with the seeds and ether that you have to chew forty times before swallowing. Cast your mind back and remember that steady drawl of your first trip—schemes, confessions, revenge—pouring out of you in raw divinity rather than whispered to a shirtless reflection. That’s the algorithm in play here and the Band cling to it like balloon string, knowing it’s as strange and valuable as baby unicorn shit. Follow the hoofmarks further and wig out with “Burial Sounds,” where black swamp and tinges of UK garage (it’s there, trust me) help gravediggers fend off Hell’s Angels.
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http://www.mediaf!re.com/download.php?mkkqrynwvohThe Lovely Feathers - My Best Friend Daniel
Minty Fresh Beats - Jaydiohead | 27-01-2009 17:11
To my knowledge Jay-Z and Radiohead have never performed on the same bill, let alone the same stage. Perhaps organisers should take note here; it could be a very, very good idea. Granted, the rap king of New York coupled with Oxfords favourite indie titans doesn’t immediately light many fires. Well not until you’ve actually sat down and listened to this album and appreciated how well the contrasting sounds complement each other. One interesting aspect is being able to listen to Jay-Z’s rapping without the big hip hop production that usually accompanies it. Never been a Jay-Z fan? This could well change your opinion and perspective.
Brainchild of New York producer/DJ Minty Fresh Beats, ‘Jaydiohead’ takes its lead from Danger Mouse’s notorious ‘Grey Album’; the subject of mass panic in the music industry and several cease and desist orders from EMI. Where as Danger Mouse focused entirely on sampling the Beatles ’White Album’ and laying vocal tracks from Jay-Z’s ’Black Album’, ‘Jaydiohead’ utilises various material in Radiohead and Jay-Z’s respective cannons. Radiohead fans will recognise well sampled hooks from the likes of ‘I Might Be Wrong’, ‘Karma Police’, Jigsaw Falling Into Place’ and ‘The National Anthem’ fitting seamlessly with Jay-Z’s brilliant delivery.
Album opener ‘Wrong Prayer’ sets the standard, which remains excellent throughout. Jay-Z’s vocals are crisp and full of clarity as they cannon along next to slide guitar refrains and key samples from ‘I Might Be Wrong’. Up next is the track that people are most likely to head straight for, ‘99 Anthems’. As such is the popularity of Jay-Z’s ‘99 Problems’ tackling it seems a bit fool hardy, if the original Rick Rubin mix isn’t its pinnacle then surely the AC/DC sampling version aired at Glastonbury is the peak? Maybe not, this version really is a fine piece of work and repeated listens indent it into your brain quickly. Familiar vocals are tightly underpinned by the distorted and growling bass line from ’The National Anthem’ with flecks of Thom Yorke’s vocal floating in and out.
‘Karma Police’ makes its appearance next alongside Jay-Z’s ‘No Hook’ from the ‘American Gangster’ album. I wasn’t overly keep on the album version, it lacked the punch and originality of a lot of Jay-Z tracks, this however is a different matter entirely. ‘No Karma’ features some of the best sampling on the album. ‘Karma Police’ has been expertly picked apart, rearranged and fused with the vocals to create something so impressive sounding that not being generally available does it a disservice. The campaign to hereby release this track into the charts starts here!
The album continues to bounce along at a stunning rate with Radiohead tracks ‘Jigsaw Falling Into Place’, ‘Optimist’ and ‘15 Step’ all making an appearance in various guises. Far from just stringing samples and beats together to support Jay’Z’s vocals, Minty Fresh Beats is obviously a master of his art as drums, keys and guitars are all meticulously used in creative and usual ways to build and elevate the tracks. If this man isn’t already producing for big projects and labels then this release should see his work roster bolstered ten fold for the rest of the year.
To say this album comes highly recommended is an understatement. I’ve purposely not listed each and every track and vocal that’s sampled on it as not to ruin it. If you are a Radiohead and a Jay-Z fan then this is quite literally a must; you will enjoy experiencing the two artists music side by side, breathing in harmony together. If you are only a fan of one or the other it is still worth picking up and experiencing a new angle on either artist. A worthy addition to any music collection and one that’s destined to be on my stereo for the foreseeable future. Oxford just got bling, who’d have thunk it?
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http://www.mediaf!re.com/?tsc9amvzufzhttp://www.mediaf!re.com/?p9mbtdw90k1
Bro, I need new shorts. Btw, will you be my chocolate bear? http://www.youtube.com/watch?v=lL4L4Uv5rf0 (http://www.youtube.com/watch?v=lL4L4Uv5rf0)
what does trolling mean?
Im not sure if this is a troll... haha
It means you say something just to get a response.
Basically the internet forum version of anal cunt
Talking Heads - Fear of Music
(http://image.allmusic.com/00/amg/cov200/drd600/d664/d6642808gfk.jpg)QuoteBy titling their third album Fear of Music and opening it with the African rhythmic experiment "I Zimbra," complete with nonsense lyrics by poet Hugo Ball, Talking Heads make the record seem more of a departure than it is. Though Fear of Music is musically distinct from its predecessors, it's mostly because of the use of minor keys that give the music a more ominous sound. Previously, David Byrne's offbeat observations had been set off by an overtly humorous tone; on Fear of Music, he is still odd, but no longer so funny. At the same time, however, the music has become even more compelling. Worked up from jams (though Byrne received sole songwriter's credit), the music is becoming denser and more driving, notably on the album's standout track, "Life During Wartime," with lyrics that match the music's power.Code: [Select]http://www.mediaf!re.com/download.php?0ynmgmiyqmf
After posting some lovely feathers, it's brotocol.Bro, I need new shorts. Btw, will you be my chocolate bear? http://www.youtube.com/watch?v=lL4L4Uv5rf0 (http://www.youtube.com/watch?v=lL4L4Uv5rf0)
ahaha that's so bromantic of you, best scrubs song ever
In the early 21st century, all it took was some retro '80 designer threads to be considered "new wave revivalists." And like any rock music movement, there are always going to be artists that get by due to a keen fashion sense (which strangely, are usually the acts that conquer the charts), while others actually have something to say musically. The Texas quintet I Love You But I've Chosen Darkness is of the latter variety -- debuting in 2003 with a self-titled EP, and finally returning in 2006 with the full-length, Fear Is on Our Side. If they wanted it, this group certainly could milk their new wave cred, since it was produced by longtime Ministry member Paul Barker -- yes, Ministry was a electro/dance/new wave band before going industrial metal -- which may also explain why the band sound somewhat similar at times to Barker's pre-Ministry band, Blackouts. Just about any of the album's selections would have fit perfectly on a vintage 120 Minutes episode, including the album-opening "The Ghost" and "The Owl," both of which are very similar musically to Joy Division. Upon first listen of "Fears Is on Our Side," it's quite understandable to assume that I Love You But I've Chosen Darkness hails from some U.K. town like Manchester -- certainly not a steer-and-cowboy-heavy U.S. locale.
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After a couple years' worth of singles and EPs that showed this young Nottingham duo growing up in public, I Was a Cub Scout finally make their full-length debut with the fine I Want You to Know That There Is Always Hope. With lyrics as winsome and slightly memo as both the band name and album title, Todd Marriott and William Bowerman fill their debut with 11 pieces of ultra-catchy synth pop pitched tonally somewhere between the post-Human League early-'80s pop hits in the style and later twee D.I.Y. acts such as White Town and the early Magnetic Fields who defiantly adopted the then-unfashionable style as their own. In other words, songs like "Save Your Wishes" and the breathless "The Hunter's Daughter" are twinkly and melodic, but in a delicate, almost offhand way. Even on the album's most immediately gripping tracks, such as the first single "Pink Squares" and the gliding, effervescent pop of "Echoes," Marriott's fairly adorable high-pitched vocals bear the regional accent and offhand, almost conversational delivery that's a trademark of diffident indie pop. Elsewhere, stylistically varied songs like the moderately intense indie rock of "Our Smallest Adventures" and the almost proggy instrumental explorations of "Ps and Qs" and "A Step Too Far" keep I Want You to Know That There Is Always Hope from sounding like the sonic equivalent of overdosing on bubblegum.
http://www.mediaf!re.com/download.php?z3od2nzuodo
what does trolling mean?
Consider the following an official addition to the current Rules:QuoteBefore you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
Now the current rules stand asQuoteNo hot-linking images or albums. You can re-host images at http://imageshack.us.
Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
Repost the rules at the top of each new page.
TL;DR version: don't do megaposts or post readily available stuff.
what does trolling mean?
I didn't know either. So let me introduce you to this little neat extension to firefox, called Ubiquity. I have it, and as I stumpled upon "trolling" I simply marked, typed alt+space, and as I already had "wiki" typed in, I just gave me an abstract on different topics like trolling. I could have typed "define" instead, but what ever.
I use it all the time with stuff you guys throw up in here, that I don't know...
The Phantom Band - Checkmate SavageAgreed. Everybody get this one.
Fucking...Awesome..
http://www.mediafire.com/?zttxmy5cnj1The Bad Plus are a jazz piano trio consisting of pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King. The three musicians first played together in 1989, but didn’t come together as an established act until 2000.Only my second post, wanted to thank everybody for all the great stuff.
The trio’s music combines elements of traditional and free jazz with rock and pop influences; These Are the Vistas included a version of Nirvana’s “Smells Like Teen Spirit” and Blondie’s “Heart Of Glass” and Flim by Aphex Twin.
http://www.mediafire.com/?icngen5zizzLiver! Lung! FR! is a live album by Scottish indie rock band Frightened Rabbit, released October 21, 2008 in the US. The album is scheduled for a March 30, 2009 release in the UK and Europe. The album is a "primarily acoustic" performance of the band's acclaimed second album, The Midnight Organ Fight, recorded live at The Captain's Rest in Glasgow, on July 30. Guests on the album include James Graham, from The Twilight Sad, who appears on "Keep Yourself Warm", and Ross Clark who appears on "Old Old Fashioned".
http://www.mediafire.com/?mzhxzxmmm5nSamamidon is a collaborative effort between Sam Amidon and Thomas Bartlet. Together they released one album called “But This Chicken Proved Falsehearted”. Sam Amidon later released a second album under his own name (“All Is Well”). Both albums to date are modern interpretations of traditional folk songs. Sam was born in Brattleboro, Vermont, June 3, 1981and currently lives near New York City. Last.fmTrying to make up for lost time, it's rare that I have anything that hasn't already been posted here. Hope you like it - Samamidon is definitely a gem.
http://www.mediaf!re.com/?w4xmamvypmehttp://www.mediaf!re.com/?5odtywgqjmuTriangleman, you can keep those three in the same post if you want. I don't think that qualified as a megapost and even if the number of albums were sufficient to be a megapost, simply breaking a megapost into several posts defeats the purpose. Music appreciated, nonetheless!No problem, figured I'd just err on the side of caution.
http://www.mediaf!re.com/?dngmgybtzfhAfter the success of last year’s release, Prog, the trio, never content to stand still, moved on their next challenge with For All I Care (Heads Up/Universal/Do The Math), their first album with vocals.
Since their formation, The Bad Plus – Ethan Iverson on piano, Anderson on bass and Dave King on drums – have worked on creating a specific group identity. Classic rock and pop songs by the likes of the Pixies, Bowie, Black Sabbath and Nirvana were BadPlusified into convincing jazz vehicles along with their own compelling originals. It was going to take a very special singer who could fit into the band’s style without disrupting the group’s internal balance. Their choice was characteristically left of field. The band’s first choice was Wendy Lewis, a veteran of the Minneapolis indie-rock scene. “Wendy is like another instrument with intense, compressed energy,” says King.
Through a remarkable piece of musical alchemy, Wendy became the fourth member of the trio on For All I Care. Her haunting voice adds a fresh and powerful dimension within the fabric of the group. Singing on eight numbers including Nirvana’s “Lithium,” Pink Floyd’s “Comfortably Numb” (in which Reid sings a gorgeous harmony), Wilco’s “Radio Cure,” the Bee Gees’ “How Deep is Your Love” and Heart’s 70s rock anthem, “Barracuda,” her storytelling privileges propel The Bad Plus’ music into an exciting new place.
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Bearing a hyper-stylized and glitzy graphic design sense, a pretty and petite Japanese female singer who sings alternately in Japanese and English, and a band name with a hint of nod-and-a-wink naughtiness (it's claimed to be a Tokyo-based slang term that means "playful sex"), Asobi Seksu comes across like the latest Japanese import, the newest in a long line of ironic Shibuya-kei indie pop artists following Puffy AmiYumi, Cibo Matto, or Pizzicato Five. In fact, the quartet is based out of New York City, and besides the heavy Japanese pop influences, Asobi Seksu bears comparison both to the British shoegazer bands of the early '90s (My Bloody Valentine in particular) and to New York guitar noise acts ranging from Sonic Youth to Yo La Tengo.
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http://www.mediaf!re.com/download.php?0j1ddwj0wunWe all know who Bright Eyes is so that doesn't need any explaining..but who is Her Space Holiday?http://www.mediaf!re.com/download.php?yjd2imn5jjn
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So many synths, beeps, beats, glitches, horns, hooks, voices. It shouldn't work.
But it does. Perfectly. And it's all because of the enthusiasm and sheer joy that electronic artist Max Tundra (né Ben Jacobs) puts in every note of his second album, Mastered by Guy at the Exchange. Jacobs comes across like a dry, witty Englishman mixed with a three-year-old on a slowburn sugar high. He seizes every strain of pop music and every instrument he can think of, wrapping them in layers of synths and drum programming. He namechecks a Yes album on one song, so it's not surprising when he overdubs himself into a Rick Wakeman who has eight hands and good taste; the flurry of keyboards on "Fuerte" blows through like a swarm of candy-coated insects. Which isn't to ignore the subtleties of the accordions, guitars, trumpets, and other live instruments mixed into the album-- all of them played by Jacobs himself.
Genre-hopping may be old hat by now, but Jacobs' music is so disorienting that the abrupt cuts on, say, "M.B.G.A.T.E." are still startling and bizarre: where did that club beat suddenly come from, and what's with the horns? But there's another reason he keeps catching you off-guard: Jacobs is ostensibly writing pop songs. Under all the chaos, these songs are straightforward and brutally catchy, just about every one of them anchored to a great hook and an intriguing voice.
Jacobs' first album and singles were instrumentals, but here, all but one of the tracks has vocals-- mostly by Jacobs, whose high, mellifluous voice resembles Scritti Politti's Green Gartside or, uh, Prince. But he also invites his sister, Becky, to sing. No offense to Ben's work, but where his voice fits into the music, Becky's soars on it; though not exactly a diva in power or emotional range, she has an attractive voice that adds the right amount of warmth to the electronics. "Lysine", the first single, starts with just her and the most basic possible melody before Ben gradually adds glitches and stuttering keyboards; and she's beautifully nimble singing the arching melody of "Acorns", overdubbing her own harmony while Ben adds a shuffling rhythm track and airy (well, weak-lipped) brass.
Since this is his first time as a lyricist, it's forgivable that Jacobs' words aren't as striking as the music. He confesses, "I only sing about things that happen to me/ I never learned to fill my songs with allegory," and it's true that the songs aren't rich with subtext. But the music's already so busy that it all works out fine-- you don't jam a drumstick in a turkey club sandwich-- and anyway, the unassuming way he writes about himself is fun. It's great, for example, that the song "Gondry" is just a plea to videomaker Michel Gondry (Björk, Radiohead, Massive Attack) to direct one for him. Or that his other verses are so autobiographical-- girls he's loved or loves, complaints about his day jobs-- all strewn with Britpop references and clever rhymes.
But more importantly, he knows how to mesh the words with the music, texturally-- he has a good ear for words and rhymes-- but also narratively. The last track, "Labial", is practically an aria. The lyrics follow a simple hopping melody, telling the story of how Jacobs stole his best friend's girl. Bonus points to Ben for having his sister sing it, making it sapphic. The music dramatizes the words-- much like he'd do with an orchestra, he uses different tonal colors to underline different lyrics-- but here it's the acoustic strumming on the first verse, the giddy keyboards on the next few, and then the abrupt cut to a gnarly, grinding electric guitar. After the bridge he fades to a low, pulsing bassline that underscores the conclusion, and then the music explodes in a wave of keyboards, a massive stretch of sustained chords, making a finish so big, it's this close to being raw, stinking cheese. Yet, its boldness and, if nothing else, utter uniqueness, is what makes it so beautiful.
And that may be the key to the album's success: that it can take the unfamiliar and the over-the-top and tie it to what's recognizable, hitting normal targets with the most creative means Jacobs could imagine. This record shows the breadth of his creativity, yet it's accessible, catchy and brilliantly simple. A massive achievement.
Jóhann Jóhannsson - Virðulegu forsetar (2004)
Super minimal classical/orchestral music mostly composed of slow horns and silence. If you haven't heard this I implore you to give it a try, it's one of the most relaxing and peaceful albums I've ever heard and makes perfect background music for sleeping, studying, meditating, etc.Code: [Select]http://www.mediaf!re.com/?nmkmmxej2q3
http://www.mediafire.com/?nomejn3wtxuLike his debut, Non-Sequiturs, Harris Newman's second album sparked inevitable comparisons to John Fahey. His instrumentals, largely performed on acoustic steel string, shared many of the same attributes with Fahey's work, and to lesser extents two other guitarists who were on the Takoma label, Robbie Basho and Leo Kottke. There were similar somber, moody compositions, folky but certainly not traditional folk, verging on but not quite crossing over into experimental dissonance and Indian influences. By alternating pensive, spare passages with stormier sections of anxious strumming and picking, the ambience is varied and retains tension, steering well clear of placid new age. So in many ways it's revivalistic, but certainly Newman plays with a great deal of skill and thoughtfulness, and it's not as though the Fahey school of downcast guitar instrumentals is something that's paid tribute to very often. Too, on some of the tracks, Newman departs somewhat from this format by using Bruce Cawdron for accompaniment on percussion and glockenspiel; Newman, and on one track Sandro Perri, also add some lap steel. "It's a Trap, Pt. 1" and "It's a Trap, Pt. 2" in particular achieve an unsettling ghostly, stretched-out feel quite different from the more relaxed Fahey-isms. "Driving All Night With Only My Mind" is also a highlight, Cawdron's percussion and glockenspiel giving the piece a rhythmic bounce and texture that take it into more original territory than the rest of the record.
http://www.mediaf!re.com/?2ioyummnyimComing off of the blistering beats and symphonic doom of Abandoned Language, New Jersey duo Dälek (pronounced dialect) continue swaggering down the same path that made their last album a success, and in a sense, Gutter Tactics could be considered Abandoned Language, Pt. 2. When you've found your sound, why make a departure? Previous tour dates with Ipecac labelmates -- Isis in particular -- prove to be hugely influential once again, as metallic fuzz and white-noise layers propel the agitated rhymes of dälek (the MC) in a thick swampy steam. Aptly titled, the album has a dark, disorienting, and toxic vibe. Instrumentally, Gutter Tactics shares much in common with the droning shoegaze of My Bloody Valentine and the distorted orchestration of Mono, due to live overdubs provided by various musicians ushered from dälek's Deadverse record label into his newly built studio. The funky jazz of Motiv is washed into a haze behind Destructo Swarmbots' myriad of guitar effects, resulting in a blurry ultra-compressed dreamscape wedged between the brick-breaking snaps of Oktopus' beats. It's actually quite difficult to specify what instrumentation makes up the wall of sound -- synths, strings, horns, guitar effects, or something else entirely. It all simply sounds like a sludgy cyclic hum that shifts between two moods: threatening and beautiful. On one side of the coin, there's the ominous "No Question," with factory crunch drum sequencing accented by intense Jeru the Damaja-type rhymes. On the other, there's the flashback to the sweeter days of hip-hop in the sedate and droning "We Lost Sight," a song that marks the MC and producer at the top of their game as chamber organs swell hypnotically underneath a gritty boom-bap, while dälek reminisces in a echoing vocal, "We lost sight on how to use these mikes/What scripts we write/How to choose our fights." Disenchantment with the state of rap, and society as a whole, is a major underlying theme, but the statements never feel too preachy or in your face. Instead, the vocal freestyles hover just slightly above the music, delivered in an amorphous mumble that matches the sonic abyss of the background perfectly. Headphones are highly recommended for this one.
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http://www.mediafire.com/?g1acme0dmdmhttp://www.mediafire.com/?zrqj22ztyfyhttp://www.mediafire.com/?mz1fi0y0jkzGomez are an English indie rock band. Their first album, Bring It On, won the Mercury Music Prize in 1998.
The band played their first gig together in late 1996 in Leeds without a formal name. The band left a sign out for a friend of theirs whose surname was Gomez which read "Gomez the gig's in here" to indicate that it was the site of their first gig. People saw the sign and assumed that the band’s name was Gomez - the name stuck.
Gomez’s career trajectory has led to the band’s name taking on a new meaning. Also known as “Mercury Poisoning”, To “do a Gomez” now means to release a debut album so successful and to such unanimous praise that expectations are raised to the point where it is impossible to follow it. This is in reference to the fact that whilst Bring It On is still regarded as one of the best British albums of the late nineties, its follow-ups have met a mixed critical reception and disappointing sales. - Last.fm
Frightened Rabbit - Liver! Lung! FR!I love you so much right now.
http://www.mediafire.com/?j0zyjyimvfmNalle's MySpace page ranks the "magico-religious traditions of birds and bears" as one of their influences, and that, combined with the mysterious folktale ink drawings of wings and trees on the packaging should go a long way towards telling you if you'll like this band or not. Hanna Tuulikki's voice has crimped, crisp, zig-zagged edges; she sounds as if each note is being cut slowly out of the air with a pair of pinking shears, or as if her vocal cords have been taken over by a croaking goat. She plays the kantele and sings about the sun. Her companions, Chris Hladowski and Aby Vulliamy, play bouzoukis, ouds, clarinets, violas, and other instruments. Their tunes prink with awkwardness, a kind of willed, spiky simplicity that keeps you quivering and alert. When Tuulikki sings, "I touch a liiitttle tip," the instruments twitch in sympathy, and the emotion of the simple action -- touching -- is illustrated with such empathetic devotion that it's almost embarrassing, like watching someone get stigmata in church. I've seen the word 'freakfolk' used to describe Finnish bands such as Paavoharju. You could use it here as well.
http://www.mediaf!re.com/?mynmnryt2krSimilar to many of the artists in the Secretly Canadian stable, Scout Niblett also has an affinity for soft vocals, hard acoustic guitars, and tear-drenched lyrics that bubble over with emotion. Immediate references to Cat Power and PJ Harvey may be inevitable, but Scout (aka Emma Louise Niblett) definitely has a voice all her own. And it's easily distinguished for those who can tell Songs: Ohia's Jason Molina and Palace's Will Oldham apart, but for others there won't be as much discrepancy. Niblett's debut, Sweet Heart Fever, is filled with lush, melodic compositions of the minimal sort. Usually with just a guitar and angelic voice, Niblett tells serious tales with heartfelt songwriting, sounding uncannily American even though she's British. Her somewhat gothic sound is incredibly warm in tone yet touches a sense of longing and loneliness. Regardless, Niblett will warm your heart from the first couple of tracks in. Only occasionally is Kristian Goddard's drumming enlisted, and it sits comfortably in the second place, providing a light oomph to Niblett's swelling vocals. The songs are pensive and tuneful throughout, and only in one rare instance does she fall off the rails. This exception is the clumsy "Big Bad Man," even though it is the hardest of all the tracks -- as it sees Niblett getting up from behind her guitar and seemingly rocking out in a somewhat childish and goofy manner. Aside from that, the other 13 tracks are superlative. Sweet Heart Fever is a stunning debut.
http://www.mediaf!re.com/?ng0rzmyyhdw
http://www.mediaf!re.com/?nzjyyzzymyz
http://www.mediafire.com/?bnainjbtyto
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
http://www.mediafire.com/?ozwzmlw0zjuhttp://www.mediafire.com/?z0zmo4z2mzd
http://www.mediafire.com/?wzdojwwq2nm"Wibbling Rivalry" is the title of a single released under the name "Oas*s" by the Fierce Panda record label in 1995.
It is a recording of John Harris (working for NME at the time) interviewing Noel Gallagher and Liam Gallagher of Oasis. The musicians live up to their reputation as feuding siblings by getting sidetracked into curse-laden arguments while responding to questions. The single contains a 'Liam Track' featuring predominantly Liam's use of profanities and a 'Noel Track' featuring Noel. Throughout the interview, Noel and Liam argue over an incident that happened on a ferry before a show.
"Wibbling Rivalry" holds the record as the highest charting interview release in the UK, reaching number 52 on November 25, 1995.
http://www.mediaf!re.com/?rcnzmzfyzahIn a nutshell the concept behind the songs was to document the different points on a path to self-realization. In our interpretation of this journey, the wanderer ends up essentially in the same place that he or she began, if not humbled and even more overwhelmed. In a sense the ending is somewhat tragic, but without experiencing all of the lows how can anyone ever appreciate the amazing subtleties that this world has to offer? And so, if the search for beauty and understanding is cyclical and unending, then at least we'll never stop experiencing the thrill of the hunt...
...As if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock. Likewise, they were inherently intelligent -- a sort of thinking man's Pink Floyd. Fripp demonstrates his innate aptitude for contrasts and the value of silence within a performance, even as far back as "21st Century Schizoid Man." The song is nothing short of the aural antecedent to what would become the entire heavy alternative/grunge sound. ..
http://www.mediaf!re.com/?mttqlmmzzmqhttp://www.mediafire.com/?jjgwkxhwaw1I'm amazed this hasn't been upped already, and it seems to have gained a lot of underground/internet popularity (that's how I first heard of it anyway), but needless to say, those who don't already have it should absolutely download immediately:
Circle Takes the Square - "As the Roots Undo" (2004)Code: [Select]http://www.mediaf!re.com/?rcnzmzfyzah
I'm amazed this hasn't been upped already
Part 1 - http://www.mediaf!re.com/?zmnwd2ezomg
Part 2 - http://www.mediaf!re.com/?kiqm4rjlymj
Part 3 - http://www.mediafire.com/?io2rlkzgltm
Disc 1:
01 The Cay: "Cachalot"
02 Haunted House: "Sierra Trail"
03 Fewn: "Buffalo Crossing"
04 The Panda Band: "Where the River Rises"
05 Aleks and the Ramps: "Walking in the Garden"
06 Someone Still Loves You Boris Yeltsin: "The House of Memory"
07 No Kids: "Prisoner of Desire"
08 Hannah Marcus: "The Princess Royal"
09 I'm Not Jim: "Stalking Horse"
10 Telefauna: "Gold Fury"
11 Windmill: "Rollercoaster"
12 The Lucksmiths: "The World of Professional Golf 1994"
13 Neil Gaiman "Bloody Sunrise"
14 Get Him Eat Him: "Catalysts"
15 Robbers on High Street: "The Duke's Dilemma"
16 Butterfly Transformation Service: "The Long Journey"
17 Pikelet: "Sweeter Music"
18 Dan Deacon: "The Night of the Scorpion"
19 Erik Hecht: "The Stainless Steel Rat Saves the World"
20 Thee More Shallows: "Desert Sinner"
Disc 2:
01 Goblin Cock: "A Tracing of Angels"
02 Bachelorette: "Mindwarp"
03 Sleeping States: "Root Canal"
04 The Himalayan Bear: "Voice of the Turtle"
05 The Walking Hellos: "The Unloved"
06 Rock Plaza Central: "Honeymoon With Murder"
07 Arms: "Gunsmoke Legend"
08 The Whiskers: "Marsh Blood"
09 Spiral Stairs: "The Cheetah Chase"
10 Faux Pas: "Road to Nowhere"
11 Michael Hearst: "Montana Crisis"
12 Claudia Gonson: "Cottage Gardening"
13 Sly Hats: "Rock Gardens"
14 Carolyn Mark and Her Enablers: "Mark of the Hangman"
15 Frightened Rabbit: "Last Tango in Brooklyn"
16 Ezra Furman and the Harpoons: "Portrait of Maud"
17 Home Blitz: "The Forbidden Tower"
18 Adam and the Amethysts: "Deadly Passage"
19 The Wrens: "In Turkish Waters"
20 The Capstan Shafts: "Murder at the Royal Shakespeare"
You Are Brahman you should definitely upload the s/t, I don't have it.
http://www.mediafire.com/?zmjjmtm0mvmI found a download link for that CTTS EP within literally 20 seconds of googling for it. If you don't have it, it's because you haven't even tried to find it. And that is why I am vocally against 99% of this thread. You're all fat and lazy from it.Sometimes it will take the second album uploaded or several comments on an artist before I will decide to delve into a new artist, or even genre. I would rather encourage someone to be a little lazy (because googling an album to download is a LOT less lazy than finding it here? wouldn't the un-lazy method be to get it "legitimately?") so that they say to themselves, "I have to see what this hubbub is all about," than let something beautiful go unappreciated simply because I didn't want to take up an extra 5 inches of forum space. Circle Takes the Square, in particular, is of a genre I was extremely hesitant to dive into, but they especially have helped me appreciate a HUGE variety of music.
Sincere but not too sincere, cute but not gorgeous, and smart enough to know to steal from the very best, former skateboard pro Matt Costa signed to surfer Jack Johnson's label on the strengths of some very workman-like pop songs and a smooth, appealing voice. Goldilockses of the world are bound to find Costa's unassuming songs just right--and if his work fails to find its way onto the soundtracks of all the hottest television shows, there is little justice in the world. Costa may croon that "These are the songs that I sing/To make the day better," but these really aren't songs so much as they're rock & roll equations. The dude combines the anglophilic sonority of Belle & Sebastian and Donovan with a taste of Elliott Smith's gorgeous downer vibe, heaping doses of the Beatles thrown in throughout. It's pleasantly chiming enough stuff to be sure: it'll just be far more interesting to see what happens once Costa has worked his way through his influences.
http://www.mediafire.com/?ggdxe99sedjAnd clean your room, jeeze.
http://www.mediafire.com/?ygzyjmudyxy
"I have to see what this hubbub is all about,"
what does trolling mean?
I didn't know either. So let me introduce you to this little neat extension to firefox, called Ubiquity. I have it, and as I stumpled upon "trolling" I simply marked, typed alt+space, and as I already had "wiki" typed in, I just gave me an abstract on different topics like trolling. I could have typed "define" instead, but what ever.
I use it all the time with stuff you guys throw up in here, that I don't know...
That extension is some legit shit sir.
http://www.mediaf!re.com/?ll121zzky23http://www.mediaf!re.com/?djowjkfzyddhttp://www.mediaf!re.com/?kmmn5m2wtdmTHE ethereal songs of Sol Seppy’s The Bells of 1 2 provide a hypnotic listen that drips with beauty.
Sol Seppy is better known as Sophie Michalitsianos, the former Sparklehorse member, who prides herself in the fact that The Bells of 1 2 revels in a celestial romanticism.
It’s a slow-burner that rewards the patient listener, built around atmospheric soundscapes, soft piano and some spine-tingling cello.
There’s a fragile, almost innocent beauty surrounding tracks like Human, with lyrics such as ‘love will lift your heart’. It’s achingly poignant, tearfully poignant and delivered in such a fashion that defies some of the harsher elements of the world today.
There’s some enchanting electronica surrounding the breezy, hypnotic beats of Come Running, when Sophie’s vocals adopt a more positive vibrancy about them.
While on Move the singer hints at an altogether more feisty approach, dropping an aggressive (by her standards) beat over some really strained vocals (during the chorus).
Fans of the likes of Imogen Heap are sure to be impressed, while the promotional material likens her to Mazzy Star and the Cocteau Twins.
Occasionally, the album drifts into territory that’s simply too ethereal for its own good, testing the listeners’ patience.
But such moments are few and far between, with tracks like Slo Fuzz oozing a quiet sense of foreboding, while introducing some more excellent instrumentation, and Wonderland relating the tragic tale of an artist with the sinking feeling that a change will never come in surprisingly upbeat fashion.
Better still is Loves Boy, an entrancing effort that drips with breathtaking beauty.
As Sophie, herself, states: “It’s the discovery of beauty that inspires me the most.” Her ability to share it musically is what makes Sol Seppy’s debut so impressive.
http://www.mediaf!re.com/?bwnwmmjzi02
7.1/10
There's historical poetry-- and plain shoe-fitting sense-- to Merge's rerelease of Wye Oak's 2007 debut, If Children. The band, a male-female duo from Baltimore, both in their early 20s, is like a Merge incarnate birthed 10 years late: mixed-sex; Mid-Atlantic; pretty without sounding porcelain. Their sound-- earnest folk-influenced indie rock with touches of noise and dream-pop-- is so second-nature that nobody realizes it's actually endangered. In 1995, If Children would've been vernacular, slotting on modern-rock radio next to Belly or sellable Dinosaur Jr.; in 2008, it flashes like lost slang.
Wye Oak isn't gripping song after song-- too uncouth, too flashy-- but moments on If Children are superlative. "Warning" is a collision of momentums, the inherent slowness of guitar atmosphere with drums sputtering out from a garage-rock song. The catch is that Wasner and Stack actually sound comfortable in both modes; their fuzz convincingly dizzy, their inertia reckless. A humble rollercoaster. I might even prefer the grandeur of "I Don't Feel Young", which foams to actual noise without losing any sweetness; the Byrds without acid or English shoegaze without the suggestion of French kissing.
At the heart of both songs is bulletproof innocence. But Wye Oak aren't separatists or daydreamers; they're absolutely uncute. When Wasner sings "I don't feel young, I don't feel scared" she sounds saucer-eyed and terrified; when Stack joins her at the song's climax on the lines "If you feel young and feel ready/ Or if you feel old...You know your secret's safe with me," their appeal to inclusion is wise enough to heed and comforting enough to cry into; when, on "Warning", she confides, "The only hell I'll ever know is when you may go and I may not go," she doesn't flinch. It's not an appeal to be pet, it's a glass of water in the face, honesty so undramatized it's hard to imagine, at the moment, another band so achingly stupid, so brave at heart.
http://www.mediaf!re.com/?55u41njzmed90% - Author, 97% - Member's
The buzz about Birmingham, Alabama’s Wild Sweet Orange has been growing steadily throughout the past year-and-a-half and its about to reach its tipping point with the release of the band’s full-length debut We Have Cause to Be Uneasy. Beloved by indie hipster blogs as well as TV shows like “Grey’s Anatomy” and radio stations like revered University of Washington radio-station KEXP, the band appears on the brink of major stardom. We Have Cause to Be Uneasy is packed with eleven songs that are vast yet intimate, jittery and contemplative; and also nostalgic while still hopeful. Lead vocalist Preston Lovinggood has a bit of a lazy vocal delivery that manages to be both haunting and inviting, honest and direct.
There’s something wholly moving about the way he wraps his words around verses and choruses, and as is the case through much of this album, how he bellows and growls alongside a driving guitar lick. Lovinggood’s impassioned and skilled vocal limits partner with an uncanny ability to offer vivid reflections of childhood and the world around us. Lovinggood is not the only talent in the band though: guitarist Taylor Shaw was raised on blues and cut his teeth in various Birmingham blues band, at one time even backing up "American Idol" winner Taylor Hicks. His experience and seasoned playing are a perfect compliment to Lovinggood’s painted portraits of American life. The guitars are raw and gritty, evoking the very essence of the ups and downs of life.
There are very few albums these days that contain powerhouse song after powerhouse song, but that truly is the case with We Have Cause to Be Uneasy. After just one listen the album proves to be unforgettable, charming and nothing short of extraordinary. The album opens with the quiet, gentle roll of the country-folk of “Ten Dead Dogs,” which proves to serve as a bit of an anomaly. For starters, it’s a quirky opening track as it creaks and swirls around like car wheels on a gravel road. Then there are the lyrics; few albums open as grotesquely as this, “I saw ten dead dogs on the side of the road driving late last night to your apartment.” But as the listener waits for more, the song indeed proves to be about nerve-inducing indecision and not canine carnage, “And I thought it was an omen / So I headed on back home / Walked in circles 'round my room."
Listening to the record is like stumbling across the next Wilco; this is the true mark of a band that one would suspect would serve as inspiration for many in the years to come. This is an album that bristles with promise, professionalism and poise, and reeks of landmark status. Easily a top five album of the year, Wild Sweet Orange is indeed ready for their close-up. Not too shabby for a band named after herbal tea.
http://www.mediafire.com/?myzlimyzvjoI found a download link for that CTTS EP within literally 20 seconds of googling for it. If you don't have it, it's because you haven't even tried to find it. And that is why I am vocally against 99% of this thread. You're all fat and lazy from it.
http://www.mediaf!re.com/download.php?jvfg3s0zndd
http://www.mediaf!re.com/?mywintnnnmg
I don't know if anyone else does, but I find it hard to keep up with this thread. To fix this, I spent tonight hacking together a parser in python that creates an RSS feed for the mediaf!re thread. It crawls the latest page of the thread, and generates a list of links contained within. It *tries* to get a title and description from the post as well, but is only successful around half the time, depending on how people format their posts. Hopefully I'll be able to improve this when I get some more time.
The feed is at http://chrisgrice.com/rss/mediafeed.rss.xml . It updates twice a day; again, this will be improved once I have some time.
If anyone wants to improve the parsing, or just the code in general, you can grab it at http://github.com/cgrice/qc-musicthread-scraper/tree/master
If doing this is a Bad Thing, or if people would rather I didn't, let me know and I'll take it down. Hopefully some people will find it useful though! Also any suggestions to improve it will be greatly appreciated.
The critical and fan reception to Thursday’s 2006 release, A City By The Light Divided, were, at best, lukewarm. It caused a divide among fans; either you loved it or you hated it. There was no middle ground. City took on a more experimental route with Thursday’s signature sound still woven in. Some complain about the tone of the album, most complained about the production of Dave Fridmann (I personally love it). So when the Jersey sextet announced that Fridmann would be producing the band’s Epitaph debut, Common Existence, fans were naturally wary.
The fears of some will be squashed immediately when first single “Resuscitation of a Dead Man” blasts out of the barrel. The openers on each Thursday album have always been a kick in the balls, and this track is no different. “Resuscitation” sets the pace of Common Existence: urgent and in your face. “Last Call” gradually rises into the beautiful crashing of cymbals and chords. The track is calm and chaotic at once, leaving you dizzy. And “Friends In The Armed Forces” is an absolute doozy. The guitar chords rip as vocalist Geoff Rickly yelps frantically.
“Beyond The Visible Spectrum” begins with a methodical drum roll and sampled strings that are quickly evaporated by the frenzy of chords from guitarists Tom Keeley and Steve Pedulla. The song is equally gentle and forceful, incorporating different sensations throughout. “Time’s Arrow” is a slow acoustic track that will swoon through your earphones.
“Unintended Long Term Effects” is like one of those 5-hour energy drinks. The urgency in Rickly’s voice, along with some well-placed screams, will make this an immediate fan favorite. The fluidity of “Circuits Of Fever” and “Subway Funeral” is pristine and set the stage for the final two tracks of Common Existence. “Love Has Led Us Astray” is a delicate track that pulsates through your veins. The subtleties in this track are what make it standout.
The final track, “You Were The Cancer,” reminds me of why I fell in love with Thursday so many years ago. The intro of the track is like a warning signal, informing you of oncoming chaos. This track bleeds emotion. The screams are perfect, the bridge is chilling, and the outro is remarkable. This is easily one of the ten best Thursday songs ever, and when the dust settles, you, the listener, will sit in silence briefly, trying to take in what just hit you.
Over the course of the last few years, Thursday has seemed to be the forgotten band, one we take for granted. But with Common Existence, Thursday will be knocking down doors throughout 2009. It has been a long time since Thursday has been this good musically and lyrically. This album will win back all of those who gave up on Thursday after City was released. On “Resuscitation of a Dead Man,” Rickly sings, “Can you feel a pulse?/It’s been stopped for so long./Let’s restart it!” I couldn’t sum up the album and its impact any better.
http://www.mediaf!re.com/download.php?i3zannnd3nz
http://www.mediaf!re.com/?iyxr4za2jim
http://www.mediafire.com/?mh42zjlz0tz
do people like this band?
Thursday - Common Existence
(http://img101.imageshack.us/img101/4929/folderdk8.jpg)
http://www.mediaf!re.com/download.php?sapgygg8sbmFor those of us who enjoy Colossal, Kinsella-like music, just all around good stuff, this is good.http://www.mediaf!re.com/download.php?djndzlnqmquI didn't see this on here and figured it should be. It's gotten a 4/5 by Rolling Stone and a 10/10 on other reviews.http://www.mediaf!re.com/download.php?gy2mo4yq0yzHere is a review by Prefix Mag.comhttp://www.mediafire.com/?gsy4jy1yjgnTracks from Skeletal Lamping are given the remix treatment on this EP, which pairs Of Montreal's hyperactive pop music with Jon Brion's Grammy-nominated production. "An Eluardian Instance," perhaps the most accessible song on the band's previous album, provides the basis for two remixes under the name "First Time High," while "Gallery Piece" is molded into three distinct versions. Brion's remixes turn the latter song into a club-worthy anthem, adding trance percussion and thick, fat synthesizers to each version. Meanwhile, an acoustic adaptation of "First Time High" highlights Kevin Barnes' multi-tracked harmonies with a tidy heap of guitars, mandolins, and assorted string instruments. Stripped of the candy-coated keyboards that coat the original, this remix brings Of Montreal's songwriting to the forefront, demonstrating the pop hooks and solid craftsmanship that remain at the core of even the most elaborate arrangements. The rest of the brief EP doesn't shed much light on the band -- this is a Jon Brion vehicle, after all, and he makes sure his presence is felt -- but existing fans may take interest in the various interpretations of Skeletal Lamping's material.
do people like this band?
Thursday
So this is something I came across that I found interesting!
Of Montreal - An Eluardian Instance (Jon Brion Remix EP)
ThursdayThey do not always do the best things but the first song off their split with Envy is pretty good.
http://www.mediafire.com/?zmoxdymm2ydWhen a person is downhearted, life becomes slightly tolerable when you hear that someone else is experience similar sadness. Born from the hardship of the Deep South, the spirit of the Blues hits everyone in their soul. The Blues spirit also has haunted some White boys in Detroit named, Howling Diablos. The four members are creating their own style of Blues. As Tino Gross sings, the band moves the spirit along. Mike Smith’s addictive guitar work complements the classic sound of the harp and sax of Johnny Evans. Shannon Boone keeps the rhythm rolling with the drums. Acknowledging their influences but remaining true to themselves, Diablos sing about what they know with a respectful appreciation for the art form.
http://www.mediafire.com/?gwneklmlizmThunderbirds are Now! is a Livonia-based Post-punk revival band whose sound uses a mix of traditional Post-punk, New Wave and Noise rock. The band is heavily influenced by 1980s New Wave and other Post-punk revival acts like Les Savy Fav. They are currently signed to French Kiss Records, however they have two releases on Action Driver Records and one self-released album.
LEEEEEEEEEEEAAAAAAAKKKKKKKK
Junior Boys - Begone Dull CareCode: [Select]http://www.mediaf!re.com/?mh42zjlz0tz
Why is there no God Speed You Black Emperor! on this thread???
This is Mainliner.
Mainliner is a Psychadelic band from Japan, formed in the latter 1990's. They sound a lot like Boris' "Pink" and "Smile" albums, minus about 10 centigrades of coherency.
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
http://www.mediafire.com/?uymzzydmzmz
Without changing their tensely wound, post-Hüsker Dü punk-pop style at all, Superchunk sound completely weary on Here's Where the Strings Come In. No longer do their nervous, amateurish songs sound energetic -- they sound tired and broken. This actually results in some really interesting music, as Mac McCaughan tries to reconcile his broken spirits with his passion for punk. These songs tend to have more resonance than by-the-books rave-ups like "Hyper Enough," no matter how well those are written, and they suggest that Superchunk may be better off if they decide to revamp their signature sound completely
http://www.mediaf!re.com/download.php?cyzdlhxzronhttp://www.mediaf!re.com/download.php?cwgktyixhrj
http://www.mediafire.com/?3252ntxi52xhttp://www.mediafire.com/?ocfdmdztfymhttp://www.mediafire.com/?1y5idnjdjzyOne could say that Marc LeClair is to tech-house what Todd Edwards is to garage, since they both apply cut-up techniques to their hook-heavy productions. And, rather frequently, those cut-ups are the hooks. However, LeClair does away with scissors and wields a gleaming exacto knife instead, splicing seconds of the radio babble he has recorded -- from songs, commercials, DJs, who knows what else -- and proficiently places them all for the sake of the tune. Bored with hearing rhythms, choruses, and complete songs transferred from one artist to another, LeClair is motivated to render his randomly captured samples unrecognizable and sculpt them into something that is much greater than their sum. With all the talk of LeClair's methodologies and aims (his own declarations in the liners taken into consideration), it's easy to get lost on the fact that My Way is a terrifically delightful, upbeat record, tipsy with buoyant basslines, swooning textures, and unorthodox hooks. The 4/4 beat on the opening "Even White Horizons" takes four minutes to kick in, prefaced by a cluster of fragmented acoustic guitar flicks that dart in and out between the left and right channels. Following that, the baleful haze of "Installation" and the blissed-out daze of "Skidoos" offer thumping vapo dub, only setting the table for what's to come. "Deck the House" is the obvious centerpiece, a seemingly painstaking but joyously frantic bricolage of LeClair's recordings (blurts of harmonica, snips of radio jingles and pop tunes, more acoustic quarter-licks, unidentifiable sources reduced to squiggles and blips) married to a jumpy house rhythm. That's where the album crests, but the remaining six songs keep the magic flowing, ending with the title track -- a smooth vocal number that seals off one whale of a record.
http://www.mediaf!re.com/file/4cjnunmyh5f/kfn_mywy.rarhttp://www.mediaf!re.com/?ityzqkdddjthttp://www.mediaf!re.com/?tarwhmk5pmg
The Samuel Jackson Five - Goodbye Melody Mountain (2008)
Great instrumental rock, which isn't a genre I normally enjoy very much, but I can't argue with this. Been listening to this non-stop for the past few days.
samples (old album song on the youtube, this album stuff on the myspace)
http://www.youtube.com/watch?v=8t1K4F-Gaa8&feature=related
http://www.myspace.com/thesamueljacksonfiveCode: [Select]http://www.mediaf!re.com/?ityzqkdddjt
And for convenience here's their old album Easily Misunderstood, which is also good, upped by suitupletsgo last year:Code: [Select]http://www.mediaf!re.com/?tarwhmk5pmg
The Samuel Jackson Five - Goodbye Melody Mountain (2008)
Great instrumental rock, which isn't a genre I normally enjoy very much, but I can't argue with this. Been listening to this non-stop for the past few days.
samples (old album song on the youtube, this album stuff on the myspace)
http://www.youtube.com/watch?v=8t1K4F-Gaa8&feature=related
http://www.myspace.com/thesamueljacksonfiveCode: [Select]http://www.mediaf!re.com/?ityzqkdddjt
And for convenience here's their old album Easily Misunderstood, which is also good, upped by suitupletsgo last year:Code: [Select]http://www.mediaf!re.com/?tarwhmk5pmg
http://www.mediaf!re.com/?4b2nuzimvjmhttp://www.mediaf!re.com/?nyevyniydmgSo that sleeve’s calling for attention. You’ve seen it all before, right?
Not to ignore how the joke is wrapped up in a gay old bunny mask and left to frighten the hell out of anyone who popped in this place just to lounge. Because, yeah, dude is in a costume and is filching The Ramones (1976) and is pretty sourly thumbing it to Jay Reatard, who probably, y’know, is a whole lotta angry anyway. Nobunny’s about the love; live, he gets naked. Naked is how a lot of people nowadays live. (I mean, sure, who cares, why not.) Nobunny is also not a real person, just like Ziggy Stardust never existed, and his record has probably sold nothing as it continues to be hard to find in any material form.
But the songs themselves—freak not, these are songs—are great. Flipping, jaunty, beery things. Anthems with true heart and overdriven spirit. Handstand music: Love Visions is just what its title suggests. It’s one guy cartwheeling through punk rock, as much in thrall with the noise he’s making as whatever ideal he’s tuning towards. Love being, of course, that broad subject and occasional retreat for all kinds of nonsense and excuse. Visions being visions. Which, if we make a few reasonable assumptions about the value of retro-rock in a climate that increasingly values retro-rock for its new tradition, as opposed to the forward-thinking elan that might (who knows) actually get us somewhere, could get one to believe that a record like this would get boring fast. No one wants to hear another rock album, I hear you. Few people just want to hear some doof wax about Love.
Thankfully, this is an album played straight. It has the kinda of-itself purity that punk hawks spend whole lives totalling; something true and genuine and which, as keys crash into “Nobunny Loves You,” feels rigorous and elementally inflexible. Call it power-of-pop, I’ll call it fucking irresistible. Love Visions makes fast with the hooks and comes on with the cheery know-all of a perfect genre exercise. It’s a rock’n’roll boner; it’s scuzz with a point; it’s coruscating on some heavy shit. It’s like 20 minutes long. The shortest track is called “Don’t Know, Don’t Care.” You get the idea.
This Nobunny guy probably understands what people want to hear when they want to hear simple songs about love. So when “Not That Good” opens with maybe the sharpest lines of last year (“Called you up on the telephone / You were last on my list but at least you were home”) it’s to say, more or less—hey there, it’s ok, I get how you’re feeling, k. By the time the last chorus is blurted, and the buzz of the guitars have smacked out, there’s little but the need to play the whole thing again. Same goes for “Tina Goes to Work,” the claptrap “Church Mouse,” “I Am A Girlfriend,” basically every track here.
And in “Chuck Berry Holiday,” the record’s most open invocation, Nobunny grovels up a paean to neediness that’s gonna suit enough people fine. The crazed catch in his voice is what lends the track its heart; like the rest of Love Visions, there’s the sense of therapy and the sense of regret, as if these songs have been tucked away to gather resonance for years. So, only now, given the appropriate maturity and hindsight, can this guy rip into it all with the balls-out affection that this material calls for. Like someone fallen on hard times handed a retrospective on how to get a break; Nobunny crashes this record, caterwauls, cracks, and treats everything in general with an estimation and love that moves past the ramshackle and fashionably amateur. There’s an honesty here that can’t be faked.
Love Visions works because of that honesty. It openly engages the listener into not giving a toss about time, place or context for as long as it lasts. I think that’s special. The drum machine’s pretty sick, too.
http://www.mediaf!re.com/?yimu4nmxmzn
http://www.mediaf!re.com/?05tnim2nndv
Goodbye Melody Mountain is fantastic - on my first listen through the album, I wrote one of the first prose pieces I've written in months - thanks for sharing.
There is a simple dirt path
beyond the lilacs and the roses
where earthen velvet slides a lover's arm
between the red and purple bedsheets
-"Path"
http://www.mediafire.com/?muvimjmitym...the creature in question is Rebekkamaria Andersson, now a solo artist in her own right, reborn a hybrid of Kylie’s recent divergence into electro, Peaches’ sultry and powerful use of rhythm (see the single ‘She Lion’), Róisín Murphy’s unusual quirkiness and some rather obvious comparisons to Robyn or The Knife. She speaks only in the language of glorious pop and the medium of dance to create a wonderfully romanticised view of the universe before her. Although her offerings are far removed from the great galaxy of Original in terms of musical style, it is refreshing to find such an artist who has carefully considered her message before transmission
http://www.mediafire.com/?tmjxhdyjzyoSeattle-based Grand Archives is an indie rock band featuring five male vocalists. Mat Brooke, co-founder of softcore cult-favorites Carissa’s Wierd (not to mention an ex-member of Band of Horses) started Grand Archives with a trio of friends in September, 2006. Drummer Curtis Hall (The Jeunes), bassist Jeff Montano (The New Mexicans), and guitarist/keyboard player Ron Lewis (Ghost Stories). Guitarist Thomas Wright signed on soon after. Judging from the first material, Grand Archives isn’t a drastic change from the songwriting shown by Brooke in both Band of Horses and (even more so) in Carissa’s Wierd. The latter in which he took even more part in the song-writing process. Last.fm
http://www.mediafire.com/?bwamfmo0tmnToronto-based trio The Rural Alberta Advantage (Nils Edenloff, Amy Cole, and Paul Banwatt) play indie-rock songs about hometowns and heartbreak, born out of images from growing up in Central and Northern Alberta. They sing about summers in the Rockies and winters on the farm, ice breakups in the spring time and the oil boom’s charm, the mine workers on compressed, the equally depressed, the city’s slow growth and the country’s wild rose, but mostly the songs just try to embrace the advantage of growing up in Alberta. Last.fm
http://www.mediafire.com/?mnnjn3nieilhey can i request for Freshcut's "Open Your Eyes" EP??? :lol:(http://kevinchiu.org/emote/facepalm.jpg)
http://www.mediaf!re.com/?ozzk2htnyjt
www.mediafire.com/?jjqmhuwbiajhttp://www.mediaf!re.com/download.php?njiommwj5dtI saw 2 of their 3 EP's on here and thought this would be a nice contribution."You can be light-hearted, but you can’t be funny / You can make a struggle, but you won’t make money / You can scream, but you can’t be loud / You might smile, but you can’t act proud," singer Matt Agrella playfully warns over the gorgeous and relaxed instrumentation of “Done and Done,” where Look Mexico sound as simultaneously relaxed and focused as one could possibly hope for.
If American Football had traded their somber musings for a more upbeat demeanor, Look Mexico would have had an older twin brother. The fact is, both exemplify everything good that can result from jazzy instrumentation and cohesive song structures. Look Mexico just chooses to do this with a grin from ear to ear.
But Midwestern emo comparisons aside, the band is able to succeed very well on its own merit. Whether whimsically rising and falling with slight vocal accompaniment, or playfully meandering along as “I Had I a Wrench, And I Hit Him,” and “Watch Out for This” respectively display, there’s an inherent level of comfort in vocals and instrumentation alike. The ebb and flow never ceases to provide tangible emotion, nor the perfect intonations for it to travel in on. Agrella reflects on his childhood through an uncommon observation, and the rhythm on which these words are told make them seem just that much more honest. "The heart of youth and growing needs, is an argument / This invention, the mighty wheel / How it has changed us all," he sings in “Me and My Dad Built Her,” and nobody, for even a second, can question how much he means it.
The instrumental side of the band is able to speak in equal volumes, as “Comin’ in Hot with a Side of Bacon” makes unquestionably clear. Four minutes may not seem like a very long time, but Look Mexico is able to pack so many great riffs and fluid transitions into that timespan that all that’s left to wonder, is why you hadn’t heard of them sooner.
The charming melodies established by the band’s four members hook you instantly, and when things get turned up a notch or two, they stay with a solid linear vision. Each song, instrumental or not, has a point A and a point B; the paths are always gorgeous, and you never have time to wonder where things are going. The present moment, well, it’s perfect enough.
http://www.mediaf!re.com/?jym0tmtkmknThe songs are as followsI thought most of the ATQ! songs ended up on "You Can Play These Songs With Chords", anyway.
From the get-go it feels as though I’m being transported into a head-spinning voodoo dance with witch doctors exorcising negative spirits out of my entranced Indian-style seated, immobile body. Pull out the narcotics? Grab the Ouija board? Frolic naked through the forest? The possibilities are endless. Great loops. Tribal beats. Calming voice echoes. Hippy guitar. Harmonica. Tranquil chimes. Flutes and tambourines! Everything seems to be used! It’s like a group of slackers came across an Indian burial ground and got possessed by the spirits residing there—only no nightmare…just the peace-pipe. Hell, the title says it all, “Black Medicine Music.” Self-released magic. Definitely an anytime album. Stimulate your chakras.
http://www.mediafire.com/?mzoymm3bzjm
It's not my upload, but it's legit. And really, who cares that it's someone else's upload when you get this.
(http://4.bp.blogspot.com/_RMIUIe8MK2o/STPZ3np8oTI/AAAAAAAAAJU/Ha1U26xJpRM/s1600/TRR148_MONO_HI-RES.jpg)Code: [Select]http://www.mediaf!re.com/?ozzk2htnyjt
Based in Madrid, Spain but singing in English, Russian Red is Lourdes Hernández alter ego. Singing soft, sweet tunes and using acoustic pop melodies she has produced an album of beauty and emotion justly nominated for awards.
http://www.mediafire.com/?tnyto3yorjtOriginating from Tres Cantos, Madrid, Spain Vetusta Morla are an indie rock band who sing in castellano (spanish). They produce a mixture of upbeat and mournful songs on their debut album Un día en el mundo which have elevated the six-piece into the public eye. A great album best known for lead track Copenhague but well-rounded and excellent overall.
http://www.mediafire.com/?3mj1mozmz0qSo perhaps you find yourself sitting around thinking, “Man, I’ve got all this weed to smoke but nothing to listen to!”
Stag Hare - Black Medicine Music
http://www.mediafire.com/download.php?ytjmmzv4dnyIn the Spring of 1999, Death Cab for Cutie songwriter/frontman Ben Gibbard had some time on his hands and a batch of songs running around in his head that didn't seem quite right for his band. He also had a few broken keyboards scattered about, a guitar that wouldn't stay in tune, an old four-track home-recording machine, and one of those Walkmans (Walkmen?) with a built-in condenser mic. What would have been a recipe for disaster in the hands of a lesser musician and songwriter resulted instead in two charming lo-fi releases (a five-song self-titled CD and the Envelope Sessions cassette tape) on the excellent Bellingham, WA scene-documenting Elsinor label under the one-off moniker ¡All-Time Quarterback!
So perhaps you find yourself sitting around thinking, “Man, I’ve got all this weed to smoke but nothing to listen to!”
I’m here to help.
Stag Hare - Black Medicine Music
(http://i35.tinypic.com/2wdbsrq.jpg)QuoteFrom the get-go it feels as though I’m being transported into a head-spinning voodoo dance with witch doctors exorcising negative spirits out of my entranced Indian-style seated, immobile body. Pull out the narcotics? Grab the Ouija board? Frolic naked through the forest? The possibilities are endless. Great loops. Tribal beats. Calming voice echoes. Hippy guitar. Harmonica. Tranquil chimes. Flutes and tambourines! Everything seems to be used! It’s like a group of slackers came across an Indian burial ground and got possessed by the spirits residing there—only no nightmare…just the peace-pipe. Hell, the title says it all, “Black Medicine Music.” Self-released magic. Definitely an anytime album. Stimulate your chakras.Code: [Select]http://www.mediaf!re.com/?mzoymm3bzjm
http://www.mediaf!re.com/?jyoudjynnmt^ I highly recommend this album. Simon Bookish is a great guy.Absolutely. This album lives up to what Matthew Herbert's latest album doesn't.
umm I don't see any image, so ... what is this?
http://www.mediaf!re.com/download.php?hnyjyw3j1jmhttp://www.mediafire.com/?3l2ymtmnlzdThere’s no restraint of pace, however. Cut The Blue Wire don’t play especially fast, but they have that breakneck sense of hurrying through every tune as if eager to start playing you the next one, an urgency and sincerity that seems absent from so many of their peers. The Revert Restart Reset EP comprises six snappy tracks, all shorter than three minutes in length, and all mercifully devoid of saccharine lyrical cliché and false sentiment.
Yup - no soppy high-school heartbreak or middle-class angst here, and no faux-Californian accents or strangled screaming, either. That said, singer DD Ball’s impassioned wail may take a little while to get used to, simply because it’s such a constant; a little more dynamic variation might throw the frantic parts into sharper contrast, but it might also derail that sense of pace somewhat, which would be a shame. The Revert Restart Reset EP’s bright but fierce pop edge is its best feature, like all the best bits of Hundred Reasons and At The Drive-In stirred sneakily into the guitar-pop template like amphetamines into orange-juice.
Pop-prog-post-electro-hardcore? It’s not as implausible as it sounds, not to mention a lot more pleasant… and while we’ll need to wait for a full album from Cut the Blue Wire to see whether it can last the course, we can always dance while we’re waiting.
http://www.mediafire.com/?zwhemumjyamEach track on the ‘These Are Our Hands ’leads gracefully into the next while complimenting the last, this makes for an album that ultimately never becomes stagnant or stale during it’s of 40 minute duration but instead keeps your ears held firmly against your speakers in fascination.
‘These Are Our Hands’ is something that 2008 should be remembered for in the same way 2006 is remembered for ‘Whatever People Say I am, That’s What I’m Not’
Im new to this, but i found this site somehow off of some website that was completely in japanese, so i guess it was just meant to be. I wanted to post some stuff but I might fuck up so please dont be too harsh.
Appleseed Cast - Sagarmatha (2009)
http://www.mediaf!re.com/download.php?3vyyjymnrmwIm new to this, but i found this site somehow off of some website that was completely in japanese, so i guess it was just meant to be. I wanted to post some stuff but I might fuck up so please dont be too harsh.
Appleseed Cast - Sagarmatha (2009)
Oh god, that can't seriously be the cover art?
that russian red album is AMAZING. i bought it when it came out. her voice sounds like a weird mix between joanna newsom and regina spektor (sort of).
Cut The Blue Wire - Revert, Restart, Reset (Ep)(2008)
(http://2.bp.blogspot.com/_qswZgN2GrJA/SR6KcZuw9HI/AAAAAAAAAA8/Bqzlgj103-A/s320/cover.jpg)Code: [Select]http://www.mediaf!re.com/?3l2ymtmnlzd
http://www.mediafire.com/?xzi4d2ckonmDespite the fact that this album is largely influenced upon post and ambient rock, it is still worthwhile and should be invested in. It's catchy, infectious, and beautifully written but more so, full of talent. If given the time, I recommend checking out what they have up on their myspace, www.myspace.com/movingmountainsmusic. Considering it has its low points, Pneuma is still a solid album.
http://www.mediafire.com/?x4zn2mjn0ozClocking in at six songs, this EP manages to combine their alternative, punk, post-punk and new-wave influences into an amalgamation of memorable songs that remind you of many bands yet don't exactly sound like any of them. Yes, there are elements of The Cure, The Damned, Joy Division, The Misfits & My Bloody Valentine but War Tapes' sound is doesn't really fall into any one of those band's influential grasp.
What I find most striking about their music is how well they marry monstrously dark sound scapes with melodies that you can sing along to. Although I think the real weapon of this band rests in guitarist Matt Bennett's powerful playing that can go from discordant to melodic in almost dizzying fury, I would say their secret weapon is bassist Becca Popkin's beautiful harmonies throughout each song that so perfectly compliment her brother Neil Popkin's bombastic baritone croon which is very reminiscent of The Damned's Dave Vanian.
Although there is nothing obscure or pretentious about their music, that certainly doesn't mean its sugar coated as front man Neil Popkin's lyrics pretty much never venture beyond a feeling of regret, longing and heartache. I don't find it happenstance that the EP starts with the track "Mind Is Ugly" where with a sense of helpless desperation He sings, "everything's my fault, everything at all, tonight I'm giving up, tonight I'm losing control". Given the song title and those lyrics, it's easy to see the mood that is easily captured and thrust upon the listener throughout this disc. There's a brutal honesty and personal transparency that I really admire in the songwriting as each song is just seething with urgency as it wears its heart on its sleeve and perfectly compliments the massive unrelenting sound that the band so deftly pulls off.
In essence, War Tapes are pure post-punk bombast with a knack for incredibly catchy melodies, dissonant guitar assaults drenched in reverb and a front man who can sing his despairing tales with a reckless sense of nihilism even when he's at his most vulnerable. I have no doubt that if this EP was on the racks of every major record store there's no doubt that it would fly off the shelves and end up in the pocket of anyone who's ever felt jaded, dejected or heartbroken. Basically, never has being depressed felt this good!
http://www.mediafire.com/?tyyrbzwgytmThe Loyal starts off with 14 seconds of "Woland's First". It's only a quick moment but leeways into The Loyal gently. Still, the mood kicks off like a slingshot. From here on, Tiger Lou is changing along with the album, existing in the album and breathing like the album. There is no escaping. The Loyal is its own being. Rasmus Kellerman is the man pulling the strings and pumping the heart. Almost all the album instrumentation was recorded by his lonesome with Peter Katis (Interpol, Denali, The National) lending his production. The payoff is stunning.
http://www.mediafire.com/?znedymwlimnNo hot-linking images or albums. You can re-host images at http://imageshack.us.
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Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
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Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
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* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
http://www.mediaf!re.com/?tlezxiyjzql
http://www.mediafire.com/?mjdcn5zhujdThe Toronto project of one Michael O'Connell known as Culture Reject is very new to me. It won't take long before this wonderful project becomes well known in the college music market. Michael likes to play a myriad of instruments, all in the warmth of his bedroom, to the point it feels like this tower of lush sound is going to collapse. Culture Reject just feels like the perfect name for this album as well. The music contained would never be accepted by the masses even though it is very accessible.
The musicianship cannot be denied either. I love the Latin flavored "Overflow", which has a huge Andrew Bird feel to it. Some of the times Michael likes to sing in a haunting falsetto like on "Oh Remain". Download "Inside The Cinema" over there on the side bar and check out the push "single" from the album. It sounds a little like Isaac Brock in Modest Mouse.
Apparently Culture Reject impresses in a live setting as well, able to pull all the loops, samples and instruments together in person.
http://www.mediafire.com/?4dzawlj2x5xMr. Hudson & the Library accomplish at least two great things on their debut record, A Tale of Two Cities. First, since there's no lack of musicians to chronicle life in England (taking in everyone from Arctic Monkeys to Robbie Williams), a newcomer can't timidly knock at the door, but instead, has to thrust it open and stride right through. Hudson himself is as wry and witty as the best, dispensing excellent cutting lyrics that only occasionally admit to some affection ("You'll never be a cover girl, just facing facts, your face isn't right, but I'll never want another girl"). He wrenches a pair of vocal standards into the 21st century, turning "On the Street Where You Live" on its head ("And oh! What a nauseous feeling") and wryly updating "Everything Happens to Me" ("I've emailed and I've phoned, sent a text message or two/ You told me to piss off, for that respect is due"). Secondly, they understand that musical economy can pay unexpected rewards. Imagine Jarvis Cocker and Pulp subsisting musically on as little as possible: a few bass-drum hits and electronic snares, swinging (and surprisingly bruising) basslines only on the choruses, skeletal piano or keyboards that force listeners to play connect-the-dots. This method not only gives additional focus to melodies or musical ideas, but changes the perspective when a production suddenly flowers (as on "Ask the DJ"). Hudson has a surprising past as a grime beat-maker, and it's this quality in action that makes Mr. Hudson & the Library so interesting; the songwriting material may not be worthy of Steven Morrissey or Paul Weller just yet, but the production is note-perfect. For those who can't decide between the Streets' Mike Skinner and the Divine Comedy's Neil Hannon, Hudson has the answer: "I'd like to think there'll come a day when drum machines and troubadours smile, when grime MC's give away their MPC's."
http://www.mediafire.com/?j3cntzimtdtThough it looks somewhat better on paper than it sounds as a completed album, 13 & God is a compelling experiment of indie collaboration. Like so many projects of its nature, this self-titled album began with tapes and discs traded in the mail between artists. Eventually the two parties, Germany's glitchy electronic rockers the Notwist and U.S. left-field hip-hoppers Themselves, assembled together in Germany to recorded the finishing touches that would glue the fragments and puzzle pieces together. The finished piece is a decidedly dark and murky musical excursion into a realm of percolating electronics, moody jazz elements, bizarre raps, ethereal acoustic guitars, and sad pianos. As would be expected, some tracks sound untouched by one-half of the collaborators. "Men of Station" comes across like a Neon Golden B-side, and it's difficult to understand what Themselves could have added, because it contains every earmark of the Notwist but nothing more. Likewise, "Ghostwork" feels like a typical offering from Doseone and crew, with perhaps just a scattering of xylophone and a skittering sampler contributed by the Acher brothers. Thus, it's likely that fans of either band might appreciate only half of the album, as the artists' musical oeuvres are so different. But while some of the album feels like a compilation of the two bands, truly collaborative songs where creative input seems evenly spread, such as "Perfect Speed," present something fresh and innovative. Indeed, there are moments such as "Tin Strong" and "Walk" that come across as so musically alien in outright genre-splicing that a listener would be hard-pressed to describe just what musical style is being heard. Is it quirky underground rap, ambient electronica, moody industrial dirge, or John Cage-style experimentation? It is likely that fans of the Notwist's traditional melodies might find many of these ten songs a difficult listen, and it's equally likely that anyone enamored with Themselves might not appreciate some of the album's wistful vocals and dreamy keyboards. While there's a sense that both artists went a bit too heavy on dark atmosphere, given that both usually inject more whimsy into their creations, 13 & God is still a consistently intriguing, frequently beautiful experiment that offers ample rewards with each new listen.
http://www.mediafire.com/?02honzttw5gWhat's great about this record too is it's energy. Just opener 'Faultlines' is enough to get you excited about this band and record with it's jaw-droppingly fast yet tight, tom-heavy drumming pattern, distained guitar chords, and simply likeable lyrics 'As a child/I was awkward/grow-ing up' with a wonderfully charming vocal delivery from Andrew. The rest of the record may not be as fast paced, or as immediate, but the wonderful examples of subtly written melody and songwriting on such songs as 'Koribuki' or the aggressive 'Ahab' are truly something else.
Plus, there's the stunning use of instruments, which are technical, but not overwhelming, and show every member (essential really, for a three-piece) performing at their best. The guitars, although no way near as technical as say, Maps and Atlases, give enough variation to really flicker through a range of sounds appropriate to each song, with some wonderful arpeggios dropped in as well as lines which slide beautifully up and down the next; truly inspired writing, particularly featured on Instrumental closer 'Coelacanth'.
This is by no means perfect, and there are times where you feel AVAST! could do with a touch more variation, but for a debut record this is very impressive. It's teaming with energy and emotion but manages to withhold itself from going too over the top. Personally, I can't wait to see what this band does next, but for now, make sure you pick up this fantastic record.
http://www.mediaf!re.com/?ojztdqzizhzPitchfork Review:When Carl Jung carved his symbols of mankind onto the face of his beloved cubic lawn jockey, among the archetypes of the collective unconscious present was surely the open hand. Part invitation and part warning, very few pictorial representations-- with the exception of the smile or frown-- are so readily recognized as the forward stare of the uncurled hand. With one glance at the album cover of The Sunburned Hand of the Man's latest release, Headdress, it's apparent that the spirit of the deceased Swiss psychiatrist is alive and well in this musical collective hailing from the darkest recesses of Massachusetts.
The knit hand encircled by a background of stars embodies both the welcome and caution inherent in the music that is in turn violently cruel and unconformably beautiful. The fact that it's a patchwork appendage, obviously tailor-made with minor imperfections magnified, displays the collective approach that more than likely went into the creation of the musical product itself. One imagines a procession line of long-haired bohemians printing and then hand-gluing album covers, inserting fresh-pressed vinyl into protective sleeves made from recycled rolling papers, then boxing and shipping the fresh goods away from the confines of an abandoned barn surrounded by three feet of mostly white snow.
It's from this natural and mystical bond that the music emanates effortlessly. The opening track "Shitless" presents all of the musical motifs at the band's command upfront for aural inspection. A funky bassline and a smattering of odd percussion act as the soil and ground from which the guitars grow forth, as a recorder eventually pushes forward against a barrage of wails and grunts, more animal than human. "Sense of the Senseless" develops from this with a steady hypnotic drone cut intermittently by bird-chirps and struck bells. A polyphonic chant arises-- a modern Dies Irae-- as a whistle signals a tempo change that finds solace solely in the errant harmony of frantic shouting. The song ends with a lamenting cry to "learn from experience," before fading far too quickly into the harmonica-driven track "The Illness".
With any luck, the band will heed their own plea, as the album's only true criticism can be that, at times, it sounds more like a collection of inspired moments that are cut far too short than a fully developed composition, more than likely a consequence of its finite medium. Brief windows of ingenuity such as the echo and din of the title track or the droning ebb and flow of "A Second Guess" would find more time to breathe, develop, and recapitulate given the format of a double album. As is, though, songs such as "Yes, Your Highness" don't have time to pick up the momentum of such Varèse-pleasing ideas as the use of sirens and strong complex rhythms incorporated into regular song structure.
This is not to say that the entire album feels abruptly halted or rushed, as "The Underground Press" proves contrary. Easily the most developed piece, if not the best, this is the swaying back and forth number on the album that allows the girl wearing the kitten ears at the live show to feel that she's comfortable enough with the crowd and herself to take off her shirt. Stravinsky himself would be proud of this unadulterated use of rhythm and beat, augmented by loud hypnotic chords pulsing from a variety of instruments, ultimately falling prey to the screams and whoops that herald its necessary finale.
Acting as a subtle trend in the album, the sense of prevalent necessity from song to song further merits one of the superior critiques that can be lauded upon a work of art, the discrimination of timelessness. This is not to say that the album could have been released at any given time with similar acclaim-- though it undoubtedly could have-- it's only a comment upon how the music flows so readily with complete and utter disdain for trend and fashion that it feels simultaneously primitive and advanced, while retaining every bit of its musical relevance. In the end, the music leaves one with a sense of somber contentment and satisfaction as mysterious in origin as the warmth received from the open-hand greeting of a stranger.
Simon Bookish - Everything/Everything
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A shambling wreck of an album, Big Star's Third/Sister Lovers ranks among the most harrowing experiences in pop music; impassioned, erratic, and stark, it's the slow, sinking sound of a band falling apart. Recorded with their label, Stax, poised on the verge of bankruptcy, the album finds Alex Chilton at the end of his rope, sabotaging his own music long before it can ever reach the wrecking crew of poor distribution, indifferent marketing, and disinterested pop radio; his songs are haphazardly brilliant, a head-on collision between inspiration and frustration. The album is a kind of self-fulfilling prophecy, each song smacking of utter defeat and desperation; the result is either one of the most vividly emotional experiences in pop music or a completely wasted opportunity, and while the truth probably lies somewhere in between, there's no denying Third's magnetic pull -- it's like an undertow. Although previously issued on a variety of different labels, Rykodisc's 1992 release is the initially definitive edition of this unfinished masterpiece, its 19 tracks most closely approximating the original planned running order while restoring the music's intended impact; in addition to unearthing a blistering cover of the Kinks' "At the End of the Day" and a haunting rendition of Nat King Cole's "Nature Boy," it also appends the disturbing "Dream Lover," which distills the album's messiest themes into less than four minutes of psychic torment.
http://www.mediaf!re.com/?lzdym4mmetm“If Freddie Mercury sang for Death From Above 1979, these guys would open the show!”
The Gay Blades are a two piece from somewhere in or near New York City and play an acerbic brand of Trash Pop. What is Trash Pop, you ask? Trash Pop is what happens when two keenly observant wanna be hipsters write songs the same pair couldn’t possibly pull off live, and make up for their missing bass player with consistent TNT like performances and a heaping spoonful of swagger. The Gay Blades invented it. Trust me.
http://www.mediafire.com/?xzommym7hjxhttp://www.mediafire.com/?mozmmmmzwjyIt’s a rare thing in Liverpool to see a band who out of the blue will simultaneously take your breath away and give you a new hope in music. That’s what happened to DiS when they first saw The Alterkicks play in various bedrooms across the city. Before we had time to say ‘new favourite band’ they’d been snapped up by the über respectable Fierce Panda and were wooing crowds of three thousand people on tour with Thirteen Senses. What is it though that makes the Alterkicks so intriguing? It’s not that they’re attempting anything revolutionary. Yes, these are stupidly catchy pop songs, but it’s the hauntingly intricate guitar melodies of ‘Do Everything I Taught You’ that suggest there’s something darker lying underneath. You can’t work out what it is, so you listen again. And again. It’s addictive.
The unassuming half-sung, half-whimpered vocals of ‘The Cannibal Hiking Disaster’ make more of an impact than the song’s grisly subject matter (accidentally eating your mate’s leg while stuck up a mountain). If the Coral’s game is Magic & Medicine then The Alterkicks are weaving a cunning spell that ensnares you without you even noticing. All the best music is full of contradictions, and this is delicate and subtle songsmithery that hits you like an oncoming train.
Go. Buy. Now.
http://www.mediafire.com/?iumn2wjlxuzGotta be honest here; I wasn’t entirely sure about Swanton Bombs when they first dropped onto the ol’ doormat. It sounded a bit under produced, a bit weak, a bit (first album) Mystery Jets’y
Imagine my absolute surprise then when, a couple more ‘oh I might as well’ listens later this four track E.P not only grew on me, it also became my favourite thing I’ve heard this year, linking together the spikier moments of Bloc Party , (second album) Mystery Jets, The Cribs and Billy Bragg.
Each song follows a different path, but one element links all; goddam catchy melodies and lyrics. I listened to ‘Moth and Moon Song’ before work one day and proceeded to spend the next 9 hours walking around with this sweet little ballad's chorus of I’m dependant on you/ like a moth with the moon/ forgive me if this comparison is weak going round my head 5 times a minute. AND I still liked it. The same thing happened with the riff from ‘Turnstile’ earlier today. These are songs designed to lodge themselves in your very being.
http://www.mediafire.com/?nmnfy5hjc1nPaper Rival’s winning debut arrives a full three years after the band formed—a mundane factoid that actually seems quite remarkable in the hyperspeed, doomsday-clock-eyeing maelstrom that is the music industry these days. The polished Dialog demonstrates the palpable benefits of what used to be called “development”—fully formed, mature rock songs with the confidence and chops to detour into lovely little digressions: the swirling crescendo of guitars on “Keep Us In,” the soaring falsetto harmonies on the chorus of opener, “Are We Brothers?” On the best songs, singer Jake Rolleston shifts comfortably between tasteful emo (moany standout “The Family Ghost”) and tasteful Zach Braff–isms (Shins-y single “Cassandra”). All that practice didn’t make perfect, but it does make for a welcome surprise.
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http://www.mediafire.com/?zmvzvmnzzjhhttp://www.mediafire.com/?mfz2mukmywoConstantly refreshing... if only they'd hog the limelight a little more, cult collosaldom would be assured.
http://www.mediafire.com/?dzdzjuiymttWhereas I found They, The Undeserving a bit high on the musical difficulty scale, Old Stories revels in its inherent accessibility. Song lengths, in true Giants fashion, never become too tedious and, with the exception of “Fisherman’s Prayer,” we are never forced to sit and wait for a nonexistent resolve. “Vessels” wastes no time elevating itself with melodious guitar plucking and a cymbal/tom assault. So as not to blow their load too soon, the band rests with reverberating guitars until the (almost) cliché entrance of ghastly, ringing guitars bring us back into the commotion. “O’ Tide” is characterized by lightly accentuated snare taps until the whole song explodes into a driving mess of guitar notes 10-stories high. This slow moving track will creep across your mind. Giants never rush their art past the listener, and these near-repetitions only aide our reception of the overwhelmingly complex arrangements.
“Sleeping False Idol” lays on a grungy outer layer to begin, which is then morphed into technical guitars and a head-bobbing drumbeat. The climax seems imminent throughout, and it is in these songs that we expect the most. I’ll let you decide if Giants succeed. (What?? Tell me what I like!!) “At Last, Ashore,” as I mentioned previously, has a decidedly EITS vibe, which makes it quite an exceptional closing track. If all the other songs are pre-teens, this song is their cool older brother wearing horn-rimmed glasses and a backpack full of Chaucer. He’ll shut you up with his brilliance and buy you an ice cold Pabst afterwards. The song may lack a mind-numbing climax, but that’s ok. It’s a road less traveled, if you will. Which I guess is a good (sorta ironic) way to end this since I’ve spent the whole review comparing and critiquing this record solely based on other records. Old Stories could have been created by sticking to the tried and true formula of records past, but this isn’t a complete rehash. Giants are comfortable in a skin all their own.
http://www.mediafire.com/?mmmnizy0zqmSee You In Another City, the latest release from Birmingham’s Blakfish, almost blasts you there in the second you press play – first song Preparing For Guests is prefaced with a throat slicing, vocal chord cutting, bloodcurdling scream, before the rest of the song kicks in.
It’s the first of five hard emotional punches that knock your heart and brain about with their deadly delivery.
Blending strains of post-hardcore with full-throttle rock and an underlying indie mentality, Blakfish offer up a delicious dish of brutal confessionalism that twists and turns with each intricate guitar note, guttural songs such as the brilliantly titiled ‘Jeremy Kyle Is A Marked Man’ and ‘My Stomach Feels Like My Throat’s Been Cut’, which reach deep down and eviscerate you as you listen, slicing through your guts to reveal your innermost self and leaving it strewn all over the ground.
http://www.mediaf!re.com/?s0x05lmtmymhttp://www.mediaf!re.com/?bdw4cz3ed5aMoving Mountains - Pneuma
Post-Rock stuff very similar to Appleseed Cast. This is their first album, they just released an EP called Foreword that is very good as well if anyone wants it.
http://www.mediaf!re.com/download.php?mzngkcjimygi've been digging the gay blades a lot lately if only for the fact that it's pretty electronic-y, yet still pretty indie rockish. it let's me shake it while i make it (i.e.- your latte) and everyone that seems to come in the shop seems to like it too. i saw these guys about a year ago and it was a pretty rad show. if you get the chance to see them, do it. in the mean time check them out.second up is...Mirah!
http://www.mediaf!re.com/download.php?myiktmzjmztthe first time i fell in love with mirah was when i saw her at the magic stick in detroit while she was on tour for c'mon miracle. i was sold from there. so i was super stoked when i found out about this year's upcoming release of (a)spera. it's pretty much like classic mirah, there are a few more horns and symphonic parts on this one. in my opinion it's really mellow (like night time at my coffee shop). so check it out and love it. and buy it when it comes out in march because...i will be.
http://www.mediaf!re.com/download.php?zyc3yfizalyi got this from a friend of mine and it came with a ton of praises...at first i was like "ehhh" but then i was like "ahhh yes." again, it's very typical girl with a guitar but not in an overhyped (cough cough kate nash) sort of way. to me emmy the great is more like gregory and the hawk, has gregory and the hawk been from hong kong but raised in london (because that's the life story of emmy the great). needless to say, it's worth the listen.
http://www.mediafire.com/?30mmdymzkmyhttp://www.mediafire.com/?ynwo4zm5aqmCity Breathing's filmic rock, all astral guitars, swirling synths and nifty sampling, is deeper than a zen monk and perfect for washing away the stresses and strains of an increasingly fractious world.
http://www.mediafire.com/?0mtztgg4zwwSometimes an album just comes along and flat out knocks you on your ass! This Is My Ship is one of those albums. Dartz! combine so many awesome elements it is hard to even put a finger on what makes them so special. First, and foremost the band writes great songs that are truly infectious. I am hesitant to say the songs are dancey cause that would seem to sell them short. Whatever it is, this band will make your body move. Second, the band can flat out play. This band could go up against the best math rock bands and put them to shame. However, the band never bores with their instrumental prowess or lets it overtake the songs themselves. Third, is quite simple. This band and This Is My Ship are fun as hell.
http://www.mediafire.com/?gmmynmgmeywthe Late Cord may be one of the most quintessentially 4AD-sounding new artists that the label has signed in the 2000s...As melancholy as Lights from the Wheelhouse can be, it's also oddly inviting.
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i'm a total douschebag and didn't realize that someone had already posted the gay blades.
on a side note, check out a million brazilians. they're a lot like the gay blades. they're new ep comes out in like 2 weeks. it's my friend nick's band. i'll be posting the ep when i get it! :)
again. srry.
I hope this isn't too mainstream:
Justice - A Cross The Universe
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http://www.mediafire.com/?wnmxzzman0cSo, new Swan Lake.
Enemy Mine
(http://www.pitchforkmedia.com/sites/default/files/swanlakecover_1.jpg)
For lack of a better word, this album is more cohesive and less a mash-up of three different styles than 2006's Beast Moans. What we, have here is instead a band with three lyricists and vocalists working together on the same thing interweaving, rather than throwing against a wall, their vocals and musical styles so we get Krug's dissonant pop with Mercer's wild despair and Bejar's warbling nonsense. On the track's opener, Mercer takes the lead and delivers what could be a straight up Frog Eyes track but without his wife's chaotic drumming. "Paper Lace" gets both Bejar's nonsense through Jackie's return and shines through the lyrics, I think, while Mercer handles the vocal duties only for Bejar to come back with a slow not-quite piano ballad that's almost entirely a Destroyer track stylistically. Arrgh, without linear notes, it's hard to know who's responsible for what and when but regardless the trio leave you with a record that is distinctly all of them individual and possessing a rawness that has been sorely lacking in some of their other projects.Code: [Select]http://www.mediaf!re.com/?sharekey=592f8beb33436e57d2db6fb9a8902bda
The lonely Island <snip>
New link on the original post.The lonely Island <snip>
Thanks for this! Except, could you re-up it? mediaf!re tells me it's down already.
http://www.mediafire.com/?mkmy24mhzjwNew link on the original post.The lonely Island <snip>
Thanks for this! Except, could you re-up it? mediaf!re tells me it's down already.
The Late Cord - Lights From The Wheelhouse(2006)
Some really beautiful experimental/ambient music from Austin. Short 5 song mini album but a great first effort.
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http://www.mediaf!re.com/?mmyrwjmwzwoWith Hope Sandoval and former Mazzy Star collaborator David Roback presumably no longer speaking (interviewers who have dealt with either of the monosyllabic duo would ask, "How could you tell?"), the Nico of the modern age has hooked up with former My Bloody Valentine member Colm O'Ciosoig to effectively carry on where her old band left off.The two great transatlantic strands of narcoleptic pop having been dramatically united, 'Bavarian Fruit Bread' represents a towering piece of morphine-induced self-indulgence. Making no pretence at being contemporary, Sandoval has kept an uncharacteristic vice-like grip on the sleepy sound that earned her and O'Ciosoig their musical spurs. If almost every song here bears a dramatic resemblance to My Bloody Valentine's 'To Here Knows When', then it's clearly neither a surprise nor a particularly bad thing. They chug along in their happy little rut with customary accidental panache. 'Butterfly Mornings' benefits immensely from the presence of folk hero Bert Jansch, but the enigmatic 'Around My Smile', with its slightly incongruous "I've got it goin' on" refrain, might just have the edge. It's sexless beauty in excelsis, all told. The Corrs for hipsters, maybe, but sleepwalking your way through life rarely sounded a more viable option.
http://www.mediaf!re.com/download.php?xm0lg1zxmkdDark Was The Night will be released on February 17th, 2009. It’s comprised of 31 exclusive tracks and it will be available as a double cd/triple vinyl/download and will benefit the Red Hot Organization – an international charity dedicated to raising money and awareness for HIV and AIDS through popular culture. They are the people responsible for albums including No Alternative, Red Hot and Blue and many more, and this is their 20th year, and this is the 20th release!
DARK WAS THE NIGHT
THIS DISC
1 Knotty Pine – Dirty Projectors + David Byrne
2 Cello Song (Nick Drake) – The Books featuring Jose Gonzalez
3 Train Song (Vashti Bunyan recorded, written by Alasdair Clayre) – Feist + Ben Gibbard
4 Brackett, WI – Bon Iver
5 Deep Blue Sea – Grizzly Bear
6 So Far Around the Bend – The National (arrangement by Nico Muhly)
7 Tightrope – Yeasayer
8 Feeling Good (popularized by Nina Simone) – My Brightest Diamond
9 Dark Was the Night (Blind Willie Johnson) – Kronos Quartet
10 I Was Young When I Left Home (Bob Dylan) – Antony + Bryce Dessner
11 Big Red Machine – Justin Vernon + Aaron Dessner
12 Sleepless – The Decemberists
13 Stolen Houses (Die) – Iron and Wine
14 Service Bell – Grizzly Bear + Feist
15 You Are The Blood – Sufjan Stevens
THAT DISC
1 Well-Alright – Spoon
2 Lenin – Arcade Fire
3 Mimizan – Beirut
4 El Caporal – My Morning Jacket
5 Inspiration Information (Shuggie Otis) – Sharon Jones & The Dap-Kings
6 With A Girl Like You (The Troggs) – Dave Sitek
7 Blood Pt 2 (based on original song “You are the Blood” by the Castanets) – Buck 65 Remix (featuring Sufjan Stevens and Serengeti)
8 Hey, Snow White (Destroyer) – The New Pornographers
9 Gentle Hour (Snapper) – Yo La Tengo
10 Another Saturday (traditional song) – Stuart Murdoch
11 Happiness – Riceboy Sleeps
12 Amazing Grace (traditional song) – Cat Power and Dirty Delta Blues
13 The Giant Of Illinois (Handsome Family) – Andrew Bird
14 Lua – Conor Oberst + Gillian Welch
15 When the Road Runs Out – Blonde Redhead + Devastations
16 Love vs. Porn – Kevin Drew
http://www.mediafire.com/?dgjce5muoyaDisc 2:http://www.mediafire.com/?1tw5oj2gti2http://www.mediafire.com/?yjtkj1yjncdSomewhere, spinning away in an alternate universe, Jonquil play the soundtrack to every movie ever made. ‘Lions’, the Oxford band’s second long-player, isn’t on a grand scale or particularly cinematic in scope but piles on emotion, inspiration and invention for every second that it plays.
‘Lily’ is the perfect introduction, starting as a gently sighing background, perhaps for images of some beautiful foreign landscape, before flourishing into a wonderful burst of noise, ‘Babe…’ comes with all the noise and climax of the next Hollywood blockbuster, the ghostly whisper of ‘I Don't Need Advice’ makes for an acutely affecting twist ending and the title track is a poetic group chorus that’s so good you want it to go on and on, roaring into the end credits forever.
There are plenty of other wonderful snippets worth catching. The twinkling beauty of ‘-’, the way ‘Sudden Sun’ turns from misty darkness to blue-sky harmonies and the folksy wonder of ‘Keep It In Keeping’. And, while many of them may not go on to form full songs, there are ideas constantly escaping into the air here.
It all adds up to a wonderful record, a full-involving experience and the sort of bedroom recording that some dismiss as a quaint, lo-fi endeavour while others wholeheartedly embrace. No prizes for guessing which camp New-Noise are pitching up in.
http://www.mediafire.com/?mi0uwmyzw1mOn their second album 'Pappelallee' Berlin duo Naomi (Bernd Lechler & Nico Tobias) deliver 11 personal & charming songs situated somewhere between pop & sophisticated electronic music. The warm & touching sound nests pleasantly in auditory canals making the album feel familiar even at first listening. When diving deeper into Naomi's universe you soon discover a great variety of influences & contrasting elements. The songs are intense, the arrangement is compact & the sound distinctive. 'Pappelallee' is sometimes bizarre but always catchy, profound but highly accessible, melancholic but consoling. Plus, the moving electro-pop jewel 'King Kong Is Not Dead' comes as an extra feel good song.
http://www.mediafire.com/?0uwjbnmyfo1Meet Me in St. Louis are the latest addition to the growing and highly dominant U.K. post-hardcore scene. Million Dead, The Murder of Rosa Luxemburg, and bands like them have been creating a lot of attention with their fast paced seemingly random blend of pop-punk, hardcore and math rock. Meet Me in St. Louis is the most successful band to attempt this sound so far in terms of sheer originality. Combining Million Dead’s pop sensibility with The Murder of Rosa Luxemburg’s technical backing, Meet Me in St. Louis’ sound is basically pop songs broken down into ten second burst of energy that are strung together into three minute explosions. Where the band merely flirted with their music’s pop backing on their debut EP, “Variations on Swing” their latest releases sees them branching out into realms of electronica and more concise post-hardcore to create a much more rewarding, eclectic and dynamic sound.
Vocalist Toby is an anomaly. While he certainly does not favor the niche carved out for terrible vocalists by the Kinsellas, he also isn’t attempting anything pristine like Jake Snider of Minus the Bear. Instead, Toby sort of evokes Gastby’s American Dream’s Nic Newsham. His voice is strong but during many moments of the album particularly the ones that are extremely varying in the instrumental portions make it clear that he is either straining or falling into the nasally realm that pop-punk is known for. Of course, while there is nothing wrong with that, some fans that might appreciate the records technical expertise will be very unforgiving towards the vocalist’s performance.
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second up is...Mirah!Code: [Select]http://www.mediaf!re.com/download.php?myiktmzjmztQuotethe first time i fell in love with mirah was when i saw her at the magic stick in detroit while she was on tour for c'mon miracle. i was sold from there. so i was super stoked when i found out about this year's upcoming release of (a)spera. it's pretty much like classic mirah, there are a few more horns and symphonic parts on this one. in my opinion it's really mellow (like night time at my coffee shop). so check it out and love it. and buy it when it comes out in march because...i will be.
lastly is...Emmy the Great!Code: [Select]http://www.mediaf!re.com/download.php?zyc3yfizalyQuotei got this from a friend of mine and it came with a ton of praises...at first i was like "ehhh" but then i was like "ahhh yes." again, it's very typical girl with a guitar but not in an overhyped (cough cough kate nash) sort of way. to me emmy the great is more like gregory and the hawk, has gregory and the hawk been from hong kong but raised in london (because that's the life story of emmy the great). needless to say, it's worth the listen.
hopefully i did this all right and didn't fail miserably like an ahole... but yeah whatevah. check it :)
A couple of good debut albums that slipped through the cracks last year...
The Grand Archives - The Grand Archives (2008)
So i know i saw it somewhere on here, though i don't remember the page, and it could honestly be one any page on here, but the album is "Graffiti the World" by Rehab...does anyone know on what page it is on, or could you re-up it. i know i saw it, but didn't register it in my mind at the time.
thank you in advance!
http://www.mediaf!re.com/?ogv5jmjfan[/quote]Lee Jones has recorded, produced, and remixed before, as a solo artist under the name Hefner as well as in a variety of collaborations (MyMy, Daniel Dreier). His full-length debut under his own name is a sweetly fascinating exploration of house, electro, downtempo, and glitch elements that is deeply informed by his adopted hometown of Berlin without giving in entirely to the darker and weirder tendencies of that city's underground electronica scene. A subtle but undeniable generosity of spirit underlies tracks like the nicely bubbling "Theme for Frank" and "Every Click Matters," while "It Is, Isn't It" explores a cool, dark, and exotic ambience, and "The Secret" manages to swing nicely while sounding mysterious at the same time. There are elements of soul in the vocal sample on "Soon," and a glitchy minimalism informs the chugging "Fun Runner"." Things bog down just a bit towards the middle of the program with a trio of less uninteresting, run-of-the-mill house tracks, but most of this program is gently surprising, texturally varied, and melodically delightful.
Grizzly Bear exhibit here a tendency that recurs throughout the record, of showing the seams in their songwriting and dividing the songs into mini-suites through jarring moments that signal a shift in emphasis. A discordant guitar tears "Lullabye" in half, separating the tuneful opening, which sounds like a lost Disney tune written to send a rosy-cheeked imp off to sleep, from the dark tower that looms behind. The second half's swirling harmonies and crashing drums evoke a Bob Ezrin-sized edifice that would leave a four-track recorder in a dozen pieces before the first brick was laid. Such attention to detail and the larger well of resources improves Grizzly Bear at both ends of their range. The quieter songs sound better laced with effects and with the guitar and voice ringing true, and the climaxes carry greater weight. Another example of the latter is "Plans", which begins with a modest shuffle, picks up a chorus of whistling dwarves and some horns on loan from Tom Waits, and finally piles on some go-go nightclub percussion and laptop dissonance as it begins to buckle under its own weight. The imagination of its arrangement is impressive, as is the perfect 30-degree slope upward to its peak.
http://www.mediaf!re.com/download.php?2yjy4gtztyghttp://www.mediaf!re.com/?gzjmtmzwzj2http://www.mediafire.com/?udnwzoyi2mhhttp://www.mediafire.com/?ixykzwwnnz4http://www.mediafire.com/?ulk2jhf1jznhttp://www.mediafire.com/?o1iyonkqym0http://www.mediafire.com/?wjnykluijmtRap & roll exploded five years ago, long enough to spawn a second generation, mongrelized by even more influences and hence more sophisticated. Beck, Bobby Sichran and G. Love and Special Sauce have already staked out this territory, but Soul Coughing – with reference points like the O'Jays' "For the Love of Money," William Burroughs records, Benny Goodman's "Sing, Sing, Sing," 1991's landmark Unplugged rap show, Big Audio Dynamite and Lou Reed's "Walk on the Wild Side" – take it to another level.
Ruby Vroom, the band's brilliant debut, draws on hip-hop, spoken word, dance hall, Manhattan's avant-garde scene, Ken Nordine and straight jazz without specifically being any one of them or even a hyphenated combination. Soul Coughing aren't merely eclectic – lots of bands are that – instead, they've synthesized it all into a compelling and profoundly original sound.
http://www.mediafire.com/?dcz4mw2nknrWhat could be a better cred-building exercise for a young indie-folk songwriter than to cover the works of Willie Nelson? Yet Matthew Houck, aka Phosphorescent, isn't interested merely in demonstrating the depths of his scholarship and reverence for the forerunners of his craft with his all-covers tribute to the Red Headed Stranger, To Willie. He wants, as Hot Chip might put it, to half nelson full nelson Willie Nelson, to wrestle intimately with the man's songs and what they're capable of communicating. In doing so, Houck proves himself an adept interpreter of Willie's piercing Christian grace, while indirectly revealing by the limitations of his scope-- the true remarkable human breadth of Nelson's artistry. PitchforkPretty good album. And showing some dignified restraint, Houck doesn't include "On the Road Again."
I've been following this thread for awhile and this is my first post. Enjoy!
Artist: Blaze Foley Album: Live at the Austin Outhouse
If you've ever pondered the identity of Lucinda Williams' "Drunken Angel," wondered who made even Townes Van Zandt feel blue, or what songwriter Merle Haggard would turn to in a moment of spiritual crisis, the answer is simple: Blaze Foley - all of the above.
Foley, a disparate voice even in the iconoclastic circles of Austin, wasn't much known outside of the handful of artists who remember him in their songs and deeds. But before his murder in 1989 at 39, Foley was embraced in Austin for a heart as large as his frame, a soul as deep as his voice and for a self-fulfilling poverty that led him to be remembered as much for his duct-taped shoes as his songs. It's no surprise that Foley died in another losing battle: gunned down while trying to protect an elderly friend's government pension checks.
Thanks to Lost Arts Records' release,"Live at the Austin Outhouse," the world can now hear the gift of this songwriter's soul. The first published recordings of Blaze Foley, taped just four weeks before his death, it captures the simplicity and honestyand of Foley's artistry. From the achingly simple "If I Could Fly" (which Haggard performed for Tammy Wynette's memorial service), to the haunting loneliness of "Picture Cards Can't Picture You," the 12 cuts on this CD capture the forsaken beauty of Foley's music - warts and all - as Foley would only want it. Performed with a "borrowed guitar" and recorded before an audience so sparse one can hear every aside, here's thanking Lost Art Records for finally allowing that audience to swell.Code: [Select]http://www.mediaf!re.com/download.php?0ynnjnw2o2zCode: [Select]http://www.mediaf!re.com/download.php?kmntnwutobj
Sidenote: Is it a good idea to have a thread showing new posters how to do this? Many first time posters seem to come here for the music forum [i was one of them] and are unsure how to post properly [again me], maybe it would help?
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
Maybe, but from what I can tell pretty much everything a first-time poster needs to know is in the rules at the top of each page, right?
http://www.mediaf!re.com/?nmgjxyzzlvbhttp://www.mediafire.com/?wuezymvzy4m
http://www.mediafire.com/?mnnntnyuczyhttp://www.mediafire.com/?ziymhzjwrwkThe Bright Light Social Hour is defiant. As many in contemporary music seek to continually deconstruct and subvert what it is to be a rock band in the 21st century, the Bright Light Social Hour openly resists going "gentle into that good night." Unapologetic for its titanic sound, the Bright Light Social Hour constructs majestic works of new rock music that proudly assert the endless possibilities of honest electric guitars, acoustic drums, and dynamic songwriting.
http://www.mediafire.com/?5mwlymzntwyAs evidenced by the popular split LP put out by the people's champions of French emo, Daitro and Sed Non Satiata, earlier this year, the European emo sound is both at an all-time high and an all-time low. These bands are crafting amazing songs with a distinctive style, but are doing very little to branch out past their sweet spot of groove-focused, post-rock inspired hardcore. European emo, and in particular, French emo, has gotten to the point of being too much of a good thing. Enter Aussitot Mort, a French emo band from Caen, who's more diverse style makes them a perfect stepping stone for expanding the niche sound of the region. They flew under the radar with their 2007 debut release with Level Plane, 6 Songs, but are poised to make a splash at the end of 2008 with their impressive second album Montuenga, which takes everything that characterizes the French emo sound and extends its horizons to include a wide range of genres and songwriting tactics.
To not hear French emo in Aussitot Mort's dense style is impossible. The heavier than thou opening of the album with the song "Mort Mort Mort" recalls the immediate introduction to Daitro's landmark album, Laisser Vivre Les Squelletes, which also begins on power chords and thudding drums. However, with all that's familiar, Aussitot Mort avoids contrasts from the sweet post-hardcore guitar melodies that one may expect, and continues crushing away with an introductory first minute that is essentially stoner metal with shades of post-metal. From there, the song launches into moments of interweaving guitar that rely heavily on delay effects, midtempo interludes that employ violin countermelodies, and even straight up metal riffing. In just their first 3 minutes, Aussitot Mort have crafted a song that both embraces and defies the genre's established paradigms in an accessible and exciting way.
The rest of the album fulfills the initial promise of Montuenga in a variety of ways. Beyond appending different genres and sounds to French emo's predictable core, Aussitot Mort are still in the business of writing emotionally riveting hardcore. A song like "Une Heure Plus Tard" abandons delicate guitar-work to end on a heavy and crushing climax. "Le Kid de la Plage" builds from quiet to loud, ending on an equally cathartic crescendo that fades out into static and noise by the end of the track. It sounds as if Aussitot Mort have retained just enough of emo's concern with emotional payoffs to keep that vestigial aesthetic in tact for the sake of making the tracks immediate and memorable, while leaving enough room to experiment.
http://www.mediafire.com/?hzymmzmmmmgThe talent of Kyte is their ability to add warmth and emotion to their beautifully crafted electronic soundscapes. This makes for a compelling set of songs that are able to transport the listener into their own enchanting world.”
Wreckless Eric's eponymous debut is a ragged, endearing collection of crude rock & roll. In a way, crude doesn't even begin to describe Eric's music. A muddle of scratchy guitars, pounding drumming, and snarled, indecipherable vocals, the record is pure, primal garage rock in the old-fashioned sense. Although Wreckless Eric has the demeanor of a punk, his music is straight-out rock & roll in the old-fashioned sense -- there's even saxophones and organs popping out of the mix. What makes Wreckless Eric such fun is its combination of catchy hooks, spirited playing, and downright rudeness. Only a handful of songs are fully formed, and those -- "Whole Wide World" and Ian Dury's "Rough Kids" -- are punk-inflected pub rock classics, pure pop songs in every sense of the term. The remainder are off-kilter, idiosyncratic pop songs -- about everything from "Personal Hygiene" and "Waxworks" to "Telephoning Home" and "Brain Thieves" -- performed with sloppy, drunken abandon. Too punk for pub rockers, too straightforward for punk, and too weird for everybody else, Wreckless Eric's debut album is one of the small gems of the punk era.
http://www.mediaf!re.com/download.php?mzdmymm1lkmThere is no review because it's not out till 4/16, but i've listened to some of it and it's pretty good. Definitely comparable to her first album, maybe even better. It's haunting as fuck, that's for sure
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Here is an EP by one of my favourite bands to ever make music. They were called the Vermicious Knid. The EP is called Days That Stand Still. If the shitty shitty town of Brantford, Ontario was Washington, DC the lead singer of this band would be Ian Mackaye. Except instead of starting a label he started a music venue that puts on cheap all ages shows for local bands all the time.
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Somewhat improbably, Amadou & Mariam have become a musical laboratory where the two principle players, the blind couple from Mali, are willing to try nearly anything. Ivorian reggae star Tiken Jah Fakoli drops in on one track and it feels completely natural. Pianos aren't common in Africa because the weather makes it tough to keep them in tune, but there's piano all over this album, and it sounds great rubbing up against koras (17-string West African harp) and balafons (West African marimba). On the title track, Amadou's guitar accents the chorus with big, bent surf chords, and it sounds not only logical but inevitable.
"Inevitable" is a pretty good word for the stardom of Amadou & Mariam. People this amazingly talented and open to new sounds and ideas rarely remain obscure, especially after so many years honing their craft and building their catalog. On further examination, in fact, Welcome to Mali might not be such a strange title after all. This album is an affirmation of global connectivity and an emerging global culture that transcends and repurposes tradition as it sees fit-- the sound of Mali merging with the world at large.
http://www.mediaf!re.com/?m2mmjmenqy0pulpfiction, I was pretty psyched when you posted the Aussitot Mort album, then I downloaded the Kyte album which solidified my love for you!
http://www.mediafire.com/?zzyzefm4y3wI've never been able to get my hands on a copy of the Knid's self-released record, and no matter how much I bribe my friend he won't give me his. So that would be lovely.
http://www.mediaf!re.com/download.php?tonrmqzmhih
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Well thank you for your much welcomed love. And I guess since I love people who love good music, I will give you their other CD that they have in case you don't have it.
http://www.mediafire.com/?nmdhmnyzzzkhttp://www.mediafire.com/?zyniz32yzzjPaw formed in 1991 in Lawrence, Kansas, alongside Kill Creek and Stick. Their work from this era can best be characterized as aggressive rock with melodic undertones, or 'Southern rock' as Mark Hennessy explained in an MTV interview. They were hailed by many record companies as "the next Nirvana" and a bidding war erupted to sign them. The band signed a three-album deal with A&M Records during the height of the grunge wave, and released their first album, Dragline, in 1993. Their most well-known songs from this period included the singles Lolita, Jessie, Couldn't Know, The Bridge, and Sleeping Bag. wiki
With this amazing album, Dead Can Dance fully took the plunge into the heady mix of musical traditions that would come to define its sound and style for the remainder of its career. The straightforward goth affectations are exchanged for a sonic palette and range of imagination. Calling it "haunting" and "atmospheric" barely scratches even the initial surface of the album's power. The common identification of the duo with a consciously medieval European sound starts here -- quite understandable, when one considers the mystic titles of songs, references to Latin, choirs, and other touches that make the album sound like it was recorded in an immense cathedral.I had a really hard time deciding which Dead Can Dance album to upload as there are quite a few really good ones. I find that the Kilimanjaro Darkjazz Ensemble (posted earlier in this thread) really reminds me of this group. I think it has to do with the mood of the music and I find that both bands provide very moody and dark music. Really worth a listen if you haven't heard the band before. Don't get turned away by the gothic tag that is slapped on the band; they are much, much more.
http://www.mediaf!re.com/?eqrode2vxyxWhat we have is four long pieces or musical acts each being divided into movements or scenes. We open with "Canto IV," superbly, forcefully launched with a determined, I've-got-something-to-say-angst attitude. It stomps over you with that Led Zeppelin "Kashmir" progression. At times I heard Traffic when Parmenter's sax slipped in. Much Kansas washed over me. Parmenter's vocals are compelling, strong, and you are gripped quickly. He even uses a modified howling late in the CD, calling to mind Warren Zevon's "Werewolves of London". It is not overdone in the slightest.This album is everything that modern prog rock should be. This is not just an indie band with a concept album or something with way too much keyboard. This is not something with prog influences or a band imitating the 70's, and it is definitely not metal. This is powerful, turbulent, and polished rock music.
http://www.mediaf!re.com/?yj5zzmjryde
http://www.mediafire.com/?sharekey=54843bc39a2030d5d2db6fb9a8902bdaThey play an eclectic mix of Rockabilly, Punk, Hardcore and Rock in Australian accents that is extremely refreshing for anyone who is sick of the same whiny punk singer sound. They've sung songs about union riots and development in Melbourne. I highly reccomend them.
We want it. Here is an idea: make a mix of what you have and upload it here.
This is a thing I would like other people to do actually.
http://www.mediaf!re.com/?n1n2zeedh4ghttp://www.mediaf!re.com/?nwdvndtdbvyhttp://www.mediaf!re.com/?hiwdnny2nhjhttp://www.mediaf!re.com/?1qgywmzzmxzFrom the very first listen, Arms and Sleepers immediately grabbed my attention. The band's music is fast paced, catchy, and mellow -- exactly the type of music I dream about and easily fall in love with. The style they achieve on Black Paris 86 is a type of electronic/ambient fusion akin to bands like Radium88 and Lights Out Asia, though there's certainly enough individuality on the album to differentiate them from their peers. After a few listens I was completely hooked on A&S' dynamic sound, then when I got my hands on their previous CDs I gained even more appreciation for the band's newest effort. Black Paris 86 shows us a completely different band then the Arms and Sleepers we've come to know and expect. Previous releases were completely ambient driven and had very little substance and very little to hook the listener in. Thankfully enough, for me at least, the band has focused and condensed its music and reinvented themselves for the new album. What we get is a band that has morphed itself into a model for what the trip-hop ambient fusion genre has to offer. Black Paris 86 draws influences from a variety of genres and this is reflected in the stylistic changes across the album. One minute I'm convinced that I'm listening to a tighter version of Radium88, with electronic and trip hop vibes running strong. The next I am reminded of Small Sails, but in a darker, more mysterious mood. Moans/undecipherable vocals are periodically used throughout the album in tracks such as Black Paris 86 and Warm. Speaking of Warm, it isn t a new track to the band; it was released in 2006 on their EP titled Bliss Was It In That Dawn To Be Alive, however I couldn t possibly see anyone arguing over the band's choice to put the track on another release. "Warm" is as addicting as most tracks get, featuring subtle electronics coupled with deep drones and a beat which easily gets stuck in the listener's head. Butterflycatcher, my personal favorite track from the album, only has one issue: it doesn t fit in with any of the other tracks -- it s far too happy for the release, featuring bells, horns, claps, electronic beats, and a girl seemingly trying to recreate the sounds of a whale. And, in reality, when have all those things blended together ever produced something bad? After Butterflycatcher, the album goes back to its dark and mellow ways and finishes up abruptly, perfectly leading perfectly to the beginning of the album. Granted, it is still early, but I can easily see Black Paris 86 staying at the top of my favorites list through the year. From the first time my ears were graced by its presence, I was hooked, and after a countless number of listens, I find myself still intrigued with each listen. For anyone looking for a refreshing new change of pace, I have little doubt that Arms and Sleepers could be the stimulus you are looking for
http://www.mediaf!re.com/?nyyyzmmw2mzYour Living Room’s All Over Me pairs veteran emo supergroup Kind of Like Spitting with the female-fronted pop-punk of Lemuria.
The first seven songs come from relative newcomers, Lemuria. Aside from two songs sung by drummer Alexander Kerns, guitarist Sheena Ozzella controls the vocal duties for Lemuria and does a fantastic job. With a singing style somewhat reminiscent of Cruiserweight’s Stella Maxwell, Ozzella has the ability to deliver emotions ranging from cute, like in album opener “Hours,” to absolutely jaded as in “Bristles and Whiskers.” The latter, which is credited to Kerns in the lyrics booklet, contains some of the more biting lines on the album, which says a lot since Lemuria is paired with Kind of Like Spitting; “They don’t make love, they fuck / And he assumes it’s enough / They both pretend to come with a common image of another man filling them with love.” In fact, Kerns delivers powerful lyrics on five of the seven songs, with “Rough Draft” being another exceptional instance with the lines, “Everyone I fall in love with already has fallen in love with someone I respect / So now I’m an altruist / Oh fuck, just this once can I root for the home team? I’m always the bee to kamikaze to save the precious queen.” Lemuria impresses throughout Living Room, a promising feat considering it’s both their longest release at seven songs, and their most prominent, being paired with Kind of Like Spitting.
Led by seemingly miserable and despondent frontman Ben Barnett, Kind of Like Spitting helped usher in emo’s popularity in the late `90s with stylistic and lyrical comparisons to Gainesville, Florida’s I Hate Myself. With an exasperated, slightly off-key singing voice, Barnett spends the greater part of his songs in vocal self-reflection, bouncing schizophrenically between optimism and pessimism in a futile search for clarity. Kind of Like Spitting’s half begins with the wrenching “Shallow Doses” in typical KOLS fashion: “Lay your hands on me / A tempo I can see / 24 ribs create a seam / No debate / If you’re the captain, regulate / Yes-men sway, tell me it’s OK.” While most of the songs are played in a slower, more indie-oriented fashion, the blistering “You I Seek” (actually a Thermals track, Barnett’s other band) pulls in punk elements coupled with wailing emo vocals. There are also some surprisingly positive lyrics on Living Room. On “Team Reasonable,” Barnett closes with the lines, “As history moves on / I can only hope to learn and not repeat my wrongs / I cradle it closely / Something to be proud of in the end.”
http://www.mediaf!re.com/?izfimtiniyyDespite not being entirely original, either in their formation or in their style, the enthusiasm that they bring to the table manages to shine through in an unashamedly bouncy, frothy melding of influences. While their much vaunted 'four-to-the-floor happy hardcore' is hardly a brand-spanking new innovation (step forward Enter Shikari, or even The Prodigy), their splicing of electronica and punk-pop reaps rich rewards. The thrilling pulse of the synthesisers on 'Dance Like No-One's Watching You' drop-kicks the rest of the song into life, and former single 'Sex Lines are Expensive Comedy' is catchier than ebola. Meanwhile, 'The Fish Star Fish Eye' is an inverted love song that collapses in a wailing squall of electronic despair; by contrast, 'We Techno Prisoners' is the album's poppiest moment, with the kind of nagging guitar hook that would feel right at home on a Kylie album.
Despite lead singer Stoke sounding like the biologically-improbable son of Luke Pritchard from The Kooks and Brendon Urie from Panic At The Disco, the band as a whole manages to escape the constraints of flaccid indie-pop of the former and the forced eclecticism of the latter. While their debut may not have entirely escaped the received musical approach of their background, it could give a lot of other bands an education.
http://www.mediafire.com/?oz0mybimypjhttp://www.mediafire.com/?xi2c1dt1rtzYou know that scene in Back to the Future, when the guitarist, whom hand was broken, was watching Fox shred on Johny be Good, called his manager and said, "You know that new sound you've been lookin' for? Well listen to this!". That's exactly how I feel around these times.
I'm sure all of you who read this blog have listened to Native. Well, this band is another band emerging that encompasses this sound.
... I'll try explaining it again. Twiddly guitar, intricate bass lines, dancy melodies, aggressive shouting type vocals with lots of revurb, all wrapped up in a genre that we all can agree is hardcore. So, yes, there are also gang vocals.
If that description was wrong or compeltely turned you off, go fuck yourself. I didn't want to do it in the first place. This whole blog thing is for you anyway. So download this four-song EP, which is completely new and has not been released yet, and support the band.
Again, if you loved Native, this band will make you feel the same way. And you better support them! Buy their shit, make comments on their myspace, go to their shows, learn their lyrics and make a fool of yourself. Bands like this don't come around too often.
http://www.mediaf!re.com/?khozx2mwjz3The quartet’s sound has been compared with such different bands as Do Make Say Think, Pavement, Why?, Menomena and Mogwai.
Mimas will release their debut album ‘The Worries’ in the UK through oxford label Big Scary Monsters in early October. ROW will be February 2009.
http://www.mediafire.com/?neh5inmnhythttp://www.mediafire.com/?mq1ly3dhzt3http://www.mediafire.com/?oimezztmyewhttp://www.mediafire.com/?oijen4z5yw2http://www.mediafire.com/?duwmtxy5rjzhttp://www.mediafire.com/?0fmmuqwemtyRoll On, A song about a union riot:http://www.mediafire.com/?ulk3yz3omnzhttp://www.mediafire.com/?xrmv3zmhmzwA New Sky, wait for this one to get started before making any judgements.http://www.mediafire.com/?2dyjhleki3zThis Boy's In Love, uber catchyhttp://www.mediafire.com/?zwiyy5mtdymhttp://www.mediafire.com/?tymgmdttnmchttp://www.mediaf!re.com/?qk2je1g0etzhttp://www.mediaf!re.com/?uguy2dij2nlhttp://www.mediaf!re.com/?v3njh5d1ozfhttp://www.mediaf!re.com/?hmytizzzziyhttp://www.mediaf!re.com/?yjrxznj2nzmhttp://www.mediaf!re.com/?dmwe5idytzhhttp://www.mediaf!re.com/?mjenvo5zetzhttp://www.mediaf!re.com/?myztmjxyz3jhttp://www.mediaf!re.com/?yyjnzotmvkthttp://www.mediaf!re.com/?xhwqd02x2tzhttp://www.mediafire.com/?qjiymxzjghjAs brilliant as Moloko could be — on both their most eccentric and most conventionally pop moments — their albums never quite jelled into something as uniformly great as Roisin Murphy's solo debut, Ruby Blue. By teaming up with producer Matthew Herbert, who remixed Moloko's "Sing It Back" back in the I Am Not a Doctor days, Murphy keeps the alluring sensuality and unpredictable quirks that made Moloko unique, without sounding like she's rehashing where she's already been. Both Murphy and Herbert are artists who are equally at home with the wildest and most accessible sounds (and especially when they bring those extremes together), so their reunion on Ruby Blue feels very natural, and gives the album a smoother, more organic sound than might be expected from a debut. Herbert's concept was to build the album around Murphy — not just her gorgeous voice, but her life as well, and Ruby Blue reflects this with his skillful, witty use of environmental sounds throughout the album. Coughing, rustling, and other studio noise become a rhythm that in turn unfolds the gorgeously summery keyboards of "Through Time," while the more literal-minded "Dear Diary" surrounds Murphy with everyday noises like ringing telephones, buzzing doorbells, and what sounds like a ball bouncing on pavement. As quirky as the album might be — and it doesn't get much quirkier than the spring-loaded, tribal rhythms of "Rama Lama" — Ruby Blue never feels off-putting, because its flights of fancy are in service of the songs instead of distracting from them. The mix of '20s-style hot jazz and cool synths on the surreally sexy "Night of the Dancing Flame," the title track's elegant mischief, and "Sow Into You"'s crisp layers of vocals and brass are all mini-masterpieces of avant electronic pop. Indeed, the first two-thirds of Ruby Blue are almost too smooth, too perfectly realized to be the work of someone involved with a group as eccentric as Moloko was, so more experimental, unruly tracks like "Off on It" and "Prelude to Love in the Making" almost come as a relief (and act as a palate cleanser before Ruby Blue's striking piano ballad finale, "Closing of Doors"). As Murphy herself sings on "Through Time," "Could there be such a thing as beautifully flawed?" Ruby Blue flirts with perfection and settles for being the perfect start to the next phase of Roisin Murphy's career instead.
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http://www.mediafire.com/?tmjcjimmmqrmiles davis - bitches brew 1969http://www.mediafire.com/?yikmtuntonmhttp://www.mediafire.com/?xjitnddylnjI haven't done this for a while: listen to a compilation and actually like a band on it. I either already know the band and the label (Fat Wreck, Hellcat, etc.), or the music is so generic it's hard to know A from B (see: the Punx United compilation). So after downloading the recent Revolution Records online freebie, and skipping through the whinier parts, my ears came to rest on La Dispute.
You had my hand in your hand; my lips in your teeth; you had my heart on your sleeve...
It's that part: “You had my heart on your sleeve.” I don't really care what this song is supposed to be about; in many ways, it's immaterial what the writer intended; it only matters how it is interpreted. The song could be about a girl, but it could just as easily be about music; for what else is the music that you listen to apart from your heart on their sleeve?
There’s an intensity on their album, Somewhere at the Bottom of the River Between Vega and Altair that can match Sick of it All, or the first Against Me! album. It drags you in; it involves; it makes you want to shout/scream along. The vocal performance, the poetic verbal diarrhea on display Jordan Dreyer feels like a stream of intense, desperate consciousness.
He’s backed by a band that complement everything, bursting forth and shutting up with massive riffs, the occasional picked guitar and the tease of horns. The music is much like Guns N’ Roses being played by a hardcore band with the Darkest Hour lyricist on the verge of crumbling.
The words follow the concept of love and the loss of it, and all its trials. They can be read as a ‘human relationship’ album á la a ‘post’-hardcore Dear You (Jawbreaker), but there are parts of the lyrics that would suggest more -- that would suggest it’s also about the struggle with life, society, music, heroes and villains.
This is a deep album, a strong album and a sound I would normally fob off but I just can’t. The lyrics offer much depth and just enough ambiguity not just to be about boys and girls (or boys and boys or girls and girls) and the music puts in a perfect frame.
This is not about haircuts, nor how tight your jeans our. This album has the power to reach beyond fashion, beyond petty elitism and bad writing. It’s one of the few times that I don’t care how experimental or intelligent this band is, because they’re just so good at what they do, it's just lucky that they are.
http://www.mediafire.com/?wzonknznklnSoft, sweet, and harmless tracks are littered across the new album, with painful love ballads tossed in for good measure. “Vocals” is the magic word for Mermaids, which is great for listeners since singer/songwriter Michael Flynn has perfected the strained voice, turning songs with simple percussion and a slow guitar line into complex, intricate love songs. Highlights include “The Stakes Were Raised”, which features the best instrumentation on the album, and “Trying to Put Your Heart Back Together”, which holds its own against the likes of Neko Case in the growing alt-country genre.
http://www.mediafire.com/?k1uroryzwfihttp://www.mediafire.com/?njnjkd3n122For as unknown as this band truly was, The Burning Paris will surprise most that take time to listen. Now known as On Fire, TBP from Boston played a melancholy indie rock not unlike Mogwai or Explosions In The Sky with less emphasis on the volume swells and more on the rock protions of their songs. Half Truths... is everything the band professionally recorded during their existence and even some enreleased live goodies. Magic Bullet knows how to pick them and if you are a fan at all of the mellow, comtemplative side of indie rock then this is the BEST place to begin your training.
http://www.mediafire.com/?kwhiwtnnnwthola,
for my first contribution i'd thought i'd take it old school with the homie miles.
miles davis - birth of the cool 1957
(http://i40.tinypic.com/2vry4j9.jpg)Code: [Select]http://www.mediaf!re.com/?tmjcjimmmqrmiles davis - bitches brew 1969
(http://i42.tinypic.com/2eq5lzd.jpg)Code: [Select]http://www.mediaf!re.com/?yikmtuntonm
¡enjoy!
All of the same words ("languid," "somnolent," "depressing," "miserable," et al.) employed to describe Arab Strap's first two efforts apply to their third as well, but a virtually imperceptible shift is afoot on Elephant Shoe -- a shift that none of their previous work hinted at. If both The Week Never Starts Round Here and Philophobia were one-night stands put to music, Elephant Shoe turns out to be skeptical domestication. It is an album unmistakably touched by the vulnerability of being in love -- or at least trying to love -- as opposed to remembering, yearning for, or altogether avoiding it. Whereas the title of their previous album literally translated to "fear of falling in love," "elephant shoe" is a phrase uttered by Scottish youth afraid of saying, "I love you," a way of implying the sentiment while deflecting its articulation. Elephant Shoe, in a sense, then, is Arab Strap's warped way of saying those three powerful little words. That doesn't hinder the typical brutal honesty of Aidan Moffat's lyrics. Even his most peaceful and content emotions are infused with hints of violence and misgiving. He is frequently scathing, spitting out ultimatums like "If you go/Go for good," but such a breakup couplet suggests a long-term relationship in the first place. There are a fair share of cabaret-soaked moments -- funereal soundscapes, mournful cello, lounge piano -- but even in the face of Malcolm Middleton's beautifully forlorn electric guitar strumming, an underlying buoyancy is manifested in the use of punchy drum-machine rhythms on songs such as "Cherubs," "One Four Seven One," and "The Drinking Eye." The sex is no longer dirty, the guilt no longer flailing in the dark, and the misery no longer entirely hopeless. It is an emotional step forward that may not be an entirely convincing evolution for Arab Strap -- and may, as is love's nature, prove short-lived -- but it is palpable, and considering their history, it is a courageous progression. Still, the album fits in the record collection next to Nick Cave, Nick Drake, Joy Division, Portishead, the Smiths, and Tindersticks.
http://www.mediafire.com/?fgzlhynq2j5Scotland's answer to Walter Becker and Donald Fagen return for their fourth studio record in five years, offering ten more tracks of ribald slack that clock in at an hour. By now, the comparisons to any U.S. indie bands that preceded them seem silly -- at no point did Aidan Moffat's tales of infidelity, fidelity, paranoia, and other degrees of romantic unease remotely resemble the bands that they were endlessly linked to. What becomes most evident now is that the comparisons were attributed to slow tempos and little else. It's not that Arab Strap have developed considerably since their first single. Their prolific output since then has been more about refinements than finding their own ground, because they've always been comfortable with their position. Moffat's tales fit somewhere between Pulp's Jarvis Cocker and the Afghan Whigs' Greg Dulli at their darkest, never really committing to either side but striking a sometimes clever but always blunt edge that neither would think to traipse upon. Anyone who has ever heard an Arab Strap song (understood might be a better term) will know what Moffat's talking about when he asks to be given something to wipe with on "Infrared." Shattering their previous best moment, "Love Detective" catches Moffat in a Woody Allen moment, as a paranoiac rummaging through a lover's "wee red cashbox" of memorabilia after she mistakenly leaves the key behind. Arab Strap's gradual refinements have hit a peak, but don't expect anything new. Slithery programmed beats, tingly guitars, plodding rhythms, and whispered/warbled sing-speak lead the way yet again, with occasional piano licks and strings thrown in for very good atmospheric measure. Just like Becker and Fagen, Moffat and Middleton stubbornly carry on with their unique wares and do so with excellence. Fittingly, both duos are named after sexual implements.
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The Delta 72's debut album is a bracing set of jumped-up R&B tracks done indie-style, with heavy emphasis on distorted vocals and helter-skelter riffing. Though tracks sometimes run into each other and are often quite similar, The R&B of Membership is energetic enough to entertain most listeners.
http://www.mediafire.com/?lz42mlbmyz0By 1997, Philadelphia's the Delta 72 had cemented themselves as leaders of the frantic R&B-based punk scene, gaining new fans across the world with their energetic live shows and the diverse sounds on their records. The disc begins with the sampled statement, "Ladies and gentlemen, it's star time!" That opening line of "Introduction, Pt. 2" gives way to Sarah Stolfa's soulful organ, chaotic guitar riffs, and Gregg Foreman's punchy vocals. Through songs like the funky "Floorboard Shake" and fuzzy stop-and-start atmosphere of "I've Dreamt of Leaving Ever Since You Told Me," the bandmembers made it clear that they were not hesitant to take chances. The blistering and bluesy "Scratch" is followed by the rollicking and frenetic "Up in the High Numbers." The pace often changes, like with the jaunty and sometimes low-key "Blow Out." The irony is evident on the blues-heavy and vibrant "We Hate the Blues." The album as a whole is dynamic and daring. It was recorded in March 1997 and released later that year on Chicago's Touch & Go Records.
http://www.mediafire.com/?jnqjyzdndnmRamones - Rocket to Russia
(http://image.allmusic.com/00/amg/cov200/dre400/e451/e45117xwknd.jpg)
http://www.mediafire.com/?ktjzynfn2ikhttp://www.mediafire.com/download.php?mmnq4qdnn2wPacking 15 near-perfect pop gems into just a little over half an hour, Bunnygrunt's sophomore effort, Jen-Fi, is a fizzy delight; anchored by Jen Wolfe's propulsive basslines, the record is a quantum leap over its predecessor, Action Pants!, reflecting a sharper sense of songcraft and improved musical skills. Which is not to suggest that Bunnygunt has grown up -- Jen-Fi is the very epitome of pop innocence, buoyed by Matt Harnish and Karen Reed's cracked boy-girl harmonies, crashing melodies and song titles like "AM Is for Talkin', FM Is for Rockin'!," "We Suspect He Was Trying to Spell Monkey" and "I Just Had Broken-Heart Surgery, Love Won't Bypass Me Again."
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Persuader - When Eden Burns
I have their other two albums if there is any interest.
http://www.mediafire.com/download.php?nionmgwjmymIt's a Valentines to all of you!
If there's one thing Slick Rick has mastered, it is The Art of Storytelling. Ever since his debut, The Great Adventures of Slick Rick, he has been known for his literate, winding narratives, but his career was marred by legal troubles that kept him in prison for much of the '90s. Consequently, The Art of Storytelling is only his fourth album, but it's the first to rank as a worthy sequel to his classic debut. The Ruler's Back came close to capturing the feel of The Great Adventures, but The Art has a continually stunning set of stories and tales, and the presence of guest artists -- even rappers as talented as OutKast, Nas, Raekwon, and Snoop Dogg -- only emphasizes what a singular talent Rick is. The smooth production may be a little bit mired in contemporary rap clichés, but it's all enjoyable. Besides, Rick is about the lyrics, not the music, and he has written a stellar set of songs here, songs that are continually surprising and thought-provoking. It's a masterful set from one of the true lyrical masters of hip-hop.
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The Vermicious Knid - We're Running Out Of Places to DriveCode: [Select]http://www.mediaf!re.com/download.php?tonrmqzmhih
Four Tet - RoundsQuoteRounds offers something to nearly every audience that could approach it, with a bit of a groove for electronic fans, an obtuse sense of music-making for experimentalists, and a dreamy melodicism sure to endear it to indie-pop fans. The opener, "Hands," is especially breathtaking; it begins with a few seconds of drum samples, surgically inserted and ill-timed, but opens into a warm, melodic production with a simple frame-kit beat outlining Hebden's guitar-and-keyboard atmospherics. "My Angel Rocks Back and Forth" features a music-box melody playing against softly shaded backmasked guitar and a subdued, grating percussion line reminiscent of an iron lung. The nine-minute "Unspoken" alternates guitar and piano playing the same beatific melody, over another simple beat and tambourine claps. Though Rounds is experimental by nature, Kieran Hebden's gift for melody and emotional shading allows his records to be enjoyed by an audience wider than merely experimental listeners.Code: [Select]http://www.mediaf!re.com/download.php?yyqwzq34w2n
hell comes to your house was originally released in 1981 by bemis brain records, modern warfare's singer john bemis' label, and showcased many up and coming bands out of the so.cal punk and death rock scene.this is the first time social distortion recorded in a studio, the first christian death song, red cross before they were forced to change to red kross, very early 45 grave and the only time the conservatives released any material. 100 flowers in an off shoot of the infamous urinals, jack grishom of t.s.o.l. sites rhino 39 as an early influence after the band played his birthday party in the 70's and, steve darrow of super heroines played with axl rose in the pre guns n roses band hollywood rose. now if your not familiar with the early '80s so cal punk scene then you probably have no clue what the hell i'm talking about, but if you do then you know that this album was a jump off for many bands and the music featured here influenced a whole generation of musicians. it was released in '98 on cd by mystic records1. Lude Boy - Social Distortion
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http://www.mediaf!re.com/download.php?z22czy13nzhKathleen Edwards' 2005 album Back to Me was the sort of record that grows and reveals new secrets each time you gave it a listen, so it's tempting not to trust immediate impressions after three spins of her next set, 2008's Asking for Flowers. But if one has to leap to a relative snap judgment, Edwards' new record sounds just as strong as its fine predecessor, and shows that she is gaining strength and confidence as a songwriter, qualities she hardly lacked before. Produced by Jim Scott and featuring a handful of top-notch American studio players (Benmont Tench, Greg Leisz), Don Heffington) alongside members of Edwards' Canadian road band (Colin Cripps, Jim Bryson), Asking for Flowers shows a broader range of colors than her first two albums (both lyrically and musically) than her earlier work. The playful wit of "I Make the Dough, You Get the Glory" ("You're cool and cred like Fogerty/I'm Elvis Presley in the Seventies") and "The Cheapest Key" ("Here comes my softer side/And there it goes!") is livelier than her previous work, but the gravity of "Alicia Ross" (based on a true story of a murdered teenager) and "Oh Canada" (a rant against social injustice in her homeland) cuts deep into the heart, and "Oil Man's War" is a tale of a draft-age man fleeing to Canada during the Vietnam War that's affecting and sadly relevant. The music is beautifully rendered and moves with the emotional peaks and valleys with surety and grace. And when Edwards sings about love, as she does often, it's with a naked honesty that's genuinely touching and reinforced by the rough but sweet tone of her voice. Back to Me was the work of a singer/songwriter well on her way to becoming a major artist; Asking for Flowers leaves no doubt that Kathleen Edwards has arrived and made an album that's funny, startling, poignant, and (once again) worthy of repeated play.From AMG
http://www.mediaf!re.com/download.php?0zmmyvqyt1zhttp://www.mediaf!re.com/download.php?dmzmydmaf33http://www.mediaf!re.com/download.php?mzztwlztjmm
http://www.mediaf!re.com/download.php?xnwb0mz0mdzInvigorating as a blast of Scandinavian air, Loney, Dear (otherwise known as Emil Svanängen) makes his Sub Pop debut with Loney, Noir. This is power pop mellowed by chamber pop sensibilities, but Svanängen shouldn't be confused with other indie multi-instrumentalists. In opposition to the typical "more is more" attitude of American indie acts like Sufjan Stevens (the artist to whom Svanängen will probably be likened, for better or worse), the throaty flutes and clarinets, optimistic handclaps, and tambourines embroider these songs rather than dominate them. As with other like-minded Swedes (Timo Raisanen, Jens Lekman, and Hello Saferide, just to name a few), Svanängen is a hook-builder, and his sophomore effort is built on breezy, straightforward pop rather than Stevens-esque orchestral noodling. Svanängen, like Raisanen, is blessed with an unbelievably high falsetto, especially apparent on "Saturday Waits." He also possesses a peculiar, rasping voice (when he isn't singing falsetto) and an apparent love of Brian Wilson, as demonstrated by the tight, soaring harmonies. The best moments on Loney, Noir are glowing, rushing, and immediately infectious. The album's first single, "I Am John," encapsulates this with its ebullient drums and breathless, surging vocals. It's the kind of song that becomes the soundtrack for an entire summer. Loney, Noir is an adolescent album, not because Svanängen hasn't yet reached his full potential as a songwriter, but because these songs are deeply interested in adolescent experience ("I'm a teenager, I'm anxious"). More than anything, Loney, Noir is almost ridiculously sweet, and this is by no means a bad thing.
http://www.mediaf!re.com/?zfwmyrmmgzjSince his debut in 2007, Emil Svanängen (the man behind Loney, Dear) has managed to evade easy categorization. It's simply not enough to say that he sounds like Jens Lekman, seeing how the main draw of Svanängen's work has less to do with his lyrics and more to do with mood. He's more like pop-oriented multi-instrumentalists like Tobias Fröberg and Sufjan Stevens; Loney, Dear is a quirky, bittersweet master of atmosphere. Svanängen sophomore effort, 2009's Dear John, picks up where his first album left off; like Loney, Noir, Dear John is chock-full of luminous instrumental textures and heartfelt lyrics. That said, Dear John is clearly more adult than its predecessor; the production is sleeker, the arrangements are more studied. Thankfully, Dear John's maturity doesn't mean that it lacks the fun stuff that made Svanängen's first album shine. Dear John's upbeat moments, ranging from the chic synth flourishes of "Airport Surroundings" to the joyful whistling on "I Was Only Going Out," are simply a delight. Similar to Svanängen's debut, Dear John is strongest when it strikes a balance between mournfulness and optimism. The album only sags when Svanängen lets things get a mite too plodding and somber; "Harm/Slow," perhaps sentencing itself to sogginess by borrowing its tune from Tomaso Albinoni's "Adagio," is simply not the most engaging moment on the album. That said, this is the disc's only real stumble, and overall Svanängen seems to have learned a lesson or two about pacing since Loney, Noir. Dear John shows that Svanängen has really gotten his act together; it makes good on all the tremulous, tender, wistful promise of his debut.
On Greg Sanders' sophomore effort, the dubstep titan begins exploring the gritty borderlands between his normal territory and industrial music. It's a hugely promising fusion, and if the results are sometimes just a bit conceptually thin the music is still very enjoyable all the way through. The two genres blend most fruitfully on tracks like "Koncrete," with its grinding guitar pulses, and the sharp but cool "Skeleton Grin." "Loosen My Grip" is great for the first minute or two but doesn't develop enough new material to justify its length, and the same is true of "Mirror Tell" and the title track. However, "Sending Chills" employs a nifty flute loop that contrasts nicely with the track's overall dark, spare ambience.part 1
http://www.mediaf!re.com/?2hfg0myqdwjpart 2http://www.mediaf!re.com/?hdvenbnejy3Luke Vibert began his rude-ass tinkering ways in hip-hop with a Beasties-like group in the late ’80s, before refocusing his efforts as a bedroom producer. In the early ’90s, the developing influences on his solo efforts quickly filled his artistic mug, spilling into multiple expressions of electronica. Consequently, Vibert began adopting pseudonyms to cope with all the variety. The first Wagon Christ album appeared in ’94 as an outlet for Vibert’s more ambient-based work, while his first drum & bass ego, Plug, popped up a couple years later. By ’99, he had begun collecting personalities like most of us collect STDs: "Kerrier District" handled his mutant disco house, "Amen Andrew" uses the Amen Break for all his drum ’n’ bass, "Spac Hand Luke" covered grime, and recently "Ace Of Clubs" became a pure acid outlet. Despite the multiple personalities, Vibert also released music under his own name, which dealt with more hip-hop- and acid-oriented flows. So, where does that leave his second eponymous album for Planet Mu?
Judging from the hodgepodge of styles and sounds within, Chicago, Detroit, Redruth seems to be a home for Vibert’s newer tracks that aren’t easily classifiable. With Ace Of Club’s debut taking care of his acid-hop itch earlier this year, it now appears that aimless variety is the order of the day, with Vibert’s incredibly bright, creative guiding light holding the center of attention. Drawing on all his various styles, “Comfycozy” blends some ambient organica with his Plug-style drum ‘n’ bass, while “Brain Rave,” “Radio Savalas,” and “Argument Fly” bring all the 303 acid you can handle. “Breakbeat Metal Music” channels deep house through speak-and-spell hell, with “God” pimping Enigma doing huge bass trip-hop madness and “Rotting Flesh Bags” covering straight-up space hip-hop territory. Acid sounds and Luke’s trademark warm, analog beats are the eye of the aural storm, where anything and everything else goes.
Now, I don’t believe Chicago, Detroit, Redruth is Vibert’s best work to date – that definitely falls to personal preference – but newbies have to start somewhere. Chicago, Detroit, Redruth is just as good a place as anywhere else, made more so by the unique electronic jumble it has to offer. Once you’re in, though, prepare to hunt down a lot of back catalog. There’s a lotta gold in them thar hills.
http://www.mediaf!re.com/?nndddnozgnnLotta acid in 2005. Apparently the long elliptical orbit of music fashion has brought the squelchy buzz of the 303 back into view. It's just the tip of the iceberg, I'm sure, but in the last couple months I've sifted through all the AFX Analord releases, digested Uwe Schmidt's faux comp Acid Evolution 1988-2003, Soul Jazz's Chicago acid house disc, and this, Luke Vibert's collection of three acid-themed 12-inches put out by Planet Mu. Of the newly recorded material, this is the best of that lot.
I've never been a huge Vibert fan in any of his various guises (Plug, Wagon Christ, etc). His music has always seemed workmanlike and consistently listenable, but I was never able to tease out much in the way of personality. Lover's Acid, though, reveals Vibert as a producer with a keen sense of musical humor and an abiding interest in funkiness. "Funky Acid Stuff" from the "'95-'99" 12-inch is an excellent opener-- a James Brown bassline sample combined with big, splashy drums, which drives an wonderfully obnoxious acid line through the center of the thing. The breaks on "Acid2000" also draw rhythmic inspiration from hip-hop, with a simple piano progression serves as a delicious contrast to the busy electronics. On these tracks it's enjoyable to hear Vibert's instrumental hip-hop Ninja Tune aesthetic with the lead 303 way out front.
The pure machine tracks are slightly less interesting but still good. "Lover's Acid" is a spacey mid-tempo number that's basically just dinky analog drum programming behind a lead squiggle, and the late-90s track "Analord" has a vintage palette quite similar to the recent AFX project of the same name. Vibert's take on the sound is simpler and more pop, with regular hints of sing-songy new wave in the melody. "Come on Chaos", a rougher electro track out of a sci-fi film chase scene, loses some energy with clichŽd "C-c-c-c come on!" vocal samples. Two tracks, the Mo' Wax-style trip-hop "Prick Tat" and the faux-exotica "Gwithian", forego the acid theme entirely, and both come across as the same sort of solid but unexceptional material Vibert has been making for a long time.
All told Lover's Acid is a lot of fun despite a few dull patches. These dozen tracks recorded over the course of eight or nine years show little reference for any particular genre, and seem to grab from whatever's handy and might provide a laugh. Where the AFX Analord records followed the gurgle of the 303 straight into the guts of the machine to mediate on the physics of vintage electronics, Vibert uses the essential ridiculousness of the sound as a foundation on which to build effective party music.
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http://www.mediafire.com/download.php?4hmduyyzxnmhttp://www.med!afire.com/download.php?zj2yjqwnnvmPt. 2http://www.mediaf!re.com/download.php?5zdttvyyoyb
http://www.mediaf!re.com/download.php?mnymeqwy0tjClassically trained harpist Joanna Newsom uses her appreciation of Appalachian folk and bluegrass for an oddly alluring set of indie rock melodies. Milk-Eyed Mender, which follows her homemade EP releases Walnut Whales and Yarn and Glue, is rich in harvest colors. Newsom's childlike voice brings an unstudied grace to an innocent setting of songs, and such quirkiness is hard to find among most guitar-driven indie acts. From the more whimsical moments of "Peach, Plum, Pear" and "Inflammatory Writ" to the dovelike ballad "This Side of the Blue," Newsom welcomes the listener to sink into its imagination. Delicate harp arrangements are nicely sprinkled among specks of pianos, organs, and a harpsichord, only adding to the fascination that is Milk-Eyed Mender. Some may find the album to be overly sweet in spots due to Newsom's girlish voice; however, the fairytale-like appeal of Milk-Eyed Mender is far too intriguing to dismiss. Newsom exists in several musical spheres, one being a member of the Pleased, while not forgetting how wonderful it is to live in a warm place that leaves you bright-eyed and hopeful for only what is good in life.From AMG
Full (Single RAR) : http://rapidshare.com/files/198687775/Sweethearts.rar.html
Part 1: http://www.mediaf!re.com/?uzqyny4tvjz
Part 2: http://www.mediaf!re.com/?vommhfgbddoDeath Cab For Cutie - "Love Song" (Cure cover)
Katy Perry - "Black And Gold" (Sam Sparro cover)
DeVotchKa - "Hot Burrito #1" (Flying Burrito Brothers cover)
Department Of Eagles - "Love Me" (Elvis Presley cover)
Jessica Lea Mayfield - "Words Of Love" (Buddy Holly cover)
Ben Bridwell - "Your Love Is Forever" (George Harrison cover)
Kate Tucker - "I'm On Fire" (Bruce Springsteen cover)
Rogue Wave - "Maps" (Yeah Yeah Yeahs cover)
A.C. Newman - "Take On Me" (a-ha cover)
Jem - "Yellow" (Coldplay cover)
Richard Hawley - "Early Morning Rain" (Gordon Lightfoot cover)
Daniel Martin Moore - "I Hear Music" (Billie Holiday cover)
She & Him - "I Put A Spell On You" (Screamin' Jay Hawkins cover)
Lila Downs - "My One And Only Love" (Frank Sinatra cover)
The Cure - Lovesong
Sam Sparro - Black and Gold
Flying Burrito Brothers - Hot Burrito #1
Elvis Presley - Love Me
Buddy Holly - Words Of Love
George Harrison - Your Love Is Forever
Bruce Springsteen - I'm on Fire
Yeah Yeah Yeahs - Maps
A-Ha - Take On Me
Coldplay - Yellow
Gordon Lightfoot - Early Morning Rain
Billie Holiday - Hear Music
Screamin' Jay Hawkins - I Put A Spell On You
Frank Sinatra - My One And Only Love
http://www.mediaf!re.com/?sharekey=c852937531596bbbd2db6fb9a8902bdahttp://www.mediafire.com/?maliwcdnytmhttp://www.mediafire.com/?nt1z4amimz1http://www.mediafire.com/?vvym4nnx1mmhttp://www.mediafire.com/?hzbzimmt05uhttp://www.mediafire.com/?docz2m4mmfn
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A guy from a Krautrock band decides to goof around with a guitar, a drum machine and some synth, invente modern electronic dance music. This album is from 1981 and it still sounds contemporary.
http://www.mediafire.com/download.php?jvzwim0mo4mhttp://www.mediaf!re.com/download.php?qdmwnditzizhttp://www.mediaf!re.com/?2m10liwknethttp://www.mediafire.com/download.php?zzy2uznxykfFrom Pitchfork (http://www.pitchforkmedia.com/article/download/149159-on-repeat-cymbals-eat-guitars-wind-phoenix-mp3-stream) (on Wind Phoenix):There's a certain strain of indie rock that excels at exuberance. From Built to Spill's "In the Morning" to Modest Mouse's "Doin' the Cockroach" to Pavement's "Stereo", you can get some serious uplift from chiming guitars, a ramshackle rhythm section, quiet/loud dynamics, and a dude who's ready to put it all out there vocally, even if he's not Jeff Buckley. New York's Cymbals Eat Guitars, whose remarkably assured debut album Why There Are Mountains came out digitally recently, understand something about the infectious spirit of that era. Mountains' "Wind Phoenix" is just a bit over five minutes long, but it feels like three great songs climbing all over each other that somehow manage to exceed the sum of their parts. Opening with a jubilant horn refrain, it skips along on a tuneful melody, slows down, ramps up to a climax, sticks with it for a while, and then crashes back down to its opening section. It's breathless, forceful, loose but not sloppy, and brimming with a sense of joy. Singer Joseph Ferocious says something about an "Ikea finery" and watching Notre Dame; the details aren't all clear, but you get a sense of someone fighting hard to get it all in. With so many ideas and feelings spilling out at once, there's not a song built that can quite contain them.
Karate were a really special band.I fully agree
http://www.mediafire.com/?2nzkjmktyvyThe California/Washington quintet's third full length finds the band's music moving towards the up-tempo side of the spectrum while the subject matter becomes bleaker. "A sonic universe gently compressed into a moody snow globe," swoons the SF Bay Guardian, "Picks Us Apart is the Jim Yoshii Pile-Up's finest moment, and clearly one of the best albums of 2005."
http://www.mediafire.com/?rgn0emkomnmGerman indie rock band Velveteen received a ton of press when blogger Jerome Holeyman leaked what the public thought to be Death Cab for Cutie's new album, Narrow Stairs, earlier this year. It was actually Velveteen's 2007 full-length, Home Waters, but Charlatantric's prank worked because Velveteen carry enough similarities to make such a joke believable.
Here's the thing: Home Waters itself, regardless of the devastating parallels to Death Cab, is a really, really good album.
One of the deciding factors is vocalist Carsten Scheauff, whose hushed voice is often a dead ringer for Ben Gibbard's, perhaps circa Something About Airplanes or The Photo Album. Besides that, his lyrics also employ the occasional scene with picturesque reality. In lo-fi opener "Prologue: Plastic Cups," he softly narrates: "I held your hair while you threw up / and dragged you down the stairs. / And outside we cracked plastic cups / and I drank from your can."
Musically, Velveteen are treading similar ground as well, but one can certainly see elements of Built to Spill or Appleseed Cast -- after all, Velveteen seem to be masters here at pairing plaintive vocals with sparkling backgrounds. Everything is understated, even when they lightly create buildups or splash their songs with atmosphere; in any event, it's fairly gripping.
Like Death Cab's "Styrofoam Plates," there's a candidness and emotion here that hits its peak in tracks like "After the K.M. Tapes" and the record's late practical masterpiece, "Firework Special." You look forward to hearing Scheauff's somehow restrained urgency delivered in couplets like "So it's all captured on your four-track / and I can still recall all the fun we had." "Summer of 88" is a potential college radio hit, and its followup, the aforementioned "Firework Special" is an extensive, explosive and overwhelmingly emotive affair.
When you get past the fact that Velveteen is potentially cribbing a number of ideas from the current American giants of the style, you realize that they've nonetheless fashioned them into a delicate, arching and impressive way themselves.
http://www.mediafire.com/?ktguom2mhwlThis Salt Lake City based band is a project spearheaded by Ben Shepard - no, not the GMTV presenter, this is a talented, unique multi-instrumentalist. Named after Ben Stiller’s kids in The Royal Tenenbaums, one would expect this to be another one of those twee indie-pop girl/guy groups. In reality, they are a determined five-piece outfit that melds shoegaze sensibilities with electronica and layered melodies. Recent times have been harsh for the band. Shepard was recently hit by a couple drunks who fled the scene and left him with a busted car. Then $4,500 worth of equipment including instruments, processors, and synthesizers got stolen from his house. Thankfully the band has chosen to soldier on and these mishaps did not delay the release of Headworms.
Uzi & Ari have already been gaining acclaim in Europe — which isn’t too much of a surprise, especially with Shepard’s Thom Yorke-esque vocals and the band’s Mum-reminiscent electro-tinkering. Shepard is a writer and musician of considerable talent, making an indelible mark with the rousing strings and guitar chug of Missoula, following up with the Radiohead-meets-Beirut brilliance of Wolf Eggs. From this point onwards the album seems to switch between poignant chamber pop composition (populated by violins, glockenspiel and piano) and twanging romps, often changing mood within the space of a single song. Shepard’s instrumental configuration isn’t too far from Sigur Ros-style grandeur, but the band always manage to keep a lid on the scale, maintaining a sense of intimacy on tracks like Magpie’s Monologue and Thumbsucker. Elsewhere, you’ll find highlights in the staccato brass and skittering electronic beats of Comforts, which makes for a highly successful and very unusual combination of sounds, putting a lightly experimental slant on the band’s chamber pop stylings.
While Headworms garners an “electronica” tag, it is as much pop — melancholic, sadly trodding and homespun pop music of and for people who like to stay at home and dream up their own world. And while this kind of approach to pop music is paradoxically quite unpopular at the moment (the majority seem to want drug addicted girl singers with strange voices and Sixties soul beats), this kind of music needs time and that is probably the scarcest resource nowadays, even rarer than crude oil and fresh air. These songs need time to evolve until they are ready to be recorded, time to hone their arrangement to a crude sort of perfection and finally, but probably most important, time to be listened to.
http://www.mediafire.com/?yjdtzyvzmgtSimply beautiful to both the ears and the eyes, give these guys one listen and you'll be hooked on flawless musicianship, and the prettiest, most sincere heart felt vocals ever sang.
alright i just uploaded an album but apparently now you cant post direct links unless your a Pro member? whats up with that?That's direct links to the files, not to the download page...
Joanna Newsom - The Milk-Eyed Mender
I hope this isn't too mainstream:
Justice - A Cross The UniverseCode: [Select]http://www.m3gaupload.com/?d=UY496FP5
http://www.mediaf!re.com/?xmh0hxz1znlAfter After Hours is an entrancing collection of hypnotic dream-pop. While the songs all blend together, Sugar Plant is about sound, not songs, and After After Hour certainly delivers with its fusion of droning electronics, ethereal vocals and pulsating strummed guitars
Per discussion on the listening thread:
Bitcrush - Epilogue in Waves
(http://www.n5md.com/releases/156/156.jpg)Code: [Select]http://www.mediaf!re.com/download.php?jvzwim0mo4m
It’s pretty much a given that an n5MD release is going to provide exquisitely recorded beauty and melancholy. Evolving from it’s original IDM roots it now can almost single-handedly lay claim to defining post-rock blends of electronics and instrumental rock. It comes as no surprise then, that label founder Mike Cadoo, going under the guise of Bitcrush, is capable of delivering an album that is a quintessential summation of where the label is currently at.
Acoustic drums with plenty of room reverb clang under the washes of synth and guitar drone, accentuated by electronic pulses and blips. The sound is huge, the epic-ness Cadoo strives for is achieved with aplomb. A spattering of vocal tracks - ‘Of Days’, ‘Epilogue To Tides’ and ‘To Drown’ add a layer of variety to the otherwise distant wall of sound aesthetic. “To Drown’ is also notable for it’s overt use of programmed rhythms, as opposed to the organic drums of the rest of the album. The album can have a tendency to wash over the listener in the wrong context, with it’s consistently languid tempos and simple chordal progressions but, in the right place - and I would suggest up loud and in the dark - its a moving and peaceful body of work.
(Review courtesy: Cyclic Defrost)
First of all: this post definitely does in no way represent the entirety of the german music scene. I just want to share some of the better recent acts that happened to make it into my record collection. I'm sure, there are a number of board-members who might contribute much more profoundly in that direction.
Blackmail - Bliss, Please (2001)
Readymade - It doesn't make sense (1998)
Slut - Still No1 (2008)
The Jim Yoshii Pile-Up - Picks Us Apart (2005)
(http://www.absolutelykosher.com/images/releases/ak046-250px.jpg)Code: [Select]http://www.mediaf!re.com/?2nzkjmktyvy
Karate - Some Boots (2002)
The Phantom Band - Checkmate SavageCode: [Select]http://www.mediaf!re.com/?ng20v4njndg
Fucking...Awesome..
http://www.mediaf!re.com/download.php?mzmmi3ywmzmKarate - Some Boots (2002)
This is amazing.
http://www.mediafire.com/?tugmykmzzlqKarate | Unsolved (Southern)
Karate frontman Geoff Farina has a deliciously seductive way with words. Take “Soaked to that critical stage with the overdressed words of the well-meaning vague” (The Lived-But-Yet-Named) or better yet “Choked today on blank Tudor boldness as broken neighbours sucked through the seams of the shit they build with ostentatious walls” (The Angels Just Have To Show). You kind of know what he’s talking about, enough of it makes sense, but it’s the things that don’t, the spaces and little fractures in our understanding that make the lyrics so rich and beguiling. The band perfectly mirror the slow building anxieties of the narratives with an inventive combination of bass, drums and guitar - a jazz power trio who can rock with a savage intensity (Sever) or ease down low with a subdued, effortless fluidity. Farina’s guitar playing, especially, is a wonder to behold - not since Jerry Garcia has every note in a solo been so cleanly defined. The songs start slowly, Farina’s breathy, urgent vocals reminiscent in their phrasing of Donald Fagen. As the tension builds, the band begin to step away from the 4/4 verse-chorus format, taking instead the probing, questioning structures of jazz and cloaking their music in them. Most of the tracks brew this way until they peak with little explosions of sound. The closing track, the eleven minute This Day Next Year, is exemplary in the way it strains and reaches towards the meteor shower of drums that finally put it to rest. Somehow, Karate have found a new idiom in the tired old notion of ‘rock’ music. Not jazz-rock, with the mathematical pedantries of John McLaughlin and Pat Metheny, this is more like some madman’s idea of a cross between Lullaby for the Working Class, Steely Dan and The Minutemen, creating a fresh, heady brew that kicks ass without relying on noise and distortion. This is rock music. But not as we know it.
Stav Sherez
CWAS #7 - Spring 2001
Excellent post, Ben, but i think there's something wrong with the Lemonheads album. It said 'decompression failed' when i unzipped it.
It failed for me also but I tried uploading it again and it worked for me. Hopefully fixed.
Here you go :)
Karate - Unsolved - (2000)Code: [Select]http://www.mediaf!re.com/?tugmykmzzlq
Thanks a lot but I cant open the file!Are you sure it's not working? I downloaded it and unzipped it myself to try it, and it worked fine for me. Try downloading it again and if it doesn't work for sure, let me know and I'll hit you up with a re-up.
Apparently its invalid :?
any chance of a re-up?
Here is a mini-album by a now defunct Toronto-area band called Arcs. It is pretty amazing. Five dudes equally influenced by pop and punk (I guess maybe more 90s emo than punk) made an album, but it is not a pop-punk album.
http://www.mediaf!re.com/?mywtmohmwmypt. 2http://www.mediaf!re.com/?godjytdnnmqFeaturing material recorded over 1994-1997, Company Flow's official full-length debut, Funcrusher Plus, had a galvanizing effect on the underground hip-hop scene. It was one of the artiest, most abstract hip-hop albums ever recorded, paving the way for a new brand of avant-garde experimentalism that blatantly defied commercial considerations. Musically and lyrically, Funcrusher Plus is abrasive and confrontational, informed by left-wing politics and the punked-out battle cry "independent as f*ck." It's intentionally not funky and certainly not danceable; the beats are tense and jagged, and often spaced far apart to leave room for the MCs' complex rhymes. Bigg Jus and El-P's lyrical technique is so good it's sometimes nearly impenetrable, assaulting the listener with dense barrages of words that take a few listens to decipher. Even if this is all highly off-kilter, it's also a conscious return to hip-hop on its most basic, beats-and-rhymes level; hooks or jazz and funk samples aren't even considerations here. The production is spacy and atmospheric, often employing weird ambient noises and futuristic synths that clash with the defiantly low-budget production values. It's also quite minimalist, particularly on tracks like "Vital Nerve," which is basically just a three-note synth line over a beat, and the classic Indelible MC's single "The Fire in Which You Burn," where Co-Flow trades rhymes with the Juggaknots over a skittering beat and sitar drone. Other tracks have sci-fi and conspiracy theory undertones; some are set in an Orwellian dystopia, while some pointedly satirize corporate and capitalist greed. Yet there's also some straightforward realism, as on "Last Good Sleep," a frightening domestic abuse drama. Funcrusher Plus demands intense concentration, but also rewards it, and its advancement of hip-hop as an art form is still being felt. It's difficult, challenging music, to be sure, and it's equally far ahead of its time.
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Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
http://www.mediaf!re.com/download.php?4ify0hemjqmAs the follow-up to Low's universally acclaimed Things We Lost in The Fire, Trust comes with a set of expectations that might be impossible to meet. To the band's credit, Low doesn't just rehash the territory they covered on their previous album; instead, Trust goes in several different directions, mixing dark, sweeping epics with smaller, unpretentious songs and eclectic productions (courtesy of Tchad Blake) and arrangements. It's Low's most diverse work yet, but as it turns out, also their most uneven, which is somewhat surprising considering how their previous album was both consistently inventive and familiar. The chilly, almost ominous tone that pervades Trust is also something of a surprise, compared to the relatively optimistic Things We Lost in the Fire -- the album-opener, "(That's How You Sing) Amazing Grace," subverts one of the most reassuring hymns, offering only the cold comfort of twangy guitars and Alan Sparhawk and Mimi Parker's close, tentative harmonies. The band follows that song with "Canada," which, with its dense, fuzzed-out guitars and propulsive drums, is the most rock song they've ever done, and especially unique considering the electronic leanings Low displayed awhile ago. Most of Trust follows this pattern, alternating a slow, sinuous song with a brighter or lighter one. When this chiaroscuro approach works, it's impressive, but more often than not, it doesn't quite come off. Though some of the album's darker songs are compelling, such as the soulful, brooding "Time Is the Diamond," "Little Argument With Myself," and the droning finale "Shots and Ladders," a few are just too long and dirgey. "I Am the Lamb," an unusually anguished song even for Low, is too subdued to sustain attention at just over seven minutes, despite its slow-burning, funereal menace; likewise, "John Prine" has a doomed grandeur to it, but its eight-minute length doesn't pay off. On the other hand, Trust's lighter moments feel like breaths of fresh air compared to the more oppressive songs -- the fragile, trippy prettiness of Parker's "Tonight" and the sweet, campfire-ready "La La La Song" are equally beautiful and unpretentious, and all the more appealing because of that. It's not until the second half of Trust that it really gets off the ground, but once it does, it makes the lengthy preamble worthwhile. The subtle harmonica and banjo flourishes on "In the Drugs" and the Phil Spector-esque production on "Last Snowstorm of the Year" mix Low's steadfast melodic sensibilities with Blake's colorful approach, while "Point of Disgust"'s beautiful vocals and simple, piano-driven arrangement showcase the band's spareness at its best. While Trust is uneven, its high points still outweigh the occasional slip into boring, dirgey territory. Fans will certainly agree that a slightly disappointing Low album still has more going for it than most other releases.
http://www.mediafi!re.com/download.php?mddz5zem5qyOver the course of their career, Low's glacially beautiful music has gradually melted into something much more accessible and intimate. The thaw culminates on Things We Lost in the Fire; despite its brooding title, it's the group's loveliest, most approachable collection of songs yet. Voluptuous strings, softly fuzzy guitars, and propulsive percussion suffuse songs like the sweetly melancholy opener "Sunflower" and the slo-mo pop of "Dinosaur Act" and "July" with a warmth and direction that Low's best work has always hinted at. Even the album's darkest moments, such as the tense, implosive "Whitetail," have more emotional urgency, heightened by Alan and Mimi's close, brooding harmonies. Yet Mimi's airy solo on the spare, undulating "Laser Beam" is equally spine tingling. Things We Lost in the Fire also features more of Low's understated stylistic experiments: The slightly jazzy harmonies and tempo of "Medicine Magazines" add a bit of swing to the group's usually steady rhythms, while "Kind of Girl" delves into earthy yet ethereal chamber folk. Breathtakingly gorgeous moments, such as "Like a Forest"'s pealing strings and poignant melody, and "Whore"'s build from delicate harmonies into a gently triumphant swell of guitars, vocals, and sparkling percussion reaffirm that Low have perfected and refined their sound. The finale, "In Metal," evolves from a melancholy ballad into one of the group's sunniest, most kinetic songs, mirroring the overall transformation of their music. A perfect match for its late-winter release date, Things We Lost in the Fire's slowly rising warmth and subtly hopeful tone not only make this Low's most cohesive, compelling collection, but one of 2001's best albums.
Are you sure it's not working? I downloaded it and unzipped it myself to try it, and it worked fine for me. Try downloading it again and if it doesn't work for sure, let me know and I'll hit you up with a re-up.
just tried that and the same thing is happeningHmm. When you try re-downloading let me know...weird that it's not working though...
I might try and re-download 7zip and see if that makes any difference
http://www.mediaf!re.com/?xnamzkzoke5Jóhann’s stately and hauntingly melodic music has been quietly bewitching listeners for some time and his new album, IBM 1401, A User’s Manual - his most ambitiously-orchestrated composition to date – is sure to expand his audience still further.
Inspired by a recording of an IBM mainframe computer which Jóhann’s father, Jóhann Gunnarsson, made on a reel-to-reel tape machine more than 30 years ago, the piece was originally written to be performed by a string quartet as the accompaniment to a dance piece by the choreographer Erna Ómarsdóttir. For the album version, Jóhann rewrote the entire score, and it was recorded by a sixty-piece string orchestra. He also added a new final section and incorporated electronics alongside those original tape recordings of the singing computer.
http://www.mediaf!re.com/?nxfbeomynnmhttp://www.mediafire.com/?y4yyw5jgmtoI'm surprised that this album hasn't been posted (In fact it may have been once upon a time ago...), a stone cold classicniiiice! :-D
Company Flow - Funcrusher Plus (1997)
The Budos Band are an "Instrumental Staten-Island Afro-Soul" outfit recording on the Daptone Records label. The band has eleven members (up to thirteen members at times) who play instrumental music that is self-described as "Afro-Soul," a term and sound which - in a recent interview - baritone saxophone player Jared Tankel elucidates as, being drawn from Ethiopian music the band had been listening to that had a soul undercurrent to it, which the band then "sprinkled a little bit of sweet 60's stuff on top" of.[1]
Jazz, deep funk, Afro-beat, and soul influences can be heard in the Budos Band albums, both of which are Daptone Records releases recorded at the label's own studio, Daptone's House of Soul, in Bushwick, Brooklyn. Numerous other funk and soul outfits appear on the same label including: The Mighty Imperials, Sugarman 3, Sharon Jones & The Dap-Kings, plus others.
http://www.mediafire.com/?gjj3wjtqozw
http://www.mediafire.com/?mgyymywuinyPulp Fiction Soundtrack
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Pulp Fiction SoundtrackCode: [Select]http://www.mediaf!re.com/?y4yyw5jgmto
http://www.mediaf!re.com/?tylmiz4fqzlA unique fusion of piano, lush orchestration, layered sounds, and the phenomenal range of Jared Draughon’s melodic, haunting vocals. Jared Draughon’s mellow, beautiful voice is complemented well by Bitsy Pina’s hypnotic and complex piano themes.
Distrails is a musical duo formed in Winston-Salem, North Carolina.
The duo is composed of vocalist/guitarist/percussionist Jared Draughon,
and classical pianist/composer/keyboardist Bitsy Pina.
Textured, artistic and captivating,
"Virginia Creeper" is a demanding album that flows seamlessly through eight memorable and unique songs.
Distrails has just released their own album "Virginia Creeper" which they wrote and recorded themselves.
http://www.mediaf!re.com/?eibgw5ml2ty"Empire! Empire! (I Was a Lonely Estate) might employ an over the top use of punctuation in their egregiously long band name, but once their beautiful instrumentation hits your ears, it might not matter…a band worth keeping an ear on in the coming times."
"The band takes the best parts of indie, pop, and a touch of folk to make their own unique sound. I’m pretty sure Empire! Empire! are a name you’ll be seeing later.”
http://www.mediaf!re.com/?ngukmniobjoSol Eye Sea I is an easy sell for fans of instrumental rock and metal. Irepress continues to impress with a blend of off-time melodies, innovative song structures, and metalcore outbursts, but they inadvertently showed a weakness by fumbling the vocals. It might be a small complaint, but it's the one main factor between this album and complete praise.
http://www.mediaf!re.com/?md3bxjjninvBorn from the ashes of the seminal Cartel Cartel Lover, and Princes of Las Vegas, Pianos Become the Teeth is a difficultly labeled band from the Baltimore area. To Label Pianos as a "prog" or "indie" band is to betray their sound. Combining traditional post hardcore energy with the complexity of modern ambience, Pianos has created a sound that is truly original and refreshing. Their 2007 demo EP is a triumph of genre melding prowess; Contrasting chaos with calm, in only two tracks, it runs the gamut of emotion. "Idiosyncrasies" is an effects laden romp through the fields of post hardcore. The dueling clean and screamed vocals lay perfectly upon a soundscape of ambient guitars, beautiful keys melodies and frantic, but tasteful percussion. "All Children Make Mistakes" shows the band's "softer" side. Grabbing elements of post rock and electronica, it is evocative and beautiful. The piano motif coupled with far from typical guitar lines and roaring cymbal rolls, creates an unlikely but somehow perfectly fitting home for the emotive moans of Kyle Durfey. It is simply remarkable what Pianos Becomes the Teeth has been able to accomplish in only two songs, crafting a seamless sound of extremes, raising your heart rate and then cradling it back down just as quickly. Make sure to keep an eye on Pianos, lest you miss them take back the scene one track at a time.
SHOLI
http://www.mediaf!re.com/download.php?zmmyi2nmut1From Discogs
Mad Blunted Jazz is DJ Cam’s first US release, a 2-cd set consisting of his import album Underground Vibes and a live album, and it stands among the best downtempo ever. The beats are solid, hip-hop all the way, and the melodies are wonderfully dreamy with jazzy chords liberally applied. Even on harshly named tracks like “Suckers Never Play That,” there’s a delicacy and thoughtfulness to these tracks. “Sang-Lien” veers towards the darker side of the street; “Underground Vibes” stays there and languishes in the beautiful, murky gloom (the vocal sample is wonderfully apt). “Dieu Reconnaitra Les Siens” brings things back to a more upbeat feel, featuring a sample from Deee-Lite. On the live disc, obviously the production value isn’t as high as on the regular disc, but the tracks flow into one another, creating a smoky, “live club” atmosphere. But there are some surprises: the sitar hip-hop of “Gangsta Shit” and “London 1995,” which is essentially a drum ‘n’ bass remix of “Underground Vibes.” This is an essential release.
http://www.mediaf!re.com/?ndvdzmmgmt0http://www.mediafire.com/?mtuinyvm3wjMontreal-based producer Ghislain Poirier's music has been given the cutesy subgenre name "glitch-hop" by some, and vaguely irritating though that neologism is, it sort of fits. Imagine if Lil Jon got ahold of a bunch of Mouse on Mars and Oval records and you're more than halfway to the thudding, minimalist beats and cut-up electronic jingles that are the basis of Breakupdown. The instrumentals occasionally venture into the overstuffed mix'n'match aesthetic of DJ Shadow or Cut Chemist (one key exception being the spare, chilling "Close the News"), and linking interludes like "Té Wack" (a babbling freestyle in Quebecois French delivered in a goofily inappropriate gangsta rhythm) are fun but slight. But the meat of Breakupdown is in solid underground hip-hop tracks like "Cold as Hell" and "Nowhere to Run." For good measure, there's a pair of dancehall riddims featuring toasting by DJ Collage, one in English and another (the terrific "Riviere de Diamants") in French. There are so many different influences in Breakupdown that it occasionally threatens to fall apart; the fact that it never quite does is testament to Poirier's canny intelligence.
http://www.mediaf!re.com/?ggytnuwqdym
Irepress - Sol Eye Sea ICode: [Select]http://www.mediaf!re.com/?ngukmniobjo
Pianos Become The Teeth - Saltwater (2008)
SHOLI
That is a fantastic album cover and also the file has been removed.
http://www.mediaf!re.com/?fu44njgdiur
#1 on The Silent Ballet's Best Albums of the Year list
Company Flow - Funcrusher Plus (1997)
http://www.mediafire.com/?ijwmnwdzmzjThe soundtrack to Danny Boyle's radical, zombies-as-rageaholics horror film 28 Days Later has a fittingly eerie, volatile score that captures the desolate paranoia of a post-apocalyptic London as well as the worst behavior of its undead denizens. It was rumored that Godspeed You Black Emperor! was going to score the film but that honor went to British composer John Murphy; although GYBE!'s music appears in the film and seems to have influenced some of Murphy's pieces, particularly "Rage" and "In the House - In a Heartbeat," which intersperse maelstroms of guitars with bleakly atmospheric passages. Likewise, the prickly-yet-dreamy guitars on "No More Films" and "Jim's Dream" also recall Radiohead as well as Godspeed. Tracks such as "Tower Block" and "The Tunnel" occasionally succumb to predictable-sounding widdly guitars and video-game-like beats and synths, but the claustrophobic dread of "'I Promised Them Women'" and "The Search for Jim" is both subtler and more effective. Soprano Perri Alleyne's pristine vocals grace "Jim's Parents (Abide With Me)" and "Taxi (Ave Maria)," which add just the slightest hint of spirituality and optimism to the proceedings. Unlike the soundtracks for some of Boyle's other films, 28 Days Later has relatively few pop songs on it, but the ones it does have stand out that much more. Grandaddy's "AM180" is a much-needed dose of comic relief, while Boyle's beloved Brian Eno is represented by "An Ending (Ascent)," which may be the most apt use ever of Eno's music in one of Boyle's films. Eno's music is another key influence on Murphy's score, particularly on the luminous "Red Dresses." Unfortunately, Blue States' "Season Song" ends up sounding like an updated, trip-hopped version of Tina Turner's "We Don't Need Another Hero" from Mad Max: Beyond Thunderdome and hardly fares better in Rui Da Silva's remix (which is one of the U.S. edition's bonus tracks, along with a slightly more inspired remix of the operatic "Taxi [Ave Maria]"). The U.S. edition also features multimedia content including extra footage, the trailer for the film, and pictures from the set. While this album is unlikely to reach the iconic status that the soundtrack to Trainspotting did, 28 Days Later is a very different soundtrack for a very different movie, and is more than competent in its evocation of the best and worst in humanity.from AMG
http://www.mediafire.com/?wgrzgm5tj2l
Company Flow - Funcrusher Plus (1997)
The file is invalid :-(
http://www.mediaf!re.com/download.php?tmmbdznufim
Irepress - Sol Eye Sea ICode: [Select]http://www.mediaf!re.com/?ngukmniobjo
^this is really fucking sweet. Sean, if you are reading this (i know you are), download this shit post haste.
also, i'm looking forward to that Ghislain Poirier. i heard one song by him a couple years ago but never found a whole album and had completely forgotten about him until now.
The fact these songs were recorded by an indie-smitten couple in the confines of their own little love-nest should really be enough to have them fed straight to the snarling dogs of rock'n'roll. But tug on those leashes one second, for this debut mini-LP packs a hefty powerpop punch. Widescreen opener The Greatest Light Is the Greatest Shade is all fuzzy guitar textures, reverb-soaked drums and bass cranked up to "epic" - and all this from their bedroom? Clearly, Ritzy Bryan (vocals, guitar) and Rhydian Dafydd (bass) must argue over who's stolen all the duvet covers in Red Rocks ampitheatre. Elsewhere, the pace is upped for giddy, candy-laced indie pop with a sheen that recalls the Breeders or Warehouse-era Hüsker Dü. Gorge yourself and it gets sickly, but it's mostly more sugar-rush than sick bag
http://www.mediafire.com/?qron40dmz3o
From BBC
Sample based music, or at least that which samples other people's music seems to have reached a bit of an impasse these days. Confined either to the rarified post modern collisions dreamt up by the likes of John Oswald, the dancefloor ironies of the Ninja Tune crowd or the abstractions of Matmos et althe overall impression is of sometimes clever but ultimately cold navel gazing exercises.
The Broadway Project (aka Dan Berridge) has a different idea; take a few of your favourite records,cut them up alittle and then play lots of bits of them together. No post modernist agenda (save a few political references to Human Rights issues), and some of the records are pretty well known, almost iconic (Brian Eno, 10cc, Alice Coltrane, Harold Budd, Nick Drake).
Compassion (originally released last year and now reissued with extra tracks culled from earlier singles) is little short of a masterpiece. Though Berridge's approach seems casual, his results are pure alchemy. Either he's very lucky, or he's not at all casual and spends hours and hours in a darkened bedroom hunched over his PC, timestretching, pitchshifting and all the rest of it. Who knows, and really it doesn't matter.
So what does it sound like ? It's complex, deeply atmospheric, sometimes dark but deliriously beautiful throughout. Even when his sources are instantly recognisable (Eno, 10cc)or more esoteric (Spirit, Stomu Yamashta) Berridge's handling of them produces something new; there's a real sense that he loves and respects the material he's dealing with, and more importantly he's heard a way of re-presenting it.
Often powered by downtempo grooves, Berridge spins plangent electric pianos, big cinematic strings, hysterical guitar rockisms and spoken word into a dense, heady brew that makes most sample based music seem stifling, impersonal and irrelevant.
http://www.mediafire.com/?yznmlhzmghmhttp://www.mediafire.com/?dzyjxzmt1i4From BBC
Dan Berridge’s darkly magnificent sampledelica gets a new twist, courtesy of the vocals of Richard Palmer. Vessel’s brooding, melancholic swirl will appeal to those swayed by the grainy melodramas of Portishead, though Berridge’s sonic alchemy and Palmer’s keening vocal acrobatics resist comparison to anyone else. Sometimes the material seems too insubstantial to take the emotional weight that Palmer and Berridge laden it with, but for the most part their opulent, romantic noise is as emotionally compelling as ever.
http://www.mediafire.com/?2zmmmmemdtghttp://www.mediafire.com/?4zznqd5qgzd
What distinguishes POBPAH from the rest of their modern peers is a sense of craft located in the sweet spot between wilfull amateurism masking incompetence and not gumming things up with bells and whistles. It's immediate and substantial, but initially, it can seem distracting that the band is built more for speed than muscle. Yet these aren't songs that need anchors-- as much as Alex Naidus' bass plays an integral role in pushing everything forward, he's more likely to contribute melodic counterpoint than low end. Kip Berman's voice is appropriately unaffected, working in melodies that almost feel like 45-degree angles-- exact, acute, and just right. Keyboardist Peggy Wang-East doesn't harmonize in a traditional sense with Berman very often, but particularly on "Young Adult Friction", her vocals are a hook in themselves, taking an already strong chorus to a higher plateau.
http://www.mediafire.com/?vo2aygtjufz
Really? Shit, I'll re-up when I'm at home.
pt. 1 or 2 or both?
devotchka postQuoteNPR.org, May 16, 2008 - Frontman Nick Urata is the father of this eight-piece band.
http://www.mediaf!re.com/?1zzmganzet2Two awesome albums!
Bohren & Der Club of Gore - Gore Motel
No allmusic review but basically this is what it would sound like if a group of German guys totally into doom metal decided to make a jazz album. Ultra dark, minimalist doom jazz results. Image you're wandering a foreign city at midnight in a blackout in a freezing rain and for some strange reason not a single soul but you is around...or is there. This album, the band's first, (and Bohren's other's too) would be the soundtrack to that night. Unlike their later albums, this one gets really loud and heavy while their later work is heavy in a ambient doom kinda way, really slow and dark and feature an ultra mournful, nigh funereal saxophone not present here. It's all fucking awesome though! I'll be happy to upload those if there's interest.
http://www.mediafire.com/?k0dgmrdwlrmTonight (Dulli)
Will You Still Love Me Tomorrow? (King/Goffin)
Recorded: 1990
Released: 1991
Ornament: Greg Dulli - vocals, guitars/Marcy Mays - vocals/Rick McCollum - lead guitars/John Curley - bass/Steve Earle - drums.
Recorded at Ultrasuede, Cincinnati, OH. Produced by Greg Dulli. Engineered by John Curley.
Ornament was a one time collaboration between the Afghan Whigs and Scrawl singer Marcy Mays. This version of Tonight is a different recording than the version on Congregation. Will You Still Love Me Tomorrow is a cover of the Carole King song. Greg Dulli photograph by D.A. Fleischer. Marcy Mays photograph by J. Brown and Racy Bangs. Some copies of the single come in clear blue vinyl.
http://www.mediaf!re.com/?sharekey=4be920c70606fef1d2db6fb9a8902bda(http://i25.photobucket.com/albums/c55/lebowski129/41D97N1B7XL_AA240_.jpg)What could be more perfect than doom metal and whales? German band Ahab have modeled their sound and concept around Herman Melville's classic novel, Moby Dick, and seeing how it is one of my favorite books, I was drawn to The Call of The Wretched Sea. Taking a cue or two from Thergothon and Worship, Ahab's sound is as colossal and lumbering as the white whale itself. Of course it would be impossible to cover all the nuances and various themes covered in Herman Melville's original tome, but like Melville, Ahab do a fine job in capturing the absolute peril and vastness of the ocean. Doom metal and whales.
http://www.mediaf!re.com/download.php?tzcydtgloyyBroadway Project - Compassion
Yeah, definitely see them again! I know I'll hit up another nearby show soon. To answer your question though, they're still a four-piece band: Nick Urata (vocals, guitars, piano, theremin, trumpet), Tom Hagerman (violin, accordian, piano), Jeanie Schroder (sousaphone, acoustic bass, vocals), and Shawn King (drums, percussion, trumpet). The writer probably counted the guest performers as permanent band members. A string quartet is an amazing addition to the performance. As are the aerial dancers :-)
http://www.mediaf!re.com/download.php?emqtdmkmwouhttp://www.mediaf!re.com/download.php?gm5jzeeoijjhttp://www.mediaf!re.com/download.php?m0qzzzor1zzhttp://www.mediaf!re.com/download.php?nmqmz4cyyyk
Mastodon - Crack the Skye
In one word: Amazing. I think Blood Mountain caused a lot of love/hate opinions about the band. I was in the group that didn't really care for it. Crack the Skye has restored my faith in them. Not one bad song on the album. Guitars are ridiculously amazing. If you are a fan of guitar-based music that is not horrible, then listen to this now. About 97% of the vocals are clean singing, so those who are turned off by harsh vocals have no excuses to not listen to this. Read about/watch the inspiration for Crack the Skye, and the band's attempt to create a 'creepy classic rock sound' here (http://headbangersblog.mtv.com/2009/02/19/exclusive-clip-the-making-of-mastodons-crack-the-skye-episode-viii/#more-5475).
note on the actual files: the leak was missing the last track, and the quality is 128k. Not great quality, but still very listenable. After listening to this a couple times, it has compelled me to buy the album when it comes out.Code: [Select]http://www.mediaf!re.com/download.php?tmmbdznufim
maybe this is just me being proud of my spanish heritage, or maybe this is me loving this song and wanting to share the new russian red single with you.
http://www.mediaf!re.com/download.php?zqt4ozcqjmzi started listening to this in the car this morning...for your enjoyment i present to you a leak of the yeah yeah yeah's new album "it's blitz."
http://www.mediaf!re.com/download.php?nqecddjqmmahttp://www.mediafire.com/?wytgoxyzmunThey've been called the Swedish Explosions in the Sky, and you can only take such a comparison as flattery. September Malevolence leads a booming Swedish instrumental scene with moody, slightly off-beat post-rock that has a perfect insight into the quiet/loud approach that has dominated the genre over the past few years. Top-notch songwriting sets Tomorrow We'll Wonder... apart from the pack, and it's a skill like that which is an indicator that this band is not a flash in the pan.
Tomorrow We'll Wonder... gets darker than one would expect, but this is complemented well by a gloomy atmosphere that looms over the album. While the dark clouds are briefly cast away throughout the course of the album, it's ultimately a losing battle as the intent of the band becomes clear by the album's conclusion. And with that September Malevolence leaves us craving more.
http://www.mediafire.com/?xaonumjbxmtThe second album from Daniel Buerkner sees yet more solipsism from the 23 year old Berlin resident under his Squares On Both Sides guise. Sharing a love of hushed Americana with the likes of Vincent Gallo, Buerkner isn't afraid to pepper his musical and lyrical rectitude with a dose of angular verbosity when required. At times almost post-rock in its stravaig layers of meandering bass and rimy guitars, 'Dunaj' will appeal equally to fans of Mogwai as it does American Analogue Set and Elliot Smith. With the hissed piano and acoustic guitar of 'Lungs' resembling Papa M and the droll Malkmus-esque vocals of 'Ladder-Telescopes' perfectly complimenting the wheezing accordion, Buerkner has a keen understanding of what goes together; the result being both fragile and quite beautiful. Closing through the bruised instrumentation and synthetic bird-song of 'CSAD', Buerkner has made an album of shimmering delights that can be enjoyed up close or from afar. Recommended.
http://www.mediafire.com/?nzmd0dwzgio“Three guys and one girl who specialize in jerky, kinetic acoustic pop, Popup are Scotland's biggest unsigned band, and if you only see one new Scottish act, make it them. Following on from a triumphant series of American dates sponsored by Radio 1, they seem poised to make it. Imagine Arab Strap on fluoxetine and you're getting close
http://www.mediafire.com/?ngdtjnjdmgm"If Built to Spill and The Mars Volta spawned a child, it might sound something along the lines of Sacramento's O! The Joy, but never long enough to get too caught up in the aforementioned names. Then again, there is ample evidence O! The Joy have explored the kosmische scene as well on their new record Zen Mob, here & there philosophically echoing Faust's manner of carrying rare tangents to fruition. Having said that, maybe I'm just high, but my favorite tune on the record, "Under The Radar," really reminds me of Joe Jackson, especially on the expansive slow punch of the chorus. Zen Mode shows a seamless weaving of genres, transferring from melodically intense passages to drugged out guitar mania splattering color."
Bohren & Der Club of Gore - Gore Motel
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http://www.mediaf!re.com/?lm1tdnemjzj
Fangoria is an electro-pop/rock band, the brainchild of Alaska and Nacho Canut. they have sold over 5 million discs and have 16 albums. they have found fame and success in spain due to their diverse sound, avant-garde appearance, catchy hits. the latest release by spanish band Fangoria is called "Absolutamente" (or "Absolutely" in english) the truth is that the album is just that -- an absolute reaffirmation of all that has been and is yet to become of band members Alaska and Nacho Canut. Absolutamente takes Fangoria's genre spanning sound and influences (rock and roll, disco, techno, eletro rock, glam and synth pop) to the next level...and it's absolutely amazing.
http://www.mediaf!re.com/download.php?cmjttjf0tdchttp://www.mediaf!re.com/?tyygm4mwamz2009 leak? I'm pretty sure of that much.http://www.mediaf!re.com/?rq4zcotoyldamazing, duh!http://www.mediaf!re.com/?1nbykm2iziiDouble amazing, it's Pink FLoyd. come on nowwwwww.http://www.mediaf!re.com/?jmxmymvdgumI didn't really listen to the shins until I heard this album, it's very good.[...] In case anyone wants, I have every Frank Zappa album you could possibly need. All the studio albums plus the majority of the live ones. [...]
Svenska Löd Ab! - Hörselmat
(http://i44.tinypic.com/15z1qhh.jpg)Code: [Select]http://www.mediaf!re.com/?lm1tdnemjzj
The Boy Least Likely To- The Laws of the Playground
2009 leak? I'm pretty sure of that much.
is it just me or did we establish something about megaposts?
(http://img.photobucket.com/albums/v129/jesusvsthepolice/supped.jpg)Code: [Select]http://www.mediaf!re.com/?imeztmoykmj
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I'd definitely go for every single second of that...
http://www.mediafire.com/?tw0nmdn2zmjhttp://www.mediafire.com/?nznntwtwfyz
so here's the thing... i love azure ray, love now it's overhead, love the cutesy cameos with bright eyes, love love love maria taylor. if you like the mellow multi-instrumental beauty that was 11:11 and you enjoyed some of the more upbeat (yet still amazing) lynn teeter flower then you'll seriously love the new maria taylor album "lady luck." the album contains lp versions of some of the songs that were featured on 2008's ep savannah drive (with andy lemaster).
the good news is that it's really good. the bad news is that this maria taylor's first full length album that isn't on saddle creek. she's moved on. which kind of sucks for saddle creek... it seems like everyone is getting to big for their tiny label. alas....
http://www.mediaf!re.com/download.php?zwt5ymgmtmkhttp://www.megaupload.com/?d=5WEI59RD
I'd definitely go for every single second of that...[...] Any albums in particular? [...]
[...]I'll up some of my favorite live albums later as well.[...]
Can someone help me out????????
I have an incredibly hard time falling asleep quite often (thinking too much ought to be the culprit)
but I'm wondering if someone can tell me of an album or upload something that is just absolutely perfect for falling asleep to?
I'm not looking for something very wordsy or weird or out there in terms of originality.
I'm just looking for something that feels like a pillow and hums like the wind blown from a goddess of dreams.
Usually I just fall asleep to Pink Floyd, Nick Drake, Broken Social Scene, or like..very select albums but lately none of the above are cutting it.
Thanks!! :angel:
Can someone help me out????????
I have an incredibly hard time falling asleep quite often (thinking too much ought to be the culprit)
but I'm wondering if someone can tell me of an album or upload something that is just absolutely perfect for falling asleep to?
I'm not looking for something very wordsy or weird or out there in terms of originality.
I'm just looking for something that feels like a pillow and hums like the wind blown from a goddess of dreams.
Usually I just fall asleep to Pink Floyd, Nick Drake, Broken Social Scene, or like..very select albums but lately none of the above are cutting it.
Thanks!! :angel:
http://www.mediaf!re.com/download.php?vhg20gan2mvhttp://www.mediaf!re.com/download.php?m25ukmnmjj2On the flagship release to his 13 month/13 cd
series Masami Akita, herein known as Merzbow,
returns to his drumset to accompany his complex
analogue noise. His prowess as a drummer rivals
his abilities as a noise artist making this an
essential and exciting entry into the Merzbow
cannon.
Merzbows 13 Japanese Birds is a 13 month/13 CD
set that begins January 2009 and ends February
2010. These are pressed in a limited edition of
1000 and once they are sold out they will not be
repressed.
http://www.mediafire.com/?tonnmzm52vh
Lately I've been using the second American Analog Set album, "From Our Living Room To Yours".
I've posted it before, but here it is again so you don't have to search the archives for it.Code: [Select]http://www.mediaf!re.com/download.php?vhg20gan2mv
Rules:
No hot-linking images or albums. You can re-host images at http://imageshack.us.
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Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
Also, please do NOT request albums.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
Can someone help me out????????
I have an incredibly hard time falling asleep quite often (thinking too much ought to be the culprit)
but I'm wondering if someone can tell me of an album or upload something that is just absolutely perfect for falling asleep to?
I'm not looking for something very wordsy or weird or out there in terms of originality.
I'm just looking for something that feels like a pillow and hums like the wind blown from a goddess of dreams.
Usually I just fall asleep to Pink Floyd, Nick Drake, Broken Social Scene, or like..very select albums but lately none of the above are cutting it.
Thanks!! :angel:
http://www.mediaf!re.com/download.php?kdyhjt0ywmohttp://www.mediafire.com/?mhjjjygwknnNot Out Yet
http://www.mediafire.com/?ltmt25nmmzzIf you’ve never heard of The D’Urbervilles I suggest you go now to iTunes and buy a copy of We Are The Hunters. Go right now, I can wait. You think I’m kidding, I’m not. D’Urbervilles really is one of Canada’s best kept secrets but like all secrets they won’t be a secret much longer. This group, based in Guelph, is making some of the most outstanding and original music out there.
The D’Urbervilles are not to be confused with a roots/country band by the same name. This D’Urbervilles is certainly not roots/country at all. Not even close. With vocals that are a cross between Jim Morrison and Ian Curtis with a bit of Paul Banks (Interpol) thrown in for good measure, jazzy beats, rocking guitars, smart lyrics and funky bass lines, this CD will get your blood up and dancing along with the rest of you. May I suggest listening to this in an empty room because otherwise I suspect to will do damage to yourself while bouncing around.
http://www.mediafire.com/?vrzjnd2zz4zThey Mean Us play simple, up-tempo mathy-postish-indie rock with a certain je ne sais quoi that permeates every aspect of this beautifully orchestrated semi-progressive instrumental euphoria. Celestial in tone, yet earthy in approach, this Texan sextet embosses a depth and tone to their music that has more in common with Scandinavian jazz heads The Samuel Jackson Five and Cleveland’s To Be a High Powered Executive than other Texan standard bearers. They Mean Us exist wholly apart from today’s derivative, boring post-rock and electronic scenes, spanning a breadth of styles and genres so gracefully it’s shocking to learn they haven’t been around since 1995 at the least.
Perhaps They Mean Us are most readily compared to the influx of emo influenced bands from the midwest in the 90’s. My ears detect hints of American Football, Cap ‘n Jazz, and Owen, but Friendship Lottery’s sound is that same clean guitar fueled jazzy aesthetic filtered through 10+ years of post rock, morphed into a truly powerful listening experience. Too many bands with such a wide array of styles and instruments at their disposal rely on creating an “envelope” of sound. They Mean Us uses the expanded palette of cello, dual guitar, electronics, bass and drums to develop a sort of focused perspective, initially drawing the listener from one theme to another, highlighting not individual instruments, but individual articulations and phrases. A calming, ghastly mood of defined purpose dominates this album, spreading an impassioned light of thoughtful preciseness, and that very precision gives this album a math rock feel with out jarring instrumentation or overly complex rhythmic accompaniment. There is no bad member, nor even a bad performance, in this group. They play off of, and occasionally on top of, each other very well. The diverse use of strings never conflict or bury each other in the mix. This speaks for the album’s fantastic production and the talent of the musicians behind it.
http://www.mediafire.com/?iy4lihmekzzCould Not Find one. 8 demo songs that make up just over 14 minutes of music. Fast and loud music.
The D'Urbervilles - We Are The Hunters (2008)
http://www.mediaf!re.com/download.php?1ol0hw4omo4
beautiful and mesmerizing post-rock from ypsilanti, michigan. i love this album, in part because i'm really good friends with the band (which is comprised of: my current boss, some old housemates of mine, a friend from middle school, and a former server of my favorite coney island). the band released this full LP in 2007 (and went their separate ways shortly after. the most popular track (and one of my personal favorites) is titled "strangers in matching suits."
while this is the only official album, red light chamber choir recorded some songs in my basement which we have deemed "the basement ep" if you guys dig "we are in trouble but don't know what to do" i'll consider upping the ep. check it.
http://www.mediaf!re.com/download.php?xzyrgjzz3gm
http://www.mediafire.com/?zmkmiztr1ijhttp://www.mediaf!re.com/?j4k3zrmndgzThis is one of those little releases that slipped under nearly every (including mine) radar in late 2003. It's one of those discs that I expected to enjoy a little bit, given the few reviews that I'd read on it, but it not only surprised me, but has found such regular rotation in my CD player that I'm already considering revising my year-end list to include it. Created by Joseph Grimm and Jeff Smith, Whips is a loosely-conceptual album about the disolution of a long-term relationship and the subsequent despair, longing, and loneliness that comes afterwards.
That said, one might suspect that an album about such a turn of events to be heavy-handed or even overbearing, but it's just the opposite. Blending sonics that sound like a mixture between Stars Of The Lid, 1 Mile North, and even Dirty Three, the group finds just the right blend of melancholy and hope over the course of 8 tracks and 45 minutes.
Monument is the best band in Washington, DC right now. You may not argue this, because this would make you incorrect.
Monument - A 3 Song 7"Code: [Select]http://www.mediaf!re.com/?zmkmiztr1ij
These guys seem to be starting to get some internet recognition so I figured I'd post their seven inch up here. Anyway, this is a mandatory download for Michael, Christophe, Sam (thanks for showing me them again!), and anyone else who is fucking obsessed with the Kinsella family. It's also mandatory for Johnny C, since they shout Get Rad in their second song. As you have probably guessed, Monument plays that good ol' midwestern emo/indie rock/cap'n jazz style music. And they fucking nail it. From the first moment the needle hits the record until you realize oh shit its over I'm scratching up the serial code you will be jumping around your room giggling like a fool singing at the top of your lungs. And thats just on record. Monument pulls each note and chord with so much energy you simply feel overwhelmed with joy. If you are even remotely into the recent resurgence of indie/emo in the vein of Algernon Cadwallader this 7" is a must. If Monument ever comes to your town drop everything and see them. They are incredible.
www.myspace.com/monumentisaband Please buy this 7" too. It only costs 5 dollars (four at a show, but they have only played around DC). They are charging mega cheap for it just so people like you can hear them! Its true I talked to them about it. They are mega nice dudes too!
That ummmm Wind-up Bird wassssssssssssssssss...empty? :roll:
That ummmm Wind-up Bird wassssssssssssssssss...empty? :roll:
empty? the zip worked for me. do i need to re-up?
Sean,
Bernstein's Mass
http://www.mediaf!re.com/?ojhkm2g0jjzSean,
Code: [Select]http://www.mediaf!re.com/?sharekey=4be920c70606fef1d2db6fb9a8902bda(http://i25.photobucket.com/albums/c55/lebowski129/41D97N1B7XL_AA240_.jpg)
someone emailed me to re-up this. enjoy!
http://www.mediafire.com/?t4yyvyyuozaThere are whole armies of instrumental postrockish bands out there but Don’t Mess With Texas from Zagreb are for sure one of the best of all of them. Especially live they are an awesome and intense experience.
This intensity has been captured on this record as well. The dominant lead instruments are guitar and piano. Compared to the self titled debut the dynamics are worked out a little better and the piano lines are more diversified. The record is mostly in a laid back kind of mood. The heavier eruptions seam rather moderate but I guess in a live situation they might blast pretty much. It’s a listening record. Best listened to in an autumn night with thunderstorm and all. It is slow and urgent like good doom metal but in the same time dreamy and spherical like postrock. I really like it.
http://www.mediafire.com/?mnnwjhqnlzrSomething happened to I Was Totally Destroying It in the past year, as though the band collectively decided its career had better be more than a few Cradle shows and local adulation (or derision, depending on whom you ask) after releasing its full-length debut in 2007. The tight, precise, polished power-pop the band peddles is the kind of ear-grabbing musical snowcone that many love, many love secretly, and many outwardly hate. This band could or should be famous, and its new, seven-track, MP3-for-free EP Done Waiting sounds refined enough to make for the big time. Whereas that first LP promised versatility at the risk of consistency, this EP finds the band, sonically at least, bursting with purpose. The debut's lighthearted momentariness gives way to a bolder push for something—anything—bigger.
In the process, some of the local allusions that made the debut a Triangle hit get lost, swapped for an elliptical songwriting tack that still suits the band's melodic propensities. Only "Teeth," with its snapped syllables and rhythmic bludgeon, cracks the sing-song mold, and even it swells into a milkshake-smooth chorus.
IWTDI's previous variety act comes folded into better textures beneath these focused tracks: No longer the chugging guitar-centrists of last year, the band stretches its range by adding acoustic plunking to the foreground of "The Masquerade" over the near-Theremin glow of Rachel Hirsh's keyboards. The album's most spacious track, it's a welcome contrast to the other tracks' large-venue ambition. Indeed, what's constant throughout is the record's clear ascendant aims, as if IWTDI got out of the basement and got dressed for a big-time job interview.
http://www.mediafire.com/?omgznztkyt5There are some excellent sounds emanating from Florida and not all the noise is coming from Gainesville anymore. Red Room Cinema hail from Tampa, Florida and play instrumental post- rock. Red Room Cinema practice a version of instrumental rock that at times allows for some sparse vocal interludes. However, for better or worse, this is music completely lead by the instruments.
It is always such a difficult assertion to make in regards to whether a band would be better off with or without vocals. Hell, I have heard my share of bands who probably should have left their lead singer on the roadside somewhere. Yet, for some reason, we always seem to think that instrumental bands lose their purity by adding vocals to the mix. For Red Room Cinema though, I feel as though they could benefit from more vocals. I feel as though the moments where guitarist Anthony Maltese does let his voice out allows the band to have some much needed sense of personality.
The album sounds nice and Red Room Cinema are quite adept at the standard issue rise-and-fall of instrumental music. Still, the band has a hard time distinguishing themselves from the mass of bands playing this style. Because of that Red Room Cinema will probably get lost in the crowded fray. That really is unfortunate as the band and this album show off some talented moments.
http://www.mediafire.com/?mo4gmmdzyztWe Were Enchanted is Roommate's second full-length album, released in 2008. Roommate features melodramatic popular songs for healing and easy listening. The current Roommate band includes Luther Rochester, formerly of Low Skies (analog synths), Seth Vanek (drums) and Justin Petertil (guitar) of Crap Engine and Velvetron (drums), Mercedes Landazuri (banjo), Erica Dicker (violin), and Gillian Lis‚e, formerly of Fruit Bats and Califone (bass/vocals/percussion).
Here is an EP by one of my favourite bands to ever make music. They were called the Vermicious Knid. The EP is called Days That Stand Still. If the shitty shitty town of Brantford, Ontario was Washington, DC the lead singer of this band would be Ian Mackaye. Except instead of starting a label he started a music venue that puts on cheap all ages shows for local bands all the time.
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Bruce Peninsula is a big band that actually sounds big—members swarm from the crevices between plush toms and crackling woodblocks to literally round out the mix, make it warmer. A Mountain Is A Mouth is something special, a clusterfuck arrangement of bandleader, guitarist(s), percussionists, and revolving choir (friends, admirers, and inspirations) that avoids the obligatory: nuance, screaming, Sufjan Stevens, a trumpet player and a cute cello player from Muncie, or otherwise. Melodrama abounds; lyrics typically touch on cataclysm and finality, and it’d be ridiculous to expect a fat swath of talented songwriters to not lean (really hunker) into a perilous bout of gospel and tormented hymns, but the sheer breadth of the album feels almost necessary. Earned. Like there will always be enough crucial parts to play and everything sounds big because it must.
http://www.mediaf!re.com/download.php?nmiwzzzqoib
Monument is the best band in Washington, DC right now. You may not argue this, because this would make you incorrect.
Trouble Funk continue to remain a figure on the Washington DC area live music scenetsk
http://www.mediafire.com/?wztnwyz1y5yWith influences ranging from jazz and prog rock to qawwali, Sholi's self-titled debut album is a uniquely free-flowing study in contrasts. All three of the band's members -- songwriter/guitarist Payam Bavafa, bassist Eric Ruud, and especially drummer Jonathon Bafus -- are fluent players and often play intricate parts, but they never feel showy; likewise, Bavafa's tenor is a perfect foil for the instrumentation, with a coolness that mirrors the band's prowess and emotionality that complements it. Sholi's songs rarely end the way they started; instead, they shape-shift at will, reflecting the band's mercurial moods: "Tourniquet" goes from dissonant rock to melodic almost-pop and back again almost imperceptibly, with Bafus' busy but purposeful rhythms leading the way. "Spy in the House of Memories" begins with darkly twinkling, loungy jazz with a melody that could be stolen from a torch song, then melts into sunny harmonies and guitars as Bavafa sings, fittingly, "We decide what we cherish and what we forget/What we leave at the other end." These quick changes can shake listeners, especially at first, when songs like "Out of Orbit" and "Dance for Hours" feel too subtle and too insular to reveal themselves fully without close attention; fortunately, Sholi has more immediate moments, such as the opening track, "All That We Can See," which, despite its flurries of drums and guitars and stop-start structure, has a melody that remains constant and infectious, and "Any Other God," which, with its martial drumbeats and subtly insistent guitars and vibes, is Sholi's most instantly catchy song. Fortunately, even the album's least obvious moments are well worth deciphering, and the emotional connection Sholi make on almost every track raises the band from merely impressive to very promising.
http://www.mediaf!re.com/?trmzamyo2zyhttp://www.mediaf!re.com/?hrcmoth5ylohttp://www.mediaf!re.com/?nmwb35oinkm
Monument is the best band in Washington, DC right now. You may not argue this, because this would make you incorrect.Quote from: wikipediaTrouble Funk continue to remain a figure on the Washington DC area live music scenetsk
http://www.mediaf!re.com/?kz3jzzigtzhhttp://www.mediaf!re.com/?yyywi4iotny
http://www.mediaf!re.com/?oj2ygomnmzvhttp://www.mediafire.com/?womx3mnvmokhttp://www.mediaf!re.com/?o2wyz5mkmj0
For a very brief moment, it seemed like people were actually reporting the truth. The surveillance, pre-emptive detention, arrest, and beating of journalists, protestors, and watchdogs by the St. Paul police department, the Ramsey County sheriff's department, and the FBI was so egregious that it couldn't be allowed to pass without comment. I heard WNYC's Bob Hennelly compare the treatment of RNC protestors to the fact that Trojan condoms had a product booth inside the building at the Republican National Convention, saying, "It seems as if free speech exists only for those who can pay for it." I heard the name "Amy Goodman" actually spoken by, and written about in, the "mainstream media" after her roughing up at the hands of the St. Paul police. The story of the ABC cameraman who was smacked around and had his video camera smashed was about to bring down the righteous indignation of a formerly complacent press. And the license and viciousness and carelessness with which these acts and the banal bullying that seemed to be a constant around them - infiltration of peaceful (and not so peaceful) groups by police spies and agents provacatuer - the omnipresent pepper spray repeatedly maiming eyes that were only challenging with looks - stun guns, tear gas, and concussion grenades launched on a citizenry trying yet again to be heard - was finally coming under proper scrutiny. Was there violence launched against delegates, property, and police as well? I'm sure there was. And the majority of it is to be dismissed and condemned, but some of it has be to be understood as what was likely a natural response to this culture of military free-reign that pumps our protectors up to believe that we, exercising our rights as Americans, are an enemy to be crushed without concern and without reason. How they get away with it all... How they get away with anything they want to! We yammer on about the efficacy of trickle-down economics, but we ignore the trickle down effect that eight long years of example of contempt for the standards of the very same reasonable society this government claims to desire to defend, and the cynical exploitation of the populace via their fears and willingness to allow any transgression against their rights in the name of comfort (to inadvertently quote Shelter), but the proof of that trickle-down effect is all around, and was on display during the RNC in St. Paul. And this was actually being discussed somewhere other than within the remnants of punk fanzine culture and marginal message boards!
And then came the Sarah Palin Side Show, and we've all moved on (but let me dive in, yet again, for one second to relate it to the point I was making above, and ask a question: how is it that a candidate for vice president, one allied with the "anti-big government" "pro-individualism" and even pro-states' rights faction - can openly mock concern for an individual's rights in the face of government accusation - endorse a "shoot first, ask questions later" policy - and actually be considered for a post that requires deference to and upholding of the Constitution? In the world that they've created, there is no accountability). But real people were hurt in St. Paul, and real people have bills to pay, and real people need funding to continue their good works. We (the band and I) were all feeling these events as deeply as we could from our 1200 mile remove, and so as not to feel entirely powerless, and in an attempt to contribute SOMETHING to that continuation of those good works, we wrote a song and recorded it, along with another new one we'd already been working on that's pertinent to election time politics, and two covers we enjoy and that also have timely sentiments. It's a small thing, but as the particle collider that cranked up at CERN yesterday will continue to reveal, all big things are made out of smaller things. Thanks for your contribution in purchasing this EP.
A few words about the songs...
First of all, don't get on my case about recording quality, excessive compression, distortion, etc. - the point was to get this down and get it out as quickly as possible, so we just used our usual cruddy demoing set-up, and I mixed it down into, >ulp<... Garage Band. Also, I've been listening to not much but the last two Darkthrone records recently, so... that's probably had some effect on my vision of "production values." Also, I know that at one point it sounds like I'm saying "Amy GoodWIN," but it's just that I had never actually sung the song before, and I was rushing through it, not paying much attention to annunciation - I think I deserve the benefit of the doubt on that one, but you can still consider this a pre-emptive "clarification."
http://www.mediafire.com/?twywhm1zdjgok so i tried to re re re re up "slumber party"- psychedelicate , because i have been getting emails to put it up. for some reason the link immediately says it has been removed I tried re-naming the zip file: no luck. unless anyone has a solution? this album seems to not be able to upload for "violating mediaf!res content blah blah blah"Maybe on megaupload or some other site? If it's not gonna to happen, then thanks anyway for trying.
thanks....sorry to dissapoint if we cant find a solution!
http://www.mediaf!re.com/?4w2mzmuvxmd
Sholi - s/t
Ted Leo/Rx <clip>
New Azeda Booth album, Tubtrek!Code: [Select]http://www.mediaf!re.com/?4w2mzmuvxmd
Just got released today!
http://www.mediaf!re.com/?tizin3oyw1vBreaking away from the infamous Chisel, frontman and underground pop icon Ted Leo has gone solo with his first outing, RX/ Pharmacist. But just as he has separated from his former mod-punk outfit, he has also distanced himself from his ability to write a straightforward song without tampering it with studio tricks and noises. RX/ Pharmacists features 19 songs of twisted samples, scattered tape loops, and an occasional track of tuneful, Jam-inspired punk. The only problem is that the actual songs featured here contain a wall of unnecessary noise in the background -- whether it's a distracting turntable or a recording that sounds as if it came from a warped audio cassette. Leo's energy and soulful vocals manage to barely balance out all of the "experimentation"; still, RX/ Pharmacists could have been a perfect album, if it didn't require the listener to constantly press the fast-forward button.
http://www.mediaf!re.com/?jigjgtwyt2ypt2http://www.mediaf!re.com/?illjnzdldmjHailing from what's fast emerging as the American equivalent of Scandinavia (at least where heavy metal is concerned), the Pacific Northwest, Wolves in the Throne Room compose haunting black metal inspired by fog-draped forests and long, dreary, dark winters. But the imaginatively named trio is not your everyday, pagan-worshipping, blood-sucking, corpse-paint-donning black metal band, either; but rather residents of a self-sufficient commune situated outside of Olympia, WA, where frugal living conditions help dictate the band's focus on music -- not dressing up like it's Halloween all year-round. Well, maybe just the mandatory hooded cloak, but that's almost de rigueur when signing to an independent black metal label like Vendlus. Anyway, cloaks or no cloaks, the music presented by Wolves in the Throne Room on their full-length debut, Diadem of 12 Stars, is truly powerful stuff: consisting of ten-plus-minute agglomerations of alternating furious blastbeats, sweeping mournful melodies, buzzsaw riffs, and scorched earth vocal screeches. Ultimately, the music's desolate ambiance is arguably taken to extremis on the 20-minute title track, which, with its additional neo-folk elements, atmospheric quiet passages, and eerie female voices decrying lyrics about mankind's lost affinity with nature, evokes almost palpable visions of cryptic pagan rituals. Yes, the band's instrumental execution could be a little bit tighter all around, their arrangements from passage to passage more fluid, and of course there's little on offer that hasn't already been done before; but that doesn't mean Diadem of 12 Stars won't provide a stimulating listening for experienced fans of black metal.
http://www.mediaf!re.com/?zcnqaqmdocmVirtually anyone who came into contact with Wolves in the Throne Room's 2005 long-player, Diadem of 12 Stars on Vendlus, fell in love with it, and for good reason. This Olympia, WA, underground black metal trio had its own take on the music; sure, it had blastbeats, screeching vocals, and furious riffs, but there is so much more to it than that. Oh yeah, no corpse paint, either (though an occasional hooded robe is worn in caves around campfires). For starters, their title track was 20 minutes long, and it changed constantly, layered through with heavy atmospherics, dark bewitching gloomy soundscapes that evoked the sound of the rain in the foggy forests of their hometown. The entire record -- even with its furious speeds alternating with funereal dirges, gorgeously paranoid ghostly keyboard passages, and a female vocal or two -- still had more than enough howling, buzzing guitars, and distorted crunch drums amid the blazing bass throb. Most importantly, so sophisticated was their approach to this rather bleak and primitive art form that they sounded as if they'd been recording together for decades. Two Hunters, the band's debut for Southern Lord, follows the same blueprint in some ways, but furthers it exponentially. Like its predecessor, there are only four cuts over 46 minutes, ranging from six minutes to just under 20. Wolves in the Throne Room are actually composers who understand how to assemble a suite of music that maximizes dynamics, tensions, moods, and textures without ever surrendering the flip-out unglued vibe that makes black metal so special.... (truncated for length)
http://www.mediaf!re.com/?egjj2lm2ywthttp://www.mediaf!re.com/?onzmbmdu32zRules:
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
http://www.azedabooth.com/ep/
http://www.mediaf!re.com/?4w2mzmuvxmdMusically, there are only sightlines, no touchstones. They twist and flutter, too skittish for space rock, too hot for IDM, too concise and charming for glitch-core. The Calgary, Alberta five-piece conjure up the sound of human travel. The arrivals and departures are hazy and blurred, the tone both tense and delicate, the fuel potent and clean, the direction most definitely UP. In Flesh Tones, Azeda Booth’s debut full length is a benchmark album, a thing of dazzling beauty and fragile inspiration. It’s not so much a bomb in the mineshaft as it is an incandescent dove illuminating the way out.
http://www.mediafire.com/?lzgfnxm4lttYou might ask yourself two questions. 1. Who is Norman Bleik and 2. Why is the band no longer a king? But after the Oslo, Norway band “I Was A King” slaps you with their new single and it’s power pop riffs you won’t care who Norman was and you’ll say long live the king!
More Zappa love! If you consider yourself a fan of music and you do not listen to Frank Zappa, you are doing yourself a disservice.
Frank Zappa - Sheik YerboutiCode: [Select]http://www.mediaf!re.com/?trmzamyo2zy
Frank Zappa - Roxy & Elsewhere
Arguably one of the best live Zappa albums. The instrumentals will impress you no matter what; the Mothers lineup is probably one of my favorite (Ruth Underwood on percussion and Napoleon Murphy Brock on sax/flute!)Code: [Select]http://www.mediaf!re.com/?hrcmoth5ylo
Frank Zappa - Weasels Ripped My Flesh
Jazzy and experimental live tracks with a few more "accessible" studio cuts.Code: [Select]http://www.mediaf!re.com/?nmwb35oinkm
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
http://www.mediafire.com/?xzliyjeztxz
Kylesa - Static Tensions
http://www.mediaf!re.com/download.php?tzzyng5lytn (http://www.mediaf!re.com/download.php?tzzyng5lytn)
If you like Boris or QOTSA you should be stoked
The new Grizzly Bear leaked yesterday. Links went down pretty quickly but luckily for yall, i got my hands on a copy!!
Grizzly Bear - Veckatimest (2009)
Indie / Experimental / Acoustic
(http://i538.photobucket.com/albums/ff346/pulpfiction21/GrizzlyBearVeckatimestA.jpg)Code: [Select]http://www.mediaf!re.com/?iymtymiynmn
Ted Leo & The Pharmacists - Rapid Reponse
Azeda Booth released their new EP Tubtrek for free today.
4 new songs , 4 new remixesCode: [Select]http://www.azedabooth.com/ep/
http://www.mediaf!re.com/?4w2mzmuvxmd
Self-described as "Cherry-Pop", their music pulls from many genres. I would call it ambient-pop.QuoteMusically, there are only sightlines, no touchstones. They twist and flutter, too skittish for space rock, too hot for IDM, too concise and charming for glitch-core. The Calgary, Alberta five-piece conjure up the sound of human travel. The arrivals and departures are hazy and blurred, the tone both tense and delicate, the fuel potent and clean, the direction most definitely UP. In Flesh Tones, Azeda Booth’s debut full length is a benchmark album, a thing of dazzling beauty and fragile inspiration. It’s not so much a bomb in the mineshaft as it is an incandescent dove illuminating the way out.
Your mom is down already.
Ted Leo & The Pharmacists - Rapid Reponse
This is down already...
Everybody better be reading this. That includes you, new people.
http://www.mediafire.com/?kdmzniwdzy3Caesura are four young guys from Winchester that cite the inspiration for writing their debut EP as personal loss, friendships, the band, being hospitalized and love. Their song writing has been influenced by Explosions In The Sky, The Appleseed Cast, At The Drive In, and Minus The Bear, but their songs could hardly be called emo or post rock. All lasting for 6 minutes or more and featuring a mixture of ambient and angular tones coupled with a disregard for conventional song length and structure, Caesura offer something a little different to the current emo trends.
http://www.mediafire.com/?yj10zwer4zfReleased in 2005, 'The Flood Is Feeling' is the debut full-length from Gainesville, Fl's Building The State. This 12-song, 43-minute album is flush with lush instrumentation that brings to mind The Appleseed Cast and Explosions In The Sky.
Over the course of their four-song EP, Faces in the Architecture, Building the State show that they can fearlessly adapt Appleseed Cast’s penchant for beautiful, billowing instrumentation and light, sung vocals partially relegated to the background.
Faces in the Architecture consistently works through its 19-minute running time because Building the State, well, build a cascading, mesmerizing atmosphere that entrances the listener with enough understated changes to retain their attention throughout. Justin Tzuanos sings in three of the four songs, but he appears often in those three, his perfectly flat delivery actually a great fit for everything. In the one instrumental, “Untitled II,” the band give way to dancing, slowly bouncing guitar chords that bring to mind American Football in the beginning before the mood changes to a downbeat, heartfelt flutter of post-rock meandering.
Building the State definitely produce one of the surprise efforts of the year with Faces in the Architecture. Updates on mid-`90s indie-emo stuff are few and far between, but Building the State are responsible for a notable one.
http://www.mediafire.com/?zjkyyzmwm1tMuch like Mike Patton's chameleon-like musical career, Stephen Brodsky has been consistently releasing albums with several projects for the better part of a decade. His most famous endeavor, Cave In, even had a musical metamorphosis of their own, going from intricate metal to Failure influenced space-rock to straight-up alt-rock then, finally, to a mix of all of the above. Pet Genius is the singer-songwriter's latest project and it also features members of Clouds, Octave Museum and the great Doomriders. The first thing that stands out on their self-titled album is the dirty guitar tones on "Doomsday." You can definitely point out some White Stripes and Rolling Stones influence in the riffing and note bends. Brodsky's vocals are informed by the bands that ruled FM rock in the early 70's. Who knew the guy had a Robert Plant-like wail waiting to jump out of his chest?!
The revisionism doesn't stop there. The band visit 60's psychedelia on "The Visiting Dynamiter," with its charming vocal melodies and acid-soaked guitar arrangement. But things do rock harder on tracks like "Man of the Mountain" and "Float My Boat." The spirit of latter day Beatles is found throughout, at least in terms of the experimentation. Unfortunately, these forays don't always hit the mark. They go too far into "cuckoo-land" on "Trash Heap Swing" where they come off sounding like a half-hearted Captain Beefheart cover band. But for the most part, Pet Genius is a successful journey with plenty of awarding hooks and a solid songwriting foundation.
Please clarify who you were aiming at and what exactly your beef is/was. For right now I feel like I've been yelled at without getting why: neither am I new to this forum (I've been around here for years, though reading far more than posting) nor can I see in which way my posts might've not complied with the rules of the thread. So please...
http://www.mediaf!re.com/?42d0yzkzxhwpart 2:http://www.mediaf!re.com/?jyemejmtyfz
In the late 1990s during Tarentel's genesis it wouldn't have been a stretch to classify them along with the myriad other producers of what would become known, as is usual with music clichés, pretentiously and inadequately, as post-rock. That they would evolve so far beyond their rock-like origins only serves to illuminate the limitations of classifying music of any sort into genres. Be that as it may, we have to call it something and as such, Tarentel's first full-length is an epic of a post-rock album. The title From Bone to Satellite is an obvious reference to man's evolution, and as this is indeed an ever-evolving band; this document is an accurate representation of the band during its formative years. Which is not to say it lacks sophistication; however, the prehistoric blunt-edge tools found here are of more primitive application in carving out more traditional rock structures than the high-minded abstractions that would be achieved in the band's subsequent years. But within all of Tarentel's work lies a common method and goal: the use of repetition to create a transcendental state of mind. "Steede Bonnet" opens with a 12-minute descending guitar figure and a slow build that rivals the tension and release of Godspeed You Black Emperor! minus the string section. With its floating spaghetti western motif and glorious climax it embodies the very meaning of psychedelic music. It flows right into "When We Almost Killed Ourselves" which, after a minute of static, bursts into a hectic galloping riff of math rock complexity (likely abetted by bassist Kenseth Thibideau who provides a similar rarefied propulsion behind Rumah Sakit) that at about the halfway point dissolves into a more placid coda, confounding expectations by reversing the usual format for dynamics within music of this ilk. The next two tracks stretch beyond epic proportions by pushing the 20-minute mark and never getting dull. "Ursa Minor, Ursa Major" starts out in pure Floyd-ian homage but with considerably less pathos and more bravado as it shifts into high Motorik gear then blasts through a grandiose dynamic section which then culminates in languid post-coital musings. "For Carl Sagan" is the apex of the album -- a patiently unfolding waltz of sublime beauty and graceful crescendo. And "Strange Attractors" closes the album with a determined march headlong into the face of doom that abruptly drops off into the silence of deep space, the twinkling of distant stars represented by guitar harmonics and a beatless drone, all of which, of course, explode into a full-frontal assault of headbanging rock caliber and Sonic Youth dissonance to eventually be set free to roam the infinite galaxies once more. In a way it's a pity that Tarentel had to evolve, because this, their most valuable contribution to the post-rock canon, is quite possibly their zenith.
http://www.mediafire.com/download.php?rnawyy2mzddhttp://www.mediafire.com/download.php?enjmhzj5wwm
http://www.mediafire.com/?mxoqmytzn3j
Please clarify who you were aiming at and what exactly your beef is/was. For right now I feel like I've been yelled at without getting why: neither am I new to this forum (I've been around here for years, though reading far more than posting) nor can I see in which way my posts might've not complied with the rules of the thread. So please...
If you haven't done anything wrong it's not aimed at you. The people know who they are. The main beef is people requesting when it is clearly stated not to.
http://www.mediafire.com/?mg4brmnthmihttp://www.mediaf!re.com/download.php?tzzyng5lytnIf you happen to watch Scrubs, you would've seen this woman already. Kate Micucci recently played Stephnaie Gooch, Ted's girlfriend, on Scrubs where she also sang a few of her songs. She plays ukulele, guitar, and piano. Her songs are cute, immature and fun. I listen to this EP at least 2 times a week if not more to put me in a good mood. It just doesn't get old for me.
medicate, you had already uploaded that album.
Pet Genius - Pet Genius (2007)Code: [Select]http://www.mediaf!re.com/?zjkyyzmwm1t
Cursive - Mama Im Swollen (2009)
EDIT: Indie / Rock
Here is an EP by one of my favourite bands to ever make music. They were called the Vermicious Knid. The EP is called Days That Stand Still. If the shitty shitty town of Brantford, Ontario was Washington, DC the lead singer of this band would be Ian Mackaye. Except instead of starting a label he started a music venue that puts on cheap all ages shows for local bands all the time.
(http://img.photobucket.com/albums/v129/jesusvsthepolice/daysthatstandstill-1.jpg)Code: [Select]http://www.mediaf!re.com/?wuezymvzy4m
Down :-(
http://www.mediafire.com/?rk2gygvbzch
Cursive - Mama Im Swollen (2009)
EDIT: Indie / Rock
I've never listened to Cursive, is this a good place to start?
Here is an album by a band. The band is called Algernon Cadwallader. I don't know what that means. They are basically the second coming of Cap'n Jazz. Seriously. The first time I heard this album I was kind of creeped out at how similar it was. This band basically sounds like they have never ever in their life heard a band that didn't have a Kinsella in it, but somehow they still don't sound like they are ripping those bands off. It's more like they are a logical extension. I know a lot of people will write this band off as copy-cats or whatever, but fuck that. What's wrong with playing music that sounds like the bands you love?
http://www.mediaf!re.com/download.php?jkgjvzvjz2thttp://www.mediafire.com/?thkmjqztwtqhttp://www.mediafire.com/?kzegjmijtyeFrom Discogs
I think its a misconception to think of this release as a remix cd. Hallucinogen - In Dub, the name says it all, is in my opinion a dub, down-tempo re-interpretation of Hallucinogen's classical Goa soundscape, which is quite an ambitious task considering the classical status of his trance albums. But with Ott joining on to the project with Simon it's bound to hit the mark, smash it and recreate it with new structures of sonic brilliance.
Deep sonic soundscapes mingle with dub basslines to create massive moments. Nostalgic moments from Hallucinogen's trance tunes come back to me but in a warm, lush, dubby melodies. Ideal for listening after you've listened to a Hallucinogen CD, it will feel like an extension of the trip on the dance floor. A magical journey built on the moods and concepts of previous works to perfectly complement each other into another whole.
A must have if you like Shpongle and the rest.
http://www.mediafire.com/?nylynjmmdrz
Cursive - Mama Im Swollen (2009)
EDIT: Indie / Rock
I've never listened to Cursive, is this a good place to start?
http://www.mediafire.com/?jfttwywjhemhttp://www.mediafire.com/?lwm1wnoymgdhttp://www.mediaf!re.com/?ghmgejmyzikhttp://www.mediafire.com/?jnjmz3tjw3t http://www.mediafire.com/?1zyjtyd2tjm http://www.mediafire.com/?mz4dmtytmna
http://www.mediaf!re.com/?gzinwng54zi
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realise this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
Wagner - Das Ring der Nibelungen (Keilberth, Bayreuth 1955, stereo)
(http://cassland.org/images/KeilberthRing.jpg)
This recording reeks of history. It was performed by a consummate cast from the decade in which Wagner singing reached heights never quite attained since. It was recorded live in 1955 in stereo by Decca, but not released for over 50 years; whether this was because of an exclusivity agreement made between EMI and Bayreuth, or because Culshaw blocked it to leave the way open for his ground-breaking studio recording with Solti, is not clear - both stories are still told.
Whatever - this recording has shot to the top. While there will always be disagreements, many now see this as the best Ring of all. The stereo recording is not bad, though later recordings naturally surpass it technically - but it is so much more listenable than the mono recordings of other great performances from that era that there's simply no competition in my view. It is live, so there are audience and stage noises to put up with, of course, but it gains a real sense of continuity.
I have added Deryck Cooke's illustrated analysis of The Ring, which uses excerpts from the Culshaw/Solti version.Code: [Select]Rheingold (1 of 2): http://www.mediaf!re.com/?otmj1mwqykm
Rheingold (2 of 2): http://www.mediaf!re.com/?mnjddmjzgdyCode: [Select]Die Walküre (1 of 3): http://www.mediaf!re.com/?dhizz2mnh2y
Die Walküre (2 of 3): http://www.mediaf!re.com/?3vyyiundyym
Die Walküre (3 of 3): http://www.mediaf!re.com/?zzkmyngzyjzCode: [Select]Siegfried (1 of 3): http://www.mediaf!re.com/?2zyjdhnuntk
Siegfried (2 of 3): http://www.mediaf!re.com/?cngrltt4lik
Siegfried (3 of 3): http://www.mediaf!re.com/?kjz4edynnnyCode: [Select]Götterdämmerung (1 of 4): http://www.mediaf!re.com/?zmfrmvz4yt2
Götterdämmerung (2 of 4): http://www.mediaf!re.com/?yne24zhdmcq
Götterdämmerung (3 of 4): http://www.mediaf!re.com/?yjdkcgjzwdz
Götterdämmerung (4 of 4): http://www.mediaf!re.com/?dlyztolimyiCode: [Select]Deryck Cooke's Analysis (1 of 2): http://www.mediaf!re.com/?jtzogx1feny
Deryck Cooke's Analysis (1 of 2): http://www.mediaf!re.com/?yrnndaizy4g
http://www.mediaf!re.com/?ln5zn2yngtz
Wagner - Der Ring des Nibelungen (Keilberth, Bayreuth 1955, stereo)
http://www.mediafire.com/?dm5kemaztmt
It's here finally!! This is only in 128 but that doesn't bother me that much. Enjoy.
The Decemberists - Hazards of Love (2009)
It's actually .mp3 though.
hxxp://www.mediaf!re.com/download.php?flznn1nbgm2If you’re stomping your feet to the beat
I think that’s great
You can go here or there, anywhere
Doesn’t really matter to me
Cause I can go anywhere I want yo
Uh-huh Uh-huh Rad!
Uh-huh Uh-huh Yo Yo
Uh-huh Uh-huh
Yo guys
You guys never upload anything good.
You guys never upload anything good.
Today we've got a sampler: jazzy musique-concrete electronic, smooth funk, abrasive electronic post-punk, folk-psych, and classic dub.
kick ass shit
http://www.mediaf!re.com/?jqz3myz51zzhttp://www.mediaf!re.com/?wxnoky4mjmrA serious contender for the title of best Wu-Tang solo album (rivaled only by the Genius' Liquid Swords), Only Built 4 Cuban Linx is also perhaps the most influential, thanks to Raekwon's cinematic imagination. If the Genius is the Wu's best overall lyricist, Raekwon is arguably their best storyteller, and here he translates the epic themes and narratives of a Mafia movie into a startlingly accomplished hip-hop album. Raekwon wasn't the first to make the connection between gangsta rap and the Cosa Nostra (Kool G Rap pioneered that idea), but he was the one who popularized the trend. Cuban Linx's portraits of big-money drug deals and black underworld kingpins living in luxury had an enormous influence on the new New York hardcore scene, especially Mobb Deep and Nas, the latter of whom appears here on the much-revered duet "Verbal Intercourse." The fellow Clan members who show up as guests are recast under gangster aliases, and Ghostface Killah makes himself an indispensable foil, appearing on the vast majority of the tracks and enjoying his first truly extensive exposure on record. Behind them, RZA contributes some of the strongest production work of his career, indulging his taste for cinematic soundscapes in support of the album's tone; his tracks are appropriately dark or melancholy, shifting moods like different scenes in a film. Cuban Linx's first-person narratives are filled with paranoia, ambition, excess, and betrayal, fast rises and faster falls. There are plenty of highlights along the way -- the singles "Criminology" and "Ice Cream," the gentle "Rainy Dayz," the influential posse cut "Wu-Gambinos" -- and everything culminates in "Heaven & Hell" and its longing for redemption. Like the Genius' Liquid Swords, Only Built 4 Cuban Linx takes a few listens to reveal the full scope of its lyrical complexities, but it's immensely rewarding in the end, and it stands as a landmark in the new breed of gangsta rap.
http://www.mediafire.com/?womx3mnvmokhttp://www.mediafire.com/?t5yjdyjjmmm
You guys never upload anything good.
This thread started sucking when the new rules were instated.
Five years after releasing both Snuffbox Immanence and Tune In, Turn On, Free Tibet, Ghost returned with Hypnotic Underworld, and there were some changes in the band. Cellist Hiromichi Sakamoto and percussionist Setsuko Furuya (whose marimba gave those albums such a distinct sound) are gone, replaced by a great young rhythm section of Takuyuki Moriya (bass, conta bass, cello) and Junzo Tateiwa (drums, tabla, percussion). Also, Ghost co-founder Taishi Takizawa continues as producer but rejoins the group as a musician as well (he has served only as producer since the mid-'90s). Of course, Masaki Batoh is still here, along with longtime keyboard player Kazuo Ogino and guitar hero Michio Kurihara. With a brief U.S. tour (October 2002) under its belt, the band really jelled, and with Hypnotic Underworld, Ghost have released their most expansive set yet. The four-part title track starts somewhere near the Heliocentric Worlds, with Takizawa's sax playing over the sparest of bass figures and percussion as wisps of electronic ether float in and out. This morphs into a fuzzbass-led groove with great soprano sax that leads into a hard rock movement with a choir adding to Batoh's vocals and an ending so surprising I'll leave it for the listener. This epic track is followed by a glorious cover of Earth & Fire's "Hazy Paradise." The production here is amazing, with harpsichords, Mellotron, and sitar melting into each other and a majestic Kurihara guitar solo at the end. "Kiseichukan Nite" features a very pretty Celtic harp and recorder over a simple bass ostinato and Batoh speaking in Japanese with little washes of electronic treatment creeping in. This album is all over the place stylistically, yet it all sounds like Ghost, even with the electronic treatments and almost prog rock keyboards that hadn't been present on their prior albums. They turn in a version of Syd Barrett's "Dominoes" that is so completely personalized as to be virtually unrecognizable. "Piper" is a rocker featuring some blistering guitar work, and "Ganagmanag" is a classic Ghost-style instrumental trance jam, highlighted by Takizawa's flute and amazing production work. Batoh's vocals have never been stronger, and Ogino's various keyboards add a new dimension to the Ghost sound. Kurihara, as mentioned, is brilliant on electric guitar. The sound achieved by Takizawa and the band is a stunning mixture of ancient acoustic, hard electric, and electronic that Jimmy Page should be envious of. Hypnotic Underworld is a new high-water mark from one of rock's most interesting bands. Highly recommended.
http://www.mediafire.com/?22552dl3lxy
http://www.mediafire.com/?sharekey=f4d8ca01d3ab57bbe5c3dee5769931ec9725cd828937b02b5be6ba49b5870170
If anyone wants me to upload any Modest Mouse album. Any of them. EPs and Compilations as well.
Just tell me and I will.
Actually, I know this is an album that everyone and their mother has, but could you upload "Good News For People Who Love Bad News"? I thought I had it but I realized last night that apparently my computer ate it or something. I would just torrent it but since you offered and all... ;)Alrighty.
http://www.mediafire.com/?nzmmujm5qzz
It is no enviable task for any musician to improve upon past releases, especially when that past includes a touchstone such as Black Dog’s Warp release Bytes — not to mention the EPs scattered across their own Black Dog Productions imprint, General Productions, and collaborative works on A.R.T. Worse still would be to carry on under an identity after a split — in this case, with Ed Handley and Andy Turner, who now record as Plaid. Remaining member Ken Downie, and to some degree Plaid, have lived in the shadow of Bytes since its release. However, with the addition of The Dust Brothers in 2005’s Bite Thee Back EP, the work of The Black Dog v.3 has proven to be of measurably equal strength to this signature release and even dares to outshine it.Part 1
Building upon a steady stream of EPs and one full-length, Downie, Dust, and Dust have realized their second LP as a trio with Radio Scarecrow. Progressing with the urgency of a well-written novel — and similar in manner to DJs of yore, who sought to create a structured story — the album is presented as a seamless mix. The whole works within a defined, linear narrative, greatly replacing the odd rhythmic vignettes that inhabited earlier works, choosing instead to build slowly to climax and then graciously outro.
"Transmission Start" arrives on Vangelis-sized wings, beginning with ripples of sine tone and synth chords slowly spreading open. Processed percussive clatter and heavy swell begin to reveal "Train By The Autobahn (Part One)" waiting on the near horizon; it unfolds in heavy tones surging and subsiding, rising occasionally into an empyreal glow, while delicate drum patterns push the whole along, a 303 looping discreetly in the distance. It is as wondrous as tracks from Bytes or even Temple of Transparent Balls. It all sounds a bit cosmic and mystical in description, surely, but it is not meant as a slight or as a suggestion of compositional tongue-in-cheek.
There has always been an overtone of mysticism to The Black Dog, whether rooted in the Egyptian figures of Spanners or in the flow of 0s and 1s of Bytes. Radio Scarecrow was developed amid their fascination and research with EVP, Numbers Stations, and Magick, which find their way onto the work, albeit in a hidden fashion. They seem to appear most obviously in the three final tracks of the album, "Dials & Dialers 1 and 2" and "Ghost Vexations"; the unsettling "Alien" atmospherics that introduce "Riphead v9" could also be invested with one of these influences, as could the undulating tones that are layered just beneath the fluttering beat of "...Short Wave Lies." Knowing The Black Dog, however, they are likely scattered throughout the album with a far less obvious presence in rhythm-heavy tracks, which is more fitting to their proclivities.
Ken, Martin, and Richard have stated in interviews that the album has a stronger focus on the beat than do previous recordings. The nagging low-end rattle of "Set to Receive" alone wholly affirms this, with a nod to the current high-value currency of dubstep, here affixed to the signature melodic Black Dog vibe. "EVP Echoes" follows, in what is irrefutably a major highlight of the album, a potent study of dopplered phrases progressing forth alongside ping-ponging tones, throbbing beat, and drifting harmonies that segue effortlessly into the beast of "Floods v3.9." Previously released as a 12-inch some months back in "v3" form, with ".1" and ".2" mixes courtesy of Surgeon, this track is a monster fitted with a heavy bassline that reverberates in your chest and an industrial clang rattling through dimly-lit ambience. "Beep" is yet another beast, sinking deep into your belly with a bass-heavy swagger of a beat that lasts well into the haunting, layered melodies of "Witches Ov," which lean back quite heavily to successes of yore.
Downie, thankfully, remains rooted in the melodic techno that he has practiced for nearly 20 years, while simultaneously looking forever forward in an effort to forge new identities with his now partners. While the signature style they work from may not be in current critical favor, they argue its continued importance and relevance with this work, proving it to be as valid as anything else out there with one tenth of the history. With Radio Scarecrow, Downie and the brothers Dust have done the heads good, very good indeed.
1. Transmission Start 2. Train By The Autobahn (Part 1) 3. Train By The Autobahn (Part 2) 4. Riphead v9 5. UV Sine 6. ...Short Wave Lies 7. Siiiipher 8. Digital Poacher 9. Coda 10. Set To Receive 11. EVP Echoes 12. Floods v3.9 13. Beep 14. Witches OV 15. Dials & Dialers 16. Ghost Vexations 17. Dials & Dialers 2
http://www.mediafire.com/?enzwldmzrmgPart 2http://www.mediafire.com/?22fzryzzzmwhttp://www.mediafire.com/?lyjz0zcngwnPart 2http://www.mediafire.com/?zu0zizytmt4CyclicalDon't know how I feel about that review. Nice reference spotting re:Pyramid Song
iTAL tEK might well have chosen a daft name for himself, but the music here suggests he is a man who means serious business. The doleful atmospherics of Cyclical are undercarried by many of the same rhythms as the staples of the dubstep sound, but that is largely where the similarity with that work ends. Where others might veer towards rude boy dance hall bass-bins, Alan Myson, the man behind iTAL tEK, is working in a different direction entirely. Infusing his tracks with a depth often rare to the genre, he manages to lift his music well above the basic common denominators of the scene.
Burial might have won the garlands for this kind of sad-eyed examination of urban desolation already, but too often dubstep has found itself rooted in the sound of the club, leaving little to take away when the kick wears off. Planet Mu have done as much as anyone to develop the scene, but the sort of reflectiveness that Cyclical allows for here has been frustratingly rare in the scene’s infancy. Whether dubsteppers themselves will embrace this will be seen soon enough, but Myson is right to give it a go. No music can survive successfully for very long when it relies on DJ culture to maintain it, so albums like Cyclical could well mark an important turning point in dubstep’s growth as a form.
Tokyo Freeze is a case in point for that argument, with the stop-start cadence of the dubstep school used as a starting point for a study in low-key melancholy whose distant emotional sense creeps insidiously into the track. Augmented by atmospheric sighs, flickering piano brings delicacy to the brooding beat. Elsewhere, Still Shores is a perfect mix of woebegone introspectiveness and gorgeous, limpid beauty. And, after a couple of darker, bass-inflected drivers, there is time for a half-hidden nod at a Radiohead masterpiece as bookender Deep Pools emerges from the mix. It might play Pyramid Song’s plangent central piano motif in reverse, but few could fail to spot the reference - or the cleverness with which he rearranges it.
The homage is telling in what it reveals about Myson’s musical tastes. Yet it also points to what might be the crucial pull here for fans. Dubstep’s grimy urban ethos is what has made it what it is - but, with albums like Cyclical, it might also be developing that rare and necessary thing: a heart.
http://www.mediafire.com/?rajddyakrkm
http://www.mediafire.com/?jzjdlmynf3mhttp://www.mediafire.com/?jneuymjiyh52009 release. Saeta features Matt Menovcik on vocals, guitar and accordion, and Lesli Wood on vocals and piano. With Bob Smolenski on cello, they have created a lush collection of songs, a hypnotic meditation on paradox and terror steeped in a lovely yet uncanny sense of Other. This album achingly explores seasoned songwriter Menovcik struggling with very real demons regarding the painful end of a long-term relationship and other dark circumstances.
http://www.mediafire.com/?nlh2nyjo00yUTYUMU is a band from Japan, formed in 2001, and their self-titled debut was released in October 2006. Mutyumu are a five (or six)-person group whose web site describes them as a “funeral classical band,” an interesting concept. How else to describe a group that somehow fuses chamber music, death metal, Dead Can Dance, and Godspeed You Black Emperor-style drama into their songs? The tracks here range from a delicate piano intro, a heavy keys-drums-guitar fuzz piece, rock-metal-violin opera, and more. Vocalist Hachisunoit can sound like a demon or an angel, and the music supports whichever role she takes on.Mutyumu list an extensive roster of influences to their music; among the artists mentioned are Johann Sebastian Bach, Dead Can Dance, U2, Nine Inch Nails and Dimmu Borgir - a wide range of influences, all of which are actual musical references.
Starfucker - Starfucker (2008)Code: [Select]http://www.mediaf!re.com/?ln5zn2yngtz
Ummm, this thread doesn't suck. If you guys think it sucks, then you need to listen to more kinds of music.No brah I agree with Jeans this thread needs more gay shit.
It's no-one's job, but you could save your own time and bandwidth with a 30 second check.Unlimited bandwidth.
http://www.mediafire.com/download.php?wkjjzzdm2gq...So is there any way to attach album art?
:mrgreen:
Unfortunately I'm using a PC. You think the program'll work at all?
"Realise" is correct if you write UK-English instead of American-English. And I'm not trying to be a jerk about it either.
:-)
http://www.mediaf!re.com/?wniezonzejdhttp://www.mediaf!re.com/?sharekey=2f56c95e9dfe6e6fd2db6fb9a8902bda
To describe the 10 hand-crafted compositions that comprise The Golden Morning Breaks as minimalist psychedelia would be both an oversimplification of the genres and a disservice to the musings of one Cecile Schott, a.k.a. Colleen, whose complex combinations of melodic guitar, glockenspiel, keyboards and found sounds recall neither John Cale nor the 13th Floor Elevators. Still, this her second album for the Leaf label, bounds forth in both directions with equal aplomb, resulting in a sound that is at turns disturbing, humorous, playful and dreamlike – simultaneously seductive and reductive.
Even a cursory listening to this all-instrumental offering reveals a number of intriguing influences. “Floating in the Clearest Night” and “The Happy Sea” share not only a disposition for precious song titles, but also a common musical vernacular with Flying Saucer Attack and the occasional Bardo Pond record. Truly, a number of the songs on The Golden Morning Breaks seem to have been recorded with a barely-melodic vocal track in mind, only to have it removed at the last moment. The absence of lyrics, though, is scarcely a fault, exemplified best by “I’ll Read You a Story” – seven minutes of fleeting, plucked melodies that unfold and develop just like the title implies.
In contrast to the Bliss-Out tendencies on a number of tracks lies the more-playful, if occasionally less-fulfilling, psychedelic tinge of compositions like “The Sweet Harmonicon” and “Mining in the Rain.” Certainly rooted in the same percussive territory as other songs found here, and bearing a marked similarity to recordings by Pipa-ist Min Xiao Fen, these songs sound not as much like self-contained compositions as lost fragments from a Syd Barrett-era Pink Floyd album. Undeniably intriguing, if occasionally precious, Schott’s gift for controlled improvisation makes these songs tenable interludes in an otherwise thoroughly-engaging album. Underscoring this point, perhaps intentionally, is the remarkable 10-minute closing track “Everything Lay Still,” which combines playful chimes, droning guitar and keyboards into a single magnificent theme that displays at once both sides of Colleen’s dual nature.
My problem hasn't been finding the art, but actually adding the pictures to the album. I'm not that good with computers, as you can tell.
THIS IS NOW FIXED SORRY IT TOOK SO LONG!!!!!Code: [Select]http://www.mediaf!re.com/?0w1yvnjzymd(http://i25.photobucket.com/albums/c55/lebowski129/41D97N1B7XL_AA240_.jpg)
someone emailed me to re-up this. enjoy!
Yes, that was me. Sadly, this link doesn't work for me. Any chance of fixing this?! Cos I really want this album and I can't find it elsewhere. Thanks!
Titus Andronicus - s/t ep
(http://i106.photobucket.com/albums/m257/titusandronicustheband/myta.jpg)
(http://img24.imageshack.us/img24/2370/exampleh.png) (http://img24.imageshack.us/my.php?image=exampleh.png)It has got to actually be a JPG for Windows to like it, I think. If it is not a JPG, renaming it ".jpg" will not do anything, it will just confuse Windows.
No go, if you're converting the picture itself to JPG, where can I find the option to do so?
I'm new here, but I don't think you are suppose to request stuff.
Jazz is some hot shit, yo.nice one!
Charles Mingus - The Black Saint and the Sinner Lady
Miles Davis - Bags' Groove
http://www.mediafire.com/?zow3yj2mzmyblues/rock/psych/folk/beerhttp://www.mediafire.com/?myznimnz1gxblack joe is back. this time with the honeybears, tearing it up with his brand of texas garage soul. (http://img24.imageshack.us/img24/2370/exampleh.png) (http://img24.imageshack.us/my.php?image=exampleh.png)It has got to actually be a JPG for Windows to like it, I think. If it is not a JPG, renaming it ".jpg" will not do anything, it will just confuse Windows.
No go, if you're converting the picture itself to JPG, where can I find the option to do so?
if you are asking about how to embed the album cover into your MP3 files, I do not know how to do that. Sorry!
I'm new here, but I don't think you are suppose to request stuff.
i'm not sure if there's an equivalent of this on itunes but i know this works on media player - highlight the whole album in the media library, right click one of the tracks and click "advanced tag editor." then go to the fourth tab, "pictures," click "add," find the .jpg file for the album cover and OK it. it'll appear in the advanced tag editor window with a dropdown menu next to it called "picture type." select "front cover" and then click OK. that sounds kinda long winded, but it takes literally a few seconds, i do it all the time.
again, i'm not sure if you can do anything like that in itunes, but if the files you're doing it for are mp3s, there's no reason why you couldn't import them into windows media player and do that, before reimporting them to itunes or whatever other program you're using.
Southern California-based Faded Paper Figures wears its inspirations on its sleeve. On its MySpace page, bands such as The Postal Service and Stars are listed as major influences – a fact that's easy to hear on the electro-pop trio's inspired debut, Dynamo.
The similarities begin with the album's opening track, "North by North," which pairs lead singer John Williams and backing vocalist Heather Alden in an affectionate duet, while accompanied by a drum machine and programmed keyboards. If the song's perfect balance of upbeat and soothing electronics is comfortingly familiar to you, you're probably a fan of The Postal Service. Or perhaps you've heard the work of the band's programmer, Kael Alden on a recent commercial for a line of Lexus automobiles. Either way, that tone figures heavily in the rest of the album, with the exception of the ballad "Red State," which closes Dynamo with gentle strums of a guitar and quiet electronic twinkles.
Lyrically, Faded Paper Figures' narratives are often perplexing. "He won't know Adorno / He's an adult with an adcult / You can buy your way into his head," sings Williams on the "The Persuaded." In case you missed it, that's a references to German philosopher Theodor W. Adorno and the dangers of advertising (the band offers an explanation on its Web site). Sonically, Faded Paper Figures isn't serving up anything particularly groundbreaking on its debut, but it is clever, intriguing at times, and even beautiful.
http://www.mediaf!re.com/?rdfziyyddug
I agree that Faded Paper Figures is a sweet band, but that album was already posted. In the future you can always search the name of the band or album that you want to post beforehand to see if it has already been posted.
Good pick though.
Some modern folk for all you people out there
Horse Feathers - House With No Home
(http://i199.photobucket.com/albums/aa219/livbarrob/housewithnohome.jpg)Code: [Select]http://www.mediaf!re.com/?yndjemzowyw
Horse Feathers - Words Are Dead
(http://i199.photobucket.com/albums/aa219/livbarrob/wordsaredead.jpg)Code: [Select]http://www.mediaf!re.com/?wfz5ezkkkwn
Now this is an oddity. De-tuned acoustic guitar, gentle piano, light electronics, muted beats and occasional vocals are combined to produce an album that lurches between summery pastoralism and queasy claustrophobia – often in the same song.
Sunken Foal is known as Duncan Murphy by his mum. He’s from Dublin and Fallen Arches is his debut album. Tracks like “Dutch Elm” and “Cash Poor” are dominated by acoustic plucking and warm piano chords, and yet there is something just slightly ‘out’ about the music that separates it from the chill-out crowd. This is more apparent on “A Bear In The Hermitage” where the guitar has that kind of stilted, off-kilter sound that characterises John Cage’s prepared piano works. The beats, too, are slightly off-centre. Somehow, though, the result isn’t a wilful atonalism, but melodic, if a little disconcerting. The vocal (sample?) towards the end of the track transforms a snatch of a sing-song nursery rhyme into something unsettling and almost threatening.
Back when I was little, the village carnival always included a version of “It’s A Knockout”, played against teams from neighbouring towns and colleges. It culminated in the piano smashing competition where each team had a clapped out piano, and the winner was the one who could get it all through the middle of a suspended tyre. It involved much swinging of sledgehammers, crunching of wood and twang of piano wire. I mention it because “Foathing” sounds like the ghosts of those smashed pianos – strings detuned and broken, wood splintered and cracked.
The more I listen to this album, the more I’m fascinated by it – especially by the juxtaposition of laid back melody and discord. The electric guitar on “Rotunda” follows a familiar chord progression, but the acoustic sounds like a banjo after it’s been used against the proverbial cow’s arse. It’s surprising that this isn’t a distraction, but instead adds a kooky charm of its own. “Rikkic” is a favourite, too, even if it has more in common with Planet Mu boss Mike Paradinas’s stuff than it does with much of the rest of this record.
Ultimately, Fallen Arches is an album that defies adequate description. There are elements that will be familiar to fans of Animal Collective and Fennesz. Some of the more expansive tracks have a lot in common with the slightly boss-eyed sound of Matt Elliott’s recent work. Some people might find the ‘wrongness’ of some of the instrumentation too distracting. I find it refreshing and like the album a lot.
http://www.mediafire.com/?44rdfeogmmu
So fucking stoked to get my albums up, just making sure that they're not already posted.
http://www.mediaf!re.com/download.php?zck1uigomxnCD 2http://www.mediafire.com/download.php?ygmxtgxcmn2WHO LIKES RADIOHEAD? WHO LIKES LIVE RADIOHEAD??
http://www.mediaf!re.com/download.php?1zykgzmmnmuWhen Brand New released Deja Entendu in mid-2003, it caught a lot of their fans off guard. It found the band taking a stylistic leap forward from the clever (albeit cookie-cutter) pop-punk of their 2001 debut, exploring expanded sonic textures and indie rock overtones, their urgent choruses tempered by acoustic musings and softer introspections. It all seemed very deliberate yet completely natural all the same, and the record was an underground smash. Something even more substantial was definitely brewing beneath the band's emo façade, and as a result, Brand New's follow-up was hotly anticipated for the three years it took the band to release it. The resulting The Devil and God Are Raging Inside Me is the completion of their pop-punk molting process and one of the best surprises -- that isn't really a surprise at all -- to come out of 2006. Even when they were playing straightforward pop-punk ditties, Brand New had an edge to them that made them seem smarter than their peers; now they sound even older and stronger (and like they've been listening to a lot of '90s college and indie rock). This record is dark and dense, yet accessible, a shadowy air permeating every crevice where Jesse Lacey's plaintive and often tortured lyrics aren't already residing. He draws listeners in with vulnerable ruminations and questions of love, death, self, and religion, and his vocal inflections bring as much meaning to the table as his carefully chosen words. The opening "Sowing Season" ebbs and flows steadily, moving along under light guitar before exploding with percussion, Lacey ably switching from a hushed delivery into an anguished cry of emotion before falling back down again effortlessly. With it, Brand New sets up the somber intensity of the record straightaway. Textural and sonic layers unfold at every turn -- punching drums and trembling guitars here, aching vocals and subtle touches of string there -- and the album moves with a directed force that seems so naturally powerful and uncontrived, it's almost ridiculous to think that the band cut its teeth with poppy anthems like "Jude Law and a Summer Abroad." The Devil and God is not an album of hooks; the excellent percussive stomp of "The Archers Bows Have Broken" is the most immediate here, but songs get stuck in the brain nonetheless and demand repeated spins. Old fans especially smitten by Deja's "Play Crack the Sky" have no excuse not to love everything about this record, as even lengthy tracks (like the near-eight-minute "Limousine" or the chill-inducing beauty of "Jesus") are completely compelling. People who were ready to discount Brand New into the emo/TRL heap of the 2000s better rethink their stance; Brand New seems to know exactly what they're doing and this record is a testament to their ability to stay true to themselves. Whether they want to stay underground or fully break into the mainstream, this album has the potential to do either. Either way it doesn't really matter -- whatever happens, there's no denying how excellent this record is.From AMG
http://www.mediafire.com/?mnz3xjj5oywI couldn't find a review because this album doesn't drop until April. It's fucking sick and after even just a quick listen you will agree.http://www.mediafire.com/?dwhjijtzydmThis is really good French Indie Electronica Pop music. After just 37 seconds of the first song I was tempted to get up and dance.So fucking stoked to get my albums up, just making sure that they're not already posted.
I like your style.
Radiohead Live @ Bonnaroo 17th of June, 2006
(http://graphics8.nytimes.com/images/2008/08/11/arts/Points1650.jpg)
CD 1Code: [Select]http://www.mediaf!re.com/download.php?zck1uigomxnCD 2Code: [Select]http://www.mediaf!re.com/download.php?ygmxtgxcmn2
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realize this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and the neatly placed it inside. This is what this thread should be.
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realize this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and then neatly placed it inside. This is what this thread should be.
http://www.mediaf!re.com/?ymjzzmny3ooCanadian Indie Pop and so much more.This latest troupe of Canadian glockenspiel enthusiasts come bearing the traits of two primary schools of thought: The Decemberists school of nifty, if dwindling, storytelling and The Shins academy for bright young melodies and daft-as-sherbet rhythms. It’s a combination enough to drive the tweecore to spontaneous combustion, if only for one glaring smear on their credentials. Hot Panda appear all too serious, too well versed even. They find their fully funny stride with the tin-tapping ‘It’s Worth Eight Dollars’ – and even manage to filter in a “ya ya ya” chorus. Spilling into French mid-verse they somewhat spell out the current philosophy “I couldn’t care about many things / politics / Tories or the Brits.” Fellow countrymen Arcade Fire would be doffing caps for the female solo wallowing section that follows, and allows the song to drift into loftier realms momentarily.I don't really like other people's words on a band but then again..it's better than what I could say because all I have to say is I dig it!
Toying with us in their final thoughts, ‘Sexual Frustration’ has the voice of Death Cab For Cutie’s Ben Gibbard were he obliterated, and simultaneous plays with wit and crass seen in The Eels Souljacker. Here the drive plods abruptly and the singer seems to have sunk a bottle of gin for that engaging mother’s ruin lament. The alternating horn and bass final that slips gleefully into ‘Ghost Town’-feel melody of the keys makes this track a nice obscurity within a sea of fairly similar fish.
http://www.mediafire.com/?yimzywmwoioRadio Moscow-Brain Cycles
It's here finally!! This is only in 128 but that doesn't bother me that much. Enjoy.
The Decemberists - Hazards of Love (2009)
If you dont know what they sound like, just go to their myspace.
(http://4.bp.blogspot.com/_XBy8y0BMOrE/SZDOjUlQeII/AAAAAAAAAK4/fYJW0OYZvRg/s320/hazards+of+love.jpg)
EDIT: Okay I converted the files to mp3 and they are also now 224kbpsCode: [Select]http://www.mediaf!re.com/?dm5kemaztmt
Whether or not the lyrical content of House With No Home matches any of these memories is irrelevant — Ringle’s mumble conjures up surreal scenarios of Tracy Chapman doing Sam Amidon, minus any vocal enunciation; rather, it’s the otherworldly music that causes one to get lost in cerebral trauma while driving home alone at night. To be direct, the sound of this album is nothing short of beautiful. Peter and Heather Broderick’s string arrangements mimic Aaron Copland’s most tender moments, and over Ringle’s guitar strumming, the impact is enough to cause the White Witch’s icy heart to melt.
Listen to “Rude to Rile” and you’ll find a masterpiece of violin, cello, and percussion. I’ve listened to this track over and over again, and I felt as though my life story was being told: "He just waits/ And he hopes and he prays/ But the more she is loved she hurts." It makes me wish I had written it, because it feels like I mean it. Yet strangely, it still feels like it could be an old Appalachian folk song; I don’t know how, but it does. And it’s not as though love lost is my life story, but for a few minutes I’m convinced that it is.
If you like gorgeous folk, then this album is for you. If you don’t, well, The Hold Steady released something not that long ago. Tiny Mix Tapes
http://www.mediafire.com/?ymynw2n2why
Hot Panda- Volcano...Bloody Volcano!
[
http://www.mediafire.com/?myhyzei3lyyhttp://www.mediafire.com/?kymdrodno02"Under Your Arms I’ll Hide” the opening track on Immanu El’s debut album They’ll Come, They Come is the kind of song that makes you believe fully in a band’s merit. In the epic ten-minute opener, Immanu El establishes their sound combining hushed vocals, a straightforward ascending guitar line and constant use of crescendo/decrescendo. While the aspects of this song are dreadfully prevalent to the post genre, it is the finesse and dexterity in which these commonalities are combined that distinguish the piece from banal to inspired. It is with this humble bravado that They’ll Come, They Come continues, knowingly following these same patterns with the confidence that their aptitude will outweigh any potential triteness.
The following songs, “Home” and “White Seraphs Wild” revert to the lush beginnings of the opening track, analogous to that of Album Leaf or Sigur Ros, firmly rooting their ‘sound’ in the ethereal. “Astral Days” begins to pick up the tempo again, with more delicately picked guitars and the gorgeous vocals of lead singer Claes Strängberg. However, the zenith comes and goes with a fraction of the power of “Under Your Arms I’ll Hide”, potentially alluding to a grand finale at the end of the disc. This never occurs, and the subtly of the final songs are overlooked in anticipation of the brilliance displayed at the onset of the album. This is unfortunate as songs such as “Panda” and “I Know You So Well…” are excellent forays in ambiance.
http://www.mediafire.com/?zn4tlozhzzyThe Bird Ensemble's first full length, Migration, is an apt example of a post-rock band knowing how to make a firm point without going overboard.
The album is split into two sections, each with four parts, offering an almost literary build-climax-resolution format of chiming guitars, beautiful repetitive melodies, driving peaks, and delicate lullabies. The opening track sets the tone of the album - melodic intertwining guitars that ebb and flow, never giving too much away, yet never leaving more to be desired. Each track continues without break form the last, leading to the album's centerpiece "Pt. I No. 4. " The dynamic shifts precluding as well as the climax at the end of "Pt. I No.4" are evident but never exaggerated. Instead of layering distorted guitar over distorted guitar (as most current post-rock bands depend on to create intensity), "Pt. I No.4" coalesces into a mesmerizing state of repetitive bliss. Never overplaying its hand, the repetitive riff quells before even the faintest odor of triteness wafts in.
While the subsequent peaks in the latter half of the album purposefully never reach the height of its predecessor, the resolving tracks become somewhat distracted by the introduction of new characters. This is mainly directed towards the bells and woodblock that comprise most of "Pt. II No.6." The progression of the album was well planned, however something slightly derails during the middle of the second part. The discernment between subtlety and the obtuse is still ever-present, yet the cohesion of the latter tracks never forms as completely as Pt. I, leaving the resolution in an immature state.
Overall, The Bird Ensemble have crafted a highly enjoyable and mature record that will easily entertain those inclined to ambient or bombast alike. Their precision to detail and ability to maintain interest without crossing the line of monotony or excess is extremely impressive.
www.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca141969d278eab439251568b8eada0a1ae8665a
As a founding member of Baltimore's Five Deez, Fat Jon has always had a lot to live up to on a solo level - yet whilst many would end up partaking in some sonic tail-chasing that tried to replicate his previous bands success, Fat Jon has managed to carve a comfortable niche whilst giving a respectful nod back to those whom he came up with. If that makes sense... Regardless of its heritage, 'Afterthought' is an after-hours glimpse into sample led beats and pieces, with the man Jon wading into RJD2 territory for some syrupy rhythms and dusty soundscapes. Seasoning the pot with his own disembodied vocals and lost-in-the-wire samples, 'Afterthought' opens with the drone inflected 'Cold Memory'; wherein some funk staples are driven into a hypnotic piano that veritably sucks in the sprawling synth vista that surrounds it. Expertly shaded and blessed with an ability to balance light and dark, 'Cold Memory' is a striking schematic for the rest of the album, as the likes of 'Why We Dream', 'Your Purpose' and 'Static Medium' all go on to cement. Predominantly instrumental and predominantly hip-hop, 'Afterthought' is nonetheless much more than instrumental hip-hop. Phat!
Taken from www.boomkat.com
www.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca1419699312396ff3a9e86fce018c8114394287
Modal Soul, his 3rd album, is some seriously smooth stuff. From the very first few seconds of the first track (“Feather”), which begins with a jazzy piano riff soon joined by flowing vocals, Modal Soul has you. And once the laid-back beat eventually drops in, you may as well cancel the rest of your plans for the day – it’s time to get chillin’ like a villain.
The relaxed pace of the album surges on through the meandering “Ordinary Joe” (featuring soul-legend-cum-computer-science-professor-cum-soul -legend Terry Callier), latest collaboration with Japanese MC Shing02 (“Luv (Sic) Part 3”), and all the way into the mostly-instrumental closing half of the album. (And don’t cringe when you read “instrumental” and “DJ” in the same sentence: you’re in safe hands with Nujabes.)
If either of the words “jazz” or “hip-hop” peak your interest, then hunting down Modal Soul should be top of your next to-do list. With limited distribution outside of Japan finding Nujabes’ work may be a challenge – but when you’re sitting back, chilled out to the point of general paralysis, it’ll all be worth it.
http://www.box.net/shared/lhuancd9j0http://www.mediafire.com/?q5tjmnjykinhttp://www.mediaf!re.com/?hfnnzixztcyThat album IS very good. Good job.(no sarcasm) I remember when I found it on here,
I listened to it for a while but then got lost in all the other music.
February 19, 2008, 12:21:46 AM was when that was posted and the link is still alive.
some people might loudly complain
http://www.mediafire.com/download.php?2jzo2mdmmzhEver want to listen to Jazz and Hip-Hop at the same time? This being my first post, I'd like to show you two of my favorite DJs of all time. They're very underground and for the most part, unheard of. I've found these fantastic while doing homework, relaxing with friends, or even messing with a turn table.FREAKIN' YES!!! NUJABES!! I can't find any of his albums in the crappy places I go to. (ok, well once, but I was broke)
First, I'll give you Fat Jon, the Ample Soul Physician. This album is instrumental, but I highly advise at least listening a few songs (Darkness) through before making a final judgement.
(http://img404.imageshack.us/img404/3191/afterthought.png) (http://img404.imageshack.us/my.php?image=afterthought.png)Quotewww.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca141969d278eab439251568b8eada0a1ae8665aQuoteAs a founding member of Baltimore's Five Deez, Fat Jon has always had a lot to live up to on a solo level - yet whilst many would end up partaking in some sonic tail-chasing that tried to replicate his previous bands success, Fat Jon has managed to carve a comfortable niche whilst giving a respectful nod back to those whom he came up with. If that makes sense... Regardless of its heritage, 'Afterthought' is an after-hours glimpse into sample led beats and pieces, with the man Jon wading into RJD2 territory for some syrupy rhythms and dusty soundscapes. Seasoning the pot with his own disembodied vocals and lost-in-the-wire samples, 'Afterthought' opens with the drone inflected 'Cold Memory'; wherein some funk staples are driven into a hypnotic piano that veritably sucks in the sprawling synth vista that surrounds it. Expertly shaded and blessed with an ability to balance light and dark, 'Cold Memory' is a striking schematic for the rest of the album, as the likes of 'Why We Dream', 'Your Purpose' and 'Static Medium' all go on to cement. Predominantly instrumental and predominantly hip-hop, 'Afterthought' is nonetheless much more than instrumental hip-hop. Phat!
Taken from www.boomkat.com
The second album is probably in my top ten of my all time collection; Nujabes - Modal Soul is a hip-hop infused masterpiece with meaningful lyrics and an almost serene cool feeling with every listen. PEER PRESSURE STRIKES AGAIN.
(http://img11.imageshack.us/img11/9021/modalsoulfront.jpg) (http://img11.imageshack.us/my.php?image=modalsoulfront.jpg)Quotewww.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca1419699312396ff3a9e86fce018c8114394287QuoteModal Soul, his 3rd album, is some seriously smooth stuff. From the very first few seconds of the first track (“Feather”), which begins with a jazzy piano riff soon joined by flowing vocals, Modal Soul has you. And once the laid-back beat eventually drops in, you may as well cancel the rest of your plans for the day – it’s time to get chillin’ like a villain.
The relaxed pace of the album surges on through the meandering “Ordinary Joe” (featuring soul-legend-cum-computer-science-professor-cum-soul -legend Terry Callier), latest collaboration with Japanese MC Shing02 (“Luv (Sic) Part 3”), and all the way into the mostly-instrumental closing half of the album. (And don’t cringe when you read “instrumental” and “DJ” in the same sentence: you’re in safe hands with Nujabes.)
If either of the words “jazz” or “hip-hop” peak your interest, then hunting down Modal Soul should be top of your next to-do list. With limited distribution outside of Japan finding Nujabes’ work may be a challenge – but when you’re sitting back, chilled out to the point of general paralysis, it’ll all be worth it.
Thanks and enjoy. 8-)
Code: [Select]http://www.mediaf!re.com/download.php?2jzo2mdmmzh
Hey guys look! The best album of 2009!!
http://www.mediaf!re.com/download.php?0tnmzz5jormThe Mendoza Line has for so long made charmingly homespun if ultimately insignificant pop records that the woozy beauty and emotional depth of We're All in This Alone is nothing short of revelatory; the product of the band's near breakup and relocation from their native Georgia to Brooklyn (all crowding into the same apartment, no less), the album channels their interpersonal turmoil into a gorgeously understated examination of the sexual dynamics that divide and conquer men and women alike. The songs proceed in point/counterpoint fashion, with Margaret Maurice and Shannon McArdle contributing the distaff perspective while Timothy Bracy and Peter Hoffman refute the charges; the debate culminates with the record's centerpiece, the lovely "Where You'll Land," in which both sides at the very least agree that it will all end in tears, regardless of where the blame lies. The wise-ass bite of the lyrics and the ramshackle radiance of the band's spaciously jangly melodies mask the bitter truths at the heart of We're All in This Alone; in outlining the essential differences that separate the sexes, the Mendoza Line's songs feed on resignation and recrimination. The irony, of course, is that the same things that hold the band's music together drive the band's members (and their respective genders) farther apart.
http://www.mediafire.com/?ymmmzzmy5yzPart2:http://www.mediafire.com/?zzmtcjtodozAlright guys, time for some good stuff (although I am currently enjoying that new Thermals release). Here is an album from The Mendoza Line, a terrific band that split a few years ago thanks to the divorce of their two main creative outputs.
(http://i107.photobucket.com/albums/m293/DarkAvenger280/e12374fkaoe.jpg)Code: [Select]http://www.mediaf!re.com/download.php?0tnmzz5jorm
Since I'm awful at writing about bands I like I shall let AllMusic do the honours.Quote from: AllMusicThe Mendoza Line has for so long made charmingly homespun if ultimately insignificant pop records that the woozy beauty and emotional depth of We're All in This Alone is nothing short of revelatory; the product of the band's near breakup and relocation from their native Georgia to Brooklyn (all crowding into the same apartment, no less), the album channels their interpersonal turmoil into a gorgeously understated examination of the sexual dynamics that divide and conquer men and women alike. The songs proceed in point/counterpoint fashion, with Margaret Maurice and Shannon McArdle contributing the distaff perspective while Timothy Bracy and Peter Hoffman refute the charges; the debate culminates with the record's centerpiece, the lovely "Where You'll Land," in which both sides at the very least agree that it will all end in tears, regardless of where the blame lies. The wise-ass bite of the lyrics and the ramshackle radiance of the band's spaciously jangly melodies mask the bitter truths at the heart of We're All in This Alone; in outlining the essential differences that separate the sexes, the Mendoza Line's songs feed on resignation and recrimination. The irony, of course, is that the same things that hold the band's music together drive the band's members (and their respective genders) farther apart.
http://www.mediaf!re.com/download.php?jmz1zz5mdtyhttp://www.mediaf!re.com/?fzn0jjxzmdn
http://www.mediaf!re.com/?2dnfjgx3nihhttp://www.mediaf!re.com/?dmwuy5i2tnthttp://www.mediaf!re.com/?xnzmzw5wmwyhttp://www.mediaf!re.com/?y2wna1wtkumhttp://www.mediaf!re.com/?vbowzi5rz2jhttp://www.mediaf!re.com/?mbyddylnyqnhttp://www.mediaf!re.com/?qjjdcjmmbmahttp://www.mediaf!re.com/?rgnkzyme12zhttp://www.mediaf!re.com/?zdzx3kudkwmhttp://www.mediaf!re.com/?elnz3kjlzm2
Beauty Walks a Razor's Edge is an album of really rather wonderful Electro. At turns the music is complex, delicate, sensual, melodic, noisy, edgy, or all these things at once. For Tim Tetlow the album is a collection of "feeling montages" - songs to girlfriends. Further proof, if proof be needed, that electronic music isn't just unfeeling mechanical rumblings.
There isn't much point in making comparisons. At times there are hints of all sorts of artists, but the list would be too long, and after all they are only hints. I could say that at one point I heard the same kind of lovely analogue rhythms that are found on Oxygene, but then the next track comes along and makes the comparison meaningless. This is very much Tim Tetlow's sound and album. In fact it's his debut, and quite some debut.
Tetlow himself is a bit of a mystery by all accounts. He is London-based but born in Bermuda, he admits that he finds maths "quite good fun", but he can often be found at yoga class, and apparently he should be playing live in London soon.
http://www.mediafire.com/?1qmmouo0nijMike Dykehouse hails from western Michigan, located halfway between Detroit's pristine techno community and Chicago's jackin' house scene. And his unique name first came into recognition after playing the inaugural Detroit Electronic Music Festival. His music, however, is much more akin to the IDM movement from European quarters. Assembled by Mike Paradinas (aka µ-Ziq) from a collection of home recordings produced between 1996-2001, Dynamic Obsolescence shows the depth and maturity of an artist who has been making music long before gaining any recognition. The essential beats are a calliope of turning gears and possessed typewriters tuned to a variety of mellow and harsh timbres. But Dykehouse's true mastery is at the hands of the keyboard where he produces an abundance of rich and beautiful synth melodies. Tracks entitled "Chapel Hillectro" and "Ypsitucky" reveal a lighthearted irreverence when it comes to geography, but the music contained within is a fortunately discovered collection of grade-A electronic compositions.
http://www.mediafire.com/?yiwyk5mmhmz
http://www.mediafire.com/?yy1dnymmvzzhttp://www.mediaf!re.com/?mnoodny5jyf part 2 http://www.mediaf!re.com/?ulzzwm0fy2jhttp://www.mediaf!re.com/file/tjiwyjztztj/Gross%20Domestic%20Product.ziphttp://www.mediaf!re.com/file/nunhmxyzkcw/Stocks%20&%20Bombs.zip
new Thermals album
I woke up this morning with the goddamned title track stuck in my head. That song is INFECTEOUS.
http://www.mediafire.com/?z4mzmjidxmf
(http://cdbaby.name/s/t/stendeck.jpg)
Stendeck-Sonnambula
Part1:Code: [Select]http://www.mediaf!re.com/?ymmmzzmy5yzPart2:Code: [Select]http://www.mediaf!re.com/?zzmtcjtodoz
Dinosaur Jr. - You're Living All Over Me (Remastered)
Oh yeah, and here's the new leak from (MF) DOOM: Born Like This
(http://i165.photobucket.com/albums/u60/daschakal/bornlikethis-1.jpg)Code: [Select]http://www.mediaf!re.com/?5mny1wjzujt
Beats For Beginners are Manchesters LCD Sound System or Beck. Kinda retro classic stoner pop like Ziggy meets Krafwerk - with electro and 70’s/80’s trashy synths. Although live the band are a tight 3 man machine, BFB is essentially one man singer songwriter Mike TV, spotted & signed by Mint Royale via a demo to their Faith & Hope (2004), releasing the debut album DON’T FLY INTO THE SUN with singles: Kill All DJs, TECHNOLOGY and WHEN ROBOTS ATTACK. Mike also collaborates with REBELSKI (Doves) STICKERS ON KEYS (2005) and spins discs with DOVES DJS (2007-2009).
http://www.mediafire.com/?yoeoi2nrmmt
www.mediaf!re.com/?g50zwemyjmx
FREAKIN' YES!!! NUJABES!! I can't find any of his albums in the crappy places I go to. (ok, well once, but I was broke)
Dinosaur Jr. - You're Living All Over Me (Remastered)
I think the Thermals album is down....I would be unbelievably happy/grateful for a re-up. I've been listening to When I Was Afraid and the title track ceaselessly since I got them - amazing. Thank you!
http://www.mediafire.com/?wmmxzinxmzj
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realize this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and then neatly placed it inside. This is what this thread should be.
http://www.mediaf!re.com/?luddvmgnkzjproto-punk glam rockThe album that essentially kick-started the U.K. glam rock craze, Electric Warrior completes T. Rex's transformation from hippie folk-rockers into flamboyant avatars of trashy rock & roll. There are a few vestiges of those early days remaining in the acoustic-driven ballads, but Electric Warrior spends most of its time in a swinging, hip-shaking groove powered by Marc Bolan's warm electric guitar. The music recalls not just the catchy simplicity of early rock & roll, but also the implicit sexuality — except that here, Bolan gleefully hauls it to the surface, singing out loud what was once only communicated through the shimmying beat. He takes obvious delight in turning teenage bubblegum rock into campy sleaze, not to mention filling it with pseudo-psychedelic hippie poetry. In fact, Bolan sounds just as obsessed with the heavens as he does with sex, whether he's singing about spiritual mysticism or begging a flying saucer to take him away. It's all done with the same theatrical flair, but Tony Visconti's spacious, echoing production makes it surprisingly convincing. Still, the real reason Electric Warrior stands the test of time so well — despite its intended disposability — is that it revels so freely in its own absurdity and willful lack of substance. Not taking himself at all seriously, Bolan is free to pursue whatever silly wordplay, cosmic fantasies, or non sequitur imagery he feels like; his abandonment of any pretense to art becomes, ironically, a statement in itself. Bolan's lack of pomposity, back-to-basics songwriting, and elaborate theatrics went on to influence everything from hard rock to punk to new wave. But in the end, it's that sense of playfulness, combined with a raft of irresistible hooks, that keeps Electric Warrior such an infectious, invigorating listen today.- AMG
I think the Thermals album is down....I would be unbelievably happy/grateful for a re-up. I've been listening to When I Was Afraid and the title track ceaselessly since I got them - amazing. Thank you!
I'm workin' on it, seems every mediaf!re link to Now We Can See has gone down, look for a re-up in the next hour or so!
EDIT: HERE!Code: [Select]http://www.mediaf!re.com/?wmmxzinxmzj
Been a while since I posted something on here, and this is sort of a belated follow up to the Bitcrush upload, though more to the experimental idm end of that spectrum. If you liked that album, you'll love this.
(http://cdbaby.name/s/t/stendeck.jpg)
Stendeck-Sonnambula
Part1:Code: [Select]http://www.mediaf!re.com/?ymmmzzmy5yzPart2:Code: [Select]http://www.mediaf!re.com/?zzmtcjtodoz
Everything and anything could be said about the meaning of OOO (or is it 000?), but one should abstain, as Upon Cycles is a rich enough slice of music to satisfy the most demanding fan of sharp electronic music. Hailing from the legendary Detroit, a city responsible for spurting a considerable amount of talents at an industrial pace, OOO’s Nicholas C. Raftis III remained until very recently completely unknown to most, which makes this first release even more unbelievable. Yet, Upon Cycles is definitely real.
Released on the ever excellent and uncompromisable Planet Mu, this record is, behind its enigmatic cover, a mine of sounds, textures and beats. Comparisons with Aphex, Squarepusher, Autechre and µ-ziq have already been made, yet these associations, as flattering as they might be, are more relevant to the creative approach than to the music itself. Of course, there are references scattered around the sixteen tracks of Upon Cycles, but they are so diverse than it is almost impossible and totally futile to draw a map of Raftis’s music journey. The album opens with the quirky 3 Points…, which evokes John Barry as heard through kaleidoscopic speakers. As distorted as the leading melody is, it develops in surprising way as a considerably slowed down vapour of drill’n’bass takes shape. The beat appears to take the lead for a moment just under the halfway mark while a dirty analogue secondary melody rotates in the background, before the whole thing eventually comes crashing down heavily. 3 Points… reveals from the start the interesting contrast of melodic electronica, complex abstract soundscapes and delicately crafted beats that exists throughout this album.
Balancing elements of traditional techno, electro, ambient and twisted electronica into incredibly tight sonic constructions, Raftis creates here a surprisingly coherent record. Although he remains within the same soundscapes all the way through, Raftis still manages to present some interesting variations, with textures and tones playing an important part in providing interesting nuances to his work. From the sharp beat constructions of Colour Ballet, Next Level Of The Tree or Kichigai Arukedo or the mechanical structure or Group Heartbeat to the vast plains of Oments, Separation Definition or Sleep Paralysis, Daftis dispenses his sonic themes with sheer enthusiasm, revealing a multitude of facets to his musical persona.
As first albums go, Upon Cycles is as near perfect as it gets. With an impressive control over his work and a creative approach to sonic structures, OOO’s Nicholas C. Raftis is likely to rapidly become a name to count on. As Upon Cycles progresses, it dawns on the listener that there aren’t any boundaries Raftis cannot push down, and that this album is simply the expression of a small part of his talent.
http://www.mediafire.com/?yzyfmttnenvA good compilation must be unpredictable, especially if it's released by the label Planet-Mu... The title isn't original. Mike Paradinas restricts himself to his editorial line and just like "The Cosmic Forces of Mu", this second collection has got a title refering to James Churchward's work. Musically speaking, "Children of Mu" reflects more than ever the diversity of genres Mike Paradinas gave to his label throughout the years, and it alternates Dante like anthems and hilarious strangenesses. So, this double compilation is unpredictable, and many of the artists on it are worth listening to, especially Jega, who offers us a novelty that announces a new opus, Datach'i always as intense and striking, Subjex, Lexaunculpt, Electronic Music Composer (alias Eight Frozen Modules), Nautilis, Local, Dykehouse & the Frost Jockey or the unavoidable Venetian Snares which new album should be very good. Let's also mention the presence of the latest signatures of the label, such as OOO, Julian Fane, Frog Pocket, The Gasman, Chevron and the noticed absence of Mike Paradinas himself... Beware of the addiction.Disc 1
http://www.mediafire.com/?kozgfyzmmohDisc 2http://www.mediafire.com/?i0ohdbzdwvmCD TracklistPart 1
1. Sunken Foal - Dutch Elm
2. Venetian Snares - Miss Balaton
3. Ceephax - Trabzonspor
4. Milanese - Caramel Cognac
5. Last Step - Seafoam Green
6. iTAL tEK - Cyclical
7. Vex'd feat. Warrior Queen - Take Time Out
8. Meat Beat Manifesto - Lonely Soldier
9. Boxcutter - Mya Rave
10. Parson - Texas Crawl
11. Eero Johannes - Lipton Service Boy
12. The Gasman - Sync
13. Few Nolder feat. Rut - El Snig
http://www.mediafire.com/?tyuokwymduoPart 2http://www.mediafire.com/?oxdiqa4m1mj
http://www.mediafire.com/?2nn42iwxztyhttp://www.mediafire.com/?oh2xmyzjyn3
http://www.mediafire.com/?nfzwqmbmnj4http://www.mediaf!re.com/?zjyxlnmyzwg
You wouldn't happen to be the Dan Carter that is my brother, would you? If so, hi, it's your brother Kyle.
http://www.mediafire.com/?owmmgkjkrjuCrystal Antlers look like outcasts from six different bands, and at various points on this record, they sound like it, too: Merging psych, garage, lo-fi, prog, and countless other influences, the group easily maintains consistency despite a complete inability to be pinned to any specific movement or trend (so long as you're not counting the increasingly frustrating trend of unimaginative bandnames).
You might come across comparisons to Les Savy Fav, an appropriate call if you consider it shorthand for "relentlessly energetic band with crowd-pleasing stage antics." EP's opener "A Thousand Eyes" is evidence enough of that: Beginning with doomy, lo-fi minor arpeggios, it soon explodes into a Latin-influenced rumble before the band piledrives into a swaggering psych hook, the track sounds something like if Comets on Fire inverted their ratio of chaos-to-craft. Beneath the squall, "Vexation"'s headsnapping pace and flesh-searing bass riff could be a Stooges-style punk shoutalong. The organ riff that "Owl" pogos on is a found relic from late-1960s Venice Beach with a monolithic vocal melody. And like any long-haired throwback worth its bongos, EP ends with the loosest and longest number, the seven-minute swamp lurch of "Parting Song for the Torn Sky".
i have a huge soft spot in my heart for tori amos.
i have a huge soft spot in my heart for tori amos.
Do you want any of her other work? I've got The Beekeeper, Scarlet's Walk, and Strange Little Girls if you're interested.
http://www.mediaf!re.com/download.php?eneiuz5i2zyhttp://www.mediaf!re.com/download.php?dm5mwzndndzhttp://www.mediaf!re.com/download.php?yzoc4jd3xnjhttp://www.mediaf!re.com/download.php?myzzwz0z0tmhttp://www.mediaf!re.com/download.php?enlindneend
i didn't even download that tori link... it's almost sinful to admit that i have her entire discography...lps, eps, imports etc. she's one rad lady though. i've seen her 23 times in concert. yeah... i'm a huge les lol
and no i haven't heard that cover of cornflake girl, but now i'm going to look for it!
The Elder Scrolls: Oblivion OST - Jeremy Soule
The musical score of Oblivion. I've been listening to it all day. It sounds like... well. It's the soundtrack of a fantasy game, so I guess you can imagine for yourself. Played by a full orchestra, or at least that's what it sounds like (it's a digital orchestra, and I guess some people can tell the difference, but I sure couldn't).
Pretty fun if you are into putting on music when you go to sleep and pretend you're somewhere else. In this case: Any woodland scene from Lord of the Rings.Code: [Select]http://www.mediaf!re.com/?zzwmnhmdfug
http://www.mediafire.com/download.php?yu4nzhmdvdg
New album by If These Trees Could Talk.
http://www.mediaf!re.com/?61ymdq1mdndhttp://www.mediaf!re.com/download.php?jklg3iouwzmWOW. i bet no one even tried that Emilie Autumn i put up. :roll:I did! It's pretty damn rad.
whatever, its pretty neat! but some people read books by their covers...
well...
that and the crappy description i posted. :-P
http://www.mediafire.com/?jmwwrkmgmnj
http://www.mediaf!re.com/download.php?mundnvct3tm http://www.mediaf!re.com/download.php?cl5win4enmghttp://www.megaupload.com/?d=40F4MO5KScenes often imply a style, but for the most visible exports of Toronto's post-millennial indie-rock scene-- Broken Social Scene, the Constantines, the Hidden Cameras-- the unifying principle has been not so much a common musical aesthetic as a communal ethic: the compulsion to crowd the stage with players and audience members alike, turning observers into participants and vice versa. Arriving in Toronto three years ago from the nearby town of Midland, on paper Born Ruffians seemed antithetical to the prevailing group-hug atmosphere: they boast no auxiliary horn or string sections, no spotlight-stealing guest female singers, no balaclava-clad dancers-- just three unassuming kids in standard guitar/bass/drums formation. But Born Ruffians haven't let their personnel deficiencies and basic instrumentation stop them from thinking and functioning like a mass collective-- they simply hoot and holler and make a spectacle of themselves (a cappella group-huddle sing-alongs, anyone?) like a band three times their size.
http://www.mediafire.com/file/m2mntyw5yyo/BR_RYB.rar
http://www.mediaf!re.com/?4kfzomt0du3From Her to Eternityhttp://www.mediaf!re.com/?mmgzemdotzwKicking Against the Prickshttp://www.mediaf!re.com/?rkormdjotaeTender Preyhttp://www.mediaf!re.com/?ykkzjkmdyyyThe Boatman's Callhttp://www.mediaf!re.com/?mb5izql3aymThe Firstborn Is Deadhttp://www.mediaf!re.com/?1jleuvzwnmohttp://www.med!afire.com/?fljblf4mxmy
Merciless and astounding, Degenerate is a shock to the proverbial system, a savage hate crime against the softened eardrums of wimpy dance rock hipsters and trendy techno fashionistas. The duo behind Vex'd conjure up an unflinching and bleak industrial vision of electronic music, the likes of which havent been seen since Scorn's Greetings from Birmingham. The solitary opening bleeps of "Pop Pop V.I.P." resurrect the elated tones of Sweet Exorcist's pathbreaking classic "Testone" before erupting into a grisly cacophony of neck-snapping snares and stomach-churning rumbles. "Thunder" slashes the tempo right in half, leaving only an eviscerated aural carcass. The twisted uptempo rhythms return on "Angels," a sub-bass monster specked with a particularly ghastly film sample. This dancefloor-accessible style of low-end worship dominates the album, from the dubby inflections of "Venus" and "Fire" to the unstoppable breakbeat monoliths of "Gunman" and "Lion V.I.P." A notable deviation from this effective formula comes on "Cold" with its distant strings and gurgling, groaning synthy squelches, presenting an atmospheric, more pensive and, atypically, beatless version of the now undeniable Vex'd sound. As if an entire album of such power weren't enough, Planet Mu thankfully includes a second disc of bonus tracks culled largely from previously released 12" records. The original version of "Lion," a highlight among this shorter set, digs a distorted bleepy melody out of the crates that might tantalize former ravers longing for the sounds of forgotten warehouse parties.Disc 1
To approach Degenerate as the product or even a relative of the U.K. dubstep/sublow/grime scenes would do it an immense injustice, as Vex'd truly have compiled a peerless document that speaks to our grim, chaotic, blood-drenched world without hardly saying a word.
http://www.mediafire.com/?tmeomkfzdzyDisc 2http://www.mediafire.com/?zllzyzimdbzAt first listen, Special Forces sounds like Sigur Ros stepping out of the ether for some bracing piano-driven techno pop. Julian sings like Jonsi and on "Freezing in Haunted Water" he sounds a lot like the high Thom Yorke vocal part in "I Will." This is derivativeness, sure enough, but it's the sort that's tempered with a sonic innovation that wears its Kid A influences in a rolled-up sleeve.
It seems to me that Kid A should've been more influential. And I'm not talking about the mere merging of rock and electronica, but the focal shift from verse-chorus-verse to something more tentative and textural. People put down the last Sigur Ros album, stating that it was "boring." I can't help but gasp at that notion. Perhaps these people never listened to the second ( ) track on their headphones while in a snowstorm. This is insulated, sensationally mood altering tonal soundings orchestrated with such intricate grace and tenderness that it's almost impossible for me not to be moved by it.
Special Forces is no knock-off. There is a distinctive sort of melding of its influences into something that sends off familiar bells, but fills an entirely different landscape. If ( ) is vast, semi-tragic winter wonder, then this record is the gradual thaw. Fane's trilling beat infrastructures chip away at vast ice floes, both nestling into and breaking away from a deeply numbing frost. There's a great effect in the background of the Vangelis-inflected "The Birthday Boys" that sounds like the slow-motion pep rally at the end of Heathers. It's little sonic details like this that make Fane stand apart from his peers and mentors. The melodies are definitely of the same melancholic tone as Sigur Ros, but I wouldn't be inclined to call it depressing. If it does lend itself to depression, it's the exquisitely crystalline sort that Xiu Xiu can lend itself to (there's actually a vague Xiu Xiu type of vibe on the trilling "Darknet").
So, while Julian Fane might not be breaking too much new ground with this LP, he's expanding on a landscape that is the ideal for people who don't dread the coming winter, but instead feel sort of romantic about it. People who call music like this depressing must just have really limited sonic palettes. To me, it contains great mystery and intrigue, with a sort of moody bent that doesn't overtake you, but edges you into a comfortable precipice of isolation. This is music probably best appreciated when you're by yourself, and it's just what the doctor ordered for those anticipating new material from Radiohead or Sigur Ros.
http://www.mediafire.com/?mwyzmgoolmzPlanet Mu has made a name for itself with its persistant persuit of new talent, this latest endeavour bringing to life the debut work of L.A’s Edward Ma, aka Edit. The sound is a somehow familiar blend of acoustic “song” constructions developed with electronic means, but the delivery stands out for its intricacy and warmth. Album openers “Ashtray” and “Ants” play around careful guitar strums and post-rockish tendencies, interjected with vocal hiccups and loops more reminiscent of the man Prefuse 73. The instrumentation seeps through with a lo-fi, distant tinge – think of an instrumental version of Styrofoam’s excellent last album for Morr Music for a frame of reference. Only album closer “Mildew” departs from the blueprint, instead opting for a more Tommy Guerero-esque strum of the lonely guitar in a relaxed, sunny manner. “Crying Over Pros For No Reason” doesn’t necessarily add any new words to the electronic / acoustic vocabulary, but the language it employs is articulated with a lovely, heartwarming understanding of melody and construction that should be applauded and checked out by those of you who live life on the mellow side without delay. Lovely.
http://www.mediafire.com/?lqemnymjyfo
http://www.mediaf!re.com/download.php?3ziwizntzzohttp://www.mediaf!re.com/download.php?2eldbmyyxwyDoug Stanhope is a stand-up comic. Has been since 1990.
His material ranges from true-life graphic perversion to volatile social criticism. Doug is vulgar, opinionated, brutally honest and shockingly uninhibited and is certainly not for everybody.
He started his career in Las Vegas doing jack-off jokes for free drinks. Not much has changed, save for the mullet.
Doug has built a wide-ranging television resume of dubious achievement. He hosted The Man Show on Comedy Central as well as the ubiquitous pseudo-porn for the sexually crippled, "Girls Gone Wild", both solely and shamelessly for financial gain. He has appeared on "The Howard Stern Show", "Comedy Central Presents", "Premium Blend", NBC's "Late Friday", "Spy TV" BBC's "Floor Show Live" while on ecstasy and wrote, produced and starred in Fox's "Invasion of the Hidden Cameras" and has even popped up on "Fox News with Greta Van Sustern" and "The Jerry Springer Show". But none of it compares to seeing him live.
http://www.mediaf!re.com/?zz2nntun25f
"Taxi Fare" - Sly & RobbieI always thought I'd be the first to upload some Sly & Robbie.
(http://i8.photobucket.com/albums/a34/SoundsOfSIlence100/515XWR25RFL__SL600_.jpg)
A fantastic compilation of some of Sly & Robbie's best cuts.Code: [Select]http://www.mediaf!re.com/download.php?enlindneend
Moar Nick Cave
The Firstborn's DeadCode: [Select]http://www.mediaf!re.com/?1jleuvzwnmo
Mastodon - Crack the SkyeCode: [Select]http://www.mediaf!re.com/download.php?3ziwizntzzoCode: [Select]http://www.mediaf!re.com/download.php?2eldbmyyxwy
i have a huge soft spot in my heart for tori amos.
http://www.mediaf!re.com/?mmyyj2zymxxhttp://www.mediaf!re.com/?jut40z2omyq
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realize this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and then neatly placed it inside. This is what this thread should be.
Here's Pete Doherty's solo album, Grace/Wastelands. I was a little Libertines fanboy for years, but the last Babyshambles release turned me off like a cold sore on a cock. Anyway, this is not like that. The album gets a double whammy of the Blur treatment with Graham Coxon playing guitar and Stephen Street producing, and the songs are all damn well written. It's strong material.link is down, will you please re-upCode: [Select]www.mediaf!re.com/?g50zwemyjmx
http://www.mediaf!re.com/?jjwoeiozmohhttp://www.mediaf!re.com/?nvywnmrmytk
Bridging the gap between the most current scenes in London's bass culture, FreQ Nasty rumbles with underground thunder on FABRICLIVE 42, a staggering showcase of some of the rawest breaks-led beats around. Evading the pitfalls of a genre-controlled mix, yet at the same time avoiding the stop-start feel of a "mash up" mix, on FABRICLIVE 42 he's imaginatively arranged a flowing, tightly-connected blend of FreQ-y tracks. With the bass heavy stomp of L-Vis 1990's UK take on Baltimore house, the blistering shatter of TRG and several of his own storming productions, including his Santogold hit 'Creator,' the mix is a terror to bassbins worldwide. Buckle up.
http://www.mediaf!re.com/?wnjojknm1hzPt 2http://www.mediaf!re.com/?jtljemm0zdma couple more albums by british prog-ska/post-hardcore (sorry, that's the best i can come up with. think of Rx Bandits's later stuff with less reggae-emphasis) fellas Howards Alias. i posted their other (and best, by just a tiny bit) album "The Answer Is Never" earlier in the thread btw. "Beat Heart Beat" is a little bit more varied, whereas "The Chameleon Script" is a more straight ahead Mad Caddies-influenced ska-punk album. Both are great though.
Howards Alias - "Beat Heart Beat" (2005)Code: [Select]http://www.mediaf!re.com/?nvywnmrmytk
Howards Alias - "The Chameleon Script" (2002)Code: [Select]http://www.mediaf!re.com/?jjwoeiozmoh
i wanna put something here... from someone i enjoy immensely... but no one i know does.
(http://img201.imageshack.us/img201/1659/emau4260063942945.jpg) (http://img201.imageshack.us/my.php?image=emau4260063942945.jpg)
part1Code: [Select]http://www.mediaf!re.com/?mnoodny5jyfpart 2Code: [Select]http://www.mediaf!re.com/?ulzzwm0fy2j
hope it works! and hope at least a couple of you enjoy it!
http://www.mediaf!re.com/?kqziw4nfjzwhttp://www.mediaf!re.com/?d2dkwjdwyyehttp://www.mediaf!re.com/?z2mzoo4jwjqhttp://www.mediafire.com/download.php?ywyntzojmoyUntitled is a very mature, developed, cared-for album.This sums it up very well, I threw in two bonus tracks aswell.
JAWBOX
http://www.mediaf!re.com/?zjxcoyjlnw4http://www.mediaf!re.com/?wynt0i3nnzmFabricLive 42 - Freq Nasty
http://www.mediafire.com/?2yjzm1cm4nxThis trio from Kita-Kyushu, Japan plays uncompromising and spontaneous emo hardcore, which descends from bands from half of 90’s released on label Ebullition like Torches To Rome, Bread and Circuits or Yaphet Kotto mixed with dedication of dc hardcore bands like Ignition or Swiz, all together with aggressive, explosive Endstand sound! These guys are absolutely coordinated, singer and guitarist Koichiro alias Kojak has screamy but still melodic voice (he was driver on The Robocop Kraus tour around Japan), crazy drummer plays with total dedication and bass player understood what is this instrument about.
I downloaded FYOSS (Jawbox) and there were no songs in the folder. Is this just a problem with mine?
It was Keith Fullerton Whitman, right here on TMT in fact, who initially acquainted me with the name Leafcutter John. He answered most glowingly in Leafcutter John’s favor when asked if there were artists deserving more recognition, "Some of the most vital and humanistic yet academic-leaning computer music of this or any time really." I remember this because it piqued my interest at the time that such bold plaudits were going to someone I’d never caught wind of before. Also, that someone with such an organic and folksy name was making computer music. I feebly investigated him at the time, couldn’t find much about him, tried to *gulp* download his album, was stymied, and proceeded to ignore KFW’s plea and went on like seemingly everyone else (I still can’t find many reviews of this album) in continuing to ignore him. Well, not too long ago, I stumbled upon this album, and ever since, I’ve regretted not heeding the well-informed advice at the time.I love it to bits
This album is sold as one of those Matmos(ish) novelties (no knock on Matmos) featuring samples from a highly restricted set of sources. In this case, the samples all come from items you can find in your home. The reason is that the artist was suffering from crippling agoraphobia after being attacked in public, hence the title The Housebound Spirit. To be honest, I couldn’t give a lick. It’s distracting to consider such tangential nonsense. What we should concern ourselves with is the breathtaking sweep of this album. The ‘genre’ ping-pongs around with every track, from KFW IDM sounds to Kid 606-esque cut-ups to avant-classical electro-acoustic to a sparing vocal and acoustic guitar. They’re masterfully executed, and, moreover, it’s really an enjoyable collection to listen to. The pacing might be the greatest achievement here, with strikingly disparate tempos residing next to one another cohesively. Similarly, the dynamics in sound are perfectly jarring. And none of this comes anywhere near to conveying the magical experience of listening to this record. This is the truly inspired music that makes people like my self love music. PLEASE, please go out and buy this album. Absolutely one of the most essential recordings I’ve heard in the past few years.
http://www.mediaf!re.com/?wgdiundv2tjJohn Burton (Leafcutter John) originally studied to be a painter, but found it more interesting creating electronic music to play in art galleries around the country. The "Concourse EP" is his first release for Planet Mu and follows just one other 2-track 7" single on Loose Change Records. The EP has been released on two formats, 12" vinyl and CD, the CD version containing an extra 3 tracks and being dubbed an "EEP". Burton uses field recordings and the output of sonic workshops (organised by himself) as soundsources. The tracks on this EP are probably best described as "glitchy ambience" comprising of ever-changing blips and tones with added distortion. Describing Burton's tracks is difficult as they are forever shifting and mutating within themselves, almost like tracks within tracks, as though Burton is conscious of avoiding repetition. This, however, is a good thing, as the tracks on this EEP hold the attention and never give you the chance to
get tired of them. Strangely, the final track is an electro-acoustic folk song. Excellent stuff. The "Concourse EEP" is a carefully constructed, relatively abstract, non-repetitive work that is quite brilliant in content and an intriguing listen. Music for the mind. Recommended. Look out too for Leafcutter John's "Microcontact" full-length on Planet Mu in January 2001.
http://www.mediaf!re.com/?dh1kzrmbltyJohn Burton, aka Leafcutter John, born in West Yorkshire, originally wanted to be a painter, and studied at Norwich School Of Art. Burton was also a songwriter, spending his spare time composing folk songs on a guitar. Them one day, he bought a PC, to type his university assignments. That’s when he discovered the possibilities of electronic music. That was four years ago…
At the time, Burton didn’t own any electronic music records, but, fortunately, some of his friends did. A crash course in contemporary artists and different forms of music later, he was ready to release a first EP, Concourse, then, a few months later, an album, on Mike Paradinas’ very own label, Planet Mu. From the intro of the first track of Microcontact, you know you’ve stumbled across something unusual. Heavily relying on machines, Burton relies even more on the inspiration he gets from environmental noises and acoustic sounds recorded in all sorts of different places or situation, or during sonic workshops he organises in art galleries. When asked about people who inspire him, Burton cites Chasm, Main or Richard D James, as well as Pierre Henry, Karlheinz Stockhausen or Pierre Schaeffer. And, listening to Microcontact, the analogy between Leafcutter John and the musique concrète movement is quite obvious. If not as remote as the music produced by any of these composers, Burton’s creations remain quite difficult to apprehend, even when he flirts with more conventional electro, as on track 9, or when traces of his past as a folk musician can be found on track 5. However, his deconstructed structures are strangely appealing. Sometimes similar to Autechre’s work (track 1, track 6), Microcontact has more connections with Mike Dred’s and Peter Green’s 1998 Virtual Farmer, in that, while it introduces a very abstract concept, the intensity of the atmospheres captured is still very much intact after the treatments are applied. Like Virtual Farmer, Microcontact is very much a human record, which interacts with the outside world as much as it does with its own, exposing in the process Burton as a very creative musician, attentive to his environment and to what he can do with it.
Microcontact is a very unusual record, even by today’s standard. While not completely unique nor uniquely original, this album is refreshing and challenging enough to put it above the rest, and to isolate Leafcutter John as an exceptional creator.
http://www.mediaf!re.com/?jmqqnzmndyc
http://www.mediafire.com/?inydiztd2nohttp://www.mediafire.com/?ijbizzytohkhttp://www.mediafire.com/?demj2avmjdmProgressive indie rock that attempts to bring integrity to an overcrowded and often stale music market. Comparisons include sunny day real estate, the dismemberment plan and at the drive-in.
http://www.megaupload.com/?d=DW0485OLthe emilie autumn stuff i posted
Oh hey, thank you so much, I love her non-vocal stuff(because I do not like her vocals) but I think she is fabulous and have been looking around for this for a while.
http://www.mediaf!re.com/?zrmkydhngy1
http://www.mediaf!re.com/?mwtmmwlzltm
I have a present for you mediaf!re thread!
The Halo Benders - The Rebels Not In
(http://ecx.images-amazon.com/images/I/51GWxffeJ6L._SL500_AA280_.jpg)
One half Built to Spill, one half Beat Happening, all awesome. The song "Virginia Reel Around the Fountain" pretty much warrants the download by itself.Code: [Select]http://www.mediaf!re.com/?zjyxlnmyzwg
Doves - Kingdom of Rust
(http://i40.tinypic.com/35arldt.jpg)Code: [Select]http://www.megaupload.com/?d=DW0485OL
http://www.mediaf!re.com/?z2mzoo4jwjqIs that Doves album a leak (or the new one)? If so, thanks!Yes.
http://www.mediaf!re.com/download.php?2azozjymoia
Since everyone is going apeshit over Jawbox, here is the lead singer's latest
Channels - Waiting For The Next End Of The WorldCode: [Select]http://www.mediaf!re.com/download.php?2azozjymoia
Miles Davis - Agharta (320 kB)
Live Miles Davis. So tight.
http://www.mediaf!re.com/?qwnmjhm2nm3I think the Thermals album is down....I would be unbelievably happy/grateful for a re-up. I've been listening to When I Was Afraid and the title track ceaselessly since I got them - amazing. Thank you!
I'm workin' on it, seems every mediaf!re link to Now We Can See has gone down, look for a re-up in the next hour or so!
EDIT: HERE!Code: [Select]http://www.mediaf!re.com/?wmmxzinxmzj
http://www.mediafire.com/?mjzzr42wtecDuring his time with the Drive-By Truckers, Jason Isbell always sported the least grizzled voice of the bunch, a surprisingly radio-ready baritone that sounded smoother than Patterson Hood's sandpaper croon and more streamlined than Mike Cooley's twang. That voice carries more weight in Isbell's solo material, where melody and lyrics are emphasized over the swaggering guitar onslaughts of his previous group. Credited to Isbell and his new backing band, Jason Isbell and the 400 Unit finds the songwriter reprising the same formula showcased on 2007's Sirens of the Ditch: a mix of Southern rock and rootsy, melancholic country-soul that manages to both elevate and commiserate during its 52 minutes. The result may be fairly similar to Sirens' sound, but 400 Unit marks Isbell's final move away from the Truckers, whose influence permeated Sirens in its production (helmed by Patterson Hood) and host of backing musicians (including Shonna Tucker, DBT's bassist and Isbell's former wife). Instead, Isbell and his four bandmates close the studio doors to outside help, allowing several horn players to pepper "No Choice in the Matter" with brassy soul but chiefly controlling the album themselves. The result is a smart and tasteful record that sees Isbell training his songwriting eye on subjects of wartime romance, memory, and dead-end small towns. There are rock songs here -- including "Soldiers Get Strange" and "Good," both of which seem to take more influence from Tom Petty than Lynyrd Skynyrd -- but Isbell sounds most comfortable with the midtempo numbers, from the subdued shuffle of "Sunburn" (sample lyric: "I never meant to get bored with you but I never meant to stay") to the instrumental strains of "Coda." "I saw her in Roosevelt Springs, where time doesn't touch anything," he sings in "Cigarettes and Wine," a seven-minute homage to a bartender who takes in downtrodden men and selflessly suffers their despondence. Just barely out of his twenties, he writes with the well-worn weariness of someone twice his age, but Isbell's youth nevertheless breathes energy into a formula that's been revisited by many Southern-born songwriters before.
http://www.mediafire.com/?ykyyttdcozmWozzeck in English. What, no 'Jawohl, Herr Hauptmann', no 'der Mond ist blutig', delivered in guttural, baritonal German; aren't we going literally to lose something in translation? [...] Andrew Shore as Wozzeck is effortlessly communicative, a lyrical Everyman as opposed to the clipped, brutally stentorian baritones you're sometimes offered in the part. As his fragile defences collapse around him, we feel this Wozzeck's pain threshold being exceeded as Marie's infidelity and the vicious taunting of the Drum Major push him over the edge into bloody revenge and accidental suicide. Emphasising Wozzeck's fragility rather than just the brutality of the world in which he lives and the crime he commits, serves to heighten the impact of the murder when it comes. [...] There's certainly no need to make allowances for the performance because of the language. A Wozzeck to be measured against the very finest modern recordings, a genuine alternative to any one of them, linguistically and musically.
http://www.mediafire.com/?gmzwjijkqmiA New Tide marks a return to the always-freewheeling British band's more experimental roots, with songs like "Win Park Slope" and "Airstream Driver" evincing a spirit born of boundless imagination and a long-standing collaborative relationship. A wide range of styles is incorporated into A New Tide's matchless musicial brew. Flavors of Delta blues, psychedelia and Krautrock all come into play, resulting in a musically mischievous and remarkably forward-thinking collection. In short, A New Tide is Gomez at their inimitable, incomparable best.
A New Tide also sees Gomez accompanied by a number of illustrious guest musicians, including vocalist Amy Milan (Stars/Broken Social Scene), bassist Josh Abrams (The Roots, Sam Prekop, Godspeed You Black Emperor!), cellist Oliver Krauss (David Gray, Paul Weller, Beth Orton), and multi-instrumentalist Stuart Bogie of Brooklyn's world-renowned Antibalas Afrobeat Orchestra.
http://www.mediaf!re.com/file/fnkdedtwzmy/Lost Souls.rarHailing from the scene that brought the defining sounds of the Smiths, the Stone Roses, Oasis, James, and the Charlatans UK, Doves is another Brit-pop band playing around with depressing lyrical imagery and embryonic soundscapes that made the Mancunian circuit so popular throughout the '80s and '90s. Gloriously basking in the ethereal ones before them, their debut Lost Souls is a shoegazing twist of emotional bliss. Music hasn't sounded so heavenly since Radiohead and The Verve.Also, it helps assuage my guilt in taking far more from this thread than I could possibly give.
The dozen-track look into streaming psychedelia taps into melodic waves of love lorn and sadness, especially on songs like "Rise" and "Lost Souls." The mood rouses and the positive clamor of "The Cedar Room" becomes the album's brassy anthem, very Oasis-like. Frontman/bassist Jimi Goodwin drools like a swooning Damon Albarn during "Here It Comes" and whooshing guitar licks from Jez Williams recall the sounds of Noel Gallagher. NME boldly claims it as the best debut album since Definitely Maybe. They're onto something good. If only Liam and Noel could calm down a bit and find that mesmerizing nature once again.
http://www.mediaf!re.com/download.php?kznhjirnqwa
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Probably the most talked-about BASS transmission of recent months (bar the forthcoming Burial and Pinch albums, of course) - the long awaited debut album from Disrupt is with us and is doing things to our woofers we didn't think quite possible. Make no mistake - this is just about the best appropriation of Jamaican dub and 8-bit dancehall you'll likely hear this year - with a slow paced skank and a filthy, uber-bassy production style that has more in common with King Tubby, Black Art and, for that matter, black magic than with any half-arsed wobble presets and lazy dubplates you just might have picked up these last twelve months. Once inside Disrupt's rugged echo-chamber you'll find yourself immersed in a heady, narcotic cloud of smoke, moved by staggered delays, endless reverberations and a tranquilizing cluster of distant instruments and digital detritus all colluding to lull you in and f*ck with your mind good and proper. This is music designed for complete and utter sensory intoxication, tweaked and honed for intense stupefied skanking - and is quite simply one of the most beautifully heavy, chemically enhanced albums you'll hear this year.
http://www.mediafire.com/?qixumteytno
Aidan Baker has been quite prolific in 2002. I Fall Into You, a CD-R released by Public Eyesore, falls into the "good" pile. It consists of dark guitar soundscapes accompanied by poems. Baker, who also fronts a career as a writer, came up with powerful lyrics on the topic of love as addiction/virus/dependence/transformation. The diptych "I Fall Into You/& Replicate" becomes the leitmotif of the album and mirrors with its implications the dark eroticism of the ambient soundscapes. Baker plays guitar (electric and acoustic), bass, and loops, creating lush moods that slowly change in terms of hues and feelings. Naomi Okabe recites with him, incarnating the reciprocal of the poems. "Lapse" and "Lethe," both seven minutes in duration, work as the walk-in/walk-off pair. The second reuses the soft synth chords and beatbox track of the first in reverse, giving the track a mutated feel completely attuned to the topic. "Lysis" (25 minutes) and "Symbiosis" (ten minutes) present most of the argument, both lyric- and music-wise. There Baker hits a peak as a sound designer/collagist. The pieces run deep and captivate, much more than the improvised Letters. Baker struck a balance between word and sound, plus this album benefits from better production values and a solid concept. Recommended.
http://www.mediafire.com/?ymmndmyimnm
Some Cap'n Jazz for amok, and everyone else too!
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Disc 1Code: [Select]http://www.mediaf!re.com/?2tn0kaggidx
Disc 2Code: [Select]http://www.mediaf!re.com/?9j1ic33xzpm
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Oh why hello there, mediaf!re thread. How are you today?
With all this This Town Needs Guns talk, I realized I have seemed to have misplaced my copy of my Owls s/t. Would anyone be so kind as to re-up it for me?
Thank you!
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.
Before you post in this thread, take a minute and consider the following:
Think of this as the community chest. Everyone is free and encouraged to contribute to it, with that in mind:
* This thread is for you to share the music that you love for people who would normally not be able to access it. This is not an everything-goes-all-the-time mp3 blog.
* Think about what you are uploading. Is it easily available elsewhere and popular? If yes, is it really worth it to upload and post here?
* Have some self control. Is it really necessary to upload the entire discography of this band? Is it all really so excellent? If it is, don't worry. Whoever downloads this will surely realize this and look for more material on their own.
To return to the community chest, imagine you one day open the chest and everyone threw everything inside it. There's probably more things that you can use there now, but they are now buried in a mountain of debris and you'll likely miss the good stuff anyway! Imagine though, that you come to the chest one day and you find that everyone thought about what might best serve us all and then neatly placed it inside. This is what this thread should be.
http://www.mediaf!re.com/?2bimzemmtmghttp://www.mediaf!re.com/?wkxhzm03gwwhttp://www.mediaf!re.com/?zwtzm33kjnyhttp://www.mediafire.com/?tetikgjzydlhttp://www.mediafire.com/?geegyzz1ldj
Okay so there is ONE active link out there (which is at 128kbps). Wow, why don't people just either post the second disc or shut up. I mean really, does his re-up request really bother you that much?
Y'all know I'm anti-thisthread.may be the funniest thing I've ever read in this thread.
http://www.mediafire.com/?oylmy3imydmhttp://www.mediafire.com/?zjatmnjm2ikhttp://www.mediafire.com/?aztmtj5n12chttp://www.mediafire.com/?mnv0etnndzd
A project created by Ben Cooper (known from Radical Face and Electric President) The project was made as a way for Ben to give out music that he has made through the years that he means “don’t fit on the records, and some I’d be hesitant to even call a b-side despite being recorded around the same time.” So in order to get this music out to people he created 100 home made copies with different songs on that he would send to people in exchange for something people wanted to send him.
Okay. Patients E-mail Trade is now closed. (...) from here on out, if you want a copy, you'll have to find a torrent, get someone to share a copy with you, or something of the sort. It's out of my hands.
http://www.mediaf!re.com/?iqmnyy1ukhz
Kinch is an indie pop band from Phoenix, Arizona. Their sound has been described as brusque power pop,[1] "an alt-rock pop style reminiscent of a few Brit bands, hearkening back to the sensibilities of '60s garage rock."[2] The band's debut album, Advances, was recently honored as the Best Arizona Album of 2008 by the Phoenix New Times.[3] Their pop sound has drawn comparisons to Coldplay and the The Strokes, while others have likened them to Ben Folds, The Arcade Fire and Blur.[4] The name 'Kinch' is a reference to the character Stephen Dedalus in the novel Ulysses by James Joyce.
http://www.mediaf!re.com/?1yj1d1kky4z
Kickball is so hell yeah.
is that Native the native from Chesterton, IN?
And dude, not everyone lives in a city where they can go to a local store and find Cap'n Jazz at the record store.
I agree with people not needing to ask for a re-up of Hazards of Love or something similar, but everyone here is making it seem like Cap'n Jazz is a huge commercial band, that can be purchased at the corner store. THEY AREN'T and THEY CAN'T.
And last of all, there is no rule set that states that people can not ask for re-ups of commercially available music. So until someone of importance (not you) creates that rule, you should not give little rants.
http://www.mediafire.com/?q3zlgzmwjn2Here's a review from Aquarius Records:I still feel it needs to be closed and replaced with something a little tighter
http://www.mediaf!re.com/?lakztihbkldEveryone should already have some Karate in their collection. They play a jazz influenced indie rock with sung/spoken lyrics. After more than ten years of playing they called it quits. However in 2007 they received a recording of a concert they played in Belgium (their 595th show). Feeling that the living recording caught the band at the peak of their career they decided to release it. This album pulls from multiple albums and is a great introduction to this band as well as a great record for long time fans.http://www.mediaf!re.com/?ydwzemm3wcnI've singing along to this EP for a while. Its full of fun indie-emo songs with some really unique vocals.http://www.mediaf!re.com/?yyyymztwzdzGood ol' hardcore http://www.mediaf!re.com/download.php?uht2wqmnhmgScreamo. Not much more to sayhttp://www.mediafire.com/download.php?myhgdkynmnrSame as Straight, No Chaser. Good stuffhttp://www.mediaf!re.com/download.php?rmmddgigmztEmo/indie/pop punk. First band from my home town to get put on a big label. This is probably their best stuff.http://www.mediafire.com/download.php?2l2mnzybytnJust download and give it a chance.(unless if its oop, then thats fine)
I'm a raging looney!!!!!!!
pulpfiction21, seriously, that right there is in poor taste.
I'm completely in agreement with Darryl here (as I've tried to state in other threads before). Enough of the internet is dedicated to straight music piracy. Why not have this place be for informing people of bands that we love, that others might not hear otherwise?
pulpfiction21, seriously, that right there is in poor taste.
I'm completely in agreement with Darryl here (as I've tried to state in other threads before). Enough of the internet is dedicated to straight music piracy. Why not have this place be for informing people of bands that we love, that others might not hear otherwise?
http://www.mediafire.com/download.php?nkmyyylhejzNo, thats the idea people are agreeing with. People are disagreeing with requests and requests for re-ups.
Copyright law has no provision for that - it is in most jurisdictions (but not all) illegal to download copyright music without permission from the copyright holders, and the fact that it may be unavailable changes nothing. If, however, you are making what you feel to be a moral point independently of the law, then that is only a personal opinion with no effect on the law.
http://www.mediafire.com/?m2ocqmtgyafSilversun Pickups - Swoon (2009)Code: [Select]http://www.mediaf!re.com/download.php?nkmyyylhejz
NEW ONE SHAKA BROSEPH!
And finally, a big "Fuck you!" to no requests rule. Not in the aspect of "OMG please post the newest ABBA single," but I think it would be cool if more people posted music featuring flutes, or "classical" music, or at least point me in the direction to discover something more. I might have already found it, but it's still nice hearing what everyone has to offer.
While I don't appreciate the hostility from both sides, I don't know what a lot of you want others to post. All the "Back in my day before this internet!" crap is really tiring. I know I take the initiative and try out a lot of music and buy what I really like and delete what sucks. Anyone can listen to music on youtube or itunes or thousands of music blogs to sample. You can find most any album by going to sordo (http://www.sordomusic.com/db/) or filestube (http://www.filestube.com/) or the pirate bay (http://thepiratebay.org/) or whatever and get everything you need. It's fun seeing what other people love, though, even if you don't like it. A lot of you have good taste, and I appreciate it when anyone takes the trouble to upload and post something. Even if I already have it or know I don't like the style, who cares? I know there are people who do.
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.megaupload.com/?d=1I4KZP9Xthe difference between you and me is that unlike you this thread is what i want it to be
i guess you can keep posting cursive or w/e but you can listen to stuff like that on spinner and imeem so why not spend your time uploading something more productive?
Yes I am an insensitive, uneducated neanderthal. At least I know the how to not blow a fuse by reading words on a screen. Again: STFU, post music.Nobody said those things, you just called yourself out. I haven't seen anybody blow a fuse or get angry outside of hasty responses that have misinterpreted something other people have said. Don't be so dismissive of other members of the community, everybody here is important, as are their views regarding this thread.
Be selfish on someone esle's time.
This thread is not about you.
If that is a problem:
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I post a lot of shit that isn't nearly as big as Cursive. And i don't understand why if it is my time that I am wasting by posting Cursive, why it bothers you and other people so much? OMG you have to waste your time looking at a Cursive post, the world is over. Scroll past it and move on with music that you'd rather listen too. I'm just giving people more options of music they might want to listen too. Other people enjoyed the Cursive album and isn't that what this thread is about?
No wonder so many people stay leechers on this site, people give you shit for spending your own time to upload albums for other peoples enjoyment.
Anamanaguchi combines the raw, electronic tones of the NES sound chip with driving, melodic guitars in an indie rock/powerpop fashion. NYU Music Technology student Peter Berkman began experimenting with the console in late 2003, swapping songs with friends from his hometown. Looking for a way to perform the 8-bit songs live, he got together a band including bassist James DeVito from New York, and Spencer Casey & Chalie Hankin from Baltimore to play guitar and drums (respectively) along with the NES. Since then they have been very active playing PulseWave concerts in New York and various shows on the east coast. In August they released their debut Power Supply on 8bitpeoples.
http://www.mediaf!re.com/download.php?y1m1jjmnzyh
http://www.mediafire.com/?ybujo2dmwzmhttp://www.mediafire.com/?zzztnt5mqnyScore!
http://www.mediaf!re.com/?ydmjgqzydnnhttp://www.mediaf!re.com/?atvjju2moxmhttp://www.mediaf!re.com/?wgjwdvdiyyc
Akron/Family - Set 'Em Wild, Set 'Em Free
http://www.mediaf!re.com/?jyqmnxmnnjzThe precursor to Bad Vibrations, this is a 2005-2006 release that gives you a slightly gritter feel from this totally skull crushingly good instrumental Post-Rock band.http://www.mediaf!re.com/?y2w2i5mtdaqBritish DJs invent new genres of electronic music as often as cubicle monkeys refresh their Gmail inboxes. Keeping up with these developments can be a chore, however, for us Yanks. We can’t tune in to pirate radio or trek down to a South London club on a Friday night to hear how a different drum machine or piece of wave-editing software has transformed last weekend’s hip sounds into even hipper sounds. Unless we’re willing to sift through crates of import 12-inches or devote extravagant portions of our weeks to message-board scouring, we’ve got to be dabblers – we’ve got to buy the Run the Road comps, to rest content with enjoying UK garage but not quite being able to explain it to our friends.
And we’ve got to latch tightly on to records like Burial. Those records that grant access to "exotic" subcultures and transcend their milieus. The LPs that work for the diehards and the dilettantes. Albums whose songs allude to scores of obscure microgenres and regional artists but also recall the work of internationally acclaimed pop acts.
For most of us, this debut full-length from a mysterious English producer (or producers) will serve as an introduction to dubstep, the most recent trend to emerge from the scenes that spawned garage and grime. Dubstep, as its name implies, emphasizes cavernous bass, so much so that its effects are lost on cheap stereos. Rhythms move in sharp, repetitious arcs, but most of the genre’s producers use slurred, stumbling beats to craft their grooves, which makes for some of the trippiest dancefloor fodder this side of Houston’s chopped-and-screwed hip-hop tracks. Dubstep is menacing stuff, texturally rich but also foreboding, asking us to give ourselves over to desolate tones and disorienting rhythms, to sounds that signify little that is pleasant or welcoming.
Maybe it’s easier to listen to this stuff on the subway or alone in your room than it is to dance to it. From the first notes of leadoff "Distant Lights," Burial recalls Arthur Russell’s most abstract emissions, which is to say this isn’t an album you put on for company. Disembodied voices echo through tunnels of low end that suggest Pole on codeine. Every instrument – and there aren’t many – in the upper registers sounds melted or short-circuited. Think of it as dub by way of Factory Records, each sound resonating lonely as Ian Curtis’s voice, each drum loop striking like A Certain Ratio’s staccato funk.
When this album saw release in the UK back in March, its home-listening potentialities lead critics to call it both a step forward for dubstep and a step away from dubstep. Burial certainly plays like a capital-A Album rather than a collection of dance cuts. Now that Kode9 and Skream have released impressive but ultimately less affecting dubstep LPs, it’s apparent that this album does indeed have something special going. Burial is a genuine event, a coming-out party for a style of music that will probably have run its course in a year from now. It’s also a record that stands to be remembered apart from its immediate context, one to be valued not as a subcultural apex but as a fully realized work.
http://www.mediaf!re.com/?zmqt2dtkomzhttp://www.mediafire.com/?ti3dzmz42t2http://www.mediafire.com/download.php?yo4nwnmiyvfhttp://www.mediaf!re.com/?3zmj4dgxeeuHere's one of the most remarkable albums i've heard in the last couple of years - Elsiane's Hybrid. They're a duo based in Canada, & they're music is difficult to categorise; there are elements of trip-hop, jazz, electronica & even a whiff of neo-classical in their songs, but most remarkable is singer Elsieanne Caplette's voice, which is unlike anyone else i've ever heard. & on top of all that, it's just gorgeous - give it a try. Standout tracks are "Vaporous", "Hybrid" & - best of all - "Mend (To Fix, To Repair)".
Elsiane - Hybrid
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[aac | 320]Code: [Select]http://www.mediaf!re.com/?zrmkydhngy1
http://www.mediaf!re.com/?mwtmmwlzltm
I felt an urge so I figured I would share it.Wilco are cool I guess.
John Spencer and the Blues Explosion - Now I Got Worry
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Getz worked yet another angle during the '60s with this appealing jazz combo and choral mix. He had already followed up a slew of straight jazz dates with some initial forays into the world of strings and, of course, his massively successful explorations of bossa nova. Now, Getz plies his melancholy yet breezy horn through a seraphic and somewhat haunting backdrop of subtle bossa rhythms, strings, and a wordless choir. While it doesn't eclipse his innovative work with arranger Eddie Sauter (the strings date Focus and soundtrack Mickey One), Voices still features a wealth of top arrangements, a fine backing group, and plenty of Getz's hypnotic brand of saxophone alchemy. Sporting charts by Claus Ogerman and the talents of such jazz luminaries as Herbie Hancock, Jim Hall, Ron Carter, and Grady Tate, Voices may not qualify as an essential Getz disc, but it is one that will be enjoyed immensely by fans.
http://www.mediafire.com/?czljtkjeunv
http://www.mediaf!re.com/?uzkyqyik2zdClocking in at just under 40 minutes, Picastro’s debut effort is the ideal listening time for a record that deals in melancholic landscapes and downtrodden atmospheres. It’s just long enough for you to envelope yourself in the sound and the feel of the record, while not being long enough that you find yourself bored or overly depressed. The band consists of Liz Hysen, Zak Hanna, Evan Clarke, and Rachel McBride. Hysen seems to be the unofficial leader of the group as she takes care of the vocals and songwriting duties. It is the electric guitar of Hanna, the drums of Clarke, and especially the cello of McBride that fill out the sound of the band and allow Hysen’s visions come to reality.
By the end of the first track the structure of the songs becomes apparent: moody interplay between strings (guitar and cello), rhythmic stabilization or punctuation, and subdued- almost monotone- vocals. While this structure yields some interesting results it is never truly broken out of and hampers the ability of the record to truly transcend the sum of its parts.
On “Mine” the guitar and cello both play delicately plucked melodies that mirror each other almost exactly. Hysen’s vocals ride in between these two driving lines awaiting some sort of break. The second verse features only the guitar and Hysen until the cello comes in once again playing a more legato melody that counterpoints the guitar nicely. It is one of the finest songs on the record because it is both simple and haunting. The entire time that the song progresses there is a feeling of impending dread, the arrival of something horrible could come at anytime.
http://www.mediaf!re.com/?ir2g4w1yueuBaby Panda has put out another great LP. On Avalanche Kiss, Paul Gonzenbach, formerly of The Jim Yoshii Pile-Up, leads the band on 11 beautifully simple and inventive songs. Piano, strings, guitar, and drums back Gonzenbach’s elegant singing. Fans of Morrissey, Clinic, and Xiu Xiu will want to pick this gem up.
http://www.mediaf!re.com/?iinyoedndwiFaunts score their most moving performances when their singers are at their most numb, and must rely on technology to fill in the blanks: the effects-pedal fireworks that close out the haunting "Lights Are Always On", or the quivering, pitch-shifted synth line that essentially serves as the wordless chorus for Amusch's "It Hurts Me All the Time"-- a track that, for all the contemporary bands dancing on Joy Division's grave, is one of the few to capture the glacial beauty of "Love Will Tear Us Apart."
http://www.mediaf!re.com/?2ygbajetmza
I haven't been on here in awhile but have come back to some good music. Anyway in return I've come across a lot of good stuff.
I'll start with "!!!". This album is called "Myth Takes". It's relatively hard to look them up considering that if you type in !!! in google you'll get quite a bit of nonsense. Anyway the band is very percussive sounding and very danceable.
I still feel it needs to be closed and replaced with something a little tighter, or even just abolished altogether so people use more specialised threads to share music. I know neither of these things is gonna happen, so I'm going to make the best of the thread we do have.
Both albums are in this link
http://www.mediaf!re.com/?sharekey=a75bc8b5dbf2ed6e7432d3c9683f450ae04e75f6e8ebb871
I think music is something that's more rewarding the more effort you put into it. Whether you're making it or just listening to it. The more you invest, the more you get out of it. Music is worth paying for, it's worth the work you put into it. This thread doesn't require effort, it doesn't require work, there's something that's definitely missing. There's download links here and very little else.
It's really not that big of a deal to me, but I'm kind of curious: just what authority do you pretend to have? You've long seemed to be on some kind of crusade against this thread, which is certainly your right, but it gets very very old very very fast. I'm sure you already feel like you've addressed this point, but I don't think you have sufficiently: if it bothers you that much, why do you simply not partake of the thread? Why don't you just not have anything to do with it and not go near it? And if it really really bothers you that much and you simply cannot in any way condone it, you know you don't have to be a patron of this forum at all.
Interesting premise, but I'd say you're batshit insane. Okay, not batshit insane, just a little wrong. Do you think libraries are a bad thing? Do they cheapen one's appreciation of books and authors?
Late-period British psychedelia with snaky psychedelic-blues guitar lines, anguished vocals, a bit of an Eastern-folk bent to the melodies and a sheen of stoned mysticism to the lyrics. You have to be a very good group to pull this off well, and Sam Gopal were not very good; they were adequate, at best. Not terrible, but they definitely sound like a bill-filler, likely to be found as the opening band for much more interesting musicians in the U.K. in the late 1960s. The songs sound too similar to each other, but it is more low-key than you'd expect given Lemmy's later resume. Fave cut is "Midsummer Night's Dream," which puts the "You Really Got Me" riff to good use in a late '60s psych context (it sounds better than it reads).
http://www.mediafire.com/download.php?1k1l0dmmxqy
http://www.mediaf!re.com/?znzzlynuu1aLike Phil Spector in the ’60s or Glyn Johns in the ’70s, Jon Brion seems to produce everything and anything. That’s him behind the wheel for The Wallflowers’ “One Headlight” and Rufus Wainwright’s self-titled debut. There he is turning knobs for Fiona Apple, then, famously, not. Finally, he shows up for Kanye West’s Late Registration, a pairing that is as surprising as it is fruitful.
Brion is also a ridiculously accomplished musician with a superhuman ear. His weekly stints at L.A.’s Largo, at which he plays obscure instruments and takes audience requests for impromptu covers, are legendary. Some of his songs have shown up on movie soundtracks, but his best work can be found on the self-released Meaningless.
Meaningless shows off everything Jon Brion has to offer. It’s a meticulously produced, arranged, and written endeavor, with an endless shelf life. The disc starts with “Gotta Start Somewhere,” with its sardonic opening line “I may not have anything to offer you/ I may not have anything to say that’s new/ But you’ve gotta start somewhere.” It’s a throat-clearing of sorts, a comment that Brion knows what you’re thinking: this is all bullshit. But, he’s adding, it’s inevitable, so why not?
Brion also co-produced Aimee Mann’s masterful Bachelor No. 2 around this time, and the baroque production of Meaningless matches Mann’s record, detail for detail. Mann even co-wrote the record’s best track, “I Believe She’s Lying,” which is as frenetic as it is heartbreaking. Its chorus — “I believe she’s lying/ I trust her to undermine my faith in her/ In time, I have every confidence she’ll dismantle mine” — is quintessential Brion (and Mann): emotional, darkly funny, and concisely clever.
The genius of Meaningless is Brion’s use of his two greatest assets: production and songwriting. In providing the former, Brion knows when to make things charmingly complicated (as on “Lying” and the funnily confident shuffle “Walking Through Walls,” co-written by Grant Lee Phillips, which features Brion sweetly singing “motherfucker” in the background) or simple (the brutally intimate relationship ballad, “Same Mistakes”). These songs are nothing short of perfect. The McCartney-esque melodies are catchy enough to make an immediate impression, and the lyrics, seemingly simple, have meanings that permeate later. From “Hook, Line, and Sinker”: “I’m feeling for all the world like I’m feeling for all the world.”
Thematically, Meaningless sticks to what Brion School fans know well: addiction (emotional or otherwise), heartbreak, malaise, and tongue-in-cheek exuberance. In this way, much of the record calls to mind the best work Brion has produced, from Mann to Apple, Eels to Wainwright. There’s happiness in spots, but it’s cautious or ironic.
For kicks, Brion ends the disc with a cover of Cheap Trick’s gorgeous ballad “Voices,” and it’s then that you realize: what you’ve just listened to, with its esoteric lyrics and detailed arrangements, is still just pop music. At its core, it’s no different from Cheap Trick, Herman’s Hermits, or AC/DC. And thank god for that.
Wilco are cool I guess.It's fixed. My apologizes for my ineptitude.
(the link is to a youtube video of Wilco. Please fix this or something)
http://www.mediaf!re.com/download.php?yo4nwnmiyvfhttp://www.mediaf!re.com/?xojt1mzdouvhttp://www.mediaf!re.com/?elw4tmzozmihttp://www.mediafire.com/?kumkeiuwtz3
Interesting premise, but I'd say you're batshit insane. Okay, not batshit insane, just a little wrong. Do you think libraries are a bad thing? Do they cheapen one's appreciation of books and authors?
Patients
The songs on The Evening Descends find Jones toeing the blurry lines separating ennui, intoxication and insanity. But the more patient, assertive performances lends Jones' peculiar musings a greater degree of sincerity. When he sings "please don't tell my mother/ She wouldn't want to know/ I've been goin' crazy" (on "Midnight Vignette"), it sounds less like paranoid stoner-speak than a portrait of a very real domestic drama. The triumphant "Skeleton Man" presents an even more poignant portrait of an outcast in search of acceptance, his pleas for understanding set to a resolute, bouncing-ball march-- in step with Arcade Fire's "Rebellion (Lies)"-- that retains its composure even as the strangulated voices and mad-cap laughter inside his head threaten to overcome him. But it's a tentative peace: "How Do You Sleep"-- The Evening Descends' most over-the-top gesture-- gushes forth with a multi-tracked miasma of arpeggiated guitars and operatic shrieks; however, unlike the John Lennon classic of the same name, the song is not a scathing indictment but rather a genuine inquiry into overcoming recurring nightmares.
The Evening Descends' more considered depiction of Jones' psychosis does not come at the complete expense of Evangelicals' more playful whims: "Snowflakes" is a charming winter-wonderland ballad that's a close companion to So Gone's standout serenade "My Heartache", and the bad-trip breakdown of "Party Crashin'" is framed by cheeky faux hospital-drama dialogue between a doctor and an amputee, Jones' cries undercut by a chipper acoustic riff and wailing sirens. Evangelicals are mostly careful to not let their found-sound chicanery overwhelm their songs, however, "Bellawood"-- The Evening Descends' one out-and-out misstep-- is guilty of over-selling the drama, its story of institutionalization delivered with an uncharacteristically contrived performance by Jones and bogged down by B-movie shtickiness (Hitchcockian strings, Theremin effects). Perhaps it's an instant self-correcting measure that the song is immediately followed by "Paperback Suicide", a simple, glockenspieled power-pop number whose breezy, blissful demeanor craftily belies its tale of a frustrated writer who kills himself just to hear his own obituary-- a requiem for every struggling artist who's pondered infamy through the afterlife. And so The Evening Descends' storybook structure yields an important lesson: There's no need to fake the weird when you live in the real world.
http://www.mediaf!re.com/?wrxmgkk3ztx
Sam Gopal - Escalator
(http://image.allmusic.com/00/amg/cov200/dre200/e281/e28113cffzd.jpg)
Interesting premise, but I'd say you're batshit insane. Okay, not batshit insane, just a little wrong. Do you think libraries are a bad thing? Do they cheapen one's appreciation of books and authors?
if you walked into a library with no knowledge of any of the books in there, i bet you would feel somewhat overwhelmed. i think i would, which is the big ol' problem with megaposting or really just any posting without posting ANY artist information. i don't libraries cheapen books though, but that also may be because you don't keep library books. you don't amount a collection of hundreds of books from a library that just wind up on your shelf that you never read. however, you can easily do that with this thread, or any form of music downloading if you are not careful.
did that make any sense?
There's nothing wrong with posting without any artist information. If you are on this thread, I think it's safe to say you are connected to the internet, and you can look up any artist you like in moments. And you can always engage the person who posted it in a conversation about it, that's the beauty of the internet.
Yeah, piracy or not guys, this thread's intention is to share music you really dig with other people. If you don't care enough about the music to write at least a couple of words stating your opinion of the music then why are you even posting it?
If you upload an album, don't assume it's the downloader's responsibility to find out what it fucking is.
Jon Brion - Meaningless (2001) [192kbps I think]
http://www.mediaf!re.com/download.php?zfizmymmcwi
Personally, I hate when someone posts an album ... with nothing other than... its name and "omg guyz this is so good get it".
(http://img514.imageshack.us/img514/3096/ziq061fsl.jpg)
Leafcutter John - The Housebound SpiritCode: [Select]http://www.mediaf!re.com/?jmqqnzmndyc
http://www.mediafire.com/?sharekey=705595420f6211f536df4e8dca141969d1227a8bb39227c6b8eada0a1ae8665a
I'm not sure what the real cover for this is so I just put a picture of the band up (and yes the drummer is as young as he looks, 13 when he joined the band I believe). Anomie were a screamo band from France who existed between 1994 and 1997. They were pretty influential on a lot of emo bands that have come after and one of my favourite screamo bands of all time, partly because like Amanda Woodward and Belle Epoque they sing in their native French which is a language which flows very well with this kind of music. I don't know if this is still in press, I've never seen it in any distros and I don't think it's a full discography either, it seems to be missing the tracks from the Peu Etre split. Still, this is 23 tracks of absolutely world class emo, plenty of strong driving sections and then some excellent swaying bits. If you enjoy Evergreen, Funeral Diner, Portraits of Past, Bread And Circuits, any French emo at all or punk rock in general then this will probably appeal.
These two bands are for people who like a little more rock in their post-rock. They take a pretty direct, no-nonsense approach. Henry Gale get right down to business and play smart, muscular songs that sometimes even verge on being a little playful. Lights At Sea have equal parts rock but tend to inject their music with a little more drama and broodiness. Their drums sound so excellent.
as you can see, this is not twitter length.
Eluveitie - Evocation I: The Arcane Dominion
I am an asshole and I am leaving you guys without saying goodbye.
http://www.mediaf!re.com/?ufywltdfpm5
Code: [Select]http://www.mediaf!re.com/download.php?wkjjzzdm2gq
Leningrad- Mat Bez Elektrichestva
http://www.mediafire.com/?wniytzewmzl
http://www.mediafire.com/?yzjmwzimckwMurray Lightburn, "writer and director" for the Montreal collective the Dears' elegant vocal style, gets plenty of Morrissey comparisons -- and rightly so -- but the Mozz would never be caught delivering a line like "It's the same old plot to these things," from the electrifying "Lost in the Plot," in a full-on primal scream. Lightburn may be a hopeless romantic, but his Canadian version of wine-drunk British doom and gloom owes a great deal more to bands like the Auteurs and the London Suede. No Cities Left, the group's long-awaited follow-up to 2001's critically acclaimed End of a Hollywood Bedtime Story, is a sweeping chamber pop nightmare of post-apocalyptic heartbreak. Lightburn reluctantly visits the breakup ("We Can Have It"), the all-consuming grief ("The Death of All Romance"), false hopes of reconciliation ("The Second Part"), and finally, nerve-twitching acceptance ("No Cities Left"). All of this misery is wrapped in a mid-'80s Britpop wrapper that takes more twists and turns than the London paparazzi following Princess Di, resulting in a record that at its best sounds like a suicidal combination of Blur and the Divine Comedy -- "Never Destroy Us," the winsome duet with keyboardist Natalia Yanchak is a fine example. The problem is, the skies are eternally gray in the Dears' Great White North, and though they may have successfully wrapped the smoky fingers of cabaret around the throat of rock & roll, the listener can't help but go down with the sad-sack ship. It's both long and long-winded. But it's hard not to ultimately fall for No Cities Left, even though there's a lingering sense of emptiness that permeates the air above it. In fact, maybe that's what Lightburn's trying to say: that in the end, it's what you put into the moment that matters, even if it's a knife. [The Australian version of No Cities Left includes the bonus four-track Protest EP.]
sometimes I see those taxidermied mice out the corner of my eye, but I turn and there's nothing there...
I heard it in a car
Didnt feel it
Actually
Thats a lie
I did feel it
It wasn’t until I saw Xavier play it to 10,000 Tiesto fans
At that festival
That it made sense
It's simple beyond comprehension,
It’s been one of the biggest
Records of the year for many of us
And it will probably
Disappear by December
Only for us to rediscover it again in 2012
And declare it a work of genius.
http://www.mediafire.com/?jxtgi4iqeqzhttp://www.mediafire.com/?dzxz2inndin
http://www.mediafire.com/?yyqkzqmtmxr
If I upload a screamo/emo song will someone please try to help me identify who it is by? I had made a mix for someone with a different computer and when I ripped it on this one, it was the only song I didn't know by name. I can't look on the other computer because it doesn't work.
I went ahead and uploaded it in case anyone could.Code: [Select]http://www.mediaf!re.com/?yyqkzqmtmxr
http://www.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca14196957ab67a10d6baba3b8eada0a1ae8665a
Smile Empty Soul waste no time, starting the album off with a bang in the grungy "Out to Sea", which also features the unique use of beach sounds. First single "The Hit" has a pop vibe without sacrificing any punch. The pulse of "Jesus is the Manager at Wal-Mart" provides the album with an energetic depth. Mellow offerings such as the title track "Vultures" and the potential smash "Morning Light" are able to capture raw emotion without any sappy writing or whining. "Here's to Another" shows excellent dynamic capabilities and tracks including the anthem "Live Forever" are testaments to the guitar driven work of Smile Empty Soul. Many fans may be relieved that Smile Empty Soul have chosen to abandon the politically inspired lyrics which plagued 'Anxiety', perhaps the reason why the album never got released. The band diversifies much more with 'Vultures', and although many tracks are radio friendly and easily digestible, Smile Empty Soul are still able to frame a thorn with every rose.
www.tunelab.com
http://www.mediafire.com/?int1n1wwmohThis is probably my most personal post; I give you Vultures by Smile Empty Soul. An alternative rock album I can relate to very much. It has gotten me through depression and dealing with drugs and alcohol through my earlier teen years.
(http://img139.imageshack.us/img139/3747/smilevultures.jpg) (http://img139.imageshack.us/my.php?image=smilevultures.jpg)Quotehttp://www.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca14196957ab67a10d6baba3b8eada0a1ae8665aQuoteSmile Empty Soul waste no time, starting the album off with a bang in the grungy "Out to Sea", which also features the unique use of beach sounds. First single "The Hit" has a pop vibe without sacrificing any punch. The pulse of "Jesus is the Manager at Wal-Mart" provides the album with an energetic depth. Mellow offerings such as the title track "Vultures" and the potential smash "Morning Light" are able to capture raw emotion without any sappy writing or whining. "Here's to Another" shows excellent dynamic capabilities and tracks including the anthem "Live Forever" are testaments to the guitar driven work of Smile Empty Soul. Many fans may be relieved that Smile Empty Soul have chosen to abandon the politically inspired lyrics which plagued 'Anxiety', perhaps the reason why the album never got released. The band diversifies much more with 'Vultures', and although many tracks are radio friendly and easily digestible, Smile Empty Soul are still able to frame a thorn with every rose.
www.tunelab.com
Sounds like it could possibly be The Saddest Landscape, does that ring a bell? I haven't listened to them in years so I couldn't tell you a song title or anything. I was trying to decipher some of the lyrics and put them into google but the only line I could get was "the lions wait for morning" and even that was kind of dubious and it also returned no results.
http://www.mediafire.com/?tmkojwazq3gMore info : http://ghostly.com/artists/deastro (http://ghostly.com/artists/deastro)http://www.mediaf1re.com/?sharekey=705595420f6211f536df4e8dca14196969105f67c82b0a1fce018c8114394287
Sounds like it could possibly be The Saddest Landscape, does that ring a bell? I haven't listened to them in years so I couldn't tell you a song title or anything. I was trying to decipher some of the lyrics and put them into google but the only line I could get was "the lions wait for morning" and even that was kind of dubious and it also returned no results.
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.
Have you heard of sordo (http://sordomusic.com/db/)?
Deastro - Keeper's
Electro-Pop / Synth-Soaked / Space Symphony / Robot-Rock / Dream-Pop / AmazingCode: [Select]http://www.mediaf!re.com/?tmkojwazq3gMore info : http://ghostly.com/artists/deastro (http://ghostly.com/artists/deastro)
http://www.mediafire.com/?diwaumzymzj
Funeral Diner
St. V!ncent - Actor http://www.mediaf!re.com/download.php?l3uldnanjnv i recently bought the office seasons 3,4 and 5 (they're currently on sale at target for 18.99 which is sort of a bargain) anyways i love the office, but i love st. vincent even more (if you aren't familiar st. vincent is the stage name of annie clark). it all began with the 2007 release "marry me," which rocked my world (not just because it's a sweet album, but also because it's name is derrived from another favorite television show "arrested development" if you aren't familiar get it at target, it's on sale for 12.99 which is a steal.) that is until the advance release of her latest titled "actor" reached my desk. two words: holy amazing!!! what sets this album apart from from marry me is she sings and plays the guitar, bass, and keyboard on it. i love it and you will too. i'm quite sure this is going to make my top 9 albums of '09.
But dude, the rules. Just use the search function, it turns up with five nearly immediate hits.
In honor of the Kind of Blue vs. Blue Train matchup in the album nomination game's third round, here's some Miles. I'll post some Coltrane, Hancock, Jarret, Monk and others in the days to come.
Walkin'
(http://image.allmusic.com/00/amg/cov200/drf600/f690/f69022z6234.jpg)QuoteOn the extended title track of Walkin', which follows a standard 12-bar blues, Miles retains a palpable sense of extrication from the music -- as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie" which yields some truly memorable solos and exchanges between Davis and Johnson. "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing.Code: [Select]http://www.mediaf!re.com/download.php?wghhk0zitdu
Miles Davis & The Modern Jazz Giants
(http://image.allmusic.com/00/amg/cov200/drd700/d703/d70378y5361.jpg)QuoteIncluding sessions recorded the same day as those on Bags Groove, this album includes more classic performances from the date that matched together trumpeter Miles Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist Percy Heath, and drummer Kenny Clarke. Davis and Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring."Code: [Select]http://www.mediaf!re.com/download.php?zgm0k2mz0wm
Cookin'
(http://image.allmusic.com/00/amg/cov200/drc500/c559/c55997l1491.jpg)QuoteCookin' is the first of four albums derived from the Miles Davis quintet's fabled extended recording session which would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band — consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums) — to work so efficiently both on the stage as well as in the studio. The immediate yet somewhat understated ability of each musician to react with the ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. Cookin' features the pairing of "Tune Up/When Lights Are Low" which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis mid-'50s quintet. All the elements converge upon this fundamentally swinging medley. Davis' pure-toned solos, and the conversational banter that occurs with Coltrane, and later Garland during "When the Lights Are Low," resounds as some of the finest moments between these musicians.Code: [Select]http://www.mediaf!re.com/download.php?amym2zuzky3
Relaxin'
(http://image.allmusic.com/00/amg/cov200/drc000/c029/c02926380xa.jpg)QuoteThe solid nature of the unit as a singular musical force is immediately apparent on Relaxin'. "If I Were a Bell" includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous.Code: [Select]http://www.mediaf!re.com/download.php?tleujyyjynq
Workin'
(http://image.allmusic.com/00/amg/cov200/drf600/f647/f64707bwfuu.jpg)QuoteArmed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin' is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smouldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers' solo stands as one of his defining contributions to this band.Code: [Select]http://www.mediaf!re.com/download.php?o5wdwmyz2mi
Steamin'
(http://image.allmusic.com/00/amg/cov200/drc000/c029/c02925d9bc4.jpg)QuoteAlthough chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians. "Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak -- which replicates Gillespie's original vocals -- is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard.Code: [Select]http://www.mediaf!re.com/download.php?jzmytztnoj2
Nefertiti
(http://image.allmusic.com/00/amg/cov200/drd500/d504/d50490xj8d1.jpg)QuoteNefertiti settles into a low-key, exploratory groove, offering music with recognizable themes — but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground — such as Miles' extended opening solo on "Madness" or Hancock's long solo toward the end of the piece — this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. This album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.Code: [Select]http://www.mediaf!re.com/download.php?gjldnl5ymjy
http://www.mediaf!re.com/download.php?wn5eg0ywfdtPolly Scattergood (yes, that is her real name) is a singer-songwriter from england. her self titled debut album will be released in may... and let me tell you...this is an interesting album. her voice is very ethereal it's like tori amos meets fiona apple meets jenny lewis meets joanna newsom. the musical composition and lyric style remind me alot of tori amos (without solely relying on a piano), but younger, fresher and a little bit more like my morning commute --fun and full of interesting detours. i dig it, and you might too.
expect some dj screw in this thread in roughly an hour or two
Deastro - Keeper's
Electro-Pop / Synth-Soaked / Space Symphony / Robot-Rock / Dream-Pop / AmazingCode: [Select]http://www.mediaf!re.com/?tmkojwazq3gMore info : http://ghostly.com/artists/deastro (http://ghostly.com/artists/deastro)
http://www.mediafire.com/download.php?jykimgbkwzx
http://www.mediaf!re.com/?dmjqtndznwnhttp://www.mediafire.com/?wznaywlljzzhttp://www.mediaf!re.com/?i0grnhymytghttp://www.mediaf!re.com/?jtmagqzh0ch
Tim and Sam's Tim and The Sam Band with Tim and Sam - Put Your Slippers OnCode: [Select]http://www.mediaf!re.com/download.php?jykimgbkwzx
http://www.mediafire.com/download.php?dajtvyudmmkhttp://www.mediafire.com/?zz1jmmzkminIt somehow is fitting that Fork in the Road arrived in stores a week after President Barack Obama announced his bail-out plan for the American automobile industry: it's Neil Young's one-man campaign to remind everybody what cars used to mean and what they should be again. Neil always has had a soft spot for cars — he drove a hearse from Toronto to Los Angeles, immortalizing the vehicle in "Long May You Run" — so this album-length motor manifesto couldn't be called unexpected, nor could its palpable, ever-flowing undercurrent of nostalgia be a surprise for a man who owns a toy train company. Plus, romanticizing the classic years of Detroit is natural; those big boats were gorgeous, so unlike the colorless, characterless sedans that rule the road these days. Neil knows this and knows that dependence on oil is crippling the culture, not to mention the environment, and is enough of an evangelist to cobble together his own green machine, putting an electric engine in a 1959 Lincoln Continental, driving the car to Washington and writing a whole album about the vehicle and its downtrodden times. Fittingly, Fork in the Road is like his Lincvolt: it has a new engine in an old body, so it has all of the classic contours but runs a little differently. The Lincvolt might be smooth and efficient, but Fork in the Road is charmingly clunky, a side effect of its quick creation and Young's hard-headedness. Neil might be writing records as quickly as a blogger these days but musically he's stuck in the past, never letting go of his chunky Les Paul and candied folk harmonies, embracing his status as an old crank so enthusiastically he happily presents himself as a crazy old coot on the album's cover. At times, he certainly does sound like the resident codger, snarling about the fading economy and how everybody's been downsized, good naturedly sneering "big rock star/my sales have tanked/I still got you/thanks" on the title track. Despite the undercurrent of auto nostalgia here, Young isn't living in the past and he's keenly aware of the present. This blend of dreamy thoughts of yesteryear, spitting fury over the present, and planning for the future gives Fork in the Road a bit of a kick that propels it through a few songs that aren't much more than a garage groove, but the whole thing benefits from its messiness; the loose ends make it feel alive.
http://www.mediaf!re.com/?0aem2ntmizmWhat can I say about Slowreader? I'm not too sure.
In case you didn't know, this band consists of Gabe and Rory, both formerly of the Impossibles [Rory also being in the original incarnation of the Stereo]. If one follows either of those two bands, you'd know that both men have a penchant for writing catchy, poppy rock with hooks aplenty. What set them apart from other bands, though, is their excellent lyricism - only Rory could write a song about bowling [the Stereo's "300"] and pull it off. Slowreader takes both men's incredible musical talent and hones it into this album.
In all honesty, though, this album consists of two songs - tracks 1 through 10, and track 11. Tracks 1 through 10 are very folksy, relying heavily on acoustic guitar. Think along the lines of Elliott Smith, but not nearly as Pro-Tooled [meaning it's just Rory and Gabe singing, not Rory and Gabe each singing 5 different harmonies for each song]. They also make use of electronics sparingly, and they can really make a track. "Sweetest Suffering" has a neat stuttered bass drum beat propelling the song through it's melancholy guitar and piano waltz.
The idea of quirkiness is not lost among these two men, however. Opening song "Politics, Music & Drugs" is completely made by the stomp-clap, stomp-stomp-clap drumbeat. Sure, they could've used a real drumset or a drum machine, but getting people to use their appendages naturally just sounds cooler.
For the most part, tracks 1 through 10 sound like an indie rock symphony with ten different movements. The songs all bleed into one another, and it works incredibly well.
Then there's track 11, "So This Is It." Gabe and Rory definitely turn on the rock button for this song. Electric guitars, psychedelic organs, pounding drums, and screaming distorted vocals set it apart from the other 10 songs on the album, and is a perfect ending to this aforementioned indie rock symphony. It is a complete departure from the rest of the album, but yet, it's distinctly Slowreader.
Not surprisingly, while Gabe's 8 songs are all solid, Rory once again steals the show with his three contributions [just like he did with the Stereo's first album]. "Sweetest Suffering," "Anesthetic For The Amputee," and "So This Is It" are all penned by him, and makes me pine for a solo album from him. He collaborates well with others, but I have a feeling that he could really acheive greatness on his own.
Irregardless, Slowreader is here, hot tub and all. How these songs [with their elaborate backing vocals and instrumentation] will carry over live is unknown, but as it stands this is a very solid and original indie rock album, one of the best this year.
hey, this is really good! thanks!
I'm getting an error on the Tim & Sam album.
Also, if this convinces anyone, the band members are kinda cute and if I swung that way I would totally do them if I swung that way.
(I may be a little intoxicated at the moment)
Polly Scattergood - Self Titlted
(http://cdn.7static.com/static/img/sleeveart/00/003/943/0000394307_50.jpg)Code: [Select]http://www.mediaf!re.com/download.php?wn5eg0ywfdt
St. Vincent - Actor
(http://media.prefixmag.com/site_media/uploads/images/reviews/s/st-vincent/50x50_st-vincent-actor.jpg)Code: [Select]http://www.mediaf!re.com/download.php?l3uldnanjnv
Tweeny. Not tween. Don't you know it's the latest fashion trend for 16 - 21 year old girls to make themselves look as prepubescent as possible?
Grave Temple - The Holy Down
(http://4.bp.blogspot.com/_8N-4vHUiQ64/SMP5xYKRRNI/AAAAAAAAAIY/mr_JtRk9gQQ/s320/Grave+Temple+-+The+Holy+Down.jpeg)
Brasstronaut is almost impossible to describe as a band. Not because their sound is so different that it defies classification, although to be fair, there aren't any bands that combine sounds the same way they do. No, it's more that they use so many familiar elements and styles on their four song EP, that words sort of lose meaning. In theory it should be simple – I mean how much variation can you have with only a trumpet, piano, double bass and drums – but with a tip of the cap to space rock, improve filled jazz and surprising moments of catchy piano pop, Brasstronaut (a name that gains more meaning once you’ve listened) songs tread on the territory of a stereotypical high school reunion. On the surface, you are familiar with most of what's going on, but the unexpected changes and developments are as stunning as they are enjoyable.
http://www.mediafire.com/?l3d2zmimnin
HIGHLY RECOMMENDED
Brasstronaut - Old World Lies EP
HIGHLY RECOMMENDED
Brasstronaut - Old World Lies EP
(http://i39.tinypic.com/30k3evq.jpg)QuoteBrasstronaut is almost impossible to describe as a band. Not because their sound is so different that it defies classification, although to be fair, there aren't any bands that combine sounds the same way they do. No, it's more that they use so many familiar elements and styles on their four song EP, that words sort of lose meaning. In theory it should be simple – I mean how much variation can you have with only a trumpet, piano, double bass and drums – but with a tip of the cap to space rock, improve filled jazz and surprising moments of catchy piano pop, Brasstronaut (a name that gains more meaning once you’ve listened) songs tread on the territory of a stereotypical high school reunion. On the surface, you are familiar with most of what's going on, but the unexpected changes and developments are as stunning as they are enjoyable.Code: [Select]http://www.mediaf!re.com/?l3d2zmimnin
A Woman a Man Walked By arrived just a year and a half after PJ Harvey's equally difficult and brilliant White Chalk. That alone makes it notable, since the last time she released albums in such quick succession was the early to mid-'90s, around the same time of her last songwriting collaboration with John Parish, Dance Hall at Louse Point. That album's unbridled experiments provided a sharp contrast to the subversive polish of its predecessor, To Bring You My Love; while A Woman a Man Walked By isn't quite as overt an about-face from White Chalk, the difference is still distinct. Here, Harvey and Parish (who played on and co-produced White Chalk) trade sublime, sustained eeriness for freewheeling vignettes that cover a wider range of sounds and moods than her music has in years. They begin with "Black Hearted Love," the equivalent of Dance Hall at Louse Point's "This Was My Veil" -- that is, the album's most accessible moment: guitar-heavy yet sleek, its riffs full of pregnant pauses as Harvey hones in on the one she wants, the song's sinister romance initially seems dangerously close to melodrama ("When you call out my name in rapture/I volunteer my soul for murder"), but she sings "you are my black-hearted love" so tenderly and knowingly that it transcends cliché.
This immediacy just makes the swift twists and turns the rest of A Woman a Man Walked By takes even more striking. The wildly jangling acoustic guitar and breathless vocals of the following track, "Sixteen Fifteen Fourteen," make that clear right away, but despite its nervy intensity, the song -- and the rest of the album -- is remarkably direct. Similarly, Harvey's character studies are just as vivid as other artists' really real, from-the-soul lyrics, and she embodies them just as completely: on "The Soldier," she sings of "walking on the faces of dead women" with haunted fragility; on "Daniel," she's a mother so devastated by loss that she can only mention it by name at the last possible moment. A Woman a Man Walked By also boasts songs that rank among Harvey's most intimate and seemingly confessional. From its shimmering guitar and mournful flute to its carefully observed words ("you slept facing the wall"), "Passionless, Pointless" captures a dying romance with dreamy desolation, while "Cracks in the Canvas" closes the album with the beautifully simple yet open-ended admission "I'm looking for an answer, me and a million others."
Best of all, though, are A Woman a Man Walked By's furious -- and surprisingly hilarious -- moments, which leave conventional notions about sex and sexuality trampled in their wake. The first part of "A Woman a Man Walked By/The Crow Knows Where All the Little Children Go" finds Harvey deriding and lusting after a "woman man" with "lily-livered little parts," switching between a guttural snarl and fey soprano as she tears him to pieces (the second, instrumental part is Parish's only solo credit on the album, a riot of pianos and twitchy percussion that's nearly as wound-up as what came before it). "Pig Will Not" is even rawer, mixing Rid of Me-like firepower with a wicked sense of humor and feral barking with lines like "true love is what we're doing now." Even the far quieter "Leaving California" reveals a surprising amount of mischief, invoking some of White Chalk's mist and gloom for its ironic kiss-off to the Golden State. Despite the album's many dark and evocative moments, there's a playfulness and liberated spirit underlying A Woman a Man Walked By. Parish and Harvey's idea of fun might be very different than that of many other artists, but hearing them cover so much musical and emotional territory is often exhilarating.
http://www.mediaf!re.com/?g12hyemnvne
HIGHLY RECOMMENDEDThank you so much for this.
Brasstronaut - Old World Lies EP
http://i39.tinypic.com/30k3evq.jpg (http://i39.tinypic.com/30k3evq.jpg)
....Code: [Select]http://www.mediaf!re.com/?l3d2zmimnin
Nope, I think s/he justified her/his usage adequately.
This was probably the best concert I've ever been to.
http://www.mediaf!re.com/?3jgwjatwmjwhttp://www.mediafire.com/download.php?hazmzwmymtmhttp://www.mediafire.com/download.php?noj3kdn1yzg
Starfucker - Jupiter (2009)
(http://i8.photobucket.com/albums/a24/phyrexianmeatdog/Starfucker-Jupiter-cover.jpg)
the screwtapes i've been trying to upload are all over MF's 100 MB limit, so i compiled a best-of playlist to bring you guys some southern flavor. the tracks are mostly from 11-12-00 Disc 3 and 3 N Tha Mornin, the two strongest mixes in my opinion. All of these songs are excellent.
Rules:
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Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to 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.
I think it's mandatory to use mediaf!re.
Put it in two zip/rar files if need be. Easiest solution.
anyways i think making a best-of playlist was a better end result because it covers a broader scope than any of the actual releases.
http://www.mediaf!re.com/?qjhtm0jjng2http://www.mediaf!re.com/?2lnozmmmn0y
http://www.mediaf!re.com/download.php?jz2fjjz2jgxi hope that i wouldnt go to hell for this. :oops:I've just realized that all my uploads came in pieces. How can I fix this?
rebecka törnqvist - A night like this
Grizzly Bear's Yellow House.
http://www.mediafire.com/download.php?cydxlgzmmumWhile I could care less about most PR releases telling me about the next great band for fans of Arcade Fire, Modest Mouse, Wilco, & The Beatles, every now and then, a story makes me want to hear the album right away. Such was the case with Mt. St. Helens Vietnam Band, whos name I had heard a couple times, and with a name like that, you kinda remember it quickly. So when I got hold of the full length album recently, I paid attention. And I am really glad I did, because this is quickly becoming one of my favorite new albums this year. its not ground breaking, but as far as indie rock goes, it hits the sweet spot. With some great guitar work and pleading vocals, there is no reason that these guys won’t be a blog darling before long.
Grizzly Bear's Yellow House.
When you're searching for something, drop the "'s" and just type "Grizzly Bear Yellow House" instead. First result: Grizzly Bear - Yellow House.
Gentle Giant often seemed more notable for its album art than its music. Octopus, however, marries the two seamlessly, with the cover speaking for itself, of course. And the mood continues within, the deliciously convoluted opening "The Advent of Panurge" itself riding waves of sonic tentacles as Derek Shulman's guitar shrieks short but so effective bursts around the thundering bass and, occasionally, churchy organ. Against the pulsating volume of the album's heavier tracks -- "Panurge" is joined by "A Cry for Everyone" -- the band's excursions into less excitable territory are never less than captivating. Twiddly though they are, the sometimes a cappella "Knots," the lilting "Dog's Life," and the Yes-with-fiddles-ish "Raconteur Troubadour" all have moments of sublime sweetness, while the instrumental "The Boys in the Band" is a succession of quirky showcases for, indeed, all the boys.
http://www.mediaf!re.com/?51ngbjiwgmthttp://www.mediaf!re.com/?51ngbjiwgmt
http://www.mediaf!re.com/?sharekey=705595420f6211f536df4e8dca141969eb309114974769d4b8eada0a1ae8665a
Taking their name from the nostalgic title of the classic 1981 single of the Undertones, Julie Ocean is almost reminiscent of The Ramones. Refreshingly up tempo, almost giddy, the lyrics are entertaining with bebop harmonizing in a retro sounding way. Mostly clean guitar with just a hint of distortion sprinkled in here and there, the only indication which points to Jim Spellman’s Velocity Girl roots. This album is mostly melodic two part harmonies, a little bit bubble gum and a whole lot of power pop.
“Long Gone and Nearly There” is a quick twenty five minutes of vintage ‘50s sounds with a ‘90s power pop flair. Upbeat and catchy, these tunes seem perfect for a beach party, frat party or a dance party. Julie Ocean’s catchy music, almost simplistically charming, moves along well, in a breathless, fast paced, Beach Boys sounding way from “Ten Lonely Words” to “At the Appointed Hour” to “Here Comes Danny” to the final cut, “Looking at Me/Looking At You.”
Julie Ocean's first album is a lot of fun to listen to with all light hearted power pop tunes that bounce along. Lots of do-wops and big round ahs done in a way that is refreshing, enjoyable and just in time for light hearted summer events when there are not enough minutes in the day to enjoy the things and people we love.
pluginmusic.com
http://www.mediaf!re.com/download.php?m0kmfldlnno
Because I'm sick, it's raining, and I don't want to do homework:
Oceans - Nothing Collapses
The following is Melanie's "Photograph" album, originally released in 1976 and almost immediately taken off the shelves. It was re-released a few years ago in some little European country with an extra CD of bonus tracks - the first CD feels like a solid album (with the exception of the last song), and the second just feels like an assorted bunch of songs stuck on a mixtape.
Downloaded the new black moth super rainbow, but it would not open up in my media player. Anyone else have this problem?
here's a new link for the new black moth super rainbow...FUCK YEAH!Code: [Select]http://www.mediaf!re.com/?3nwzmmxjoma
Downloaded the new black moth super rainbow, but it would not open up in my media player. Anyone else have this problem?
http://www.mediaf!re.com/download.php?ymzdzmu2i20http://www.mediaf!re.com/?sharekey=705595420f6211f536df4e8dca1419695fcebe1207b0542fc95965eaa7bc68bc
The Dirty Projectors - Bitte Orca.
(http://img378.imageshack.us/img378/3071/bitterorcacover.png) (http://img378.imageshack.us/my.php?image=bitterorcacover.png)Quotehttp://www.mediaf!re.com/?sharekey=705595420f6211f536df4e8dca1419695fcebe1207b0542fc95965eaa7bc68bc
This made my week, seriously. There's a lack of a review due to this being a leak.
hxxp://www.mediafire.com/?jiigqyfunlz
http://www.mediaf!re.com/?jbnztmy4ctz
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.
Longtime lurker, first time poster:
Amesoeurs - Amesoeurs
(http://www.sosilent.com/lele/attachments/month_0902/8200921315335.jpg)
This is the debut LP & sadly LAST LP of this wonderful French experiment. Multi-instrumentalist lunatic Niege injects haunting melancholic female vocals into his 80s post-punk inspired black metal sound with impressive results. I know it sounds crazy, but trust me. There is minimal vocal dissonance on this album, and a lot of it sounds very reminiscent of early The Cure. Highly recommended - title track alone is worth the cost of admission.Code: [Select]http://www.mediaf!re.com/?jbnztmy4ctz
http://www.mediaf!re.com/download.php?yy2lm12jy2ohttp://www.mediafire.com/?2wy2d3nojelhttp://www.mediafire.com/download.php?j4yztrjijdjhttp://www.mediafire.com/?wyj2amm25ww
http://rapidshare.com/files/220967258/joan_of_arc_flowers.rar
http://www.mediafire.com/?jwm5yzyzijohey I just got a new computer since my last one got stolen and I don't have Owls or Spiderland right now. help?
Google Search
hey I just got a new computer since my last one got stolen and I don't have Owls or Spiderland right now. help?
Hey I'm sure this has been up-ed earlier in this thread, but I don't want to go looking. Can anyone please upload some The Sea and Cake?
http://www.mediafire.com/?qdmzoqyljunhttp://www.mediafire.com/?wmhywejmyomGreat Eskimo Hoax are a Bewdley (Worcestershire) band formed by childhood friends Joe, Dom, Andy during their time at secondary school. They write atmospheric folktronica songs with catchy angular melodies and harmonious vocals.
http://www.mediaf!re.com/?k2yzmhtq2wo
http://lmgtfy.com/?q=spiderland+site%3Amediafire.com http://lmgtfy.com/?q=owls+site%3Amediafire.com :-D
Hi Ernest!hey I just got a new computer since my last one got stolen and I don't have Owls or Spiderland right now. help?QuoteHey I'm sure this has been up-ed earlier in this thread, but I don't want to go looking. Can anyone please upload some The Sea and Cake?
These have been your last two posts!
Also you've been around here long enough to "know better," as it were.
So, what the fuck up wit chu, esé?
Jeans....it's far more fun to use www.lmgtfy.com (http://www.lmgtfy.com) to come back with a google search...
Oh shit, this is awesome. Thanks!
Also people here is a fun little thing that I'm sure at least some of you will appreciate.
Requirements:
-A computer
-Firefox
What it does:
Lets you skip the wait time on pages like megaupload, sharebee etc.
Instructions:
Install this extension. (https://addons.mozilla.org/en-US/firefox/addon/11243)
Via LifeHacker (http://lifehacker.com/5195313/skipscreen-lets-you-pass-go-and-collect-your-download).
That is an awesome review what are you talking about?
(Although possibly not the most informative)
does anybody want the new Obits album (Obits being the band fronted by ex-Drive Like Jehu/Pitchfork/Hot Snakes frontman Rick Froberg)? I got it today and it's pretty badass, although more melodic (without exactly being poppy) than I expected. i'ma hit the sack now, but i'll up it tmrw if anyone's interested.
http://www.mediaf!re.com/?oyqymmyytoxhttp://www.mediafire.com/download.php?zzmjjjz4twzpt2http://www.mediafire.com/download.php?xiw4yhzz1oy
I heard they do a pretty good Doors impression.
Karl Sanders - Saurian Exorcisms
Beautiful, powerful, foreboding, Middle-Eastern/Egyptian music. The perfect soundtrack to occult ancient Egyptian ceremonies.
http://www.mediaf!re.com/?nwdyymmwqwwI hear Crystal Shit is playing down at the Sand Bar. They let 16-year-old kids drink.
Don't forget to buy a Motley Crue t-shirt!
http://www.mediafire.com/download.php?nmxtzyzyfq0http://www.mediafire.com/download.php?gdfmz3j1ifnhttp://www.mediafire.com/download.php?milkjd0dtmzWorking For a Nuclear Free City - Business Men & Ghosts
Working For a Nuclear Free City - Business Men & Ghosts
Thank you grimbo for Obits. Especially for throwing in the 7inch from last year. <3
Karl Sanders - Saurian Exorcisms
Working For a Nuclear Free City - Business Men & Ghosts
Not even a minute into "Troubled Son" and I am addicted. This is fucking great.
http://sordomusic.com/db/search.php?q=working+for+a+nuclear+free+city
Karl Sanders - Saurian Exorcisms
http://www.mediafire.com/download.php?gtxljyznjnn
Here is some Thelonious Monk, in chronological order...
http://www.mediafire.com/download.php?1myjmygkmk2Hell yeah, check out The Math And Physics Club - S/T
http://www.mediaf!re.com/?ymzwnmmofmz
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.
Indie Rock is Important. No city embodies that tragicomic claim like Chicago. Thrill Jockey-- the silly coven of haughty and eminently geeky indie-rockers with unbearable jazz pretensions and its arsenal of post-every-fucking-thing-under-the-sun nomenclature-- has consistently been the most egregious of the Second City's many labels vying for real-life importance, your serious esteem, and of course, CD and show-ticket dollars. But while the über-musicianly Sir John McEntire and his Knights of Bucktown have been out wielding Powerbooks, Kinsella(s) Inc. has been steadily building an empire of pretension.
Sometimes tickling the critics into embarrassing coos of honeyed admiration, and other times inspiring equally disproportionate rock-crit fatwas, Tim Kinsella has succeeded where other Illini have failed: in disarming the full fury of his detractors with nothing more than a smirk. I'm not talking, of course, about Kinsella's actual countenance; I'm referring to his neo-absurdist temperament and the obvious fun with which he goes about his business.
Even when he was just the scratchy-voiced, baby-faced ringmaster of Cap'n Jazz, Tim Kinsella was already establishing himself as a first- (well, maybe second) rate semantic clown and word-gamesman. With a penchant for double-entendre and imagistic jokes, Kinsella charmed his partisans and alienated the rest of us with his Duchampesque disregard for everything, and created a contested little body of work which still polarizes fans of the genre. Personally, Joan of Arc drives me up the fucking wall, but my dismissal of the band has nothing to do with the personality phenomenon of Kinsella; they sorely lacked dynamism, and there were too few hooks and too much blipped-over space for my liking.
Owls reunites the boys from Cap'n Jazz for another stab at the rock. Abthent thith time ith the Promith Ring'th Davey Von Bohlen, but the remaining cast (Tim Kinsella, brother Mike on drums, guitarist Victor Villareal, and bassist Sam Zurick) are back in strong form.
So, too, is Tim Kinsella's jokiness, though that's not such a bad thing. Even the typical, hideously Kinsellated title of "What Whorse You Wrote Id On" doesn't detract from the opening track's elegant mood and almost sing-songy warmth. The guitarwork is nothing short of gorgeous, with Villareal arpeggiating a trebly, spidery path into your aural memory, his picking providing a textural counterpoint to Mike Kinsella's ornate drumming, which it should be said has never sounded this good.
"Anyone Can Have a Good Time" starts quietly and jangly over a semi-marshal beat in non-standard time. Things seem to be meandering, only to find anchorage in what passes for a refrain. The tonally challenged Kinsella spits tick-tocky syllables over one more verse, and after a pleasant mood shift and instrumental interlude, the song's end-section begins. "We fall into patterns quickly/ We fall into patterns too quickly," sings a background Tim Kinsella, as a forefront one screams, "Unname everybody/ Unname everyone," in emo bursts of surprisingly well-hit notes as the song peters out.
"Life in the Hair Salon Themed Bar on the Island" (an apparent reference to Beauty Bar on 14th St. in New York City), is the proggiest of the album's tracks. That is to say, it sounds like indie rock interpreting Frank Zappa influences from something they read in a book. The standout comes with the subsequent song, "I Want the Blidingly Cute to Confide in Me." It encapsulates many of the album's disparate, yet weirdly integrated, strains: its faux-jazzy rhythm excursions, its Andy Summers-on-crack guitar playing, the intermittently truly beautiful vocal melodies, and of course, Kinsella's lyrical shots in the dark.
Owls' music is an odd concoction of opposing and random musical and emotional trajectories. You can hear echoes of Cap'n Jazz and, every bit as clearly, some really weird "adult contemporary" musical phrases, too. The mélange works very well enough, though, and hits the mute button on the death knell so many would like sound on Kinsella's oddly resilient and shapeshifting career. Goddamnit.
— Camilo Arturo Leslie, October 22, 2001
http://www.mediafire.com/?mzjymzwlam1http://www.mediafire.com/?ef1m1jyfdmzhttp://www.mediafire.com/?w1dticknzjiMore known for its frequent name-checks than its actual music, Spiderland remains one of the most essential and chilling releases in the mumbling post-rock arena. Even casual listeners will be able to witness an experimental power-base that the American underground has come to treasure. Indeed, the lumbering quiet-loud motif has been lifted by everybody from Lou Barlow to Mogwai, the album's emotional gelidity has done more to move away from prog-rock mistakes than almost any of the band's subsequent disciples, and it's easy to hear how the term "Slint dynamics" has become an indie categorization of its own. Most interestingly, however, is how even a seething angularity to songs like "Nosferatu Man" (disquieting, vampirish stop-starts) or "Good Morning, Captain" (a murmuring nod to "The Rime of the Ancient Mariner") certainly signaled the beginning of the end for the band. Recording was intense, traumatic, and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album. Spiderland remains, though, not quite the insurmountable masterpiece its reputation may suggest. Brian McMahan softly speaks/screams his way through the asphyxiated music and too often evokes strangled pity instead of outright empathy. Which probably speaks more about the potential dangers of pretentious post-rock than the frigid musical climate of the album itself. Surely, years later, Spiderland is still a strong, slightly overrated, compelling piece of investigational despair that is a worthy asset to most any experimentalist's record collection.
http://www.mediafire.com/?2ljwwuqmzwg
Slint - Spiderland
[img]http://3.bp.blogspot.com/_RK7DkC3UcD8/SZ8YHjq746I/AAAAAAAAAHM/UQ8WKSkTfvU/s400/Slint%2B-%2BSpiderland.jpg[img]
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/music
http://www.mediaf!re.com/?mj5ijmydomyThe artwork is tiny here because all the rest is massive on the net.http://www.mediafire.com/?lzq1mmgjdzx
http://www.mediafire.com/?2u2d5yduzjihttp://www.mediaf!re.com/?mqt3nzu0eae(see also: Sharks Keep Moving, even though SKM and Rival Schools sound nothing alike).
Rival Schools
http://www.mediafire.com/?jmhywm2dakg
http://www.mediafire.com/?yjznfh0y0jyWhen Bill Callahan left behind his long held Smog moniker, he gave longtime fans of his lo-fi, mopey, sometimes angry aesthetic some real cause for worry: there was not only the name change, but the reliance on more technology that began with the Diamond Dancer EP and the outright lush production (compared to his past work as well as other indie rockers) on Woke on a Whaleheart. Sometimes I Wish We Were an Eagle should give them some cause for relief, though the growth on the previous two offerings cannot be erased. There is no grand statement on Eagle; it's merely the record that comes after Woke on a Whaleheart, but it feels more like a Smog record than anything he's done recently, even if it doesn't necessarily sound like one. This is the darkest, moodiest set he's issued since Supper in 2003. We don't hear much more than Callahan's idiosyncratic misanthropy offering itself speaking and breathing room on most of these tunes (even if he aspires to more); his baritone is right up front and rarely gets stretched. His themes seem to center on flight and return, and are no better illustrated than on the opening cut, "Jim Cain," where, along a gently shuffling snare and kick drum, his nylon-string acoustic and electric guitars, and a cheap but effective keyboard his ruminations are guided. They caress that voice out of its hiding place: "...Well I used to be darker/Then I got lighter, then I got dark again/Somethin' to be seen, was passing over/And over me/Well it seemed like a routine case at first/With the death of the shadow, came the lightness of births/In the darkest of nights, the truth still dazzled/And I work myself, until I'm frazzled/I ended up in search of ordinary things..." And this isn't so much a metaphor as a cause célèbre for the album.
So much here is written, scored for, and sung from, the place Callahan knows all too well, that outsider's place that comes from the richest of interior lives: the one that knows all the shades of gray. His lyrics and easy, somewhat sparse mix of acoustic and electric instruments show that he doesn't think about much except what's right in front of him. Tracks like "My Friend" express, gently at first then more aggressively, sentiments that may be wholesome in their intent, but in their expression become more aggressive and even slightly sinister.
One thing that is a carryover from Woke on a Whaleheart is the relative sophistication of the arrangements and production. The songs are characteristically simple: they way they are recorded is relatively more complex. Things are not so shambolic as they are carefully measured, tempered, and sequenced. Songs such as "All Thoughts Are Prey to Some Beast," are based on two-chord vamps, and Callahan's voice does nothing to disguise itself as his lines are short, clipped, and shorn of unnecessary verbiage. But the sense of dynamic tension that gathers as violins, lithe, airy electric guitars playing a single string, syncopated tom-toms, and synth lines that mimic French horns, offer a dimension that is nearly cinematic. Ultimately, this sense of circular motion, whether it's flight and return, the human breath, or birth, death, rebirth, loss, and love is the elemental construction of everyday life, and hence a lyrical cornerstone on Sometimes I Wish We Were an Eagle. It is perhaps a seminal new chapter in Callahan's oeuvre of higher yet lo-fi outsider music.
http://www.mediafire.com/?lhlqojylnhePunk rock has produced few singers with the strength and chops of X's John Doe, and the force and presence of his vocals (and songwriting) on albums like Wild Gift and Under the Big Black Sun rank with the most satisfying rock & roll of the 1980s. But on Doe's recordings with X's acoustic incarnation, the Knitters, and on his debut solo album, Meet John Doe, he showed he was every bit as gifted with country-influenced material, and for years a handful of X fans has been patiently waiting and wishing for Doe to cut a straight-ahead country album. It took a while, but Doe has finally done it, and he's done it right; Country Club is a collaboration with the great Canadian roots rock combo the Sadies in which they interpret a handful of classic country sides in a style that fuses the moody late-night atmosphere of Nashville's countrypolitan era with the straightforward guitar-based sound of vintage Bakersfield acts like Buck Owens and Merle Haggard. As musicians, the Sadies are as tight and as capable as anyone walking into a recording studio these days, and their touch on these songs is all but flawless, fusing Prairie soul with a high lonesome sweetness and a subtle but expressive sense of aural adventure that turn their interpretations of "Night Life" and "Till I Get It Right" into something truly special. And Doe's vocals are a wonder; he never forces false melodrama or histrionics into these performances, but uses his rich, roomy voice to explore the spaces within these tunes with patience and a heart as big as all outdoors. Most country fans have heard "Help Me Make It Through the Night," "Detroit City," and "I Still Miss Someone" a few hundred times (at least) from dozens of artists, but Doe makes the heartache in their lyrics real and genuine, and few performers of the Nash Vegas era can match the innate understanding of classic country weepers that Doe reveals on this set. Doe and the Sadies contribute one new song each to these sessions (the band also tosses in two brief instrumentals), and "It Just Dawned on Me" and "Before I Wake" are good enough that you wouldn't guess they weren't copyrighted in the 1960s if you didn't read the credits. Plenty of rock singers have tried to honor the sound and traditions of period honky tonk music over the years, but you'd be hard-pressed to find one who sounds as ineffably right singing this stuff as John Doe, and Country Club is a casual, no-frills masterpiece.
http://www.mediafire.com/?mm0z2tmf1jyJay Farrar always provided the darkest, grittiest moments in Uncle Tupelo, so it comes as no surprise that Son Volt is a rawer record than A.M., the first album by Wilco, a band led by his former partner Jeff Tweedy. Throughout Son Volt's debut, Trace, the group reworks classic honky tonk and rock & roll, adding a desperate, determined edge to their performances. Even when they rock out, there is a palpable sense of melancholy to Farrar's voice, which lends a poignancy to the music. Trace isn't a great step forward from Tupelo's last album, the lovely Anodyne, but it is a fine continuation of the ideas Farrar has pursued over the course of his career.
http://www.mediafire.com/download.php?qcmiyfvd3kmPinback perfects the essence of laid back home recording on Blue Screen Life, an album that sounds like a band set up in your living room, had some fun, and recorded a lo-fi indie-pop record for you. Now, that may sound like a diss, but it is not. This is a solid record. Faint and timid at times, picking up the pace during other times, Pinback, even when they really go at the rock, still retain the beauty of their lo-fi, home recorded style by playing slow, airy melodies with dreamy, sleepy rhythms laid over easy natured guitars. This is an honest, real record, floating with a slight pop touch, and as cozy as your warm bed.
Can we please stop worrying about if albums are "ubiquitous" or not. Just post good music that you think others would like. Full stop.
I don't want to start a new huge argument here, but I think it's fair game not wanting to upload stuff that's been uploaded before?
http://www.mediafire.com/?njflmnnmiyohttp://www.myspace.com/grantcampbellmusicApril 6th 2009 will see the release of ‘Expecting Great Things’, his third album and to date his most open and honest record.
The recording was partially inspired by the Bill Evans 1968 album ‘Alone’. A simple two mic set-up and recording one song after another, later adding touches of glockenspiel, mandolin & classical guitar. Letting each song take center stage and pushing his voice to the forefront.
The Glasgow born singer-songwriter released his debut album ‘Postcards from Nowhere’ (2005) on a small local independent label.
The album was recorded on a four track at home in Clydebank over several years prior to its release. It was all recorded, performed and mixed by Campbell. These thirteen tracks compiled together made up to a debut that even though it was a low-key release it gathered some impressive reviews including a Sunday Times ‘Album of the Week’ (see press section).
Between 2006 and 2007 Campbell recorded the follow-up album ‘Beyond Below’ (2007). This time the four-track was replaced with a sixteen track recorder which helped the record have a much wider sonic landscape. Again the album was recorded at home and mostly all of the performing duties were undertaken by Campbell himself.
Beyond Below was released in November 2007 on Campbell’s own label ‘Crooked Mouth Records’. The name comes from the Gaelic for Campbell which loosely translates as ‘crooked mouth’. It has so far picked up some great reviews and has been warmly received by the music press and critics alike.
As well as a string of live headline solo shows over the years Campbell has also supported some great artists, including; Odetta, John Hammond, Michael Hurley, Gary Louris (Jayhawks), Mary Gauthier, The Handsome Family, Howe Gelb (Giant Sand), Alison Moorer, James Blood Ulmer, Micah P Hinson, Califone, Mindy Smith, Alela Diane, Johnny Dowd & Diana Jones to name but a few.
In 2008 Grant began work on his third album as well as contributing a song to the Lionsgate produced film ‘The Burrowers’ which premiered at the Toronto International Film Festival.
http://www.mediafire.com/?wygmlxyjknthe Victor Mourning perform acoustic anachronisms from another century that are firmly rooted in this one; sometimes raucous, sometimes quiet, mostly dark, and very southern. The songs are about grief torn outcasts and albinos. And then there’s the one about the man who eats nothing but locusts and Campbell’s soup.
Spiritual Influences: Ancient American and British ballads, pre-WWII hillbilly music, abandoned shopping centers, vintage roadside hillbilly souvenirs, empty swimming pools, scythes, b&w films, snowglobes, flyover country, odd museums, the smell of old books, whiskey soap, gasoline & matchbooks, gutta percha, jewelry made of human hair, and the broken shores of Patagonia.
http://www.mediafire.com/?xyxhnm3mzydhrough the Trees was the Handsome Family's breakthrough album, garnering enough attention and sales that they were finally able to quit their day jobs and focus on music full-time. The group subsequently toured the U.S. and Europe, while critics on both sides of the Atlantic went nuts for the Sparks' clever, brooding songs. With Through the Trees, the transitional phase heard on Milk and Scissors was complete and the duo emerged with a more defined style, delivery, and songcraft which became their trademark sound. Brett sings with a deeper resonance and phrases Rennie's mini-stories more skillfully, while the occasional distorted guitar and harder-rocking tunes have been trimmed away, leaving a more consistent, stripped-down country feel. This album includes Rennie's vocal debut (albeit in a self-conscious, exaggerated nasal twang) on "Down in the Ground"; "Cathedrals," a song originally heard on their limited-edition vinyl EP Invisible Hands (Carrot Top, 1997); and enduring crowd favorites "The Woman Downstairs" and "Weightless Again." It also includes guest Jeff Tweedy of Wilco. While the albums that followed were excellent, Through the Trees remains the Handsome Family's definitive album, and is a wonderful encapsulation of the myths and heartbroken tales that populate the dark, romantic world of Brett and Rennie Sparks.
http://www.mediafire.com/?xiyihyoxjtz
http://www.mediafire.com/?ztdkdimwtzzAbout AmericanaOK
Traditional, roots and folk music has always been the soundtrack to Tom Fahey’s life. It’s a passion that has been simmering since he was first exposed to jigs and reels, while growing up in Clare in Ireland. But since moving to Edinburgh, Tom has found the perfect medium for sharing his devotion – in the form of a weekly roots music radio show, AmericanaOK, syndicated to 12 international radio stations worldwide.
Tom works in Local Government. He spends much of his working day on recycling projects. Once a week, however, his voice reaches a potential audience of millions, in cities as far-flung as Nashville, Vancouver and Hobart, Australia.
When he first moved to Edinburgh, Tom spent a year learning the ropes with community radio stations Leith FM and Radio Free Porty. He soon realised he had grander ambitions.
“When I left Leith FM, I wanted to do my own thing,” he says. “I developed the concept for a show specifically based around independent American roots music. It’s kind of a niche market. Once I had interest from a couple of radio stations, the word just spread. And what started off as a cottage industry is now being broadcast around the world for 29 hours a week!”
BACK TO BASICS
Very much an enthusiast of digital technology, Tom puts his show together from the comfort of his own home.
“It’s all PC based,” he says. “I’ve got a home studio set up with USB microphones and my own little mixing desk. And, as well as the broadcast, the show is available as a podcast – it’s been downloaded over 150,000 to date.”
Although AmericanaOK is run on a voluntary basis, the show earned itself a strong reputation amongst both listeners and industry professionals. It’s not just about cueing up the CDs: Tom has recorded exclusive sessions with some of the rising stars of the independent scene. He also contributes to both the Euro Americana and Freeform American Roots charts.
CONVERTING THE SCEPTICS
Tom is the first to admit that Americana may not be to everyone’s taste, but stresses that it’s a genre that is too often misunderstood.
“I understand the prejudice,” he sighs. “People think it’s all about the country music cliche – line dancing and that, which is frankly embarrassing. It’s about real people and their real lives – and you can trace the history of the music right back to Scots and Irish traditional music. Sceptics should check out classic artists like Hank Williams, Gram Parsons, Steve Earle and Emmylou Harris – that’s the real deal.”
But it’s not just about established acts. Tom is also championing less-established musicians, so much so that he’s released a compilation CD, That’s AmericanaOK, with 15 tracks by new artists featured on the show.
The idea behind the CD is very much in keeping with the non-profit ethos of the show. “All of the artists donated a track for free,” says Tom. “Most of the artists I play are self-producing, making use of inexpensive equipment and selling their music over the Internet.”
“It’s all part of wider, independent grassroots movement,” he adds. “We’re not in this for the money – we’re doing it for the love.”.
http://www.mediaf!re.com/?y2meh0jtjyhhttp://www.mediaf!re.com/download.php?nejjd50gzz3
(http://i8.photobucket.com/albums/a24/phyrexianmeatdog/folder.jpg)
It's rare that I have a "Holy Fuck" moment listening to music. But the opening track alone off this album did it for me. A must have.
http://www.mediafire.com/?zckyoamolmohttp://www.mediaf!re.com/?1tmemmjyzuuanyone remember hypnotoad? from futurama?
http://www.mediafire.com/file/hgetm2cj4zt/Live @ Lux in Lisbon, Portugal 28-05-08 1.rar
http://www.mediafire.com/file/nlzgtnmzamm/Live @ Lux in Lisbon, Portugal 28-05-08 2.rar
http://www.mediaf!re.com/?izjnmokqumzhttp://www.mediaf!re.com/?mi4dtwtz2wmhttp://www.mediaf!re.com/?1y2ydwzbmwz
http://www.mediaf!re.com/?tysikdtwwtgFoTL
FoTL
Yussssss
FoTL
Yussssss
http://www.mediaf!re.com/?nzxnkn3mcdmJapandroids - Post-Nothing http://www.mediaf!re.com/download.php?tgzn1dm2inoIt’s funny how the simplest things can be the best things. I know I’m getting into cliché territory, but bear with me for a moment. Some of my favorite memories are simple things: picking blackberries in the creek with my best friend when I was little; spending summers in the hammock in my backyard, endlessly reading Katharine Hepburn biographies; sitting next to someone I care for very much, just doing nothing in particular.
3 Rounds and a Sound, Blind Pilot’s first album, reminds me of those simple moments. The acoustic guitars, effortless horn parts, and Ben Gibbard-like hopeful singing is beautiful in its simplicity. This idea is something that my sweet voice-idol, Jeremy Messersmith, has figured out to a T. Blind Pilot's Israel Nebeker and Ryan Dobrowski are well on their way.
The album builds, beginning with easy, pleading vocals and strumming guitars and then moving into more driving, drum heavy, minor key sorts of things, with a female voice (Kati Claborn) helping out every so often. There is a singer/songwriter quality that comes forth, but the music is just too big for that to be all that’s happening. It’s probably from the strong sense of stories being told on most of the songs. You don’t even have to listen to the lyrics to get the idea that there is a tale being sung. Blind Pilot is a band that clearly cares deeply for their craft, and what they give their audience is lovely, heartfelt music.
http://www.mediaf!re.com/download.php?wg0nvznmkdiWhite Hinterland is a simple name change for Massachusetts’ Casey Deinel, who released Wind-Up Canary in 2006. Dienel made a name with whimsical piano-based compositions, and although Wind-Up Canary did feature light accompaniment, Phylactery Factory is a denser, more elaborate project. But piano remains at the root of things, contributing on various levels from bass rhythm to supportive melody to all-out avant-noise.
“The Destruction of the Art Deco House” begins the record with subtle synth that sounds like an orchestra tuning up to feedback. Acoustic bass and light drums swing in, evoking a strange lounge vibe, like a folksy, feminine Tom Waits. With an alternately challenging (and yeah, beautiful) voice, Deinel’s vocal style is slinky, going where it pleases, warbling often, not breaching the perimeters of Joanna Newsom, but close to the vowel-laden sound of Björk with the variable amplitude of Billie Holiday. In addition, “Napoleon at Waterloo” hears her taking a stab at the French chanteuse form. If there is a problem with her voice, it’s that the vowel-heavy sound too often obscures the lyrics, which is a shame. There is some solid poetry on this work.
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/?tzwwtt3odji
(http://img16.imageshack.us/img16/5312/japandroids.gif)
http://rapidshare.com/files/225217456/Iron_And_Wine-Around_The_Well.rar
I didn't even know Iron and Wine were planning anything new (I'm guessing you're talking about the raretracks/b-sides?)
http://www.mediaf!re.com/?iox1utmomtwI've come to one conclusion: it's one of the strongest releases any French metal band has put out in a long time. *coughgojiracough* Catchier, stronger songwriting, much more dynamic, more technical while still retaining a high amount of coherence throughout. A possible contender for my top albums of this year.
http://www.mediafire.com/download.php?ommymw0tjzm
http://www.ektoplazm.com/files/VA%20-%20T.O.U.C.H.%20Samadhi%20001%20-%202009%20-%20MP3.zipFLAChttp://www.ektoplazm.com/files/VA%20-%20T.O.U.C.H.%20Samadhi%20001%20-%202009%20-%20FLAC.zipWAVhttp://www.ektoplazm.com/files/VA%20-%20T.O.U.C.H.%20Samadhi%20001%20-%202009%20-%20WAV.rarPurchase the CDhttp://kunaki.com/sales.asp?PID=PX00ZKQ0RP
I'd be stoked to hear Flip Your Wig.
(http://img16.imageshack.us/img16/5312/japandroids.gif)Code: [Select]http://www.mediaf!re.com/?nzxnkn3mcdmJapandroids - Post-Nothing
Searched and didn't find it... Two dudes from canada with a guitar and drums (a la death from above 1979)... everyone has to listen to "young hearts spark fire" on this. youthful we don't care if it's raining rock.
http://www.mediaf!re.com/?ewxlzmy4tgjhttp://www.mediafire.com/?m2wmqm2mz3hOn 20th of April was released unofficial mixtape of Kid Cudi, Dat Kid from Cleveland, which contains some possible tracks of his 1st official album, Man on the Moon: The Guardians. The mixtape is a collaboration by Kid Cudi Fansite DatNewCudi.com and DJ E-V of LeakJones.com.
http://www.mediafire.com/?mjiowngmzyghttp://www.mediafire.com/?gltve33nnmm
http://www.mediafire.com/?e0mkjizkwun
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http://www.mediafire.com/?zemnqxtgz5zhttp://www.mediafire.com/?myo4ymynookhttp://www.mediafire.com/?mniy3zmmduyhttp://www.mediafire.com/?zdybvtgntn4
http://www.mediaf!re.com/?dmg5tndwy34When I was chosen to review Steel Train’s sophomore album “Trampoline” I was less than enthralled. I do not know whether to blame my implicit or episodic memory but something was making me want to dislike this album before I even placed it in my computer. However, upon a throughout listen I have to say first impressions can not only be deceiving they can be down right 100% wrong!
Steel Train definitely takes you on a fun, eclectic ride. “Trampoline” has raised the bar for not only the band’s personal mastery of their craft but for the genre as well. The musicianship on this album is perhaps what your mp3 player has been missing lately. Moreover, the reflective storytelling ability of Jack Antonoff should be cherished, or at bare minimum appreciated by anyone who claims to “love music”.
http://www.mediaf!re.com/?nznno4ddtndhttp://www.mediaf!re.com/?jvdmzjxn1inhttp://www.mediaf!re.com/?yow5g4nvhlmhttp://www.mediaf!re.com/download.php?tnfxnyo3dmlSteel Train - Trampoline
Biffy Clyro - "The Vertigo of Bliss"
Biffy Clyro - "The Vertigo of Bliss"
ERROR:Toys, Toys, Toys, Choke, Toys, Toys, Toys is corrupt.
http://www.mediaf!re.com/download.php?tnfxnyo3dml
Steel Train - Trampoline
Thanks for this! But mediafyre tells me it's down.
(bearing in mind I've yet to hear "New Day Rising," or the EPs that preceded "Zen Arcade")
http://www.mediafire.com/download.php?dalm2xagn0xSteel Train - Trampoline
Thanks for this! But mediafyre tells me it's down.
Works fine for me.
(bearing in mind I've yet to hear "New Day Rising," or the EPs that preceded "Zen Arcade")
Whut. Are you saying you haven't heard Metal Circus? Oh geez that is a problem.
http://www.mediaf!re.com/download.php?jfhomnl1myyi discovered this amazing band in spain back in 2004. they're currently working on a new album that should be out sometime this year. if you like bell and sebastian or stereolab, i think you'll love them. also... even though i discovered them in spain, the songs are in english.
http://www.mediaf!re.com/download.php?nw2t2201nftamazing indie pop from flaw-rid-ah (haha) this is amazing stuff for a rainy day...and any day. i love it.
http://www.mediaf!re.com/download.php?gydmgozynmji think everyone has heard of the magic numbers by now. every time i listen to these guys i just want to go to the beach.
QuoteRules:
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.
Hüsker Dü - "Flip Your Wig"
hypnotoad
http://www.mediafire.com/?lu2ta1knyyfhttp://www.mediafire.com/?2yxy2gmnzzdhttp://www.mediafire.com/?mnnn51tynji
Anyway, I'm prepared for a massive Animal Collective dump, with rarities and bootlegs and all sorts of treasures, but the search tool is not functioning for me at the moment so someone should tell me what I shouldn't post to avoid redundancy.
Hüsker Dü - "Flip Your Wig"
Error: Flexible Flyer is corrupt(also the 10th song, weird)
i'm on a library computer at uni right now, but i'll re-up that when i get home tonight. does anyone mind if i start upping my albums as .zip files rather than .rar files? this problem never seems to happen with .zips...
The Librarians released one album of thoroughly enjoyable pop-punk/power pop on a small label in Berkeley in 2002. Apparently they put on a really good show. Sounds kinda Elvis Costello-y, lyrics are smart alecky and fun and basically this record is really good for slacking off and doing nothing in particular.Code: [Select]http://www.mediaf!re.com/?ewxlzmy4tgj
(http://img.photobucket.com/albums/v180/Punk930/postmarks.jpg)
http://www.mediaf!re.com/?tm51yz3y3oihttp://www.mediaf!re.com/?zmlmmdthynlFormed in Edinburgh, Scotland in 1979, the Associates comprised vocalist Billy Mackenzie and multi-instrumentalist Alan Rankine. Built on an eclectic mix of influences and interests ranging from art-rock to glam and disco, the group debuted with a manic cover of David Bowie's "Boys Keep Swinging," which earned them a contract with Fiction Records. Their 1980 debut LP, The Affectionate Punch, was a critically acclaimed work which expanded the duo's sound into both stark minimalism and melodramatic ballads, earning Mackenzie's powerful voice favorable comparisons to Scott Walker.
After jumping to the Situation Two label, the Associates released a series of singles which explored a continually diverse array of styles and textures. With 1982's "Party Fears Two," issued under their own Associates label imprint, the group finally hit the U.K. Top Ten, and the follow-up singles "Club Country" and "18 Carat Love Affair" both reached the Top 30. 1982's Sulk was the group's definitive statement, a fascinating blend of lush, New Romantic popcraft and dark, surreal cabaret stylings.
Following the LP's success, however, relations between Mackenzie and Rankine soured, and the latter left the group for a solo career, releasing the albums The Day the World Became Her Age (1986), She Loves Me Not (1987), and The Big Picture Sucks (1989). Undaunted, Mackenzie retained the Associates name and teamed with Martin Rushent to record an album which went unreleased, although a few of the tracks later emerged on 1985's Perhaps, fleshed out by keyboardist Howard Hughes and guitarist Steve Reid.
A long layoff followed, with another album, The Glamour Chase, recorded but rejected by label chiefs. In 1990, the Euro-disco-flavored Wild and Lonely emerged, and its lack of success effectively ended the Associates' story. In early 1997, while in the midst of preparing for a projected comeback, Mackenzie committed suicide.
http://www.mediaf!re.com/?jvdmzjxn1in
http://www.med!afire.com/?2z4fmgx3mtzhttp://www.med!afire.com/?jlznjzmdlfzhttp://www.med!afire.com/?mklmjdtzytyhttp://www.med!afire.com/?nk3yzmwfeuthttp://www.med!afire.com/?jzj22ummdwjhttp://www.mediaf!re.com/?lrjkzcjzt5jhttp://www.mediaf!re.com/?wznteyzzqve
http://www.mediaf!re.com/?uoiwmjmc53mAdventure is 24 year-old North Carolina native and recent Baltimore transplant Benny Boeldt. His ultra-melodic synth compositions pull from his earliest exposure to the 8-bit soundtracks of the Sega Genesis video game catalog. But it's not just retro video game music. Mix in the kitschy Moogy sound of Hot Butter's "Popcorn", the saturated disco-theatrics of late seventies electro-pop acts like Sparks and Yellow Magic Orchestra, and a penchant for Eastern European diminished scales and you've come pretty close to Adventure's accelerated baroque sound.
Adventure is an advanced, dance-floor friendly take on the music of early video gaming. Let the epic quest for the master sword begin!
http://www.mediafire.com/?yvjzduhvkjg
uploadinghttp://www.mediafire.com/download.php?i5mzyd0tdmb
There’s a place where it is always warm, where the sun beams down upon your face as birds sing gleefully. There’s a place where gorgeous Gypsy dancers clap their hands in rhythm to a choppy guitar as a fine falsetto voice serenades you. The only person who can take you there is Ramona Cordova. The Boy Who Floated Freely is an eleven track escape into a story enchanted by chirping crickets, Gypsies, romance, and mystery.
Released by ECA records in 2005, Ramona Cordova’s The Boy Who Floated Freely is a captivating concept album devoted to the story of a boy named Giver. The tale goes something like this: Giver inexplicably washes ashore on an unnamed island. As he recovers his awareness, he hears music streaming from a neighboring village. He eventually makes his way into a bar in this village and a band of Gypsies sing him a welcoming song. The album opens with Cordova’s trademark falsetto accompanied by a singing chorus of birds. He craftily begins to weave Givers tale into the musical composition.
“I was just a boy
Fell into an ocean
Washed up on a shore
And now I’m here to see
What I will see”
After the short yet sweet introduction, Cordova escorts us into the Gypsy filled village bar. A door creaks open and men are shouting in Spanish. A flamenco guitar kicks in and Cordova ardently croons to us in Spanish. This song is so powerfully exotic that you can actually taste the tequila and see the Palmero’s accenting Cordova’s guitar.
At this point in the story, the Gypsies offer Giver a place to stay where he can recuperate from his arduous journey. The next track on the album is “Giver’s Reply.” The song begins with slow and childish organ, giving the impression that the piece is going to be somber. However, “Giver’s Reply” is the most uplifting track from the album, showcasing Cordova’s talent for pairing philosophical rumination with jovial instrumentation. Soon after the organ intro and Ramona’s bare vocals align, the two are complemented by a muddy drum set and splendid vibra slapping. “Giver’s Reply” is the sort of song you might listen to while walking down the street on the first day of spring. It just makes you feel so good.
As the story unfolds, Giver ends up lodging with the Gypsies and a beautiful young girl named Marco gives him a bit of potion to aid his sleep. The story takes a turn when she slips Giver some love potion as well. Fittingly, “Mixing the Potion” is the next track on the album. Demonstrating Cordova’s guitar skills, “Mixing the Potion” begins with a Spanish influenced guitar and spins wildly out of control into the bliss that makes his work so distinctive. Even more impressive is Ramona’s ability to play more than one character, as he sings the sky-scraping part of Marco
The core of the album illustrates the dreams of Giver during his long slumber. “Brother,” the sixth song on The Boy Who Floated Freely will bring tears to your eyes. Ramona’s soul really emerges on this track in his wistful guitar progressions, which waft in and out of his intriguing melodies. His lyrics are filled with regret and a melancholy yearning as he sings of his lost brother.
“Underneath the lies I breathe I know I mean the most lovely things.
And brother I’ll forget the blows we used to make
So filled with hate when we were younger
And brother I regret the words we’d never said
The times we never shared together.
And don’t forget to tell our mother sister brother aunt and uncle you’ve decided to fight like our father
And don’t forget to tell our mother sister brother aunt and uncle you’ve decided to leave like our brother.”
Towards the end of The Boy Who Floated Freely is a short song called “Hot and Heavy Harmony.” Ramona’s guitar moves like a delicate pendulum, swinging to and fro through his tender lyrics. Following his aching words, a cello sounds in the void, driving the song to a new level of expression. “Hot and Heavy Harmony” conveys Giver’s lust, yet manages to be simple and seductive.
“Don’t use a line
I can find you fine
My hands paint your picture
In my mind
Cause I wanna know your body like my own”
Comparable to most of Cordova’s songs on this album, “The Chesser” opens up like a flower: slowly and deliberately, in time revealing its rich innards. Ramona Cordova speaks on many topics. He tells of love, lack of experiences, and disillusionment. “And we’ll walk and talk of everything, the truth of things I’ve never seen, and you will tell me I’m alone. But the pictures on your face will tell that I’m not wrong, I’m not wrong.” The chorus’s are fully realized; launching into a wild, dissonant waltz, marked by choppy aggression. Every feature of Ramona’s voice is presented in “The Chesser,” from his grainy and fragile lows, to his unbridled, sometimes even jazzy vibrato.
The melodious story ends with Giver solitary once again, finding that Marc’s love has become dead. “Take Flight,” the last track on The Boy Who Floated Freely, is an uncomplicated ode testifying to the freedom that this album truly embodies. One of the most brilliant aspects of The Boy Who Floated Freely is that it’s cohesive without being constricting. Ramona Cordova’s wonderfully untamed vocals, lyrics, and guitar work mirror the fantastical imagery presented in his album while allowing for listeners to visualize his well crafted story on their own.
Disc 1 http://www.mediafire.com/?zju4wduuyyb
Disc 2 http://www.mediaf!re.com/?mmmidm2xz0m
Guess you haven't heard much math rock then, huh?
Hence, mediaf!re thread.
POST IT.
http://www.mediaf!re.com/?o0gxtzdjnwihttp://www.mediafire.com/download.php?vnwnjxnmzzn
http://www.mediaf!re.com/?wnmhzmo054jhttp://www.mediaf!re.com/?dynzcozzndxhttp://www.mediaf!re.com/?yohjnwt0tyvhttp://www.mediaf!re.com/?3mzlokntyw4
(http://img.photobucket.com/albums/v180/Punk930/postmarks.jpg)
The lead singer of this band is a girl named Tim. I've never heard that name used for a girl before. crazy
http://www.mediafire.com/?ckzymjndzznVictor! Fix the Sun plays hard-edged, angular post-rock filled with big riffs, solid grooves and passionate, screamy vocals
http://www.mediafire.com/?05yzmwhgzttEksi Ekso is actually made up of some former members of previous Magic Bullet alumni, The Burning Paris and On Fire. Eksi Ekso are an extremely mature rock band and some might even categorize the band into modern rock categories. But, that would be a gross understatement. Eksi Ekso are far too intelligent and ambitious to be confined that easily. From an instrumental standpoint, Eksi Ekso are certainly grandiose enough to match just about any post rock band. With a full string section for much of the record Eksi Ekso excels in creating illuminating soundscapes. Quite similar to a band like September Malevolence, Eksi Ekso have the might of a post-rock band with the subtle addition of vocals. The band’s musicianship and arrangements are stunning to say the least. I Am Your Bastard Wings is 50+ minutes of rising and falling, of pain and pleasure, of simplicity and elegance. While the album certainly illicits certain moods, Eksi Ekso’s I Am Your Bastard Wings is most certainly not just a mood piece that is meant to be left to the background. Turn the volume up on those headphones and realize the depths of what Eksi Ekso are creating here.
Genre: Indie/Post-Rock
RIYL: Sigur Ros, September Malevolence, Mogwai
http://www.mediafire.com/?mjum0mzydmmIn a post-rock field prone to excess, Gray Young trims the fat by cutting its cinematic grandeur into lean, hard-working miniatures. Firmament bursts out of the gate with "Provenance": Chas McKeown's chiming guitar and Jeff Dopko's attacking drums, heavy on cymbals and floor toms, lay an anticipatory foundation before bringing Dan Grinder's melodic bass in for a full-on assault.
It's a two-minute mission statement for the purposeful Raleigh trio, who only once break the 4:30 mark through Firmament's 13 taut tracks. The exception—the nearly six-minute title track—dramatically builds around a hypnotic riff for four, McKeown's wispy vocals wafting by in a dreamy haze as repetitive phrases lull the listener into a calm. Washes of furious guitar eventually cascade down over a torrent of snare and cymbal shots.
Gray Young mines similar build-and-release techniques throughout Firmament, but the band is wise to avoid the redundancy and pitfalls of relying on a singular trick for the disc's 47 minutes. "Ghost Note" doses the album with ambience, gentle guitar and whooshing noise serving as a palette cleanser. "Across the Loft" and "Tilling the Wind" are centered around heaps of guitar and percussive flash anchored by Grinder's bass, but they're more straightforward (though no less heroic) indie rock tunes, the emphasis now on McKeown's distant croons. The hollow "First Perennial Fall" almost ditches the rock instrumentation entirely, opting for dissonant guitar shimmer to accompany a circular piano line. Closer "Aurora" is another sparse duet, with atmospheric keys supporting the guitar's persistent melody.
Firmament deftly navigates pretentious waters to deliver an LP full of mini-epics that know their limits. Though it is Gray Young's first LP, it's one that you shouldn't be surprised to find in heavy local rotation soon.
http://www.mediaf!re.com/?qeji3o0ynmnhttp://www.mediaf!re.com/?ntjljzdudmthttp://www.mediaf!re.com/download.php?5ym5yuy5vmyfrom www.foxhole.info
Foxhole is an instrumental “post-rock” band from Nashville TN, Bowling Green KY, Louisville KY, and Austin TX USA.
Begun as a project with a wide view and no particular goal, Foxhole has been writing, recording and performing since the turn of the century. The early days saw prolonged themes and occasional vocals, culminating in the self-issued “EP1” in 2002. Its five songs were recorded in the three-bedroom Bowling Green apartment where all of the band members lived at one point or another; packaged in hand-sewn, hand-inked canvas with hand-embossed liner notes, it has long been out of print and has no realistic hopes of a return.
(A follow-up release, “EP2:X,” followed the band on their first tour of the East Coast and contained live recordings of improvisational songs from the performances. Its copies numbered less than 200, and its hopes of return are even more dim than its predecessor’s.)
http://www.mediaf!re.com/download.php?tnhyhxjij2z
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Often cited as the ultimate Tim Buckley statement, Goodbye and Hello is indeed a fabulous album, but it's merely one side of Tim Buckley's enormous talent. Recorded in the middle of 1967 (in the afterglow of Sgt. Pepper), this album is clearly inspired by Pepper's exploratory spirit. More often than not, this helps to bring Buckley's awesome musical vision home, but occasionally falters. Not that the album is overrated (it's not), it's just that it is only one side of Buckley. The finest songs on the album were written by him alone, particularly "Once I Was" and "Pleasant Street." Buoyed by Jerry Yester's excellent production, these tracks are easily among the finest example of Buckley's psychedelic/folk vision. A few tracks, namely the title cut and "No Man Can Find the War," were co-written by poet Larry Beckett. While Beckett's lyrics are undoubtedly literate and evocative, they occasionally tend to be too heavy-handed for Buckley. However, this is a minor criticism of an excellent and revolutionary album that was a quantum leap for both Tim Buckley and the audience. -amg
http://www.mediaf!re.com/?k5ytmqfo0jmEasily Tim Buckley's most underrated album, Happy Sad was another departure for the eclectic Southern California-based singer/songwriter. After the success of the widely acclaimed Goodbye and Hello, Buckley mellowed enough to explore his jazz roots. Sounding like Fred Neil's Capitol-era albums, Buckley and his small, acoustic-based ensemble weave elegant, minimalist tapestries around the six Buckley originals. The effect is completely mesmerizing. On "Buzzin' Fly" and "Strange Feelin'," you are slowly drawn into Buckley's intoxicating vision. The extended opus in the middle of the record, "Love From Room 109," is an intense, complex composition. Lovingly under-produced by Jerry Yester and Zal Yanovsky, this is one of the finest records of the late '60s. -amg
http://www.mediaf!re.com/?mdmdtiqewyiAfter his beginnings as a gentle, melodic baroque folk-rocker, Buckley gradually evolved into a downright experimental singer/songwriter who explored both jazz and avant-garde territory. Starsailor is the culmination of his experimentation and alienated far more listeners than it exhilarated upon its release in 1970. Buckley had already begun to delve into jazz fusion on late-'60s records like Happy Sad, and explored some fairly "out" acrobatic, quasi-operatic vocals on his final Elektra LP, Lorca. With former Mother of Invention Bunk Gardner augmenting Buckley's group on sax and alto flute, Buckley applies vocal gymnastics to a set of material that's as avant-garde in its songwriting as its execution. At his most anguished (which is often on this album), he sounds as if his liver is being torn out -- slowly. Almost as if to prove he can still deliver a mellow buzz, he throws in a couple of pleasant jazz-pop cuts, including the odd, jaunty French tune "Moulin Rouge." Surrealistic lyrics, heavy on landscape imagery like rivers, skies, suns, and jungle fires, top off a record that isn't for everybody, or even for every Buckley fan, but endures as one of the most uncompromising statements ever made by a singer/songwriter. -amg
http://www.mediaf!re.com/?xnyno0m2yuwChicago/New York experimental rock trio Storm & Stress is electric guitarist and singer Ian Williams (of Don Caballero), drummer Kevin Shea and bassist Erich Ehm (of Golan Globus). Named for the German literary movement, Sturm und Drang, the band recorded their first album, Storm and Stress, with Steve Albini in early 1997. It was released in July of that same year on Touch & Go. In June and July of 1999, Storm & Stress recorded their follow-up album with Jim O'Rourke, this time with guest appearances by not only Micah Gaugh, who also performed on their first release, but by drummer Jim Black, as well. Under Thunder & Fluorescent Lights was released in early 2000 on Touch & Go.
http://www.mediafire.com/?wwwwxm04u0gOn Under Thunder and Fluorescent Lights, Storm & Stress takes minimalism as its mantra, offering nine tracks full of nothing but odd instrumental chatter, askew tape samples, and the occasional (and equally odd and askew) vocal. The band seems determined to never let the mishmash of sounds congeal into anything that resembles an ordinary song: Ian Williams picks idly at his guitar, Erich Emm drops random bass notes, Kevin Shea's drum beats disintegrate as quickly as they begin; lyrics, rhythm, and melody are abandoned in favor of "avant rock" -- free jazz done by a power trio. The payoff -- and not a big payoff, mind you -- comes only if you listen closely enough. Groove and melody begin to pop up where you hadn't thought they existed and in ways you wouldn't expect: the repetitive shimmer of a cymbal, some garbled a cappella singing. At its worst, Under Thunder is just noise, albeit noise that's as tepid and inoffensive as a Windham Hill sampler. Williams, Emm, and Shea and are obviously talented musicians, and you have to respect that they take the subtle route, piling texture upon texture instead of showing off their chops. It's just too bad that the result is far too cerebral for most people's tastes.
http://www.mediafire.com/?wydtmjdndjkThis garbled cacophony of untamed genius wanders the blurred line between coherence and unheard-of creativity. Musical pieces progress without fully conceived ideas of rhythm, time, melody, or any remotely obvious form of construction. Everything here seems fleeting, improvisational, and therefore, in some way, directly from the inside of these amazing musicians (two-thirds of whom now make up the undeniably amazing Don Caballero). Guitar lines vomit and squirt from the prodigious hands of one of the greatest guitarists of our time, Ian Williams. The percussion erupts in spurts of mad ranting that is spaced and cut-throat. Incorporating foreign elements such as the breaking of bottles and the lighting of a cigarette, it often seems to be emerging from a totally different room than that which the rest of the band occupies. Sporadically, the band locks into glorious meshes of coordinated sound with deadly precise rhythm and beautifully intertwined melodies; this, however, never lasts for too long. The muttered, half-spoken, half-sung vocals of Ian Williams creep into the fabric of the music, reciting far-gone abstraction that in some way captures the essence of the band around him. Storm and Stress is doing something until now untouched, taking the logistics of everything we know about music and crushing them into spattered stains upon the walls and floor.
JUSTICE
Gray Young - Firmament (2009)
http://www.mediaf!re.com/?mylx3jldjeuhttp://www.mediaf!re.com/?vly2eymywmihttp://www.mediaf!re.com/?nonyyjjrzmtA stunning return to form, Dreamy reprises the dark aggression of the preceding Black Candy, but brings to the table a significantly stronger and more assured collection of songs. Measuring Calvin Johnson's increasingly menacing lead turns with Heather Lewis' more wistful contributions, the album strikes a careful balance between maturity and naïveté; for all of their ragged minimalism, tracks like "Collide," "Revolution Come and Gone," and "Me Untamed" are remarkably sophisticated and assured. And in addition to the newfound sexiness of cuts like "Nancy Sin" and "Red Head Walking," there's also a renewed sense of emotional urgency -- Heather's beguiling "Fortune Cookie Prize" is one of the group's most buoyant love songs, while the mournful "Cry for a Shadow" exposes the tenderness beneath Calvin's tough-guy veneer.
http://www.mediafire.com/?ziyw5ixnygmBeat Happening's final LP is also their best: concluding the emotional and musical progression begun with the minimalist innocence of their earliest work, You Turn Me On is a mature record of tremendous breadth and complexity. Where once the trio's songs were brief and bouncy, the nine tracks here are epic (several top out at over six minutes) and ambitious; produced in part by ex-Young Marble Giant Stuart Moxham (an obvious influence), the record's full, deep sound belies its bare-bones performances -- "Teenage Caveman" sports booming, primal drums perfectly suited to its title, while the propulsive "Noise" manufactures the illusion of a bassline where none ever existed. The most democratic record in an output founded on egalitarian ideals, You Turn Me On offers Heather Lewis' strongest songs ever -- her hypnotic nine-minute "Godsend" is the LP's heart and soul -- and she and Calvin Johnson even trade verses on the closing "Bury the Hammer." As for Calvin himself, his solo contributions are exceptional -- the spartan opener "Tiger Trap" is an evocative heartbreaker, and the title track is a fire-breathing corker. A masterpiece.
http://www.mediafire.com/?4mqkm1dzq3ePomegranates - Everybody, Come Outside!
(http://i8.photobucket.com/albums/a24/phyrexianmeatdog/pomegranates_everybody_come_outside.jpg)
Pomegranates are a fuzzy and delightful group that proves that good things can come out of Ohio. They burst onto the scene with their special brand of smart, poetic lyrics and electronically-infused indie pop, and this is their latest release. It's quite possibly the definitive indie pop summer album.Code: [Select]http://www.mediaf!re.com/?vly2eymywmi
Because I love 'em so much, I'm throwing in their first EP as well, in case you skeptics want a shorter download to try them out:
Pomegranates - Two Eyes (2007)
(http://i8.photobucket.com/albums/a24/phyrexianmeatdog/pomegranates-twoeyes.jpg)Code: [Select]http://www.mediaf!re.com/?nonyyjjrzmt
Of course, I highly recommend both.
JUSTICE
I am in the process of downloading this now, and am tentatively excited.
...and at 0:45 into the first track my suspicions were confirmed and I could not stop smiling.
JUSTICE
I am in the process of downloading this now, and am tentatively excited.
...and at 0:45 into the first track my suspicions were confirmed and I could not stop smiling.
Ramona Cordova - The Boy Who Floated Freely
http://www.myfriendramon.com/
White Rabbits fuck yeah
http://www.mediafire.com/?ymoiicw3mqm
http://www.mediafire.com/?mwdz2zzmvqyRussian Circles are a heavy rock instrumental trio from Chicago, and Enter is their debut long-player. Comparisons to Pelican and Isis have been tiresome at best -- and inaccurate at worst -- as RC differ in key ways. The construction of their tunes is more intricate, not reliant as much on the heavy riff and the elegant phrase -- though it's not quite as delicate as Explosions in the Sky or Growing, either. On the opener, "Carpe," it's easy to hear that there's a lot happening. Guitarist Mike Sullivan and bassist Colin DeKuiper engage in musical counterpoint, which is not knotty math rock, either -- dynamic ranges are not built as much as employed in each section of the tune. Repetition between three-note vamps is present, but only as a grounding point. Drummer Dave Turncrantz has both great responsibility and great freedom. The tune crunches, folds back on itself, and then comes out on the other side with an entirely new musical statement to make, carrying just a hint of its origin. What's amazing is that this happens in each of this platter's six longish tracks. The placement and arrangement of the drama and flow within dynamic ranges make these tunes feel like songs, complete with bridges, crescendos, and intros and outros. "Micah" is another example. The cut begins to build on its fairly simple melodic fragment quite quickly, and then, as the three high strings are meandered upon by Sullivan, he tosses in a set of lines that are more intricate and winding, as DeKuiper moves him toward something else, something foreshadowed but not articulated, almost departing the rhythm section. Turncrantz's drums hint at what's coming: the cut explodes into raucous glorious heaviness and just as quickly eases back from the sonic abyss. This is not some kind of Godspeed You Black Emperor! trip. This also doesn't mean that Russian Circles are incapable of roaring into metallic frenzies (check out "Death Rides a Horse"); they most certainly are, complete with knotty stop-and-start-on-a-dime pyrotechnics. While there isn't a weak cut here, and each becomes part of some musical journey into tight, constructed yet somehow sprawling rock, there is vulnerability amid the heaviness and noise. It's like a form of instrumental poetry, woven, articulated slowly and deliberately, and all designed to take you "there," wherever your particular "there" is. The buzz on this band in Chicago has been big and it's easy to see why. Enter is a very impressive debut.
http://www.mediafire.com/?mxhfk1ztozyFor those who celebrated the intricate heaviness of Russian Circles' debut album, Enter, or better yet saw them devastate live audiences with the sheer metallic roar of it all, Station may seem a little underwhelming -- at first. Brian Cook of Botch/These Arms Are Snakes has replaced bassist Colin DeKuiper (on record at least). That said, one should expect a wall of sonic attack that would make the gods cower, right? Not exactly. Texture and dimension have become a big part of Russian Circles sound on this seven- track album. They've tried to get themselves out of the post-rock "build up and up and up and finally explode" equation that has actually hampered the growth of the music. They haven't left metal behind, but have tempered it somewhat with some softer sounds, a more gradual expansion, and layered textures on any given theme, or some set thereof. About half the album relies on this technique, and admittedly, it can be a bit frustrating on first listen because there are so many parts folded into one another it simply isn't as obvious as Enter was. Mike Sullivan's guitar playing relies as much on fingerpicked swells that shimmer and refract as it does power chugging riffs. Dave Turncrantz's drums won't announce the shifts and twists and turns, either. He jumps in with the rest of the band, playing to the sense of drama and tension that get spread beautifully over the dimensions of space and power, framed perfectly by producer-engineer Matt Bayles. "Harper Lewis" takes the ominous heaviness that Russian Circles are known for, pours paranoid ambient sonics around the drum kit, and allows Cook to let that low end bass just throb wide open, until Sullivan just crushes the entire thing with his wall of squall stun riffing. It takes a little while to develop, but the payload is big. This is also true to a greater degree on the title track. Back and forth guitar and bass thrumming becomes a push and pull between the two players until only the thudding drum fills can breach the gap. It becomes almost unbearably tense even as the tonal and time signatures shift. The same kind of metal effect takes place in "Youngblood." Think of the menacing guitar intros of vintage Iron Maiden or Judas Priest paired with the sense of distortion, detuned feedback, and the noir transcendence of Isis or Pelican. The softer tunes, such as "Verses" and "Xavi," are really compelling puzzle pieces loaded with tricky corners, intricate spaces, and floating guitar and bass parts that open the door of power rock infinity but stop at the threshold. The bottom line is that this diversity is not a lack of focus, but growth and development that make the band stand out from the pack, making the effort to spin this a few times yield very big rewards.
Pomegranates - Everybody, Come Outside!
"Fancey" Schmancey -- you know, like Nilsson Schmilsson? Well, not exactly, but Todd Fancey's glorious obsession with '70s soft rock and sunshine pop isn't sullied in the least by a comparison to Nilsson's masterpiece of subversive pop. If anything, Fancey has gone out of his way to up the subversion factor on his second solo effort; the production and arrangements are gloriously user friendly, and Fancey's crew of like-minded musicians (including fellow New Pornographer Kurt Dahle) summon a sound as tight and emphatic as any crew of Los Angeles session heavyweights could deliver in the Golden Age. But between Fancey's eager embrace of an impressive variety of dangerous drugs on "Blue Star," the cheerful doom of "Lost in Twilight," the rocker's avarice of "Whoa," the creepy enthusiasm of "Heaven's Way"'s paean to Christian Conservatism, and the self-explanatory angst of "Karma's out to Get Me," this is album whose engaging surfaces cover a dark side as sure as the front cover artwork shows a sun-dappled garden hovering over the flames of Hell. But on Schmancey, the twist in the tale is part of the fun, and the undertow provides a ying that adds weight to the yang of Fancey's bright and superbly crafted pop tunes, powered by his stylistically malleable guitar work and period-appropriate keyboards. One might think being in one superb indie pop act would be enough, but Fancey's presence in the New Pornographers and on his own records suggest he's becoming a one-man dynasty of upbeat sounds with a nasty undercurrent.
http://www.mediafire.com/?mdffeh2jzmz
TIM BUCKLEY
There is no such thing as an "essential" song or album. People keep telling me Sonic Youth and My Bloody Valentine are "essential", but they're both shitty bands.
Sonic Youth are actually pretty awesome
(I think we are going to disagree on this point)
Hauschka - Ferndorf.
http://www.mediaf!re.com/download.php?dxyvetr3vqzHauschka is not a post-rock band. It is the alias of German pianist/composer Volker Bertelmann who experiments with "prepared pianos". This means he attaches a variety of materials to different parts of the piano to produce different tones and outside sounds, e.g. aluminium foil to produce a rustling sound.
However, it is a very good album and you should still get it.
Oh phew, I was afraid it was an album I was supposed to recognize on sight.
My indie cred felt seriously threatened.
Vague recollections of a surreal 1940's movie scene eddy up. Six musicians enter a room, take their seats, and begin to play...six different pieces of music. They stop, look at each other, nod, and begin playing again...all different songs. They exchange sheet music, but cacophony still ensues. The memory is dim, but the White Rabbits bring it vividly to life with their strange, but brilliant, Fort Nightly album.The sextet sashay in with the Latin flavored "Kid on My Shoulders", a track infused with a 50s feel, but a dark and dangerous atmosphere that evokes The Specials, and lyrics that put even Terry Hall's most obscure lyrics to shame. "March of the Camels conjures that band's specter even more strongly with its oppressive atmosphere, solid reggae bass line, and eerie cries which echo of "Ghost Town". In contrast, "Dinner Party" sets a table for the Fun Boy 3 with its rhythm heavy arrangement. And like the Fun Boys, its the Rabbits's rhythms that are the driving force of the band's sound. Many of them are jazz or big band inspired, but not exclusively, as the martial drums that power "Take a Walk Around the Table" or the Afro-beats that patter across "I Used to Complain Now I Don't illustrate. But the big, bold beats are often juxtaposed against champagne styled piano, which in "Complain"'s case slides slyly into ragtime. If Liberace joined a swing band, and enlisted a guitarist addicted to eclecticism (Western, surf flecked, and C&W (included), it might sound a bit like this. Yet somehow, The White Rabbits pull this surreal set straight out of the hat, because for all its fractured elements, the group still magically conjure up coherent, complete songs. As lyrically eclectic and clever as it is musically, this is one fascinating album. As unique an experience as the Fun Boy 3's eponymous debut was in its day, and just as mesmerizing.
http://www.mediaf!re.com/download.php?22lozdzd3xzA brawling soundclash that threatens to scorch off your eyebrows, the debut LP from Milanese takes the schematic he ironed out for Warp a bit ago and sparks it through the dubstep bedrock - resulting in the noir electronics of 'Extend'. Scrunching handfuls of jungle, grime, dancehall, electro and dubstep into the fizzing whole, 'Extend' is an album all about the friction caused when rough aural surfaces connect; kicking off with the depth-charge sonics of 'Mr. Bad News' and closing 40 minutes later on the majestic malice of 'Tony Sombrero'. Including the serrated coalition with Virus Syndicate that burnt some stylus a few weeks back, other notable tracts include the juxtaposed silky vocals / gnarled beats of 'Caramel Cognac' (reworked from the killer 7" version released by Various Production), the digitally disrupted bluster of 'Barry', whilst 'Boss Eye' flirts with Alec Empire territory through a crumbled edifice of bleached digital mayhem. Able to alternate between moments of high drama and throw away excess without a jarring transition, 'Extend' sees Milanese offering up a vision that is from the darkest family-tree, but nonetheless exists in a world of its own.
http://www.mediaf!re.com/?ezjgqrmwzc3Part 1
Everything gets slicker. When it comes to consumer technology, you just have to throw up your hands at some point. My discman finally died its death a month or so back, and I was forced to buy an iPod I couldn't really afford. If I'm honest, I caved mostly because the idea of buying a new discman in 2007 was too ridiculous to contemplate. I would have been laughed out of Best Buy. Aesthetics are a little bit different. I continue to wear Chuck Taylors and Vans because I'm as turned off now by extraneous bells-and-whistles as when I was when griping like a 14-year-old Andy Rooney about all the lights and pumps and gels. So I guess sneakers were my inchoate introduction to refusenik simplicity. And if you still want to be cheesily ostentatious, a pair of snakeskin Chucks or slip-ons with stupid flames airbrushed on them are a lot more honest than a goddamn Identi-Kit basketball shoe with a bunch of pointless and "modern" plastic gewgaws.
Like the late 20th century output of your neighborhood Foot Locker, my recent distaste for electronic music stems from a sterile slickness imposed by the march of technology colliding with an aesthetic asceticism-- an over-articulation of an extremely limited language. Too much "minimal" sounds both conceptually thin and sonically fussy. Listening to the new 2xCD Book of Dogma, a collection of rare EPs by famed but obscure proto-IDM act the Black Dog, I was struck on the first few listens by a joyous simplicity that manages never to sit still. Take "Seer and Sages", which, over a beat that never deviates from its two loud thwacks, shifts from boogaloo house pianos to techno synthesizers recast as "Baby Elephant Walk" baseball stadium muzak to an agitated rave spasm of pure noise to an outro as delicate as anything off a Kompakt Pop Ambient LP.
If, as with the crude, cut-up New York house and sparkling Detroit techno they were inspired by, time has somewhat dulled the shine of the Black Dog's sonics, it's also made the music sound more direct and engaging than ever by cultural contrast. To flip another non-musical metaphor, minimal can feel like the suspended animation slog of non-narrative avant-garde filmmaking in THX/IMAX fidelity, but these early Black Dog tracks are like a spelunking spaceman bounding happily through the corny, color-saturated landscape of a no-budget 1980s sci-fi flick with a cranked-up soundtrack of post-Kraftwerk synths, sampled self-help gurus, cosmic divas, distant dog howls, and chirping wind-up birds. Though Book of Dogma comes wrapped in the chilly graphics of a Depeche Mode album, this at times gaudy music, with its barreling melodies and shouting rappers, isn't afraid to get loud in your face; it sounds like an oddball party crasher in glassy, reserved 2007.
This out-of-step quality isn't terribly surprising; as the first decade of the 2000s winds to a close, the electronic music of the early 90s, be it of the smarty pants or party hard variety, feels as distant as "Models Inc." or Homer Simpson's beloved clear cola. In the light of everything from the rainbow-hued syncopation of 2-step garage to Perlon's thousand dry timbres of percussion, the Dog's very first EP Virtual-- the first three tracks on disc one of Dogma-- sounds stark, like staring into the tie-dye-cum-Rorschach pattern on the original's vinyl label as it spins on your turntable: revolving breakbeat patterns overlaid with creaky synths. But its bold if basic boom-bap is totally appealing, even on the more hi-fi second disc when the trio begins to swing their beats into crunching triplets as on the broken beat foreshadowing "Vanttool" or whatever the hell the stop-start lurching astro-samba of "Erb" is. "The Age of Slack", from the 1989 EP of the same name, is zonked electronic funk with shuffling beats straight off a Rob Base record and bursts of sampled rap; its woozy atmosphere-- that faded soul singer makes the whole thing sound like a stoned take on My Life in the Bush of Ghosts-- slows you down, creating a very different kind of "slacker" vibe than contemporaneous Superchunk. I mean, what better way to describe the Dog's music than their own pointed, self-penned epigram "Ambience with Teeth"?
Not everything on Book of Dogma sounds bound to some unrepeatable golden era for nostalgic ravers. "Glassolalia" is spare and dark enough to still be easily slotted into a DJ set, and listen to the intro to "Techno Playtime" and tell me that Mouse on Mars weren't listening hard. You might say it's silly to pit music from two very different decades against each other, especially considering I can be as much of a sucker for a well-done piece of shiny modern minimalism as anyone. But call me a crank or a grouch or hopelessly out of touch or more interested in aesthetic appeal than the march of technology-- I still can't shake my feeling that too much modern techno has been molded into a slick, aerodynamic Nike-sweatshop anonymity that's more fun to read about than listen to. Maybe it's less about being a luddite than about comfort and enjoyment. For folks too young or indifferent to be into 90s "electronic listening music" at the time, Book of Dogma may feel like a pair of ratty old sneakers, but try them on and I bet you they get worn a helluva lot more this year than the pair that's eye-catching in the catalog and hell on the feet.
http://www.mediaf!re.com/?mywnmgn2h2mPart 2http://www.mediaf!re.com/?rhonkmvrtdzThe Doubtful Guest is Libby Floyd, a trained vocalist who, for her Planet Mu debut, chooses to create an all-instrumental album of neo-Acid. Much travelled and with musicanaly family background, she found ultimate happiness dancing for ten hours straight at 90's Chicago warehouse raves. Hence Acid Sauna - but this is Acid with its strobelights and glowsticks ruthlessly confiscated, its Smiley face turned upside down. "Under heavy manners" references abound - King Tubby on "Tubby" and the urgent, sampled squeal of Public Enemy's "Rebel Without A Pause" among them. This is a music of dark acid flashbacks, in which the squiggly 303 chatter is rendered sinister, paranoid and malevolent, right from the 11 minute opener "Slaves", in which the listener can concoct their own narrative of the tyranny of the beat being somehow rendered terrifying and nightmarishly literal.
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INCOMING
COCK SPARRER
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http://www.mediafire.com/download.php?mhmzgl1zwwmLike her second record, this album is not immediate; it takes time for the songs to sink in, to let the melodies unfold and decode her laborious words (she still has the unfortunate tendency to overwrite: "A voice once stentorian is now again/Meek and muffled"). Unlike the Brion-produced sessions, peeling away the layers on Extraordinary Machine is not hard work, since it not only has a welcoming veneer, but there are plenty of things that capture the imagination upon the first listen — the pulsating piano on "Get Him Back," the moodiness of "O' Sailor," the coiled bluesy "Better Version of Me," the quiet intensity of the breakup saga "Window," insistent chorus on "Please Please Please" — which gives listeners a reason to return and invest time in the album. And once they do go back for repeated listens, Extraordinary Machine becomes as rewarding, if not quite as distinctive, as When the Pawn. Nevertheless, this is neither a return to the sultry, searching balladeering of Tidal, nor a record that will bring her closer to tasteful, classy Norah Jones territory, thereby making her a more commercial artist again. Extraordinary Machine may be more accessible, but it remains an art-pop album in its attitude, intent, and presentation — it's just that the presentation is cleaner, making her attitude appealing and her intent easier to ascertain, and that's what makes this final, finished Extraordinary Machine something pretty close to extraordinary.
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http://www.mediafire.com/download.php?gqjt4eznmheIf you’re itching for a good shot of melodic California pop, then The Morning Benders are your boys. Talking Through Tin Cans is one of the most infectious and accessible albums that you’ll find these days.
Hearya.com
http://www.mediafire.com/download.php?imja3mzwlgj
You guys are about to love me.
image (http://img55.imageshack.us/my.php?image=fatcat.jpg)Code: [Select]http://www.mediaf!re.com/download.php?dxyvetr3vqzSeriously.
You guys are about to love me.
image (http://img55.imageshack.us/my.php?image=fatcat.jpg)Code: [Select]http://www.mediaf!re.com/download.php?dxyvetr3vqzSeriously.
Because you don't name this artist or album, no-one will be able to find it on a search.
You guys are about to love me.
image (http://img55.imageshack.us/my.php?image=fatcat.jpg)Code: [Select]http://www.mediaf!re.com/download.php?dxyvetr3vqzSeriously.
Because you don't name this artist or album, no-one will be able to find it on a search.
One thing the Northerners have definitely mastered is the art of contortion. Many times on Super Science Fiction they gradually weave shreds of dissonance into songs: taking a lo-fi threnody and twisting in convulsions of noise and other eclectic sounds. "Aurienteering" and "3ft of Air" both throw a surprising mid-game switcheroo. The former infusing its light 'n' breezy fare with deep, throbbing spy music and the latter taking a regal, cascading rhythm (akin to Clap Your Hands Say Yeah) and bolstering the latter stages with eruptions of twitching noise which would make Norman Bates reel in terror.
It's not all Bates and switch though, opener "World of Fashion" sustains itself with a disco rhythm - the kind usually found in an MGMT or Calvin Harris composition - and deepens into a brooding, perilous atmosphere, always topped by that cheery, amaranthine melody line. It is the cockroach of riffs, able to survive any mood change, no matter what the severity. Even the seismic swells of the guitar-distortion-waves cannot shake it in the song's third act.
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The Seal Cub Clubbing Club - Super Science Fiction
Every now and then the title of an album is a perfect embodiment of the music found within. Los Campesinos! are dead right calling their album Hold on Now, Youngster..., because from the first track on, the album is a thrilling madcap whirlwind of sound, words, and voices that by the end leaves you feeling like you've been engulfed in an indie pop-driven hurricane. The members of the Welsh seven-piece are hyper-literate, hilarious, and know their way around a hook as they pile through the 11 songs on the album like they are on a breakaway heading for the goal. Words tumble out in jumbles, the lead voices (Gareth with his high-pitched whine, Aleksandra with her sweet kid tones) trade off lines and sass each other, and the instruments (guitars, bells, keys, violins) whip up a joyful mess, while the drums try mightily to pin it all down. Bands with less grasp on dynamics and timing and a less sympathetic producer than Broken Social Scene's producer Dave Newfeld might have ended up with a real mess of a record on their hands. Instead, Los Campesinos! have a ringing success here: a combination of punk rock energy, indie pop wit and emotion, indie rock experimentation, and the raw feel of classic garage bands throughout the ages. The bands they bring to mind at different points of the record are the kind of groups whose songs could tear your heart out with a sudden dynamic burst, a cutting lyric, or a singalong chorus, bands like Huggy Bear, Comet Gain, Heavenly, and the early Pastels. It's no stretch to include Los Campesinos! in this select group or to favorably rate their best songs, like the indie disco fave "You! Me! Dancing!"with its raging glockenspiels, huge chorus, and snarky lyrics; the hard-driving "Don't Tell Me to Do the Math(s)," which features Aleksandra's best vocals; or the simply heart-stoppingly good "Death to Los Campesinos!," which sports the kind of hook that'll be stuck in your head for days. And you'll be thwarted if you try to find a weak spot or a duff moment on Hold on Now, Youngster.... The only possible problem is that people who need ballads to give them a breather between the squalls of noise and emotion will find them totally absent. They can go listen to a Shins album and leave the debut album of Los Campesinos! to lovers of wildness, unrestrained but thoughtful emotion, and careening songs that leave a mark when they hit you. Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster... highly required, then.
http://www.mediafire.com/download.php?itdzaqzdz2q
First there's the rule about not naming your band with an exclamation point, period. Then there's the one about not changing your last names so they're all the same as the band's, unless you're the Ramones (or arguably the Pastels). Referring to yourselves in a language not spoken in your country of origin? Another bad idea. Welsh boy/girl septet Los Campesinos! proved themselves an exception to all those rules this spring with Hold on Now, Youngster..., a debut album that encapsulated the best of three decades of indie's participatory culture.
There's no rule yet about not releasing a follow-up to your debut album in the same year, mostly because few bands have had the audacity to try it. Los Campesinos! are hedging their bets: they have yet to refer to We Are Beautiful, We Are Doomed as their "second album," even when they announced it would come in a limited pressing with a DVD documentary, poster, and 30-page zine (including contributions from members of Xiu Xiu, Grandaddy, Tender Forever, Menomena, Parenthetical Girls, and the Beautiful South). There will be no singles (and to these ears, there are none), and some online retailers have taken to listing the 10-track, 32-minute release as a "mini-album." Forget the technicalities and call it what it is: a messy, glorious, and cohesive artistic document of internet café-era indie life that sounds best when sung by heart.
Recorded in Seattle with John Goodmanson (Bikini Kill, Sleater-Kinney, Wu-Tang Clan), We Are Beautiful, We Are Doomed is a fittingly noisy release from a band who recently spent time on the "Shred Yr Face" tour with No Age and Times New Viking. The seismic instrumental "Between an Erupting Earth and an Exploding Sky" is reminiscent of a Swell Maps soundscape, and leads directly into the motorik-locked melancholia of "You'll Need Those Fingers for Crossing". Standout "Heart Swells/Pacific Daylight Time" is a lovelorn miniature epic, with gusting guitars and Parenthetical Girls-quoting lo-fi vocals which shift midway through to folky strums and scratchy, indecipherable mumbling. If you mistakenly dismissed the band as another set of childish twee-poppers, our special today is crow.
Los Campesinos! haven't changed drastically, though. Their self-loathing, anti-romantic bitterness, and LiveJournal detail have only intensified. Several songs sound like scuffed-up, feedback-streaked versions of the first record's shouty, strings- and glockenspiel-touched punk-pop, only the despair is now less deceptively perky, and more, um, desperate. Crashing opener "Ways to Make It Through the Wall" resigns itself to hopelessness, death, and the inevitability of becoming like our parents, even as it wonders "how you break the rules that you yourself imposed." Bleaker still, "The End of the Asterisk" rages of another person's self-deprecation, "It's spot on, and I'm better."
The precocious youngsters of the debut have become increasingly like the prematurely old man of Weezer's classic Pinkerton. Vomit is a recurring theme, on the cathartic title track and on "Miserabilia", which describes kneeling at urinals and imagines an ex masturbating. From 4 a.m. drunk dialing, "It's Never That Easy Though, Is It? (Song for the Other Kurt)" goes on to contemplate which is worse: "To see my ex-girlfriend/ Who by the way, I'm still in love with/ Sucking the face of some pretty boy"? Or to watch it happen "with my favorite band's most popular song in the background"? The finale, "All Your Kayfabe Friends", screeches to a halt after a fateful closing line: "I love the look of lust between your thighs."
Los Campesinos! know their history; they may be doomed, but not just to repeat it. We Are Beautiful, We Are Doomed's ragged sound and distinctive packaging, like the band's propensity for non-album 7"s, hearken back to previous decades, but they're also an attempt to develop a new underground community in the here and now. "We want this to feel like a proper event, the sort of thing that you're going to be hyped about going to see for days or weeks before, and the sort of thing that when you leave will stick long in your memory, and that you'll be happy to have been a part of," co-lead singer Gareth Campesinos! says ramblingly of the Shred Yr Face tour, addressing us-- as rappers often do but indie rockers so far usually haven't-- via YouTube. "It is, undoubtedly, a little narcissistic," he adds. It ain't trickin' if you got it.
http://www.mediafire.com/download.php?2wmeq2zjmtjAm I the only one not happy about this?
everything Los Campesinos! have ever done is fucking terrible, besides the "Sticking Fingers Into Sockets EP" which is super-duper awesome for some reason.
i don't know why
I respectfully disagree with your opinion.
You're downloading free music, I think you can put a little effort into reading.
http://www.mediaf!re.com/download.php?zyj5q2nmwnjViva Voce - Rose CityAny chance of a re-up?
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ruuuuullllllllllllllllllles.There are rules against pointing out a dead link? >_> EDIT: Oh shit, looks like I fail X(
http://www.med!afire.com/?2ymgyttyitmWhen you first think about it, the combination of Hector Zazou and Katie Jane Garside is almost unfathomable. For all of his experimentation, I have found that the Zazou recordings I have heard tend to have in common a studied calm; while Katie Jane can go from a whisper to a scream and points in between within the space of a phrase or two.
Yet, their collaboration (with Bill Rieflin, Lone Kent, and Nils Petter Molvaer) works beautifully; Corps électriques is a stunning piece of work, by turns beautiful, haunting, sweet, disturbing, and always intriguing.
Those familiar with Katie Jane's most recent music will find this to be a perfect companion to Ruby Throat's The Ventriloquist. While the Ruby Throat album is primarily acoustic, Corps électriques utilizes more electronic instrumentation. Yet, the electronics complement Katie Jane's vocals quite well; at no point does she seem to be out of place in this different setting.
There isn't much more I could say about this album that would do it justice. Suffice it to say that I find it to be utterly compelling, and recommend it highly.
HEY JENS WHERE THE FUCK IS THAT COCK SPARRER?
Nowhere in sight! I was gonna upload them both last night but seem to have misplaced both albums somehow. noooo. I will see if I can find them this afternoon.
http://www.mediaf!re.com/download.php?glxj5ygtiky
http://www.mediaf!re.com/file/gzznyzze4ty/Totally Michael.zipSometimes, boredom takes us great places. At 20 a musician named Michael, who had amassed some fairly significant musical experience playing in a “crappy punk band” in high school, was living at home with his mom in Cabot, Arkansas, just a little perplexed about what to do with his life. Driven by boredom, armed with a guitar and a swift talent for using home recording software, Michael transformed himself into Totally Michael, a buoyant musician with a penchant for pop hooks and an adoration for blink-182.
Hey guys, there was some talk about Hauschka on the previous page - just thought you should know: The top blog post of Coilhouse Magazine (http://coilhouse.net/) right now is about a movie that is a collaboration between Hauschka and Jeff Desom, a young German filmmaker.
I can't link directly to their post because the Coilhouse blog software sucks, so to anyone reading this in the future: Sorry. This is a relic of the past. Search for it if you want to!
Why? That link is still good.Viva Voce - Rose CityAny chance of a re-up?Code: [Select]http://www.mediaf!re.com/?zemnqxtgz5z
http://www.mediafire.com/?wgyndmcogt2http://www.mediaf!re.com/download.php?dnthuwzfig3The term "supergroup" is misleading. As characteristically bloated, ego-driven juggernauts who hog precious limelight time via past glories, it is difficult to fathom many of the over-hyped efforts made by such conglomerates of talent. What the hell is so "super" about Zwan and Velvet Revolver, anyway? The Accidental — Sam Genders (Tunng), Stephen Cracknell (The Memory Band), Hannah Caughlin (The Bicycle Thieves), and Liam Bailey (Liam Bailey) — may not be coincidental parts of arena alt-rock behemoths used to demanding live emus on their backstage riders, but they are super nonetheless, and unquestionably deserve the label more than many others. Apart, they are each important cogs to their primary musical machines; together, they form a band that is increasingly garnering a lot of press for being, well, super.
Maybe "super side-project" is a more appropriate term to use for The Accidental (a perfect name for a band who came together through a series of casual acquaintances and whim recommendations). On their debut album, There Were Wolves, they tackle the oft-trampled territory of strange folk with a simple concoction of great songs and heart-warming vocal performances. Refreshingly, they sound not like bandmates who come together between holidays and rehab stints, but rather like those who share a central nervous system. Everything on There Were Wolves is catchy and well-arranged — sometimes lushly, often minimally — but what stands out primarily are the impeccable vocals.
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the 1900s - cold & kindCode: [Select]hxxp://www.mediaf!re.com/?sharekey=e1c4ae55d0de278c391d7d881749d3a7
fail..........
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Quote
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http://www.mediafire.com/?lmytvoothezhttp://www.mediafire.com/?liy2ygjg3lzVanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and... More rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.
http://www.mediafire.com/?ny23ynhtwanGene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.
http://www.mediafire.com/file/ktwwnvm0jyy/gene%20clark%20-%20st%20(1971)256.rarVan Duren is pure power pop. He spent time in the Memphis trenches with the big boys (Big Star, Chris Bell, The Scruffs), and knows his way around a hook and a melody as well as any of his heroes from Todd Rundgren, Paul McCartney, Emitt Rhodes and on to Badfinger. He went to high school with Jody Stephens, auditioned for Big Star after Bell's departure, and was in the short-lived but legendary Baker Street Regulars with both those cats. If you think Big Star never got the props they deserved, well they're the Beatles compared to Mr. Duren. This is his debut album, originally released in 1977 on the Big Sound label, and he is no also ran, he is the real deal, power pop at its finest.
Van Duren can belt out up-tempo numbers like the opener "Chemical Fire," "Yellow Light," and "New Years Eve," with respectable growl, but he can also sing ballads like "Positive," and the absolutely gorgeous "So Good to me (for the time being)" in a high register that will remind some listeners of Eric Carmen at his Raspberries best. The musicianship is tight and competent while the melodies and hooks take on the character of birds slowly soaring up into the sky. Other choice offerings from this album include "For a while," "This Love Inside," and "Ooh Babe." Put Are You Serious on and it's easy to imagine a group of friends gathered around a bon fire on a cool early spring evening; it has that kind of warmth and intimacy. Released over thirty years ago Van Duren's Are You Serious is a timeless classic.
http://www.mediafire.com/download.php?xnfyaenzx29The fact that only one of The Vulgar Boatmen's three classic albums is currently available demonstrates the shameful condition of the modern rock music scene. The Boatmen's style, melodic tuneful guitar rock augmented by violins, is most pleasing to the ears. What seperates them from the rest is the truly spectacular songwriting in which each song turns on an often unexpected hook. The best songs on "You and Your Sister," are the title track, "Katie," "Margaret Says," "Mary Jane," and "Drive Somewhere," the last one being the best six minute cruising song you'll ever hear.
Alton Ellis was a star long before rocksteady washed over Jamaica, but it took until that era for his debut album to arrive. 1967's Mr. Soul of Jamaica was his first, followed hot on its heels by Sings Rock and Soul. The latter came courtesy of Coxsone Dodd, it's a fine set, but pales in comparison to the former. Ellis had departed Dodd's Studio One for Duke Reid's Treasure Isle as rocksteady emerged, recording a stream of crucial hit singles for the label. Mr. Soul featured a clutch of them, but oddly not some of the biggest — the genre naming "Rock Steady," the classic "Girl I've Got a Date," the seminal "Cry Tough" were all missing. Presumably, Reid thought they were pointless inclusions, as everyone already had them on 45. What fans did get was a dozen numbers of equal caliber; Ellis didn't release anything less during this period. The sublime "Breaking Up" is a perfect case in point, the singer oozes heartache, while his backing Flames' harmonies are exquisite, and absolutely flawless. But Ellis is fabulous on every song within, even at his most pop-flecked, the sweet "Why Birds Follow Spring" is a good example, he laces a song with emotion. He swaddles "Can't Stop Now" in soul, while his haunting performance on the downbeat "If I Could Rule This World" is unforgettable. Some of the songs here are originals, like the excellent "Chatty Chatty People," the rest covers that Ellis makes his own, notably his phenomenal takes on "You Make Me So Very Happy," "Willow Tree," and "Remember That Sunday." The backings are Ellis' equals, and the reason for Treasure Isle's success. "Birds" is rocksteady perfection, "Sunday" a breezy, bouncy wonder, the brass lights up "Ain't That Loving You," while "All My Tears Come Rolling" is an insistent delight. Every song here has much to recommend it, and all told this compilation was one of the highlights of the era.
http://www.mediafire.com/?wzrmyqjdnmyWhen a Rastafarian MC stole the show on Gang Starr's posse cut "Im the Man" (from their Daily Operation LP), rap fans took notice. And they were not disappointed by Jeru the Damaja's aptly titled debut, The Sun Rises in the East. His ability to drop rhymes filled with Biblical references and simultaneously speak out against the C.R.E.A.M credo that permeates hip-hop is unparalleled. The Brooklyn mic fiends vast vocabulary and clear delivery are on display on "Mental Stamina," where he gloats that hes a "Phoenician with more stamina than a Christian," as he introduces the world to rhyme partner Afu Ra. And the street anthem "Come Clean" features DJ Premier--arguably hip-hops best producer--at his finest (check the drippy faucet sample). This album isnt without controversy, however. On "Da Bichez," Jeru draws a distinction between what he calls "bitches" and "young ladies" over a hot horn loop. But in spite of some minor inconsistencies in his stance as a prophet, this 40-minute album contains no filler, and remains his best work to date.
http://www.megaupload.com/?d=093NC7PTWith two years, numerous radio sessions, and incessant gigging under their belts since their debut single, "In Shreds," the Chameleons came to the studio determined to make a great first album with Script of the Bridge. To say they succeeded would be like saying Shakespeare did pretty well with that one Hamlet play of his. Script remains a high-water mark of what can generally be called post-punk music, an hour's worth of one amazing song after another, practically a greatest-hits record on its own: the John Lennon tribute "Here Today," "Monkeyland," "Pleasure and Pain," "Paper Tigers," "As High as You Can Go," the breathtaking closer, "View From a Hill." Starting with the passionate fire of "Don't Fall," Script showcases how truly inventive, unique, and distinctly modern rock & roll could exist, instead of relentlessly rehashing the past to little effect. The scalpel-sharp interplay between the musicians is a sheer wonder to behold, the Dave Fielding/Reg Smithies guitar team provoke nothing but superlatives throughout, and John Lever and Mark Burgess make a perfect rhythm section -- while the crisp production of Colin Richardson and the band adds delicate synth lines and shadings, courtesy of early touring keyboardist Alistair Lewthwaite, and just the right amount of reverb and effects on the guitars. Add to that the words of Burgess, one of the few lyricists out there who can tackle Big Issues while retaining a human, personal touch, and it all just adds up perfectly. The best one-two punch comes from "Second Skin," a complex, beautifully arranged and played reflection on the meaning of music and fandom, and "Up the Down Escalator," an at once harrowing and thrilling antinuclear/mainstream politics slam.
http://www.mediafire.com/download.php?mdwztho5cmtThe Transfiguration of Blind Joe Death, originally released in 1965, is one of Fahey's earliest recordings; it's also one of the guitarist's most rewarding. Everything here is tactile and uncluttered: beauty, melancholy, humor, reflection. Yet it's these very qualities that make it so easy to ignore just how subtle and complex Fahey is when it comes to fusing country blues with both Western and Indian classical. Progressive folk doesn't get any better than this.
http://www.mediafire.com/?ozcwmlv3qyxThe brothers were born into poverty in Elkmont, Alabama, as the sons of tenant farmers amid a rich tradition of gospel music and Appalachian folk.Their mother, Mollie Delmore, wrote and sang gospel songs for their church. The Delmores blended gospel-style harmonies with the quicker guitar-work of traditional folk music and the blues to help create the still-emerging genre of country. In addition to the regular six-string acoustic guitar, the duo was one of the few to use the rare tenor guitar, a four-string instrument that had primarily been used previously in vaudeville shows Over the course of their careers, the Delmores wrote more than one thousand songs. Some of the most popular were Brown’s Ferry Blues, Gonna Lay Down My Old Guitar and Fifteen Miles from Birmingham and their best-known song, "Blues Stay Away From Me," is regarded by some as the first rock and roll record. It was covered by Gene Vincent and the Blue Caps. Without a doubt, Alton and Raybon Delmore were among the most talented acts on the Grand Ole Opry during the 1930s. This wonderful CD provides a good cross-section of many of their original songs as well as fine renditions of old standards.
The Delmore Brothers, God, I really loved them! I think they've influenced every harmony I've ever tried to sing.
http://www.mediafire.com/?zytmgbmn34bSean, your music is awesome.
I thought I should let you know.
http://www.megaupload.com/?d=6M110JCK (This is a 200+MB upload and I don't want to break it into 3)Notekillers
http://www.mediafire.com/download.php?gutyywzq3mdhttp://www.mediafire.com/?zyzkgmwjgav
That is a pretty magnificent album cover.
I mean come on, dude. You look like Sidney Crosby's playoff beard from last year.
http://www.med!afire.com/?zzmyydyy1iz
listen to it without downloading here:[url=http://www.playlist.com/playlist/16162316043/standalone]http://www.playlist.com/playlist/16162316043/standalone[/url]Download it here: [url=http://www.mediaf!re.com/?ox2fcymjzz1]http://www.mediaf!re.com/?ox2fcymjzz1[/url]
You don't need to speak a word of French to understand Histoire de Melody Nelson -- one needs only to look at the front cover (with its nearly pornographic portrait of a half-naked nymphet clutching a rag doll) or hear the lechery virtually dripping from Serge Gainsbourg's sleazily seductive voice to realize that this is the record your mother always warned you about, a masterpiece of perversion and corruption. A concept record exploring the story of -- and Gainsbourg's lust for -- the titular teen heroine, Histoire de Melody Nelson is arguably his most coherent and perfectly realized studio album, with the lush arrangements which characterize the majority of his work often mixed here with funky rhythm lines which underscore the musky allure of the music. Perhaps best described as a dirty old bastard's attempt to make his own R&B love-man's record along the lines of a Let's Get It On (itself still two years away from release), it's by turns fascinating and repellent, hilarious and grim, but never dull -- which, in Gainsbourg's world, would be the ultimate (and quite possibly the only) sin.
Black Eyes are Dan, Daniel, Hugh, Jacob, and Mike. They began playing as Black Eyes in August of 2001, although most of the band had played together previously in Trooper and the No-Gos before that. The band's first-full length was released on Dischord in 2003 following several singles on Ruffian Records and Planaria. Black Eyes created a unique live experience as the members made a symmetrical shape on stage, two drummers, one on either side of the stage, two bass players, one at the back and one at the front, and one guitarist in the middle. Their shows were chaotic and renown for melting into a frenzied, rhythmic jam sessions with most of the audience partaking in the mayhem by the end of the set. After an extensive tour with Q and Not the band released their second full-length, "Cough" in May of 2004. This album introduced saxophone to the mix and relied more heavily on improvisational and dub influences hinted at in their earlier work. The band broke up shortly before the album was released, at the height of their popularity.
http://www.mediaf!re.com/?cbkmwokzddthttp://www.mediaf!re.com/?ztzircyjgmghttp://www.mediaf!re.com/?5102mjmq15zhttp://www.mediafire.com/?rn32mmzgwyoBolstered by a recording deal with Myspace Records – not to mention 60,000 friends and a million-plus page views and counting on the social networking site – it’s a pretty safe bet Nico Vega’s self-titled debut has a built-in audience long before it falls on any ears. If the band’s snarling rock goddess in the making for a lead has anything to say about it, the hoards of e-groupies won’t be disappointed. The three-piece swerves deftly through rattling rock ‘n roll, indie shoe-gaze and funk, but it’s lead singer Aja Volkman that steals the show. Her Karen O meets Janice Joplin-type of swagger is often nothing short of mesmerizing.
Lee Moses - Time And Place
Serge Gainsbourg- Histoire de Melody Nelson
Follow the rules please, put stuff in code, it's not that difficult.
http://www.mediaf!re.com/?t2xuru3h22yhttp://www.mediaf!re.com/?mizzd2yyx2qhttp://www.mediaf!re.com/?iyd31jzhzrnFoxhole - We the Wintering Tree
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http://www.mediafire.com/?otmeukgrwteIn 1979 the quintessential no wave group released two albums simultaneously; Buy was effectively the Contortions' debut, originally appearing on the indie label ZE, while the same project was released as Off White under the adopted alias of James White, one of the many identities of leader James Chance. The Contortions are considered to be one of the most important and influential groups of the New York no wave scene, which spawned the crazed postmodern persona of James Chance alongside Lydia Lunch, Mars, and DNA, among others. James Chance was a sort of avant lounge lizard personality cult who led numerous projects throughout the '80s, yet he never quite topped the warped distillation of punk, funk, and free jazz presented here, making Buy a pivotal recording of the New York post-punk era. His hybrid of free jazz sax blowing and agitated funk takes the contortions up a notch from the four tracks the band contributed to the Eno-produced No New York compilation, which debuted the furious angular syncopation of transfigured funk and disco rhythms which became the Contortions' signature. Chance's vocals and discordant sax will sound strangely familiar and appealing to fans of early Roxy Music and Television.
Apparat and Modeselektor are two of the leading names in Berlin’s thriving commingling of left-field techno and glitch, so the arrival of the portmanteau Moderat is akin to the launch of a Coke/Pepsi hybrid. Naturally, Moderat finds its constituent parts striking a balance between their respective areas of expertise, but more importantly, Moderat’s songs occupy new ground—a territory where the spacious warmth of ambient music and the claustrophobic chill that typifies dubstep can live in harmony. The opener, “A New Error,” begins with sun-warped tones à la Boards Of Canada, is carried forth on a heavy bass-synth burble, and resolves in the kind of atmosphere usually found on Tim Hecker records. “Seamonkey” plays ominous, like a Flying Lotus track, but it’s even less hip-hop-derived than Modeselektor’s solo work, and instead gets its gravitas from analog sounds. Even the most traditionally dubstep song, “Slow Match,” is typified by its subtlest details—there’s virtually no reliance on bass drops, handclaps, or any other easy percussive crowd-pleaser. Instead, “Porc #1” is built around a nasty guitar line and clackety chopped beats, while the abutting “Porc #2” uses live bass and drums to climb to a panoramic finish. Moderat occasionally get lost in its own soup, and the two tracks where Apparat (a.k.a. Sascha Ring) sings might do better on an album of their own, but this remarkably fluid music proves the group is interested in becoming greater than the considerable sum of its parts.
http://www.mediaf!re.com/?e4waqmygjjjAlongside the likes of Kyler and The Kilimanjaro Dark Jazz Ensemble, Tom Burbank further extends the Planet Mu remit beyond the perceived boundaries of its splenetic catalogue - with 'Famous First Words' a glitchy river of melodic hip-hop and electronic intricacies. Very much a contemporary of Prefuse 73, Burbank's sound relies heavily on the slippage that occurs deep within the digital heart when all is not right; lending 'Famous Last Words' a moody and melancholic edge that marks him out from the usual cut-up merchants. Kicking off with 'Fragile', the usual tick-list of elements are undoubtedly present (juddery beats, bursts of electronics, disrupted emissions) - yet whilst others have seen the surface as all important, Burbank ensures a real depth exists that sees him happily ranked alongside the likes of edIT and Prefuse. From here, 'Knuckles' is brashly regimented in it's gun-fire of crumpled tronics, 'Stay One' goes straight for the widescreen jugular with watercolour soundscapes of some beauty, whilst 'Tha Chop' sees the acoustic and machine living in perfect harmony. Closing with the sun-bleached strings and Air-esque atmospherics of 'Riding Off', Burbank has delivered a blissfully simple debut that doesn't need to show off to get its point across.Part 1
http://www.mediaf!re.com/?xw4qyn0m1ymPart 2http://www.mediaf!re.com/?j3yz5wjimuz
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http://www.mediafire.com/?g0eltlonyde http://www.mediafire.com/?b1zjngmttmdASTRONAUTALIS - the mighty ocean and 9 dark theatres
indie/rap/singer-songwriter/whatever
pt.1:Code: [Select]http://www.mediaf!re.com/?g0eltlonydept.2:Code: [Select]http://www.mediaf!re.com/?b1zjngmttmdif you like anticon stuff like why? you seriously should check this guy out.
Moderat - Moderat
8.7/10
For a band that often seemed be on the verge of a commercial breakthrough, Pavement made all the right moves-- they just did them in the wrong order. With its crystalline production (courtesy of R.E.M. architect Mitch Easter and Bryce Goggin) and more refined songcraft, Pavement's 1997 release Brighten the Corners was the logical follow-up to 1994's indie hit Crooked Rain, Crooked Rain. But of course, that move from A to B took a tangential turn back to Z with 1995's notoriously slapdash Wowee Zowee, an album beloved by the band's diehard fans, but one that effectively squandered any crossover potential Crooked Rain might have built up (and which would've made a lot more sense as Crooked Rain's predecessor than successor).
Brighten the Corners' more focused, melodic approach could thus be heard as the sound of Pavement making amends, but it arguably came too late-- by 1997, modern-rock radio was already tuning out brainy indie-rock in favour of pre-fab pop-punk and numbskull nu-metal. Pavement understood this shift all to well, which could be why Brighten the Corners sounds like their most self-aware and, by extension, honest album-- when Stephen Malkmus yells, "listen to me, I'm on the stereo!" on the album's excitable opening track, it's with the implicit knowledge that he'd have to settle for hearing himself on his home hi-fi rather than on KROQ.
Perhaps as an attempt to reconnect with their pre-Wowee Zowee catalogue, Brighten the Corners takes various structural cues from previous Pavement albums: as on 1992's Slanted and Enchanted, the second song fades into a brief instrumental; the slowly intensifying mid-song jam on third track "Transport Is Arranged" sounds like it was grafted from Crooked Rain's own third track "Stop Breathin"; and Malkmus still couldn't resist the glaring name-drop (though Crooked Rain's now-dated Stone Temple Pilots/Smashing Pumpkins swipes were replaced by more eternal ruminations about the peculiar oration of Geddy Lee). Consistent with this self-reflexivity, Malkmus cheekily addresses his own status as the most overanalyzed lyricist in 90s indie-rock, describing himself as "an island of such great complexity," declaring that "if my soul has a shape, well, then it is an ellipse," and even raging that he's "sick of being misread by men in dashikis and their leftist weeklies." (That said, it would take 11 years and one ridiculous Republican campaign to lend any significance to the line "there's no women in Alaska.")
The May 1997 Alex Ross New Yorker essay that accompanies this reissue-- the fourth in Matador's superlative series of Pavement packages-- focuses on Malkmus' lyrical gift for extracting substance out of nonsense, and the folly of trying to saddle it with literal interpretations. But on no other Pavement album do all those bon mots and non sequitirs form such a coherent picture of the band's emotional state. Even the album title-- the only one that doesn't rely on rhymes and/or alliteration-- is telling: Rather than re-ignite the band's commercial prospects, Brighten the Corners marked the beginning of Pavement's slow fade into the sunset, while shedding light on its principal songwriter's future course.
Not coincidentally, both Malkmus and co-founder Scott "Spiral Stairs" Kannberg turned 30 during the album's recording, and both sound consumed by all the melancholy, anxiety, loaded significance, and renewed perspective that life-change carries. Malkmus' charming, chiming "Shady Lane" reasserts the "settle down" sentiment of Crooked Rain's "Range Life", and "Transport Is Arranged" seems to address the historically conflicted dynamic between relationships and life on the road ("a voice coach taught me to sing, he couldn't teach me to love"); Kannberg's two exemplary contributions-- the Big Starry-eyed power-pop rush "Date w/ Ikea" and the smooth Stonesy funk of "Passat Dream"-- equate responsibility and commitment with consumerism.
Easter and Goggin's luminous production casts this wistfulness in an appropriately soft-focus lens; in return, the band, so scatterbrained on Wowee Zowee, turn in their most pleasingly patient performances of their career, establishing a deeper sense of space through the use of mellotrons, drum-machine breaks and synths set on "swoosh." The dreamily drifty centerpiece track "Type Slowly" now sounds like a dry run for the sort of exploratory jams Malkmus would fashion in his post-Pavement band the Jicks (a point driven home by the extended, more volcanic live version included here), while the closing two jangle ballads, "Starlings of the Slipstream" and "Fin" are two of the most affecting songs in the Pavement canon, each appended with guitar solos that compensate for Malkmus' still-developing chops with genuinely pained expression. If "Fin" didn't prove to be the band's actual swan song, the track does sound like a farewell to Pavement's wiseacre persona.
But if Brighten the Corners signaled a turn to the serious, the 32 outtakes and radio-session cuts compiled here give Pavement plenty of room to, as one B-side aptly puts it, "fuck around." Which means indie-rock in-jokes (the Pussy Galore pastiche of "Neil Hagerty Meets Jon Spencer in a Non-Alcoholic Bar"), 1960s pop goofs ("Nigel"), cartoon themes (two stabs at "Space Ghost"), and kill-yr-idols covers of the Clean (Kannberg's electro-fried take on "Oddity"), Echo and the Bunnymen (a Crazy Horsed interpretation of "The Killing Moon"), and heroes-turned-nemeses the Fall (a gleeful desecration of the already blasphemous "The Classical"). And in the seven-minute rough cut of stoner-rock dirge "(And Then) The Hexx" and the freewheeling biker-bar boogie of "Roll With the Wind", you can hear Malkmus moving ever closer to adopting his future role as beardless-hippie guitar hero.
According to the liner notes, "(And Then) The Hexx" was originally intended to be Brighten the Corners' opener, but its sinister creep would've made an awkward introduction to the album's more winsome, mellowed-out material. (The song eventually surfaced on 1999's Terror Twilight.) However, that same rationale might also explain why the terrific "Harness Your Hopes" was demoted to B-side status, it being perhaps the most typically Pavementy Pavement song ever: the reductive, repetitive Velvet Underground riff; the rhyme-a-second wordplay ("nun is to church as the parrot is to perch"); and a line that seemingly sums up the band's conflicted, outsider relationship with the pop world-- "Show me/ A word that rhymes with Pavement." Given that Brighten the Corners captured Malkmus trying to break free from Pavement's established aesthetic-- and given that, two years later at London's Brixton Acadmey, he would famously sum up his feelings about the band by waving a pair of handcuffs-- the word he was looking for was under his nose along: enslavement.
— Stuart Berman, December 10, 2008
http://www.megaupload.com/?d=FSQRPQZ8http://www.megaupload.com/?d=LEQ99ZB9
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http://www.mediaf!re.com/?mqmytzzezj2fnessnej is an instrumental quintet from darmstadt and mainz. This much is certain – or is it? I did hear some voice in one song. Or wait ? that might have been some weird instrument. Maybe sampled vocals? Below the line: elaborating fnessnej musical „elements“ turns out to be a problem. What’s left to say is: i see a stage full of gadgetry, little instruments hardly to define. Anyhow also two guitars, a bass, a drumset, several synthesizers - and no legroom. This much is certain.
In the current instrumentation, fnessnej is on the air since approximately 1968. In the course of time, the band clearly distanced itself from a playful, slightly electronic post-rock sound, dismembering a laptop and advancing to a new level of analog sound creation, experimenting on how to create a one-of-a-kind tonal cosmos. While stacking up on equipment in order to create this unique sound, fnessnej has become less of a quintet than an orchestra at this point. Anyhow, the band doesn’t commit itself to plain „tone-creation“ - more though to composition - fathoming the possibilities of instrumental music without ignoring structure and song itself. in-your-face songcollages, complex popsong-structures, loopbased experiments and disco-ish tunes – you’ll find them all. Musically, fnessnej has long emancipated from etiquettes such as "post-rock" and by now play a confident style throughout a broad stylistic diversity, which i again do not want to dimmish by defining an actually new style for his band (does this make sense?). then - as a last novelty, the band started to refuse the total refusal of vocal elements, conclusively eliminating any possibility of categorization. On stage, fnessnej are 5 giggly goofballs with red overalls and white motorbike helmets, sometimes hiding behind the world’s most stupid robot-annoucements in order to not open their own mouth, anyhow yelling the rare passages of vocals into no microphone at all, sometimes accompanied by fat old ohlson on mpc, trying to sing along and looking hot. Looking so hot.
http://www.mediaf!re.com/?wrtwdz0tynu
The Field, Burial AND Four Tet
HOLY FUCK. part 1 of yesterday and today doesnt work, im downloading a "yesterday and today" from google, idk if its the field. further updates as events warrant.
edit: its not the field. GODDAMNIT.
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&&&
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(since both are seven or so tracks, i upped them together. all in .mp4)Code: [Select]http://www.mediaf!re.com/?nit3gzvvie1
get this link, i posted quite some time ago, if you'd like more his material
http://www.mediafire.com/download.php?bmilyvmomn3On their debut album, Baltimore based The Payola Reserve create blissful ‘70s-inspired pop that blends Elvis Costello with Tom Petty, and throw in a little modern day alt-country for good measure. The song writing team of Ben Pranger and Al Pacheco are surprisingly comfortable on their first effort, as One Long Apology displays the confidence of seasoned veterans, not first-timers.
Throughout most of the album, the band elegantly manages to make social commentary without sounding pretentious. Opener ‘Music Is Not Music’ has all the potential to be a boring retread, but manages to avoid it. The real gem, however, is ‘Brave New Radio,’ on which Pranger channels Ric Ocasek with such enthusiasm that you can’t help but be sucked in.
Brimming with equal parts cockiness and playfulness – both well deserved – The Payola Reserve make a concerted statement with One Long Apology. This is one band to keep a serious eye on.
http://www.mediafire.com/download.php?4z4eziu5ou5http://www.mediaf!re.com/?mxjmzt2nyizIf you like Tom Waits, or beautifully dark southern music, you will adore WEW.
*Bonus Treat*
Four Tet & Burial - Moth/Wolf Cub (2009) [320kbps]
(http://wearecasualpilots.com/wp-content/uploads/2009/04/burialfourtet.jpeg)
So this is the new *super mysterious* Burial & Four Tet 12" that the internets are all in a frenzy about, though after listening I can understand why. Apparently both tracks (there's only two) are collabarations from the two artists so if you've heard , and enjoyed, either of them I'd say check it out.
http://www.mediafire.com/?zzg5ziz4mntCourtesy of Will,Thank you for this. For convenience sake, here is the more specific URL:
William Elliott Whitmore - Animals in the Dark
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If you like Tom Waits, or beautifully dark southern music, you will adore WEW.
http://www.mediafire.com/?mxjmzt2nyiz
*Bonus Treat*
Four Tet & Burial - Moth/Wolf Cub (2009) [320kbps]
(http://wearecasualpilots.com/wp-content/uploads/2009/04/burialfourtet.jpeg)
So this is the new *super mysterious* Burial & Four Tet 12" that the internets are all in a frenzy about, though after listening I can understand why. Apparently both tracks (there's only two) are collabarations from the two artists so if you've heard , and enjoyed, either of them I'd say check it out.
This is the most piss-boring release i've heard in the last 10 years. Frankly, i'd expect this kind of humdrum crap from Four Tet, but Burial's clearly lost it.
The last thing we heard from the long running but little recognized Omaha band Neva Dinova was 2004's One Jug of Wine, Two Vessels, a split EP with Bright Eyes. It seemed like Oberst was assisting a band he admired, one that would earn exposure and credibility by sharing an EP with him. Neva Dinova actually outshone Bright Eyes on the EP, as Jake Bellows's weary voice oozed over sepia-toned Americana that was clear and concise if occasionally a bit murky. Now that the group has become known outside of Omaha, here's its proper coming-out party, The Hate Yourself Change.
Neva Dinova has crafted a dreamy, slow-burning lament that is consistently pleasant, occasionally exceptional, and-- in inspired spurts-- aimed squarely at the FM band. This newfound directness from a band that used to play triple-guitar slowcore jumps out from the first track, "Hat O'er Eyes", which is comprised solely of treacly vocals and a folksy acoustic strum. Bellows has a rich, aching voice, like a rough-around-the-edges Jeff Buckley, yet refrains from the affected drama of Omaha heavy hitters like Oberst or Son, Ambulance's Joe Knapp. The sultry "Ahh" blossoms with angelic harmonies as Bellows switches between winsome emoting and a deadpan drawl; with its delicate phrasing, subtle shimmer, and steady increase in intensity, it wouldn't be out of place next to Coldplay. One of the few upbeat songs on the album, "She Can't Change", follows suit-- it's a steady build around a pristinely simple and poppy guitar figure.
But in the end, this same consistency may be what keeps Neva Dinova breaking out of Omaha. Too many of their songs are agreeable but interchangeable. "The Champion", Can't Wait to See You", "Blackest Heart", "Cold Calls", and "On/Off" have little to recommend one over the others: They're all depressive ballads that build to radiant peaks, tinged with gentle psychedelia, recessed harmonies, and Bellows's able but unvaried vocal presence. But there are bright flashes of deviation on The Hate Yourself Change that indicate Bellows is struggling out of his perennial mode. "A Picture in Pocket", with its lean, repetitive throb and tightly reverberating guitars, sounds a lot like Franz Ferdinand, especially the fey vocal chorus. And "I've Got a Feeling", the album's closer, trades in Bellows's lovelorn aphorisms for a more caustic vocal and lyrical turn, a weary, expletive-riddled screed that mounts toward the choral refrain, "The world's a shitty place and I want to die." Barring these aberrations, The Hate Yourself Change works best as an innocuous bedtime record; including them, it's a snapshot of a band taking a tentative step toward the next echelon of recognition and accomplishment.
— Brian Howe, February 6, 2005
http://www.mediafire.com/?jiu0dzmiwndOmaha-based Neva Dinova has put out a very tidy ten-song, self-titled album. Coming off as a cross between a dreamy, ambient guitar-fronted project, a lounge act ("Lucifer's Lament"), and an Americanized U2, the five lads in Neva Dinova don't seem to falter too much. This album seems suited for the bitter cold days of winter looking out onto pastoral landscapes. Tunes such as "Did You Disappoint Your God?" reflect this gentle mood. The next song, "At Least the Pain Is Real," reflects another side of the band, while not alienating anyone. It starts out with simple guitar and drum work and builds into a pseudo-Radiohead swagger until the chorus bursts at the seams, sending the song all over the place in a beautiful mess. Later on in the tune, the guitar plays out a delicate solo and at the point where one might think it'll play back on itself and repeat, it instead works nicely into a gentle distortion reminiscent of a refreshing drink from a natural waterfall. Definitely an album meant for the more starkly emotional months related back to autumn and winter, this self-titled work shows that there's more going on in Omaha than some might think.
http://www.mediafire.com/?awlrjn5tlkghttp://www.mediaf!re.com/?mw2thedumi5
Its out, motherfuckers
Wilco - WilcoCode: [Select]http://www.mediaf!re.com/?mw2thedumi5
I'm considering putting up Yankee Hotel Foxtrot.
http://www.mediaf!re.com/?fjyzgjgytjdhttp://www.mediaf!re.com/?zaixyltzzbzhttp://www.mediaf!re.com/?z1zmtyrowyz
http://www.mediafire.com/?zonmodgm2ryProduced by R.E.M.'s Peter Buck, March 16-20, 1992 represents Uncle Tupelo's full evolution into a true country unit; with the exception of the eerie squalls of guitar feedback which haunt Jeff Tweedy's mesmerizing "Wait Up," there's virtually no evidence of the trio's punk heritage. Instead, the all-acoustic album — a combination of Tupelo originals and well-chosen traditional songs — taps into the very essence of backwoods culture, its music rooted in the darkest corners of Appalachian life. An inescapable sense of dread grips this collection, from the large-scale threat depicted in the stunning rendition of the Louvin Brothers' "The Great Atomic Power" to the fatalism of the worker anthems "Grindstone" and "Coalminers"; even the character studies, including a revelatory "Moonshiner," are relentlessly grim. A vivid glimpse at the harsh realities of rural existence, March 16-20, 1992 is a brilliant resurrection of a bygone era of American folk artistry.
Oh, that William Elliot Whitmore album is fantastic (even upon multiple spins). Anybody who is any way interested in that sort of thing should listen to it while you can.
http://www.mediaf!re.com/?h3xdmjn2z3ihttp://www.mediaf!re.com/?zt2dvihxzwzhttp://www.mediaf!re.com/?c4dtnm2mi20
http://www.mediaf!re.com/?mgtfvhwewcvhttp://www.mediaf!re.com/?gbzfizot8k5http://www.mediaf!re.com/?rkjlehwaq3bhttp://www.mediaf!re.com/?6envmeetxpwhttp://www.mediaf!re.com/?fbvppvaganrThis is like having Christmas and birthday on the same day!
Fuck you, Tyler
Fuck you
http://www.mediaf!re.com/?zhvj5ou10pthttp://www.mediaf!re.com/?jbhrncfmnjchttp://www.mediaf!re.com/?uju4xz2oxgjhttp://www.mediaf!re.com/?wpvv07mba0nhttp://www.mediaf!re.com/?rjtjjjjndlohttp://www.mediaf!re.com/?nytqqkd9ubdhttp://www.mediafire.com/?jy2mnjuzjmeBackstreet's back
ALRIGHT!
In a link, yeah
http://www.mediaf!re.com/?ujukmm2whmyhttp://www.archive.org/details/mono2009-05-08..sbd.wav
Rules:
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from Robert Christgau
Dub Housing [Chrysalis, 1979]
Because I trust the way Ubu's visionary humor and crackpot commitment rocks out and/or hooks in for the sheer pleasure of it, I'm willing to go with their excursions into musique concrete, and on this record they get me somewhere. The death of Peter Laughner may well have deprived America of its greatest punk band, but the subsequent ascendancy of synth wizard Allen Ravenstine has defined a survival-prone community capable of bridging the '60s and the '80s without acting as if the '70s never happened. Imitating randomness by tucking randomlike sounds into deep but tactfully casual structures, joyfully confusing organic and inorganic sounds, they teach us how to live in the industrial shift--imaginatively! A
http://www.mediaf!re.com/?t4tmey5emcjI think it is so their downloads are the ones seen so people will get them.
Uploading The Consonant C when I get a chance so that this isn't a pointless post.
The forced pagebreak iskind ofa douchey thing to do.
http://www.mediafire.com/?sharekey=5c2f3ac54e60bcf6d2db6fb9a8902bdahttp://www.mediaf!re.com/download.php?y2l3nnemjciFin Greenall, a.k.a. Fink, is a Brighton-based singer-songwriter whose new album, Sort of Revolution, is his third effort released by Ninja Tune. And, in nearly every way, the songs on Sort of Revolution sound exactly like what you would expect from an acoustic-toting singer-songwriter signed by Ninja Tune: introspective lyrics over groovy, urban backdrops. A proudly understated musician, Fink crafts a hushed, mellow album that is equal parts brooding and soulful. Primarily accompanied solely by Guy Whittaker on bass and Tim Thronton on drums, Fink’s jazzy-folk sound is occasionally dour, but often gratifyingly distinct from most of today’s independent singer-songwriters.
Every track on Sort of Revolution would feel at home in a warm, European coffeehouse — you can practically smell the clove smoke and darjeeling aromas wafting through the speakers. The album’s opening title track is clearly its strongest and best exemplifies Greenall’s ability to turn a deceivingly simple guitar riff into a beautiful, haunting experience. Clocking at over six and a half minutes, Greenall patiently utilizes all of his musical space and allows his smooth voice to gently carry the listener. “Let me know when we get there/ If we get there” he pleads over a softly tapping bass and sporadic drum clacks, setting a dim lyrical precedent that’s developed throughout the album. Perhaps to repay Greenall for collaborating on his Evolver album, R&B sensation John Legend co-writes and plays piano on the next track "Move On Me," a placid study in tension-and-release. Meanwhile, "Q & A" is a spaced-out, sexy joint that cleverly eludes over-repetition by playing around with various filters and studio effects, effortlessly conjuring lonely city streets on cold, existential nights.
http://www.tinymixtapes.com/Fink
http://www.mediaf!re.com/download.php?jtud2mmmm2nWhere Hearts Go Broke could be described as Joy Division on surf boards in space. And it's not as odd as it may seem. On their previous album, Thank You For Choosing..., Hotels were very influenced by gothic synth pop, new wave and the likes of Joy Division. But as the band partly moved from New York to Seattle, it seems like they left much of that behind, embracing the surf music of the West Coast. And this change to more surf-like rhythms also give more room for the retro sci-fi pop sound.
This doesn't mean that the new wave is totally absent. Especially on the tracks "Port of Saints" and "The Maudlin", it is most definitely present. Yet, with more space-tone and lightness than in their previous work. Which is something that becomes them well. These two tracks, and the magnificent "The Heart That Hears Like A Bat" are also the songs that stands out as highlights on this all-over-good album. The latter a slow, lounge tune that takes you to the 70ies dreamy sci-fi soundscapes.
With this fusion of new wave synth pop, surf and sci-fi sounds, Hotels delivers something close to a perfect pop album. With just the right amount of nerve, romance and sophistication.
http://www.lunakafe.com/moon153/usny153c.php
http://www.mediaf!re.com/download.php?wgdne22mz5mhttp://www.mediaf!re.com/download.php?ztz5mfy2lrmThe Consonant C is a group of musicians held together by a glue of love, making music like little lanterns that cluster into somewhat organized constellations of sound. Incubated during cold nights in Calgary basements, these six friends woo their audiences by making ghost noises, thumping drums, plucking banjos, strumming harps, rubbing wine glass rims, plinking Glockenspiels, banging pianos, and stirring fantastic vocal harmonies. Bringing together various musical backgrounds including formal training in classical and jazz, forays in Punk rock and folk, and love affairs with what is know down south as New Weird American, they display a playful zeal for every influence. As founding members of local collective The Summerwood Warren, they regularly collect the Calgary music community into heart bursting all aged nights of adventure and creativity, involving video projections, artistic installations, the occasional tobogganing excursion, and yes, live appearances from the band. Specializing in creative performance, they are likely to dress up as animals, build you a blanket fort, or at the very least, to have you singing, howling, and loving along.
Fink - Sort Of Revolution
http://www.mediafire.com/download.php?ym2vn0z4gn4
I only did that page break, copying what i had seen done on this forum. you all are fucking bitches. if you don't want my music, i won't post it.
Highly rhythmic and sonically alien, the score to Coraline is eerie, lovely, terrifying and whimsical by turns, curiously maintaining a continuous air of dark fantasy. The melodies and instrumentation are both alike distant and strange, giving the entire score the feeling of dream-music. But while the music is not familiar or conventional, it is undeniably intriguing and captivating.
The score album begins, oddly enough, with the sprightly but vaguely sinister “End Titles,” with fast-paced plucked strings, harp and whining boys’ choir, singing meaningless words in almost intimate whispers. An occasional swell of the strings and brass section give the cue an off-balance, teetering feel. The album is not presented in film order, and this contributes to the arbitrary, dream-like atmosphere of the music.
A gentle theme for Coraline is introduced on album in the wistful “Installation,” which features soothing vocals by the Children’s Choir of Nice (who feature prominently during the entire course of the score), backed by plucked harp and glass armonica. The theme is given a more playful development by solo boy soprano in “Exploration,” and on soothingly light electronic elements and flute in “In the Bed.”
http://www.mediaf!re.com/?akju41omnnyIn her solo performances and recordings (particularly the ongoing project she calls "One Cello x 16"), she uses live electronic sampling and repetition in order to layer the sound of her cello, creating rhythmically dense musical structures. Zoë's self-produced album "One Cello x 16: Natoma" has four times made it to #1 on the iTunes classical charts. Keating is the recipient of a 2009 Performing Arts grant from the Creative Capital Foundation. She has collaborated with such artists as Amanda Palmer, Rasputina, and John Vanderslice.
http://www.mediafire.com/?ejnhy0zjqmy
you all are fucking bitches. if you don't want my music, i won't post it.
whats the dilly with that state upload? doesn't work? i'm interested to hear what that is, as i've never heard it. i also recently heard that they might be releasing all the episodes on a dvd finally. my life would be complete.The Dilly:
http://www.mediafire.com/?y0m0nn2nk2mBTW, DVDs of the entire series hit stores July 14
The album is not “SUNN O))) with strings” or “metal meets orchestra” material. The band took an approach concentrating on more of allusion toward the timbre of feedback and the instruments involved, so the piece is really illusory, beautiful and not entirely linear, stating that the end product is “the most musical piece we’ve done, and also the heaviest, powerful and most abstract set of chords we’ve laid to tape” The album was recorded and mixed by Randall Dunn & Mell Dettmer at various points over the last 2 years..
-blah blah blah release dates and whatnot-
MAXIMUM VOLUME YIELDS MAXIMUM RESULTS.
http://www.mediafire.com/?wjmjrmm5njm
I'd wanna see them in a church
Do Sunn O))) take their image very seriously? If so, wouldn't it be kind of a bummer to just see them play a show at a regular music venue. I'd wanna see them in a church or amidst some ruins on top of a mountain or in a cave or something.
http://www.mediafire.com/?ijyzyr5jgdu
Malian singer, songwriter, and guitarist Rokia Traoré is no stranger to European audiences. Her three previous offerings and her numerous tours and high-level showcases -- at WOMAD and Africa Live, and as part of Youssou N'Dour & Friends in Geneva, to name a few -- have garnered her a large and devoted fan base. Her music is not so well known in the United States, but with the release of Tchamantché on Tama/Nonesuch, this should change. Traoré has always been a tradition breaker. She is from a family of nobles of the Bamana ethic heritage, a group with a strong griot tradition, though its nobility are discouraged from being musicians. Also, Malian women who are musicians usually accompany themselves on acoustic rather than electric instruments. Traoré, who has appeared on stages and recordings with her great influence, the late Ali Farka Touré, plays an electric Gretsch.
On Tchamantché, Traoré goes a step further: most Malian vocalists of the feminine gender tend to sing stridently, in over the top voices about elements of pride and heritage. She does neither. Her voice is intimate and almost understated, and her songs are filled with the plight of Africans who struggle for the most basic of human amenities: clean water, food, clothing, and shelter. Her politics are not rooted in rage, but in compassion. But even this isn't enough for Traoré. She has fashioned a new sound from the tenets of Malian folk forms with her unique blend of guitars (electric and acoustic), n'gouni, classical harp, and kora, all layered in staggered rhythms with snares, a full drum kit, and percussion instruments. This is beautifully evident on the album's fifth cut, "Kounandi," the taut weave of instruments above the rhythms creating an intoxicating tapestry of root sounds that somehow transcend their basic tonalities and become something new. This is followed with the gorgeous "Koronoko," where these instruments, along with a popping bassline and staggered web of harmony vocals, act as another layer of instruments and tonalities. But then, there isn't a weak moment on Tchamantché. Its lyrics (all translated into English for Amerikanskis) -- full of pain, celebration, spirituality, steely pointed notions of justice, and critique -- are only underscored by this heady, complex mix of stylistic forms and styles that has become a sound unique to Rokia Traoré. Highly recommended.
http://www.mediafire.com/download.php?zmmbizd2tyyhttp://www.badongo.com/file/14999508http://www.mediafire.com/?tnio2ywmwzhIn today’s cut-throat world of music, it pays to have a champion. The world of young male singer-songwriters doesn’t seem to be as crowded as the corresponding female market, but every little helps. In the case of Miles Benjamin Anthony Robinson, he has a champion in the shape of TV on the Radio’s Kyp Malone who said “MBAR is my favourite songwriter right now”. But that’s not all, Grizzly Bear bigging him up also helps him to get noticed, and then there’s the name. All four of them. A while back it seemed that there was a bunch of artists trading on three names (William Elliot Whitmore, David Karsten Daniels, David Thomas Broughton, I’m sure there were more). But four? That’s scaling things up a notch, isn’t it?
Of course all of this would be just hot air and a good address book if the music wasn’t up to scratch. But thankfully MBAR is up to the the praise. Ragged, emotive rock is what he does. Lead track Buriedfed was my introduction, which got me thinking Jeffrey Lewis with heavier guitars, but elsewhere the tone is less anti-folk, more rasping and layered guitars reminiscent of his TVOTR mentor. But the sound is less precise, less clean. For me, the artist that Miles is most reminiscent of is Micah P Hinson. Both young artists from different parts of America, they share a similar rough-hewn, warm and emotive aesthetic, even if MBAR doesn’t go for the tortured howling. His songs are slow and measured, often hymn-like, but don’t have the obvious big chorus pay-off, so you have to work a little harder to appreciate them. It’s time well spent though.
Family is broken-toy disco rock, served funky, like a big friendly bowl of sugary breakfast cereal. Upon a base of hearty synths and sweaty drums these tunes bubble with 80s pop guitar licks and are bedazzled with meta-marshmallows of electronic drones and glitchy samples. This alt-dance exterior is a framework from which hang beautifully rhythmic vocals, either musing empathetically about high-school lovers and guilt-ridden bus rides or issuing vaguely strange missives about mysterious wizards and black champagne. The tone is sometimes sly, sometimes frantic but never menacing, ironic or fey. Sounds like LCD Sound System, Outkast, Blur, TV on the Radio, Cars and Quincy Jones-era Michael Jackson done in the ramshackle, outsider style of Public Enemys producers the Bomb Squad. Family is probably as influenced by cartoon theme songs and 8-bit video game music as the L.A. riots. Beyond its charming pop heart and playful nouveau-disco trimmings, Family can also serve as a floatation device in case of bad-vibes. Step into their rad imagination, they got the magic touch.
http://www.mediafire.com/?iz00znooygc
http://www.mediaf!re.com/download.php?qmyyzm4ddqihttp://www.mediaf!re.com/download.php?5mnoynizdnwhttp://www.mediafire.com/?nddyjomcwwhhttp://www.mediafire.com/?on1myozyyj3http://www.mediafire.com/?0cnlmmzcvzyBowerbirds’ debut album, Hymns for a Dark Horse, was nearly one hundred percent focused on the thesis that the earth is a sacred place with merit beyond us, and that humans are just visitors here. Its contrapuntal harmonies documented a moment in the life of the songwriter and the life of the band – Beth Tacular and Phil Moore living in an airstream in rural North Carolina, building a cabin of reclaimed boards by hand in the woods – but did so without, as far as we could tell, delving into their lives at all. While these weren’t protest songs, per se, they had the wry anger of a “Lonesome Death of Hattie Carroll.” The songs were interconnected, both musically and thematically, a musical whitepaper of the very best, most listenable kind.
So it was a big surprise when we heard the songs collected on Upper Air. Bowerbirds were revealing more, writing from a personal voice, exploring love and human emotions in ways that have never been fully fleshed-out in their songwriting before. They have not abandoned their worldview from Hymns, but the lyrics are no longer just observational. These are songs written from a personal place, examining the contradictions inherent to a conscious life, and this emotional depth makes for an undeniably powerful collection of songs.
Upper Air is the product of months spent away from nature and away from home, touring endlessly with the likes of Bon Iver, Phosphorescent and John Vanderslice and on their own, on both sides of the Atlantic. The fodder for songwriting has changed, and so have the songs. Upper Air moves away from the singular sound and sentiment; each and every song on Upper Air is a journal entry that stands on its own, each a unique, beautiful piece. The arrangements are subtle: acoustic guitars, organ, piano, autoharp, violin, percussion, upright bass and more are used throughout the recording. Usually though, it is just a few of these instruments delicately supporting Moore’s voice, the anchor of every song. Everyone struggles when they try to describe this music, including us, but we’ll try: it has the spirit of Richard and Linda Thompson, the currency of Devendra Banhart, the addictively sweet melodicism of Iron & Wine, but it churns with an underlying energy closer to a Beirut or something farther out, more raw, more wild.
The most notable part is this: The songs don’t hide behind the instrumentation, the deontological conviction, or, frankly, anything; and that is what makes Upper Air undeniable, simple, and breathtaking.
http://www.mediafire.com/?mrig2nnjd4mRainwater Cassette Exchange (to be released digitally 5/18 and on CD and vinyl 6/8- UPDATE: now on cassette, too!) is the latest offering from Deerhunter. Immediately apparent from title track and promo mp3 "Rainwater Cassette Exchange" is some inspiration drawn from contemporaries Animal Collective (front-man Bradford Cox, incidentally, spoke of this in a Pitchfork interview), sounding a bit trippy and oceanic, as well as like a poppier version of their last album, Microcastle / Weird Era Cont. Next up, "Disappearing Ink", my favourite from the EP, and "Famous Last Words" have a succinct punchy-ness, a Deerhunter trademark which begs repeated listening. "Game of Diamonds" takes the tropical mood surrounding Rainwater to greater heights and underscoring a movement away from shoegaze...and then there's "Circulation", which is awash in all that noisy, shoegazey goodness you'd come to expect, and flickering out with snippets of TV channels changing. As a good EP ought to, Rainwater Cassette Exchange feels like a wonderful album cut short and shows a deepening of the band's sound that bears great promise for a future full-length release.link (http://www.afutureinnoise.com/2009/05/deerhunter-rainwater-cassette-exchange.html)
http://www.mediafire.com/?rwuywdegqzh
http://www.mediafire.com/?motd3mzwiudThe two-minute "Mob Rule Invocation," which starts Sex Mob Meets Medeski, is enough to turn the tables on conventional jazz quintet genre, pointing the way to bridge the gap between the melodic and music that is so squarely and pristinely raucous that its intention is measurable in the fun the musicians are clearly having.
Recorded live at the Willisau Jazz Festival in 2006, this album reaches across a spectrum from spontaneous improvisation to pieces from Duke Ellington and Count Basie, pop artist Prince and 007 film composer John Barry. The original Sex Mob quartet of drummer Kenny Wollesen, bassist Tony Scherr, slide trumpeter Steven Bernstein and alto saxist Briggan Krauss, joined by John Medeski on organ, stretches content to the limits and sheds new light on the familiar.
No instrumentalist ignores his place in the field; in fact, each carves his own line so deeply that subtlety is an unsuitable word to assign to the music produced, even if it is in ballad mode ("This Never Happened to the Other Guy," "This Never Happened Part 2"). more... (http://www.allaboutjazz.com/php/article.php?id=32854)
http://www.mediaf!re.com/download.php?wgh0ejwcaeohttp://www.mediaf!re.com/download.php?nmjajzdjwaywho doesn't need a little pep in their step every now and then? There was a brief moment in my youth when all i ever wanted to listen to was ska. if it wasn't op ivy, the skankin pickle, RBF, or the bosstones, i wasn't having it. needless to say, that phase lasted about 3 months. This band however, takes the fun hoppiness from no doubt and mixes it with a little save ferris band action. the result are two album that i now giggle and tap my fingers too in the car. check them out.
http://www.mediaf!re.com/download.php?yw1tzkzmjdzthis is amazing. if you don't own it already, then do yourself favor and get it. i fell in love with aimee mann years ago when i raided a roomates cd collection. if you really like the magnolia soundtrack, you will love this album (it was written around the same time).
http://www.mediaf!re.com/?20ntiyximwunever in my wildest dreams did i think that i would admit this to anyone, but i love lisa loeb. more importantly, this album. it makes me happy when i am sad and and keeps me flying when i am glad. it's a guilty pleasure must have...and hey...it's not as embarassing as NSYNC.
http://www.mediaf!re.com/download.php?mzjmjotdyogthere was riot grrl and then there was this. 4 chicks that scream and roll around on stage who at the time of their first album didn't even really know how to play their instruments. this is their last lp as a band (they have 6 other releases i think). just when the band was starting to get good they went on hiatus. when i get moments of road rage, this often pops up. it's one of my favorites. love it. buuuuuurp.
Deerhunter - Rainwater Cassette Exchange
http://www.mediafire.com/?4wjiut232ye
http://www.mediafire.com/download.php?55z2wxd3lwd
Bowerbirds - Upper Air (2009)
Mr. Butlertron.
new pelican album.
http://www.mediafire.com/?qjnmwdw2oe3http://www.mediafire.com/?y3xznhwonzu#http://www.mediafire.com/?0ujoyze4ojzNoooo the Sunset Rubdown link is already down. I want it!
http://www.mediafire.com/?2mjoexzmjznhttp://www.mediafire.com/?lytl5eojirg
http://www.mediafire.com/?kknz2itayym Noooo the Sunset Rubdown link is already down. I want it!
I'm uploading it now along with an extra 7".
EDIT:
Dragonslayer:Code: [Select]http://www.mediaf!re.com/?2mjoexzmjzn
Introducing Moonface:Code: [Select]http://www.mediaf!re.com/?lytl5eojirg
Phoenix - Wolfgang Amadeus Phoenix
http://www.mediaf!re.com/?azyjjqfxzmz(320kbs)http://www.mediaf!re.com/download.php?2n4nxmmmnluguess i should give up on that state download huh? :-(I guess. I was hoping it'd eventually work too
Rules:
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Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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http://www.mediafire.com/?3fk1smdzy1x
http://www.mediafire.com/?qhmzgzmh0zchttp://www.mediafire.com/?omylvgxmznzThis is their newest album, it's less upbeat than their older onehttp://www.mediaf!re.com/?32ihlzkegzm
http://www.mediaf!re.com/?bn02mytmmum
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/?2dnmwyhmm4thttp://www.mediafire.com/download.php?hndtyozzwmiThe Capstan Shafts is the guise prolific songwriter Dean Wells has been recording under since 1999. Hailing from Lyndonville, VT, Wells has most often been compared to Guided by Voices' Robert Pollard, and with 18 releases in eight years on various labels, the association could stem from his productivity as much as from his sound. Though Environ Maiden, released in October 2007 on Rainbow Quartz, did much to heighten his profile in terms of consumer awareness, Wells continued to eschew the traditional approach of playing live to promote his catalog, instead choosing to hole up at home to make more albums.
Dean Wells writes all the songs, records on a 4-track and plays all the instruments. His asthetic is VERY GbV (short songs and Bob-like song titles) but that's where it ends cos ironically enough he's more like Tobin Sprout. Other influences include Jeff Mangum & Ray Davies. His melodies stick to you like glue which is why The Shafts are all I've listened to for 3 weeks now. He's released (if you can call it that) 7-8 EP's, 5-6 full lengths. This collection of 30 songs is culled from Euridice Proudhon, Her Versus the Sad Cold Eventually & The Sleeved and Grandaughters of the Blacklist.
http://www.mediaf!re.com/?fhtx1wmsxz2/After the splendid, catchall release Club Anthems, and a round of Peel Sessions, Edinburgh's Ballboy has at last issued a real live album. A Guide for the Daylight Hours is more mopey cynicism and boppy, trippy indie pop from b-boy mastermind Gordon McIntyre and friends; its enjoyable trundle is powered by the familiar twee clatter (here defined best by Katie Griffiths' warm organ tones) and a bottomless pint glass of shallow jibes and self-hating/loving witticisms. "Where Do the Nights of Sleep Go to When They Do Not Come to Me" and "You Can't Spend Your Whole Life Hanging Around With Arseholes" (the titles alone speak volumes about McIntyre's muse) kick up a racket of rattling guitars, peppy drums, and Giffiths' fabulous organ; coupled with the glowering vocal delivery, it's a sound that suggests anything from the Wedding Present and the Housemartins to contemporaries like the Lucksmiths. Of course, McIntyre has no need for the latter fellows' niceness. While its melody has an almost romantic sway, "I Wonder If You're Drunk Enough to Sleep With Me Tonight" cuts to the pragmatic, and horny quick-romantic trappings are only usable as props when the lights come up and it's time to leave. "A fear of failure won't hold me back from hoping someday you'll kiss me like you mean it", he deadpans, before shortening the line to its final, commanding phrase as an added selfish zinger. Ditties like these are undoubtedly very easy for Ballboy, but their cynical humor just makes the palpable heartbreak of "I Lost You, but I Found Country Music" ("Everyday I miss you/And wonder and guess what you are listening to") even more affecting. While much of Daylight's enjoyment is derived from the lyrics and their delivery, there are also plenty of tingly rock moments. "Nobody Really Knows Anything" has an undeniably shambling groove, while "Something's Going to Happen Soon"'s explosive guitar chorus is built around the fabulous line "And the cellos kick in". (Also, for whatever reason - both Scottish? - it's just one of album's numerous moments that recall Simple Minds). A Guide for the Daylight Hours isn't genius, but its uncouth, cute-swallowing crassness is brilliant. [The LP's U.S. version includes two bonus tracks: "All the Records on the Radio Are Shite" and "A Man's a Man for a' That".
http://www.mediafire.com/?cbwjyjenji2There must be something in the water in Scotland. Maybe it is the heritage of poets and heroes or the incredible panorama. Maybe it comes from centuries of having to defend your borders against invaders that makes you introspective and reflective. Whatever it is only a band from Scotland could produce this album, I Worked On The Ships, with any sense of genuine integrity. I had heard Aidan Moffat and Arab Strap, Malcolm Middleton and Mogwai before and I hung on every word. Ballboy do exactly that and from the moment I pressed play on this album I disappeared off into some deeply rewarding place in my mind that normally only exists at night.
I Worked on the Ships is a collection of songs that are akin to walking along a street peering down through dimly lit windows of basement flats, beyond the curtains and into other people’s lives. This is thought provoking poetry to music. It has a vivid film like quality of powerful imagery. Never depressing, it takes you on a journey beyond otherwise closed doors. more... (http://blogcritics.org/archives/2008/09/02/194220.php)
http://www.mediafire.com/?cn2dii2anrrFor those who wish Iron & Wine had never left the cozy confines of Sam Beam's bedroom, A Weather flaunt a similar brand of understated, pillow-soft indie folk. Vocals are whispered and acoustic guitars are strummed, conjuring up images of early mornings and rural landscapes without directly referencing either in the lyrics. But while Iron & Wine's earliest recordings relied on the simple combination of Beam's vocals and acoustic guitar, Cove is the work of five multi-instrumentalists, including a pair of guitarists and two able-voiced singers. The resulting sound is still quiet, but it's also lush, with songs like "Hanging Towers of Baltimore" wrapping the band's co-ed harmonies around puddles of guitar, keyboard swells, and light percussion. Aaron Gerber and Sarah Winchester are the obvious leaders here, and the boy-girl interplay of their voices helps illustrate the lovers' quarrels that give Cove most if its lyrical content. The effect is both somber and soothing, especially during the slow-motion jaunt of "Screw Up Your Courage," where jazz-influenced basslines underscore quietly biting lines like "You could bring me juice and saltines when I'm under the weather and over you." It's easy to gloss over such lyrics when the accompanying music is so calming, and Cove accordingly reveals itself in layers, waiting until the third or fourth listen to disclose all its parts. From the light use of slide guitar in "Oh My Stars" to the quiet chimes and violin in "Shirley Road Shirley," A Weather slyly demand attention, making Cove a much more ambitious album than its minimalist textures would have you believe.
http://www.mediafire.com/?nmzdwjmfdwk
http://www.mediafire.com/?3nemrojm5unBack when I used to be a Ted Leo nut, this album was the absolute shit. Ted's guitar playing was on fire, the tunes were as delicious as they were varied (aside from the standard mod-punk fare there's also some neat acoustic guitar and keyboard numbers, as well as a few with horns), and there's seventeen fuckin' tracks here, so it's a good, long listen, just clocking in at four minutes short of an hour of amazing songs. Will fit in neatly as not just a prequel to, but perhaps a younger, punkier, more muscular take on those early TL/RX albums (basically everything up to Hearts of Oak). This monster of a prog-rock album follows the back story of Capcom’s Megaman series and delivers its narrative in the most epic, dystopian way possible. Crafting a concept album around a video game may seem insane, but The Protomen have clearly produced one of the most electric and exciting albums of its kind in quite some time. The album immediately sets the stage for post-apocalyptic action, describing the dark Orwellian world ruled by Dr. Wiley and his army of evil robots and the sole inventor, Dr. Light, who secretly creates mankind’s only salvation. The story is surprisingly easy to follow across these jams, drawing on themes of vengeance and duty, capturing the throes of a science fiction battle quite beautifully.
The music itself is consistently interesting, with plenty of electronic effects, slamming piano keys and stunning vocal performances (my friend mistook the lead singer for Matthew Good as he passed by). The Protomen take several pages from prog-rock and glam-rock theatrics, with shades of Rush, Queen and perhaps The Mars Volta thrown in for good measure. Everything from the guitar solos to the urgency of its lyrics make this album an incredibly fun and satisfying listen. The Protomen take their source material quite seriously, with an explosive performance that focuses on the thematics of the game, rather than camp factor or straight parody.
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whats up with
Phideaux Xavier
???
anybody got any of his shiz??? its so hard to find anywhere.
http://www.megaupload.com/?d=7YRZ4F3L
http://www.mediafire.com/?ma4me33wm5tThe Capstan ShaftsQuote from: allmusicThe Capstan Shafts is the guise prolific songwriter Dean Wells has been recording under since 1999. Hailing from Lyndonville, VT, Wells has most often been compared to Guided by Voices' Robert Pollard, and with 18 releases in eight years on various labels, the association could stem from his productivity as much as from his sound. Though Environ Maiden, released in October 2007 on Rainbow Quartz, did much to heighten his profile in terms of consumer awareness, Wells continued to eschew the traditional approach of playing live to promote his catalog, instead choosing to hole up at home to make more albums.
I've never heard anything in my life that's really more "down my alley" than this. Picture some really good garage-rock with a slight psychedelic twist, and you get..
King Khan & The Shrines - What Is?!Code: [Select]http://www.mediaf!re.com/?3fk1smdzy1x
whats up with
Phideaux Xavier
???
anybody got any of his shiz??? its so hard to find anywhere.
Shiz.His Shiz.
I've never heard anything in my life that's really more "down my alley" than this. Picture some really good garage-rock with a slight psychedelic twist, and you get..
King Khan & The Shrines - What Is?!Code: [Select]http://www.mediaf!re.com/?3fk1smdzy1x
Shane, these guys are so much fun live! If you get the chance, go see them. You also have to do the twist when they play for at least one song. This is my personal rule, but it's a fun one.
Joshua Neil Geissler aka Worrytrain within some parts of his album fourth “fog dance, my moth kingdom” has offered the most gripping, the most moving examples of modern composition ever since, well almost since Godspeed you black emperor’s first album – and that not only of the lyrical alikeness of the canadian collective’s name and the title of this album. Or when was the last time I re-listened to my albums of Ennio Morricone. Wow, Morricone, that is a big word to say for any modern compositor, but it is true, for instance within the two conflicting sound colours of doom-impending percussions and romantic string arrangements of “Soviet passage” there is the same oppositional structure of melodic elements that the grand master from Italy liked to use, e.g. in his soundtrack to 1900 or even the spaghetti westerns.
Musically he works with traditional instruments, such as cello, piano and percussions, and mixes them with electro-acoustic sounds. More important than that are the dynamics he manages to reap from slow and deep noise-interludes in connection and in opposition with the wonderful, almost romantic melodies he provides at other places in time, which make his step towards scoring movies, mostly independent movies, just a consequential choice. He shows to be able to perform in various classical forms, such as the concerto or the nocturne, but also finds his way through noisy drones and more experimental forms with ease. The dynamics are excellent, if sometimes – as mentioned - also a little disturbing, but Geissler takes you on a very interesting ride, sometimes relaxing and sometimes exhausting, but an overall fine experience.
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The Strangest Colored Lights was recorded and mixed between summer 2006 and spring 2007 in Otterworks Studio in Birmingham, which was designed and built by 13ghosts for 13ghosts. Andrew Vernon records the sounds and Brad Armstrong mixes, with participation from the entire group. Vernon and Armstrong have been doing it this way since they started the studio with a 4 track cassette machine and a shotgun mic in the early nineties. The Strangest Colored Lights was mastered by Doug Van Sloun at Studio B, LTD in Omaha, NE. Van Sloun was a perfect fit for 13ghosts; his aesthetic is about purity and unobtrusiveness. Van Sloun’s mastering credits include Bright Eyes, Cursive, and Magnolia Electric Co.
The Strangest Colored Lights represents the first time since 2002 that 13ghosts’ recordings have involved a full and consistent line-up of musicians; the same five guys arranged and performed the material on every song, with the exception of the horn section in Riverside (Chad Fisher and Chip Crotts) and a female vocal passage in Photographs (Amber Quick). Like Cicada, this album spans a large and diverse cross-section of genres (electronica, grand Pink-Floydesque passages, country-sludge, psychedelic, spaghetti-western, hard- edged pop and dark acoustic), and like Cicada it is long and sprawling, clocking in at just over 55 minutes. The differences between Cicada and The Strangest Colored Lights lie in the band’s focus, their relentless attention to detail (though fans of 13ghosts’ lo-fi production aesthetic will not be disappointed; it was, after all, recorded in a basement), and a newfound harmony between Russell’s and Armstrong’s sometime disparate songwriting styles. With this new record, 13ghosts has finally united their many voices under one soaring and cinematic vision.
http://www.mediaf!re.com/download.php?zztjomimwvdRaccoo-oo-oon blend wooded spiritual progressions with guitar experimentation, sometimes reminiscent of Animal Collective or Acid Mothers Temple. Often psychedelic, it also feels like something scraped up along the American landscapes on a recreational drug-use category of drugged-out roadtrip. The songs lurk strangely in post-Godspeed You! Black Emperor territory with simple guitar lines being built upon with varying degrees of epicness and strangeness as well as tribal throw-back sing-songing. This recording was originally pressed as a CDR in early 2005, now repressed here on a regular CD. I'm anxious to hear the newer offerings by this group of cave spirits. They are on their way to possibilities
http://www.mediaf!re.com/download.php?jozynjjmrmx
Netherfriends - Home Is Where My House Is
Detouring Natural Snow Building’s blues drone into mournful, emotionally collapsed folk, sound sculpter Mehdi Ameziane parlays a fragile hand with back-from-the-dead determination on both of these releases. Joined in places by Solange Gularte, also of Natural Snow Buildings, on cello and flute, keep things light and almost martial in spaces like “Bride of the Spirits” (appearing on both of these releases) and the celestial expanse of “Maps of Dreams.” This is mystical music, flowering and sublime on the 7”, but several shades darker throughout most of the full-length. Chilling, and only a tiny bit overdone; the abilities at hand here outweigh a couple of maudlin missteps. C93, Ennio Morricone, the sound of teenage seafoam ghosts come back from the dead to tell you the horror of the other side. You get it. Whoops, no you don’t: 7” was pressed in a numbered run of 300 in a 24-page, full-color booklet on a color of vinyl that adequately captures the music within; the LP is in a micropressing of 105, in a beautifully silkscreened chipboard jacket and an eight-page oversize booklet. A bounty of music and art, the kind of thing Pocahaunted or CocoRosie should be able to make, but can’t.
http://www.mediaf!re.com/download.php?gitm2ijiondRichey James Edwards disappeared in February 1995, just months after the release of the Manic Street Preachers' lacerating third album, The Holy Bible. He was officially presumed dead in November 2008 and just months later the Manics released Journal for Plague Lovers, an album that's an explicit sequel to The Holy Bible right down to its Jenny Saville cover art. The Manics pay tribute to their lost comrade by setting his last writings to music, getting Steve Albini — beloved by Richey for his production on Nirvana's In Utero, a clear antecedent and close relation to The Holy Bible — to produce a record unlike any they've made since his vanishing. Tripping on barbed-wire guitars and twitchy as a raw nerve even when it's draped in strings, Journal for Plague Lovers consciously harks back to the emotional bloodletting of Bible, only this manages to skirt the darkest corners of the soul, never quite feeling as desperately hopeless or unsettling as that bleakest of albums. Curiously, there's a feeling of comfort, even relief, to Journal for Plague Lovers, a palpable sense that the bandmembers are grateful to be confronting Richey's ghost head-on. Of course, the Manics never ignored Edwards, but he was notable as an absence — not presence — in their music: when he left, they chose to leave behind their arty punk for dignified arena rock. Here, they ditch that inflated sound — although, truth be told, they were making inroads in this direction on 2007's Send Away the Tigers — for tight, clanking, cantankerous guitars, so they're not only singing Edwards' words but playing his music, bringing him back into the band in a way that makes them full. Now that they've completed the songs he left behind, it's not that the Manics can finally put Richey to rest now, but rather that they've found peace, that they're finally ready to acknowledge and embrace the blackest portion of their past, and that the grieving has finally stopped and they're moving forward. Indeed, Journal for Plague Lovers winds up being The Holy Bible in reverse: every moment of despair is a reason to keep on living instead of an excuse to pack it all in.
http://www.mediafire.com/?fqyyltb2ywg
"Here, It Never Snowed. Afterwards It Did."
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Snowglobe was at one point a normal, cohesive rock band. But it seems that on Oxytocin, the band's third album, it's become more of a collective helmed by Brad Postlethwaite-- there's a message in the artwork claiming that this is the first in a series on "solo-directed projects by the members of Snowglobe." The sound is still huge, layered like a Bryce Canyon cliff face. It's the kind of music that strokes the nerve that makes critics and P.R. people compare anything with a musical saw to Neutral Milk Hotel, and the comparison holds to a point. The instruments are densely piled on-- and yes, there is a saw-- but Postlethwaite's songwriting aims for something less impressionistic. There's more of a sense of communal music-making, rather than a feeling of being trapped in someone's free-associating head.
Big vocal harmonies figure prominently across the album, and I mean big. Postlethwaite and a couple of backup singers layer their voices into freakily homogenous choirs. It plays well into the overall aesthetic, and the melody is never lost in the complex arrangements and exceedingly dry production. The best vocal arrangement comes on "December Ghost", a pensive song built on a series of patterns that jump from one instrument to another, beginning on acoustic guitar and ending on the violin. The harmonies waft in and out, and at times the backing voices separate from one another to sing brief melodic phrases.
"At Times a Nightmare" is a slow, country-inflected song that suddenly lurches skyward after three minutes into a second movement-- it's far too substantial to think of as a coda-- and after the vocal portion there's a minute of flat-out wailing on analog synthesizers. It's the most cathartic song on an otherwise even-keeled album, and the lyric "Never wanted this to end/ Sunday morning it was back to the mourning/ It was back into the pain again" is among Postlethwaite's best.
Little instrumental interludes are sprinkled across the album, and rather surprisingly, they offer some of the most appealing moments. "Intro to Dry", um, introduces "Dry" with a bit of broken-backed trumpet, "Cellos" is a dramatic, charging instrumental that builds from a quiet cello ostinato to a roaring pile of instrumentals and then breaks back down to just a bass line in less than two minutes, and "Piano" is a brief stab of melancholy before the floating "Caroline", which is like the Radar Brothers with less stationary inertia.
Oxytocin is full of little surprises and details that reward repeat listens, but very few of the decorations seem merely tacked on. As full as it is, there are certain moments on the album where it oddly lacks atmosphere, perhaps a side effect of the saturated production. That's a small complaint, though, and Oxytocin is a resounding success that makes me wonder what else is on tap in this solo-directed Snowglobe series.
http://www.mediaf!re.com/download.php?klunm4gwnym
The King Geedorah project, unlike Doom's recent outing as Viktor Vaughn, finds MF almost exclusively behind the boards, comfortable with rocking the SP1200 and letting others turn out the mic. Only two tracks feature Doom rhyming, but at least one of them is an album highlight: Along with Mr. Fantastik's GZA-by-way-of Humpty Hump delivery and a sleazy, greasy blues guitar, Doom pushes "Anti-Matter" straight to the top of the heap. Even without Doom's verbal skills, the roster here lives up to Metal Fingers standards, with nary a wack emcee in sight (compare that to a record like Peanut Butter Wolf's My Vinyl Weighs a Ton, which featured a few lightweights in the pack). Kurious (billed here as Biolante) sets the bar high on "Fastlane" with an unflappable and confident delivery that fits in amazingly well with the squealing guitar riff that forms the track's hook. In a rare moment of introspection, Hassan Chop does some ruminating on past mistakes and lost friends in "I Wonder", and it's to his credit that the song is affecting without tripping headlong into melodramatic cliché.Take Me to Your Leader will excite you in a way most hip-hop projects just aren't able: It's not straining for credibility nor putting effort into being revelatory; it just is. Everyone involved got their kicks making this record, and the enthusiasm drips off the jewel case. Like Bobbitto Garcia says: "Create and share with the world." In the album's press release over at Big Dada, MF says: "You should listen to the album for what it is and not expect it to be like the average 'rap' stuff you're probably used to... a blend of ill lyrics and instrumentals. To me, it's way iller than any of the wack shit out now." And not like you'd expect a chef to say his dishes taste like shit, but this time the horse's mouth speaks the absolute truth.
http://www.mediaf!re.com/download.php?12yihozyh5iAll Jets Are Gonna Fall Today introduces Chocolate U.S.A. as an eclectic, everything-but-the-kitchen-sink power-pop ensemble with a strong pan-ethnic aesthetic. Singer Julian Koster's song-stories recall the work of Jonathan Richman, while the prominence of Liza Wakeman's violin in the mix can't help but bring to mind Camper Van Beethoven.
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Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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Repost the rules at the top of each new page.
ahoy hoy, longtime lurker turned poster.
Kenneth Higney- Attic Demonstrations
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Kenneth Higney was a truckdriver who wanted to be a pop star. He played all of the instruments himself and it is far from pop music. At times it is evocative of Beefheart-ian weirdness, all accidental as Higney was playing music he believed to be catchy and melodic. He released a small run of records to find himself a band and faded into obscurity.
Elizabeth Cotten - Freight Train and Other North Carolina Folk Songs And Tunes
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Elizabeth Cotten was Pete Seegers children's nanny, she learned to play a unique blend of bluegrass/folk/ragtime while strumming the guitar left handed so the strings were backwards. She learned all of her songs growing up, and didn't play guitar for years until she played one of Pete's guitars and he was blown away. He recorded all of her material and managed her from that point on (she was already well into her 80's). Her voice is beautiful and playful.
Yumi Arai - Hiko Ki GumoCode: [Select]http://www.mediaf!re.com/download.php?t2im01todxkThis is 70's japanese pop, my friend Taichi returned from Japan with it and I ripped the vinyl.
Enjoy
NEW MODEST MOUSE
Surprisingly rockin.
Johnny Marr.Code: [Select]http://www.mediaf!re.com/download.php?ejyzzzmlxwy
http://www.mediafire.com/?ntwd2yd3d1j13ghosts-The stangest coloured light
http://www.mediaf!re.com/?mni0iwmtmqnThe Real Tuesday Weld is a British band from London, fronted by lead singer and founder Stephen Coates. They are known for producing jazzy cabaret-style music with subtle electronica influences, a style dubbed “antique beat” by Coates.
The band is named after American film actress Tuesday Weld. Coates once had a dream involving Weld and 30s vocalist Al Bowlly. Coates and others often cite the dream as inspiration for the band and its particular style.
iTunes claim that The Real Tuesday Weld is unclassifiable. Certainly the mix of 1920s style vintage sound with trip hop rhythms and cinematic strings isn't what most people are used to hearing. The closest touchstone for me is '90s one-hit wonder Lucas with the Lid Off. It's refreshing to hear a band that draws on influences from earlier than the '60s or '70s for a sound that's totally unique today.
http://www.mediafire.com/?lyjzmzyyjwzThankyou whoever uploaded the album 'Oxytocin' by Snowglobe, I loved it, especially the song 'Happy'. :-D
13ghosts-The stangest coloured light
This is awesome. Thank you.
SDFJSDFHSLDF!!!! Sorry, I had to type something that had as much furious energy as this album does. Kiss Kiss is a part of what I like to call the Eyeball revival, in other words, one of 'those" bands that is going to bring the label to the top. 2007 is definitely the year for the label, because unlike in 1999 and 2002, the label is bigger and are less likely to lose their talent to major label and preying indie labels. Kiss Kiss is an indie/experimental band out of Milton, New York. They are unique in the fact that they have a electric violin player, and a live show thats second to few. Their debut full length, Reality Vs. The Optimist was released early this year, and was overlooked by too many. The truth is, this album should be a release people remember this year, and for years to come. Why? I'll explain.
What I like about this record is how it progresses. It starts off real slow, most likely to lure you in, and then once it has you in its clutches, it goes ahead and tears you apart. These slow tracks, are "Janet" and "Iris And Eye", the first two tracks on this adventure. In the beginning, there is nothing, just some quiet screechings and piano that eventually starts and picks up a little bit, the quiet voice of the talented Joshua Benash is what made me a believer. "Iris And Eye" could be the theme song for a deranged serial killer, and that's where you really start to feel the energy of this band, taking influence from bands like Cursive. The band doesn't start using the violin as a lead instrument until "Sixth Sense", but really doesn't show how deranged everything can sound until "Machines", which adds a cello, trumpet, trombone, and tuba player. "Satellite" brightens up the music, but it doesn't take long for them to turn crazy with lyrics like "Please, Oh Let Me Grab Hold Of My Mind/ The Images Prove Non Linear Time/ One Moment I'm Me/ The Next I Am Miss Audrey Wyde / Please Let Me Go / Please Let Me Deny".
Probably the most unsound track on the whole record is "Dress Up" that even brings in a guest to play the chainsaw (as it says in the notes of the cd). "My mother says you were / a body in the rain / a rotting corpse found in the gallows / I want to take you home / I want to play dress up / I want to show you Off!/ Oh! Oh!". The first thing that came to my mind when I heard "The Cats In The House" is the movie Hocus Pocus, it's just so classic sounding, and Benash goes from light singing to absolute screaming. "Stay The Day", the final track, slows things down once again, but it's a different mood than the beginning, it's almost like an aftermath song. Something you'd hear in the background of a movie when someone dies or some huge disaster is taking place (Titanic?). All in all, Reality Vs. The Optimist is probably the most versatile and rabid cd you will hear all year. It tells a story that sounds like it could be composed by Dr. Frankenstein himself. What ever angle you take this record from, it'll catch you off guard. It will end up being something you weren't expecting, and not in a bad way. What they do, they do well, they play well, the write well, they sing and shout well. Kiss Kiss (hopefully) will be one of "those" bands that brings the label to the top, and this is only the beginning.
http://www.mediaf!re.com/download.php?mmmtmmntjolBack from an extended, eight-year hiatus many thought would never come to an end, Israel's Orphaned Land finally completed their third album, the extensively titled Mabool (The Story of the Three Sons of Seven), for new label Century Media in 2004. Thankfully, the album's impressive -- at times unprecedented -- achievements in expanding the boundaries of heavy metal go to great lengths in justifying such a long wait. Indeed, with their ambitious, at times even improbable, efforts to incorporate native Middle Eastern musical styles into the heavy metal template, Orphaned Land stake a claim in the largely unrecognized "World Metal" sub-genre, also encompassing the percussion-infused efforts of Brazilians Sepultura, the folk-dependent death metal of Finland's Amorphis, and, hitting closest to home, the "Mesopotamian Metal" of countrymen Melechesh. And yet, Mabool is arguably more diverse and experimental than many of the above artists' wildest efforts -- SO eclectic, in fact, that some might argue it barely qualifies as heavy metal anymore! A concept album, no less, Mabool takes a swing at setting the Noah's Ark biblical myth to music (Mabool = "the flood," get it?), and the stage is set by the opening tandem of "Birth of the Three" and "Ocean Land," which marry beguiling Arabic melodic nuances to crushing death metal riffs, drums, and cookie-monster growls. Very interesting, to be sure, but it's on "The Kiss of Babylon" where things really start getting freaky, thanks to increasing use of exotic sonic elements, ethnic instrumentation, the introduction of "clean" singing, and an eventual descent into two minutes of acoustic guitars and solo female vocals in Hebrew on the prayer-like "A'salk." From here on out, dynamic examples of truly progressive metal such as "Halo Dies," the title track, the epic "The Storm Still Rages Inside," and the absolutely awe-inspiring "Norra el Norra," continue to rub shoulders with far gentler and relaxing material like "Building the Ark," the soothingly ambient "The Calm Before the Flood," and the evocatively sweet closing theme, "Rainbow." Of course, to some listeners, all of this variety might seem more fit for belly-dancing than head-banging; which brings us back to the only major caveat of Orphaned Land's brave experimentation: does Mabool traverse so vast a range of styles that less sophisticated heavy metal fans are doomed to get lost in the sand dunes? In a first instance, the answer is probably yes, but with repeat performances, any confusion duly gives way to astonishment and revelation, marking Mabool for possible inclusion in the pantheon of albums representing the aforementioned "World Metal" category. [As an added bonus, Mabool also featured a bonus CD containing live acoustic renditions of Orphaned Land songs, both old and new.]
http://www.mediafire.com/?w31yz2c4rzi
Kiss Kiss-Reality Vs the optimistCode: [Select]http://www.mediaf!re.com/download.php?mmmtmmntjol
http://www.mediaf!re.com/download.php?mhnrm2amn3dhttp://www.mediafire.com/download.php?mzvmywzmury
http://www.mediafire.com/?sharekey=f3e55442d8acbb0ed5a101cf914073b4e6a13cea7ee0e20c
http://www.mediafire.com/?vgt3jnokhdl'Their music brings the sonic deluge associated with their genre, kidney-punching you with crescendos that leave you in surgery, coupled with the fragile stitching of clean guitar lines that help you recuperate. Codes does show they are capable of more surprising melody-making, particularly in the star-charting patience of "The Distance Between Us"' Track Of The Week
- The Silent Ballet (US)
http://www.mediafire.com/?2nmwkwjhwfjthe cheese factor on these beats are way off the muthafucken richter. made on an amiga 500 and commodore 64, the atmosphere of this album makes you feel like you are in an oldschool video game. it gets pretty intense at times, kind of like on level 8 dungeon of supermario bros with one life left.. its like a buncha different boss level songs -sounds all dramatic and suspenseful. the last track features some hillarious vocal samples by Gina V. along with abuncha spacey sound effects.
i wish this link worked :/
those k'naan albums are great! i recomment anyone into a bit of rap to check 'em out!
i wanted to make a post, but as of late, itoons is completely destroying my music experience in so many ways. and now it destroyed my hopes of uploading an album here. i'm mainly speaking of the itoons 8 point 1 point 1 update. has anyone else had terrible luck after doing this upgrade? i've read other horror stories on the apple forum, and i'm really hoping for another update with a fix soon. it now will no longer let me add or remove files from the itoons library, and will cause my machine to need a manual reboot. it won't even let me force quit. i've never had anything like this happen, as i stand by apple products on a pedestal, but this has become such a headache, and even a bigger headache for things such as rearranging songs on my ipod, or other external devices.
anyway, sorry for such a huge rant on this, obviously i spelled things like an idiot to avoid specific off topic names from finding their way into search engine features... if anyone has any insight on what i can do to help remedy this, please pm me, i've tried to downgrade back to the older version and it won't allow me. blaaaaaaa
Stripped to bass and drums, Black Cock could be mistaken for another Jesus Lizard knockoff. Like Black Flag's Damaged, however, Robot Child derives its power from a stark, terrifying musical vision that subsumes and transforms an otherwise unremarkable rhythm section. Bandleader Chico Jones treats rock riffs as only the basic foundation of Robot Child's songs, most of the disc's compositional force coming from ingeniously produced vocals and a wide variety of keyboard sounds. Jones makes use of an incredible array of microphones and mixing techniques to turn the band's voices, layered into simple but darkly beautiful three-part harmony, into a hellish and unstable chorus, at times approaching something between Mike Patton's screeching randomness and a B-grade sci-fi version of Animal Collective. It's an extremely unconventional approach to punk rock, which yields the most unique disc Austin's Australian Cattle God has released so far.
[3.5 stars]
http://www.mediafire.com/?yjywzdn0xin
Their debut, Hymns for a Dark Horse, is also an amazing album. It may be a lot less extravagant than what I expected, but it's in no way marred for it. Their reverence is now seemingly replaced by a more wistful, more introspective understanding.
Bowerbirds - Upper Air (2009)Code: [Select]http://www.mediaf!re.com/?0cnlmmzcvzyQuote from: deadoceansBowerbirds’ debut album, Hymns for a Dark Horse, was nearly one hundred percent focused on the thesis that the earth is a sacred place with merit beyond us, and that humans are just visitors here. Its contrapuntal harmonies documented a moment in the life of the songwriter and the life of the band – Beth Tacular and Phil Moore living in an airstream in rural North Carolina, building a cabin of reclaimed boards by hand in the woods – but did so without, as far as we could tell, delving into their lives at all. While these weren’t protest songs, per se, they had the wry anger of a “Lonesome Death of Hattie Carroll.” The songs were interconnected, both musically and thematically, a musical whitepaper of the very best, most listenable kind.
So it was a big surprise when we heard the songs collected on Upper Air. Bowerbirds were revealing more, writing from a personal voice, exploring love and human emotions in ways that have never been fully fleshed-out in their songwriting before. They have not abandoned their worldview from Hymns, but the lyrics are no longer just observational. These are songs written from a personal place, examining the contradictions inherent to a conscious life, and this emotional depth makes for an undeniably powerful collection of songs.
Upper Air is the product of months spent away from nature and away from home, touring endlessly with the likes of Bon Iver, Phosphorescent and John Vanderslice and on their own, on both sides of the Atlantic. The fodder for songwriting has changed, and so have the songs. Upper Air moves away from the singular sound and sentiment; each and every song on Upper Air is a journal entry that stands on its own, each a unique, beautiful piece. The arrangements are subtle: acoustic guitars, organ, piano, autoharp, violin, percussion, upright bass and more are used throughout the recording. Usually though, it is just a few of these instruments delicately supporting Moore’s voice, the anchor of every song. Everyone struggles when they try to describe this music, including us, but we’ll try: it has the spirit of Richard and Linda Thompson, the currency of Devendra Banhart, the addictively sweet melodicism of Iron & Wine, but it churns with an underlying energy closer to a Beirut or something farther out, more raw, more wild.
The most notable part is this: The songs don’t hide behind the instrumentation, the deontological conviction, or, frankly, anything; and that is what makes Upper Air undeniable, simple, and breathtaking.
http://www.mediafire.com/?njkyjymmj3r
i wish this link worked :/
You have done the !/i switch, right?
How do you do the upside down i?
Sweeping in with the majestic title track -- a drone fanfare that swirls into the main song just so -- Casiotone for the Painfully Alone's second album of 2009 (but first that's a full album as such instead of a compilation) shows that Owen Ashworth's talent continues to pay lovely dividends. His singing is of a piece with the music, at once clearer and more conventional than ever before and still touched with the reflective spoken-to-oneself melancholy that defines his work. His ear for sharply observed details and sly comparisons similarly holds true; if it's a sign that he's long since established his métier then it's equally clear he knows how to play to his strengths. The tale of "Tom Justice, The Choir Boy Robber, Apprehended at Ace Hardware in Libertyville, IL" might seem to say everything in the title itself, but the song's lyric, telling Bonnie and Clyde reference and all, is of a much more dramatically, sadly observed bent. Musically Casiotone here fully approaches the elegant showy avant indie-pop from the U.K. in the early ,90s, rich keyboards and dramatic, downbeat chords aplenty. "Natural Light" in particular is easily a Pulp song from 1993 reset into a new context. If the barrelhouse roll of "Optimist vs. the Silent Alarm" with the concluding flourish of "When the Saints Go Marching In" seems a little out of place, the lyric about a desire to "raise a little family on Schlitz and Mickey Mouse" isn't at all. Meanwhile "Northfield MN" might be the only song yet to have both gently bouncy piano and a lyrical comparison to an exploding dye pack. Admittedly the song title "Harsh the Herald Angels Sing" pushes things on the overly clever front but the duet "Man o'War," with its downer tale of a Christmas morning, and the clever Bowie reference at the end of "Killers" are among the many reasons Vs. Children is, yet again, another stellar Casiotone album.
http://www.mediafire.com/download.php?mwjwmkwybmq
How do you do the upside down i?
Sig quoted. Couldn't pass up this chance.
Casiostone for the Painfully Alone - Vs. Children
http://www.mediaf!re.com/?dwh4jwdmmycThere’re some bands that surpass the day-to-day shrapnel that so often seems to be significant in music. They simply transcend the bouffant mullets, neon vests and Fisher Price synths – which isn’t to say their art is any more precious, more that they’d rather get their heads down and retreat to craft a stirring opus before freeing it upon the world.
With little or no fanfare, London’s pastoral folk newcomers Fanfarlo have done just that with ‘Reservoir’. Following years of clasping to a DIY ethos – an understandable move for any band writing songs this personal – it’s now time to let the talent do the talking.
Fanfarlo retreated to Connecticut last year to assemble their orchestral cannon, and
in doing so have produced one of the most soul-bearing albums you’re likely to hear all year. ‘Reservoir’ collects their songs into a debut built on necessity and outright sincerity, essential fundamentals that grace all the best bands’ works.
Opening with ‘I’m A Pilot’, ‘Reservoir’ instantly packs a familiar punch, and will do so for anyone who remembers being dazzled by Arcade Fire’s ‘Funeral’ upon its release. It’s an inescapable comparison that can be heard throughout – not that it’s likely to put you off. With its dusty piano strikes and Simon Balthazar’s David Byrne-circa-‘79 vocals leading what sounds like a rhythmic chain gang march, ‘Reservoir’s openings build and build. more... (http://www.clashmusic.com/reviews/fanfarlo-reservoir)
http://www.mediafire.com/?kmbdujoyujt
"Dokaka is a Japanese beatboxer who performs music solely by multitracking his own voice, generally with one instrument per track. (That is, he records himself mimicking the bass part to a song, then records himself mimicking the drum part in sync with the first recording, and so on.) He has distributed his recordings primarily as free downloads from his website; these include interpretations of works by King Crimson, Led Zeppelin, Wes Montgomery, Slayer, the Rolling Stones, and Miles Davis, among many others. He largely records covers of heavy metal, prog, jazz and videogame theme music, though he has also written and recorded original songs. Dokaka also appears on Björk's Medúlla (2004) and Katamari wa Damacy, the soundtrack to the video game We Love Katamari (2005)."
http://www.mediaf!re.com/download.php?n12ydt5nimzhttp://www.mediaf!re.com/download.php?eoimm2qmyjjThe Honorary Title - Indie Rock band that has its roots in Brooklyn, like so many others.
I recently saw a show of theirs in Grand Rapids and was blown away. Download this album - Anything Else but the Truth.
http://en.wikipedia.org/wiki/Honorary_Title
I uploaded it all retarded and shit with individual tracks - here's the linkCode: [Select]http://www.mediaf!re.com/?sharekey=f3e55442d8acbb0ed5a101cf914073b4e6a13cea7ee0e20c
It appears to work at the this time?
Fanfarlo - Reservoir (2009)
This seems quite good from the description, but alas, the link isn't working for me right now. Perhaps the fault lies with mediaf!re.
i have been looking all over the net for these and cant find them. can anyone post em here?
make believe - of course
tim kinsellas - He Sang His Didn't He Danced His Did
joan of arc - live in chicago 1999
joan of arc - How Can Any Thing So Little Be Any More?
joan of arc - orchard vale soundtrack
ahoy hoy, longtime lurker turned poster.
Kenneth Higney- Attic DemonstrationsCode: [Select]http://www.mediaf!re.com/download.php?z5zr05ygykm
Kenneth Higney was a truckdriver who wanted to be a pop star. He played all of the instruments himself and it is far from pop music. At times it is evocative of Beefheart-ian weirdness, all accidental as Higney was playing music he believed to be catchy and melodic. He released a small run of records to find himself a band and faded into obscurity.
Elizabeth Cotten - Freight Train and Other Folk SongsCode: [Select]http://www.mediaf!re.com/download.php?i2jz4nmyuol
Elizabeth Cotten was Pete Seegers children's nanny, she learned to play a unique blend of bluegrass/folk/ragtime while strumming the guitar left handed so the strings were backwards. She learned all of her songs growing up, and didn't play guitar for years until she played one of Pete's guitars and he was blown away. He recorded all of her material and managed her from that point on (she was already well into her 80's). Her voice is beautiful and playful.
Yumi Arai - Hiko Ki GumoCode: [Select]http://www.mediaf!re.com/download.php?t2im01todxkThis is 70's japanese pop, my friend Taichi returned from Japan with it and I ripped the vinyl.
enjoy
Coming a long way from previous releases, Temporary Antennae sees Caïna finally grasping cohesive song writing skills and Mr. Curtis-Brignell able to organize his concepts and ideas into a much more fluid and rewarding album. Unlike previous releases the listener is not subjected to a large amount of inconsistency, flooding of ideas, and disruption of mood; rather the listener is treated to an exceptional album of somber beauty and power which flows right along.
Caïna is one of those bands that is impossible to categorize, and doing so only hinders the band's goal by giving false pretenses. Mr. Curtis-Brignell synthesizes the black metal aspects of the band perfectly with the non-metal aspects, every piece of the puzzle fits in the right place. The music is often melodic and atmospheric, many times it also finds its way to being catchy (especially with the poppy attitude of "Larval Door"). The first three songs are completely flawless and well executed. The warm production picks up on every nuance of the music and does not allow for anything to be lost.
"Ten Went Up River" starts on a harsh note but dissolves into a supremely blissful post-metal/rock affair with a glorious and powerful atmosphere. This song brought about a wave of relief, but still left me skeptical as to whether or not some stray idea would be brought in to ruin the song; much to my luck no such thing happens. Most songs are enticing and gripping, and offer so much to the listener, creating a truly rewarding experience. " Larval Door" was my first sign of doubt, and truthfully I could do without the first minute and fifty-two seconds (to be exact) of the song, but the rest is great. From here on it feels like the songs get a bit more spacey and less involved. None of the second half of the album can compare to the genuine excellence of the first three songs, but they come quite close.
Caïna has found an exceptionally unique and individual approach to melding elements of post-rock, and folk music with black metal. There really isn't much metal to speak of on this album, but regardless the synthesis of the directions in music is perfect and quite pleasurable. The mood generated by this album is similar to that of Alcest's Le Secret (but no where close in terms of repetition and method), at times mournful and somber, but overall pleasant, maybe even optimistic?
With this release I find myself extremely appreciative to the band for creating the music I had wanted them to create since I first heard them. One of the best albums of 2008, and an excellent album in its own right. One can only hope Caïna continues down this path.
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http://www.mediaf!re.com/?zjzewmgdna2It seems odd that Salvation Blues is Mark Olson's first true solo recording. After his tenure with the Jayhawks, Olson left the band to spend more time in Joshua Tree with his then-wife, fellow singer/songwriter Victoria Williams. Olson released a quartet of recordings with the Original Harmony Ridge Creekdippers (aka the Creekdippers), always with Williams either sharing the billing or in the band. Olson and Williams divorced in February of 2006, and he lost the home he built in Joshua Tree as a result. He took off on a solo tour of Europe where the sketches for a number of the songs on Salvation Blues were written. Produced by Ben Vaughn and released on the aesthetically brilliant HackTone label, the CD contains 11 songs; the first edition of the CD comes in a small, book-shaped digipack with slipcover and notes, lyrics, and photographs by Ingunn Ringvold and Krissie Gregory. Former bandmate Gary Louris co-wrote "Poor Michael's Boat" and "National Express," and Williams co-wrote "Winter Song." Sonically, Salvation Blues is pristine if simple. Vaughn keeps things uncluttered and clean, allowing just enough of a mix for Olson's beautifully impure voice to rise to the top unfettered. Musically, while Olson's been following his muse -- that weds country-rock, folk, and other American roots forms -- since the very beginning of his long career, there are few surprises in composition. His sidemen on this session include the great, undercelebrated guitarist Tony Gilkyson, pedal steel and dobro boss Greg Leisz, bassist David J. Carpenter, Michele Gazich on violin, Zac Rae on keyboards, drummer Kevin Jarvis, with Ringvold playing acoustic guitar and Louris and Cindy Wasserman contributing backing vocals.
Ultimately, it comes down to the songs, though. And Mark Olson has them here in spades. with the presentation being so utterly simple, a lot of weight rests not only on the singer, but on the lyrics and melody. And Olson delivers, though the often shining optimism of his offerings has been tempered in places by grief, loss, and the workaday living of everyday life that blends dream and reality as time rushes forward; still he champions humble human nobility in choosing life over death each and every morning. It's a choice for Olson's protagonists, and it needs to be made each and every day without forgetting -- to forget is to choose one of them anyway. "My Carol" opens the set brightly enough. It's a country waltz that could have been written by the Bob Dylan who gave us the words to "Love Minus Zero/No Limit": "I have come to fetch my Carol/I have wandered in the muck/Dirty sheets outside the windows/Lies that poor folks never tell rich ones/Louder still is the sound of love....I know the beauty of her song/The blood of priests runs in her veins...My love for her is a speckled bird/An animal bleeding in the snow/Slink back under the fallen step/Of black rites and crooked sticks/Unforeseen victims of modern sin/I walk the dark rain and then no more/Daylight rings the bells of joy." The guitars entwine and ring gentle together, the beat slips and shimmers, and Olson delivers his words so easily, as if his observations were plainly seen by everyone -- yet held in secret.
On the very next cut, "Clinton Bridge," that optimism gets pushed further, though it takes into account the weight of the decision. A lone acoustic guitar acts as the spine for his vocal before the band enters. While they shore up the body of the tune: "I woke before the sun/Which is the way between the heart and the soul/You spoke with my words/Tangled up here inside/Some people came here to die/We came here to live..." Gazich's violin takes the instrumental break and brings the tune to near soaring levels, but the singer is repeating that refrain for a reason, it's conviction tested by tragedy. The gorgeous harmonies of the Jayhawks are brought to mind on "Poor Michael's Boat," as Olson and Gary Louris sound together on the refrains. Their voices seem earthy and timeless, and the track shuffles with fine B-3 playing and Greg Leisz on mandolin. It's a bittersweet tune that chooses trust in very doubtful circumstances. There are deep overtones to both "National Express" and "Winter Song," written with Williams. Both are love songs, but the latter, a dobro-fueled country two-stepper is heartbreaking: with the sliding six string and Olson's acoustic keeping time with the snare, he sings: "I remember our winter song/Slipping on a frozen lake/There I miss you when you're gone/Oh this winter song/Another cup of brutal wine/Dreams that once seemed so sweet/Are silent empty streets....." The title track is a killer country rocker, done mid-tempo with edgy Telecasters a Hammond B-3, acoustic six-strings, mandolin, and popping snare, whispering hi hat and kick drum. Olson sings of a truth so profound and glittering in the ashes, we almost dare not think of it: "There's such joy and sweet moments/To be found in this world/We know they'll come to an end/Just how makes our hearts hurt/Salvation blues and these blues will help us all/No light like your light/until we do something good..." The guitar solo bites down with clipped, short phrases, reminding the listener of the lyric and sending her back into a reverie of the very moments Olson sings of. The set closes with "My One Book Philosophy," another song steeped in the kind of simple man's Either/Or that Soren Kierkegaard had to nearly sweat blood to write. Olson doesn't need the rhetoric; he has the life experience that proves the mettle. Accompanying himself on the Wurlitzer, he takes it out in a nearly mournful whisper that acknowledges the previous; it's sweet memory disguised as a judge and jury; a ballad that covers a life sentence, but there's no bitterness, only regret, as much by the coming apart of dreams as by remembering them. It's a melancholy ending to an utterly moving, and deeply poetic recording that finally brings Olson out from the comfortable shadows, first as a member of the Jayhawks, and then as part of the husband-and-wife team that were at the heart of the Creekdippers. Salvation Blues is the kind of contemporary singer/songwriter record that we need more of: poetry as part and parcel of life itself, captured in a music so utterly simple and convincing, it is almost impossible to separate it from the artist who made it -- except that it recalls our own experiences so closely in places we have no choice but to give thanks to the man who exposed our inner selves even as he exposes his own. Salvation Blues is stripped down, modern desert country music at its very best.
http://www.mediaf!re.com/?dm25zqm245m
http://www.mediaf!re.com/?zdc3tnmd3yoAmericana with attitude is the best way to describe the Avett Brothers' music, a sublime blend of folk, country, hillbilly, and blues, swirled through with pop, rock, and a touch of wry punk. In their dreams, it all sounds perfect, but not so much so, they think, when they awake. "Yeah, you deserve the best," they bemoan, not just some "Hand-Me-Down Tune." Well, regrets, we've all had a few, and the Avett Brothers more than some. But if you're going to be filled with "Shame," best to offset your remorse with an incredibly infectious melody. Besides, life is short, and since we're all going to "Die Die Die," we might as well live and love while we can, even if that does just occasionally mean the band must shrug off "All My Mistakes." And love is the paramount emotion of Emotionalism, be it too young (the bouncy "I Would Be Sad"), Spanish-flavored ("Pretty Girl from San Diego"), blues-flecked ("Living of Love"), or exuberant (the British Invasion-styled "Will You Return?"). However, of the many marvelous romantic-themed numbers, the most striking is the romantic tale "The Ballad of Love and Hate," whose opening line, "Love writes a letter and sends it to Hate," immediately grabs your attention. Elsewhere, the band explores other emotions, like the nervousness that infects the otherwise jaunty "Paranoia in B-Flat Major," or the amusing attempts of the band to shrug off the attentions from cities around the country: "Salina" begins in fingerpicking style but ends with evocative classical piano and cello, and "Pretty Girl from San Diego" also shifts tactics from Spanish guitar to a big rock finish. From lullabies to the contrarily rousing singalong party piece "Go to Sleep," the Avett Brothers pick their way through America's folk styles, and deliver them in ways you'd never expect, all wrapped around lyrics, sometimes wry, sometimes dead-serious, but all delivered with the band's signature intensity. A fabulous album from a band that just keeps getting better.
http://www.mediaf!re.com/?1wzmzihlnktA remarkable debut, Infamous Angel established Iris DeMent as one of the greatest artists of her generation. With her gift for poignant, confessional songwriting and a voice that makes raw beauty seem like a brand new thing, she invokes the elemental magic of the Carter Family while sounding as fresh and modern as John Prine (who, not surprisingly, is one of her biggest champions). DeMent's concerns are largely family and tradition, and many of these songs deal with memories of life and love. Her Carter influence is revealed in a spirited cover of the classic "Fifty Miles of Elbow Room" as well as "Mama's Opry," a tribute to her mother, who also sings lead on "Higher Ground." These are wonderful, but DeMent's greater talent is the ballad, and she delivers an astonishing handful, including "When Love Was Young," "Sweet Forgiveness," and "After You're Gone," a tribute to her dying father that is so profoundly affecting that one is rendered nearly helpless listening to it. In the end, one finishes this record somber but refreshed by DeMent's charming, almost naïve, outlook on life. That naïveté isn't an act, either -- DeMent claims in her liner notes that she's never thought of herself as a great singer. She couldn't be more wrong, and listeners can thank heaven that she changed her mind, for this is an album to be cherished and played as long as one has life to listen.
Geoff Berner is rude, crude, blasphemous and brilliant. His unique style and subject matter has him 'categorized' as klezmer-punk-folk. The category fits him well. He is an acerbic poet and a stand-up comic who loves to shock in the tradition of a Lenny Bruce. He carries on a natural, easy banter with his audience. He accompanies himself on accordion, the perfect wandering minstrel’s instrument. On this night, Bridgette Dajzcer’s violin and Wayne Adams on djembe and cymbals completed the musical component with inebriating crescendos of discord and insistent beats.
http://www.mediaf!re.com/?mmwjigxjjhiGeoff Berner Releases "Klezmer Mongrels", Crowning Achievement of Klezmer Punk Trilogy
“The Avenging Angel of klezmer”— Canada ’s Globe and Mail
“Geoff Berner might be klezmer’s saviour.”—NOW Magazine.
"5/6" Oslo Dagvisen
"Cherish him, cherish him, for there really is no one like him. Fantastic."--Billy Bragg
Geoff Berner's latest album, “Klezmer Mongrels” released October 24 on the 9pm label in Europe, and January -- 2009 in Canada , is the ultimate expression of his aggressive kind of klezmer. It's a klezmer punk folk dance album about mixed-breeds of all kinds.
This is the third album of his "Whiskey Rabbi" trilogy, all recorded with the rough sound of blaring accordion, the virtuosic, scraping fiddle of Diona Davies, and the thumping, insistent rhythm of Wayne Adams' percussion.
This trilogy declares that the 'klezmer revival' is over. There's no need to revive. Klezmer is alive and infectious, and voracious, and mutating again. The evidence is there in the international radical klezmer scene that's sprung up in the last few years, with artists like Berner, Montreal's Socalled, Daniel Kahn in Berlin, Klezmic Zirkus in Belgium, Michael Winograd's band Jewish Princess in NYC, and literally scores more popping up in the wake of bands like these.
“Today there's a cultural battle going on between the boring forces of purity, fundamentalism and monoculture, and the fun forces of mixed-up, messed-up diversity. This album is a celebration of the triumph of mixed-up fun."
"'Whiskey Rabbi' was mainly about booze, 'Wedding Dance of the Widow Bride' was mostly about women, and 'Klezmer Mongrels' is about the natural consequences of combining the two."
"I believe in this approach, because at the height of its powers, this music, the folk music of Eastern European Jews, was a constantly changing brew of Turkish music, sacred Jewish music, Tango, jazz, and the music of whatever country the Jews were living in at the time."
Berner's message is evident in songs like "Half German Girlfriend", "Luck in Exile", and the ironic "Authentic Klezmer Wedding Band". The music and lyrics are a raw assault on purity that will make listeners, laugh, bang their heads, cry, and feel absurd, all at the same time.
Berner began his klezmer journey with a research trip: In 2004, the trio of Berner, Diona Davies (violin) and Wayne Adams (percussion) travelled to rural Romania to investigate the roots of the music with their guide and guru, Bob Cohen, leader of Budapest band Di Naye Kapelye. They returned with a deeper understanding of the culture, and quite a few stories to tell.
Now, after courting Olympic controversy at the Winnipeg Folk Festival, numerous international tours, festival appearances, airplay on national radio in 7 countries, and slots on tour with artists such as Billy Bragg, Kaizers Orchestra, Balkan Beat Box and the Be Good Tanyas (who covered his song "Light Enough to Travel", selling over 100,000 copies), he's garnered critical acclaim and a fast-growing cult following for his sharp songwriting and cabaret performance style.
"It was weird on this last tour, to play places like Amsterdam , Berlin , even Nuremberg , and have people I'd never seen before singing along, not just to the choruses, but the verses. Something strange is happening out there. But it's good."
http://www.mediaf!re.com/?mjxgwyjdzweWith "Wedding Dance of the Widow Bride", Geoff Berner continues with his mission to "Drag klezmer music into the bars kicking and screaming".
This is a project that began with the 2005 release "Whiskey Rabbi", which received rave reviews in Canada, the U.S. and Europe. "...Widow Bride" is all at once dirtier, prettier, more deeply rooted in klezmer scholarship, and more transgressive. The lyrics are sometimes humourous, sometimes frighteningly dark, and often both at the same time.
"Because klezmer is largely wedding music, I decided to write a wedding album. But it`s my wedding album, so it`s a bit fucked up." observes Berner. "It`s not a `concept` album, but all the songs are linked to a general theme. The theme is this idea of wondering how much of our happiness is built on the misfortune of others."
The album features 9 original klezmer punk songs, and a blistering, discordant cover of Leonard Cohen`s "Queen Victoria". Several of the originals are based on song concepts that appear in the Jewish wedding ritual, such as "Weep, Bride, Weep"--a re-imagining of the traditional "Song to Make the Bride Weep", and "The Fiddler Is A Very Good Woman", based on the folk tune "The Fiddler Is A Very Good Man". But with their explicit sexual and political lyrical content, it`s unlikely that these new songs will ever be mistaken for their source material.
The trio of Berner, violinist Diona Davies and percussionist Wayne Adams returned to the Factory studio in Vancouver, with Adams also running the board, recording live off the floor to create a raw, emotionally powerful, acoustic sound that emphasizes a mix of "joyfullness and despair" of traditional Jewish music, combined with a raging energy.[//quote]
An instrumental trio from the Kansai area of Japan, home to the Boredoms, Omoide Hatoba, Haco and more. Combining hardcore punk, improvisation, metal, funk and fusion in a seamless and dynamic new music, Motor Humming is at the forefront of instrumental experimental rock and one of the most original bands in Japan.
http://www.mediaf!re.com/download.php?ayx2mzuqiwyhttp://www.mediafire.com/?tjkjtkmjeuu
http://www.mediaf!re.com/?mymzhnntyawCloudc is the auditory personification of his obsession with sounds. Working with sliced and chopped sounds, creating an colorful and yet rhythmic envoirment, CLOUDC's recorded work has been described as progressive minimal (-techno) decorated with clouds of different colors.
This “dynamic” one-man-perfomance is focusing on creating a honest and scape-ish sound, that will leave you with a warm and fuzzy feeling in your stomach. Cloudc forces you to start exploring music by the spectrum of colors.
http://www.mediafire.com/download.php?ftek0rmmfmiCompilation album of one of the greatest singer-songwriters ever
The Honorary Title - Indie Rock band that has its roots in Brooklyn, like so many others.do you know how to make a zip file....? sort of a rhetorical question.
I recently saw a show of theirs in Grand Rapids and was blown away. Download this album - Anything Else but the Truth.
http://en.wikipedia.org/wiki/Honorary_Title
I uploaded it all retarded and shit with individual tracks - here's the linkCode: [Select]http://www.mediaf!re.com/?sharekey=f3e55442d8acbb0ed5a101cf914073b4e6a13cea7ee0e20c
are you using a pc or mac?
http://www.mediafire.com/?tljnjznzyqmhttp://www.mediafire.com/?huzliknzy23http://www.mediaf!re.com/download.php?dzthujm1mw3200 Tons Of Bad Luck
After releasing the underground classic “A Love Of Shared Disasters” Crippled Black Phoenix have regrouped and spent the best part of a year recording “200 Tons Of Bad Luck”. Although not strictly a concept recording, the thoughts and moods of founding member Justin Greaves(Electric Wizard / Iron Monkey / Teeth Of Lions Rule Devine) re-occur throughout and link the songs in a film like way.
Once again the CBP crafted the songs at Geoff Barrow’s (Portishead) State Of Art Studio. The band is made up this time of Joe Volk (Gonga), Dominic Aitchison (Mogwai), Kostas Panagiotou (Pantheist) & Charlotte Nicholls. Joining the band on all live dates will be Joe Allen & John Langley of Saturation Point. The end result will no doubt have folk scrambling for descriptives and in the midst of the relative chaos Crippled Black Phoenix will be oblivious to it all, again giving you 200 tons of music that, if you let yourself have time to be immersed in, you shall be rewarded. Think of these albums like the moment when your life flashes before your eyes just before the inevitable conclusion.
http://www.mediaf!re.com/download.php?mjmuzywxzjw
http://www.mediafire.com/?qmj3z4tz2znhttp://www.med!afire.com/?q2ezzmozm2j
And You Shall Call All that Passes Between Us "Rock n' Roll"
http://www.mediafire.com/download.php?zd5mezqdok2Part Twohttp://www.mediafire.com/download.php?mdoqtzzzghehttp://www.mediafire.com/download.php?on0idryigywhttp://www.mediafire.com/download.php?4m4bylt4yuh
The validity of your opinion depends on whether you like rap as an genre.
http://www.mediaf!re.com/?nagbnodjncyhttp://www.mediaf!re.com/?zoomdgydmndEnter the Vaselines is a compilation album by the indie rock band The Vaselines. The release date is May 5, 2009, on the record label Sub Pop.
The album is a deluxe reissue of their 1992 compilation The Way of the Vaselines: A Complete History. Disc one compiles all tracks from their two previous EP's (Son of a Gun (EP) and Dying for It (EP)) and only LP record (Dum-Dum), in chronological order of release, with the exception of the previously unreleased track "Bitch", which is inserted after what was the fourth track on "Dum-Dum." Disc two includes demos and live tracks recorded in Bristol and London.
Sun City Girls - Grotto of MiraclesCode: [Select]http://www.mediaf!re.com/download.php?4m4bylt4yuh
http://www.mediafire.com/?ywmoqz1zdqghttp://www.mediafire.com/?oomzkadzqynNice, quirky indie rock musicIt's hard not to root for Cloud Cult. A Minneapolis-based collective whose social conscience is as important as their music, the bandmembers have made a strong name for themselves in green circles for putting their money where their mouth is on the topic: not only do they tour in a biodiesel van and use recycled and sustainable materials in their CD packaging, the group's profits are donated to charity. This includes the proceeds from the work of the band's two non-musicians, painters Connie Minowa and Scott West: during each Cloud Cult performance, they paint original works on-stage as the band plays, which are then auctioned off from the stage at the end of the show. Furthermore, it seems nearly impossible not to be moved by the fact that since the 2002 death of Kaidin Minowa, Connie and singer/songwriter Craig Minowa's young son, the majority of the band's songs have dealt, sometimes explicitly but more often obliquely, with that loss. But while doing press for the band's fifth album in five years, Feel Good Ghosts (Tea-Partying Through Tornadoes), Craig Minowa announced that this was quite possibly the last Cloud Cult record, or at least the last before a long break. Releasing an album a year -- especially while undergoing the processes of grief -- is exhausting for even the most prolific bands, and unfortunately, Feel Good Ghosts (Tea-Partying Through Tornadoes) shows the strain. Following the band's career high point, 2005's Advice from the Happy Hippopotamus, and 2007's more restrained The Meaning of 8, this has the undeniable feel of a songwriter and a band who have started running out of ideas. To cite the group's most obvious musical touchstone, the Flaming Lips, this is their Yoshimi Battles the Pink Robots, the album where they recycle the sounds and themes of the albums just previous with considerably less of the imagination and innovation they had previously shown. Even the most devoted Cloud Cult fans will note that while there are undeniable charms to songs like "No One Said It Would Be Easy" (which opens the album with a minute-long fugue for acoustic and electric keyboards that features some outstanding, Pink Floyd-like stereo panning that must be heard on good headphones to truly appreciate) and the Arcade Fire-style urgency of "May Your Hearts Stay Strong," the high points are fewer and farther between this time out than they were before.]
http://www.mediaf!re.com/download.php?k2ynzdjjdyuSecret Chiefs 3, also known as SC3, is a group of musicians led by composer and producer Trey Spruance, former guitarist of Mr. Bungle and Faith No More. Their studio recordings and tours have featured different line-ups, as the group performs a wide range of musical styles including surf rock, Persian, Arabic, Indian, death metal, film music, electronic music, and various others.
http://www.mediafire.com/download.php?dndngrjay3m
http://www.mediaf!re.com/download.php?yze2m2mdmdn Led by 25-year-old German composer Daniel Glatzel, the Andromeda Mega Express Orchestra is a 20-piece modern classical ensemble with its hands in film scores, jazz, and much more. For reference, Glatzel cites videogames and elevator music as influences alongside Béla Bartók and Arnold Schoenberg.
Take Off! is a beautiful and dazzling creation, romping through playful orchestrations, big-band swing, foreboding soundtrack cues, sad string arrangements, and more. Without prior knowledge, one might mistake it to be the work of someone forty years Glatzel’s senior.
Music fans may recognize the ensemble’s work with The Notwist for its live album and newest effort, The Devil, You & Me. Shortly enough, however, the industry should take notice of Glatzel and his masterful creations.
from: Alarmpress
every now and then i try to give a little...
even though its met with "that's a tad gothy so I hate it on principal" statements...
but, damn. I just dig these guys so much...
so you better like them.
Or I will try to shove DEADSY down your skinny indie throats...
(http://img378.imageshack.us/img378/7427/frontcover.jpg) (http://img378.imageshack.us/i/frontcover.jpg/)Code: [Select]http://www.mediaf!re.com/download.php?k2ynzdjjdyu
Its melodic death/doom metal... has a nice ambient feel... at least In my head... If you like not having a chance to understand what the hell they're saying... this is for you!
in all honesty. its good stuff, and I wish the rest of the genre sounded this good. if it did I might listen to more of it!
P.S. this Is actually a link I stole from a blog. where i got my copy. if it doesnt work right... or if I glazed over a rule lemme know and I'll re-up it from my copy.
http://www.mediafire.com/download.php?ijwg1fjgxzjPart 1 - http://www.med!afire.com/?anmooztwmoe
Part 2 - http://www.med!afire.com/?lxoduakn2jjPart 1 - http://www.mediafire.com/?coytdjmnhih
Part 2 - http://www.med!afire.com/?gjyrz2dljme http://www.med!afire.com/?jyijjt20ednhttp://www.med!afire.com/?jedlzvmvu2yhttp://www.med!afire.com/?inwbwzzfjnqhttp://www.med!afire.com/?gljzymkndrhPart 1 - http://www.med!afire.com/?yzdmmfqmgkt
Part 2 - http://www.med!afire.com/?hk5mnditgjdhttp://www.med!afire.com/?eimzkziimx5
Dinosaur Jr-FarmCode: [Select]http://www.mediaf!re.com/download.php?ijwg1fjgxzj
The new Dinosaur Jr just leaked, great great great
(http://img378.imageshack.us/img378/7427/frontcover.jpg) (http://img378.imageshack.us/i/frontcover.jpg/)
Just wanted to point out that this is an excellent band from a genre I normally despise. Good find, edwinalink
(http://img378.imageshack.us/img378/7427/frontcover.jpg) (http://img378.imageshack.us/i/frontcover.jpg/)
Just wanted to point out that this is an excellent band from a genre I normally despise. Good find, edwinalink
I know right! I was just on a downloading spree, grabbing everything i could off some blog just to try it out... I've since deleted most of them, but this just... is so damn listenable!
I think its like Ahab. they use the voice as an instrument, not so much for words. and when its mixed so the voice isnt in front of everything. It works!
http://www.med!afire.com/?yitjkrwu24rOctahedron is the stunning new album from The Mars Volta. An album
heady with the emotion and high-drama that has always been the band's
trademark, their newfound simplicity and focus has delivered some of
the most immediate and powerful songs in their discography.
http://www.mediaf!re.com/?6uyeh2tsrnh
This U.K. three-piece's self-titled debut often got compared to Smashing Pumpkins and Rush--Smashing Pumpkins for its unashamed mid-'70s prog-rock allusions and Rush because of singer Brian Molko's unusually high-pitched, almost androgynous voice. In reality, Placebo were far more salacious, downright dirty, and culturally confusing than either. (The band is a mix of American, Swedish, and English, with some Lebanese and Luxembourgian thrown in.) For their second album, Placebo have looked to the late '70s for inspiration, to the sound of early New Order and the Banshees--with a dash of the '90s thrown in: "Brick Shithouse," for example, starts like the most balls-out Prodigy song. If their debut was the sound of a no-holds-barred sexual drug frenzy lasting way into the next day, then Without You I'm Nothing is the resultant rumpled, libidinous comedown. As such, it's much classier, cerebral and great to listen to when hung-over. "I'm unclean / A libertine / And every time you vent your spleen / I seem to lose my power of speech," Molko breathes on the awesomely overcharged title track. In a year when Marilyn Manson and Bauhaus continue to revitalize the goth movement across America, Placebo's moment may well have arrived.
http://www.mediafire.com/?wmmiwnzj1gdPart 2http://www.mediafire.com/?wuihxuzccdn
The Mars Volta - Octahedron
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Haha, I've done that a few times. Recently, I've been kind of losing interest in metal, so the not-as-good stuff has been getting deleted left and right. If you want, I'll upload some of the more obscure stuff so you can have a crack at it.
I wouldn't quite make the comparison to Ahab, but I think they sound like Swallow the Sun if they could stay out of the boring quagmire that they occasionally get stuck in.
The Mars Volta - Octahedron
http://www.mediaf!re.com/?ldmntt0fnywhttp://www.mediaf!re.com/?zomymjrqzzfhttp://www.megaupload.com/?d=2WXVVBQKThe Mars Volta - Octahedron
(http://i42.tinypic.com/29a7gj.jpg)Code: [Select]http://www.med!afire.com/?yitjkrwu24r
http://www.mediafire.com/?wliyvjgiwndhttp://www.mediafire.com/?homlyl1bon4
Alhambra Love Songs is Zorn’s touching and lyrical ode to the San Francisco/Bay Area and the wonderful artists who have made it their home. Including tributes to artists as diverse as Vince Guaraldi, Clint Eastwood, David Lynch, Mike Patton and Harry Smith, the music is some of the most beautiful and soothing Zorn has ever written.
http://www.mediafire.com/?dammlwayrlnhttp://www.mediaf!re.com/download.php?xamjhrmzn4oFusionmetal - A relatively new and unexplored genre in the world of metal. Exivious marks a first to truly marry jazzfusion with metal into a coherent new style. Featuring members of legendary US prog band CYNIC and Dutch metallers TEXTURES, Exivious isn't an over the top math metal band and certainly isn't a loungy jazz combo either. But expect everything in between!part 1
With a jazzfusion backbone Exivious uses freaky metal riffs to decorate their organic eruption of free improvisations and complex rhythms. Guitarist Tymon comments: "We finally managed to transform a vision I had a long time ago into 9 intense and fiery songs. There's an immense amount of information in there that will definitely take more than one spin in your CD player to comprehend!"
http://www.mediaf!re.com/download.php?gjzjuiymvmrpart 2http://www.mediaf!re.com/download.php?moivmon0ykghttp://www.mediaf!re.com/download.php?zttdddnzehjpart2http://www.mediaf!re.com/download.php?gm4n4m2meyl
the whole genre of heavy is kinda stagnant right now...
The genre of heavy is definitely not stagnant. What you are experiencing is the overwhelmingly bad ratio between excellent bands and crap ones. You have to search a lot harder for the good stuff, which is why the heavy music scene appears stagnant. In reality the current situation is a result of the Heavy Music Aural Manure Oversaturation Contingency, or HMAMOC. Luckily for you, I have provided a couple of bands that have managed to escape the grasp of the HMAMOC, and whose music I have conveniently placed in my post above.
Your welcome.
Sincerely,
Harun
PLEASE! post all the awesome metal/heavy stuff you have.
http://www.mediaf!re.com/?itntjzjw1mghttp://www.mediaf!re.com/?uzyzm1koiimhttp://www.mediaf!re.com/?gwuozyttzjwhttp://www.mediaf!re.com/?wnmdjwlh2yyhttp://www.mediafire.com/?dm3wzzmyjmu
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I have The New Black by SYL, its technically fantastic, but i still rarely get around to listening. I dont know why that is...
http://www.mediafire.com/?oj9wxcjidzxPart 1
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I have The New Black by SYL, its technically fantastic, but i still rarely get around to listening. I dont know why that is...
that album's got a few of their best songs ever ("almost again," "wrong side," "the new black," a coupla others whose names escape me), but some VERY average filler too. pick up "City" and "Alien" and be blown away. "SYL" is also a lot better an album than it gets credit for - "Aftermath" might even be their best song. "Heavy as a Really Heavy Thing" is probably your last port of call, if you REALLY like the other stuff. it's not bad, but nothing compared to what came after.
I actually just walked across a city, at night, listening to "City." The "Oooowhooah-oooowhoah"s at the end of "Spirituality" are so fucking epic.
I should really balance this fanboyish rambling with some uploads, but I'm about to hit the sack. I'll probably up a coupla SYL albums in the next few days though.
STRAPPING YOUNG LAD ROCKS MY HAIRY ANUS!
http://www.mediaf!re.com/?igiwx1tomzqhttp://www.mediaf!re.com/?wyojuvnggllhttp://www.mediaf!re.com/?mnmzoynaejrFrom last.fm :
A Belgian rockband, consisting of members Younes Faltakh, Jonas Govaerts, Georgios Tsakiridis and Jimmy Wouters. They won Humo’s Rock Rally in 2006, the most important Belgian rock contest, which has already brought forth bands like dEUS, Das Pop, Goose, Admiral Freebee, Mint, and many others.
Their self titled debut album was released in March 2009, and was produced by Das Pop. It’s being described (in Humo) as ‘hard, melodic, danceable and devilish’.
http://www.mediaf!re.com/?okeemmjyznz
Sorry about the image, here it is:
The Hickey Underworld - The Hickey Underworld
Charles Bronson was a hardcore/thrash band from Dekalb, Illinois. Noted for their use of film/TV samples as postmodern metacommentary within the structure of their music. (The eponymous self-referencing sample comes from Gary Oldman’s character in True Romance.) They played fast and heavy thrash and hardcore along with contemporaries such as MK-Ultra and Social Coma. Their two-disc discography, entitled Complete Discocrappy, was released on Youth Attack Recordings/625 Thrashcore in 2000. Members went on to be in bands like Holy Molar, Das Oath, and Ruination.
Youth Attack! is their first and only EP. Easily their best release, it's got everything that made them famous - ultra fast hardcore with a screechy singer, absurd prank calls at Tower Records and of course Charles Bronson samples. It still amazes me how they manage to smuggle in cool little melody fragments even into their wildest songs. Also, the song structures is a bit more complex than on their previous releases. A classic. [9].
http://www.mediaf!re.com/download.php?mtmmtf5yfixThe band is based in Los Angeles, California, USA. They were formed in 1991, something that was quite a surprise for me, and have numerous releases under their belt (albums, split CD’s, EP’s etc). Their fifth full-length album and first through Relapse is surely something I didn’t expect. You know, something like a pleasant surprise...
DO you want a band that will be groovy in a totally Stoner way, but it will also have the filth of Sludge? Do you want something that will be as close to GOATSNAKE and CROWBAR as it will be to BONGZILLA and WEEDEATER? 16 is the answer, a name simple and straightforward just like this band’s music. "Bridges To Burn" is a bluesy Metal punch in your face with heavy as fuck riffing that is destined to play louder than hell! Thumbs up for the production, too, since I don’t know who is responsible for this sound, but the guy managed to create something you could call polished dirt. Dirty enough to maintain the feeling, yet clear enough to have a pleasant and solid sound.
As someone said in his blog about this album, "Hello Mr. 2009! Check out this shit!" (just imagine his face while he was writing this). I guess that 2009 will be a bit more successful for 16, at least more successful than these guys expected, since such an album gives a nice push to the band. Way to go mates!
http://www.mediaf!re.com/download.php?2mzlzzjzwwzStrapping Young Lad Megapost...
http://www.mediafire.com/?5r4lynldwzoIt's ironic when the Black Lips sing that they're "trapped in a basement" here. Ten years ago, this Atlanta band's purposefully sloppy "flower punk" would have been unjustly confined to basement shows; now it could fit in a Zach Braff film. The Lips' psychedelic and garage heroes loom large: "Big Black Baby Jesus of Today" sounds distractingly like the 13th Floor Elevators, and "Drugs" is all about the New York Dolls. This smart if self-conscious album makes it clear who the Lips would like to be, but it's hard to tell who they really are.
http://www.mediaf!re.com/download.php?ztzkoc0to1m
http://www.med!afire.com/?wzudmomnyjhDeer Tick's highly anticipated second full-length, and follow-up to the band's acclaimed debut War Elephant (reissued in 2008 by Partisan Records)! This release follows two years of extensive touring in sold-out clubs across around the world. Unlike War Elephant, the album features the three new members of Deer Tick that principal songwriter John J. McCauley III recruited to form the current incarnation, and reflects a natural evolution from a singular vision of one songwriter to something greater.
http://www.med!afire.com/?emx3m0mj0qy...Miike Snow. Up to this point they’ve remained pretty mysterious, proving nearly impossible to find any information about, photographic or otherwise. Man? DJ? Robot? Miike Snow is a band. Swedish duo Christian Karlsson and Pontus Winnberg are childhood friends who spent time playing in bands and working on various projects in studios throughout Gothenburg. After separate moves to Stockholm they reunited in 2000 when their paths crossed with American Andrew Wyatt to write a pop album for a someone else. The release was small, there was little distribution and an alleged large sum of money was lost in the process The three stayed in touch and a friendship was formed and in 2007 Miike Snow was born.
Karlsson and Winnberg’s backgrounds in the DJ scene and punk bands alongside experiments in progressive electro and new rave lead to a series of writing / producing stints with Madonna, Kylie Minogue and Britney Spears – culminating in their Grammy win for Best Dance Recording with her song “Toxic”. Wyatt has been a member in Black Beetle (with Joan Wasser) and The A.M. (with Michael Tighe). He had an album come out this year with the band Fires of Rome as well writing and producing the new Daniel Merriweather album with Mark Ronson. Miike Snow’s self titled debut is a full band collaboration, showcasing their deft mastery of the studio while acknowledging each members unique talent for songwriting, production, arrangement and performance.
Finally ready to step out of the studio, but not the shadows, Miike Snow is set to be released this summer. Recorded in Stockholm in the 400 year old home used to house King Gustaf III’s mistress, Miike Snow bristles with confidence. It’s intelligent pop music that has the ability to cradle taste making purists and reach anthemic heights. Showcasing melodic songs built for the anything goes environment of the club, Miike Snow will make anonymity an impossibility.
hey can kwintpod can you re up Chocolate USA please! E6 ForeverLink still works I think :?
http://www.mediaf!re.com/download.php?n5wokytwnzzhttp://www.mediaf!re.com/download.php?zzwmto1mmau
http://www.mediaf!re.com/download.php?3w33m4evywzCharles Bronson-Yoth Attack
http://www.mediaf!re.com/?t0ytwmzi03d
Grand National are buddies Rupert Lyddon and Lawrence “La” Rudd, who combined head up a full six piece band that has all the right people given the thumbs up. Tipped for big things due to their original sound which appeals to the rockers, to the reggae fans, to the dance heads, and in good news for their bank balances an element of the commercial market the boys are onto a good thing. The Full Tracklisting for the album is as below:
The band is making huge waves in the U.K. and Australia, whilst the band’s original music has appeared in popular television shows including CSI: Miami, Six Feet Under and Entourage. Many of you might note that a remix of ‘Talk Amongst Yourselves’ was the first track on Sasha’s Involver CD. Expect a big North American tour in support.
A word of preliminary warning to those expecting another mythical Death Metal affair from the NILE mastermind: "Saurian Exorcisms" is not, in any way, shape or form, a Death Metal album. In fact, there is absolutely nothing Metal about it. Granted, the ridiculously long and hard to pronounce song titles are right in line with NILE, and certainly the content is very heavily influenced by the same ancient mythos that inspired all of Karl's previous work with NILE, but Metal it is not.
That said, taken in the proper context, "Saurian Exorcisms" is a very authentic and inspired tribute to the indigenous music styles of the societies that gave birth to the mythos with which Sanders has had a long running fascination. And really there couldn't be a better compliment to "Saurian Exorcisms" than to reiterate the authenticity and legitimacy of the music at play here. We've all had a taste of the music related to these ancient societies with the intros, preludes and interludes of much of NILE's back catalogue, but never so in depth or dedicated as "Saurian Exorcisms".
To take such profound influence to the point of not only attaining an intimate knowledge of the mythological lexicons of ancient societies such as that of the Sumerians, but learning the instruments (Baglama Saz, Glissentar, E-Bow, and more) and song crafting styles tied to the histories of these cultures, is truly a grand accomplishment. "Saurian Exorcisms" is not just a case of splicing together atmospheric samples of these styles, but handcrafting them and masterfully wielding the various obscure instruments so well as to create an organic body of work that could easily be mistaken for material composed several thousand years ago by the cultures themselves. To try to single out a specific piece from the album would undermine the overall cohesion of material that best functions as one living creation, but certainly the music of a given piece and its related title is bound to capture the listener's attention enough to inspire some actual research regarding the subject matter in reference. And that too reflects the strength of "Saurian Exorcisms" – music that inspires the listener to pursue knowledge? What a concept. So throw "Saurian Exorcisms" in the CD player, kick back with the Necronomicon in hand, and immerse yourself in the musically manifested essence of ancient history.
http://www.mediaf!re.com/download.php?jtoz0bnhnnzhttp://www.med!afire.com/?y2hy2ymtg2yCocoRosie will be embarking on a summer tour beginning June 3rd, and as a thank you to their beloved fans, will be releasing a new tour-only EP titled 'Coconuts, Plenty of Junkfood.' Five NEW, unreleased tracks which will only be available for sale at their shows. A brand new full-length album is also in the works which is tentatively scheduled for autumn 2009!!! Details on the full-length to be announced soon.
http://www.mediaf!re.com/?mnoodznonjchttp://www.mediafire.com/download.php?ezmajz2kodw(http://img4.imageshack.us/img4/4771/2640017b42a0a36f6a0b021.jpg)An anomaly for the death ‘n’ grind-obsessed Earache label, North Carolina’s Confessor performed slow and dirgy doom metal, and were formed in 1986 by wailing vocalist Scott Jeffreys, guitarists Brian Shoaf and Ivan Colon, bassist Cary Rowells, and drummer Stephen Shelton. After releasing 3 demos, Confessor released a debut album called Condemned in 91 and an eponymous EP, but lack of interest in their talents soon drove them to break up. They re-formed a decade later under tragic circumstances to play a benefit for the recently deceased Colon, then while they were together decided to record a 2004 EP entitled Blueprint Soul.
http://www.mediaf!re.com/download.php?ddkznynmngyhttp://www.mediaf!re.com/download.php?gmyznnmjlmzhttp://www.mediaf!re.com/download.php?yymnwwzmoy1http://www.mediaf!re.com/download.php?ry0dwm0zzldWell, the Ozrics are back with their first new studio CD in 4 years, after moving from the UK to Colorado. Once again, this is basically an Ed Wynne solo record with his wife Brandi playing some bass and synths and also features live drums on two of the track, but basically Ed sequences with perfection all the tracks and in this very psychedelic electronic music record. I would not really call it rock anymore. This is very advanced electronic groove music. Very tightly focused, sequenced and perfect, a little too much so, that it seems sterile sometimes, despite the amazing songs and sound production by Ed.
Magick Valley opens the CD and this is the most techno sounding of any Ozric track ever. Total trance techno (without the thump thump thump, more of a modulated synth bass line) and some searing guitar parts that fly in here and there. You really get sucked into this one. Oddweird follows and begins with some chill out style synths and a nice bass line (I guess played by Brandi) before Ed kicks in with the first guitar solo and a cool riff here and there, then the guitar drops out and Ed heads into synths solo land with multiple layers in the background as he slows. When the guitar does come back (mixed far back) the synths are really psyched out. I guess this is one they might play live. Lots of cool parts with special drums, sounds like Ed plays an Asian string instrument solo as well.
Mooncalf is next and is almost 10 minutes and features a real drummer and this track is pretty awesome. It starts slowly with multiple synth layers before the drums and bass kick in and then finally the guitar, which does not take long before going supersonic as the track builds and the synths sequences take over. A very cool reggae like part enters as well. Oolong Oolong features some beautiful spacey guitar playing in what is a pretty laid back track the mixes Ozrics and Nodens Ictus styles into dreamy floating like state until Ed wakes you up with a pretty intense synth solo. The Yum Yum Tree is over 9 minutes and continues directly out of the chilled out ending of Oolong. A very steady electronic groove is maintained and around 3 mins in Ed lays down another one of those solos that just sort of soars through the soundscape before fading away and the synths take over again and a very groovy bass line kicks in. Lots of cool parts in this track.
Plant Music is another trace-rave track with some cool bass lines and parts before Ed flies in with the ripping guitar as the groove just keeps pushing forward until the pre-programmed break and back to the main trance synth line. Nakura starts with a very cool highly effected synth and the sound of the forest. It has some hand drums, fretless bass (?) and is a very chilled number without any guitar. San Pedro begins with a sound like we have heard before back on Waterfall Cities, I believe, as this track builds. A pretty cool electronic groove-chill out album. Enjoy..
http://www.mediaf!re.com/download.php?mnlzivxdznkhttp://www.mediaf!re.com/?dfm1zuxydnkhttp://www.mediaf!re.com/?w5i3mltueqnhttp://www.mediaf!re.com/?j4azdqynm2mhttp://www.mediaf!re.com/?qr5jggdnjxghttp://www.mediaf!re.com/?wndfyyzmmnohttp://www.mediaf!re.com/?oyw0hzmtdjuhttp://www.mediafire.com/?tzzrjm0mjcqAmid the much publicized downfall of Lookout! Records, indie-poppers Troubled Hubble took a cue from their then label and officially ended their traveling party in 2005, leaving brothers Nate and Andrew Lanthrum without an ensemble for their energetic rhythm section.
Retreating home to their practice space in the rural Illinois suburbs, the siblings recruited fellow Midwest musicians – guitarist Corey Wills, of Chicago’s Inspector Owl; guitarist/vocalist Jim Hanke, of Milwaukee’s El Oso; and classically trained pianist/vocalist Nina Lanthrum – and the Kid, You’ll Move Mountains quintet embarked on a two-year writing process en route to Loomings.
Combining each musician’s unique background, Kid, You’ll Move Mountains draws heavily upon Nate Lanthrum’s shotgun drumming, while also incorporating Wills’ ambient, effects-laden guitars and Andrew Lanthrum’s jitterbug bass lines. Yet much of the band’s haunting songs rest on the vocal interplay of Hanke and Nina Lanthrum.
The alternating singers sashay through dark tales of love and loss, avoiding the temptation of call-and-response verses that would have left Hanke singing the salty to his female counterpart’s sweet. Instead, the vocalists share the emotional burdens, each voicing stories of looming autumn days that turn to the dead of winter, before each also sings of the hopefulness of spring.
Produced by ex-Troubled Hubble guitarist Josh Miller, Loomings is a pop-savvy, theatric recording that packages the hardships of America’s Rust Belt with the promise of a revitalized tomorrow.
It is a record that is as dense as it is direct, with massive crescendos that bleed into eerily sparse moments at a beat’s notice (“Inside Voice”). It is a record void of guitar solos that still induces air-guitar playing (“New Blood”). It’s an unpredictable album of multi-part songs that lack traditional structures, but remains undeniably catchy (“An Open Letter to Wherever You’re From”). It’s a nine-song collection with intriguing vocal arrangements (“Volts”) and equally as experimental musicianship (“I’m A Song From The Sixties”).
But most importantly, it is a record that sounds fully appreciative of Hanke’s lyric, “We’ve only got lips and decisions to make” from the album’s midway point, “West.” It’s this cautious optimism of life’s everyday choices – awareness for the consequences of even the most trivial action – that runs through Loomings.
Fitting for a record full of second chances, made by musicians reveling in the idea of getting another go-round themselves.
Retreating home to their practice space in the rural Illinois suburbs, the siblings recruited fellow Midwest musicians – guitarist Corey Wills, of Chicago’s Inspector Owl...
http://www.mediaf!re.com/file/nyclztqnimw/Moondog - Moondog.ziphttp://www.mediaf!re.com/file/zm4zzxmjzzj/Moondog - Moondog2.ziphttp://www.mediaf!re.com/file/rlzmnyzk3nr/Moondog - New Sound of an Old Instrument.ziphttp://www.mediaf!re.com/file/dn3yjxztz31/Stravinsky - The Soldier's Tale.ziphttp://www.mediaf!re.com/file/olvgzn2oc1y/Verdi - Requiem.ziphttp://www.mediaf!re.com/file/otdmm3gjm2h/Rossini - Petite Messe Solonnelle.zip
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Stravinsky - The Soldier's Tale (Stokowski)
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And finally, as you'd expect, two recordings of my own. Choral classics, both in excellent performances the equal of any commercial ones (the odd slip aside). What's more, I've tagged them for a change:
Verdi - RequiemCode: [Select]http://www.mediaf!re.com/file/olvgzn2oc1y/Verdi - Requiem.zip
Rossini - Petite Messe SolonnelleCode: [Select]http://www.mediaf!re.com/file/otdmm3gjm2h/Rossini - Petite Messe Solonnelle.zip
http://www.mediaf!re.com/download.php?yj2nwncoyygThis thread needs more fine classical tunes.
http://www.mediaf!re.com/file/tgyfizfmi2w/Leo Kupper - Electro-Acoustic.zipContemporary electronic music.http://www.mediaf!re.com/file/mo23memwwvu/Der Tuermer vom Michel.zipA trumpeter and an organist improvise together on chorale themes.http://www.mediaf!re.com/file/qmtn1di2ym0/Adams - John's Book of Alleged Dances.zipKronos play music by John Adams, the minimalist.http://www.mediaf!re.com/file/4uzz2ntumnt/Arditti.zipThe Arditti Quartet is sort-of a more classical version of Kronos. Here they play Beethoven, Nancarrow, Xenakis, and more.http://www.mediaf!re.com/file/mylmfzzgm0z/Bernstein - West Side Story.ziphttp://www.mediaf!re.com/file/zmzm2vtqwg3/Berg - Lyric Suite (vocal finale).zipKronos play Berg's Lyric Suite, in a version with the recently discovered text for the last movement. It is not clear whether it was ever intended to be sung, though.http://www.mediaf!re.com/file/zznwgwyby2x/Berg - Wozzeck.zipBerg's Opera based on Georg Büchner's play, Woyzeck (see also QC 1365 (http://questionablecontent.net/view.php?comic=1365)). The numbers in brackets on the track names are the sections of the play in the edition I have. This recording is sung in English.http://www.mediaf!re.com/file/ojtdwnkjude/Bartok - The Miraculous Mandarin.zipBartók's brutalist ballet score was only performed a couple of times during his life. The depiction of the sounds of the city at the start seems ahead of its time. This is the full ballet, not the suite which stops short after the exciting bit (The Chase) and omits the eery ending (as the Mandarin dies after managing to kiss the prostitute).http://www.mediaf!re.com/file/iwtmdnzthay/Bartok - Cantata Profana.zipThis was intended to be the first of a series of cantatas, and it is not known specifically why Bartók didn't continue them. The theme is freedom, and it might simply have been too political. This performance is from the last disk that Solti recorded.http://www.mediaf!re.com/file/g24gzwmijnx/Hindemith - Symphony 'Mathis der Maler'.zipThis symphony is built on three scenes from an opera - but you don't need to know that to enjoy it. Karajan conducts.http://www.mediaf!re.com/file/nhy1onokim0/Hindemith - Ludus Tonalis.zipTwelve fugues for piano on the twelve notes of the scale, in an order related to Hindemith's theories of composition. There are interludes (rather than the usual preludes), and the closing postamble is the opening preamble backwards and upside-down - yes, you can turn the music over to play it! Played by the legendary Sviatoslav Richter.http://www.mediaf!re.com/file/1bznvjqmavz/Hindemith - Organ Sonatas.ziphttp://www.mediaf!re.com/file/tnmlmqtytnx/Holst - The Hymn of Jesus.ziphttp://www.mediaf!re.com/file/zgo3gydjdqz/Walton - Facade.ziphttp://www.mediaf!re.com/file/n1ehnvyuiom/Gershwin - Rhapsody in Blue.ziphttp://www.mediaf!re.com/file/ghzynuaixd5/Brecht-Weill - Die Dreigroschenoper.zipThe Threepenny Opera was a modern rehash of John Gay's The Beggars' Opera (below), and similarly political.http://www.mediaf!re.com/file/l2zgdz5rgn5/Gay-Pepusch - The Beggar's Opera (pt1).zip
http://www.mediaf!re.com/file/qmzdjdzwzyq/Gay-Pepusch - The Beggar's Opera (pt2).zipGay wrote in 1728 a political play incorporating a whole raft of contemporary songs and satirising the kind of opera that Handel was writing at that time. The composer Pepusch wrote a short overture, and may well have provided a bass line for the songs - but that's it for him. http://www.mediaf!re.com/file/jnmlk1bdzly/Mahler - Symphony 2 'Resurrection'.zipA big dramatic symphony, with voices. Conducted here by Klemperer.http://www.mediaf!re.com/file/t1jav1yzlm5/Mendelssohn - Lobgesang.zipThe Hymn of Praise is either a symphony whose last movement is a whole cantata, or a cantata whose overture is a whole symphony! You decide.http://www.mediaf!re.com/file/nyyzndlotzj/Alkan - Chamber Concerti etc.zipAlkan was a neighbour of Chopin and Liszt in Paris, but is still hardly known. Here are a couple of his very few orchestral works, and two different recordings of his extraordinary and hilarious Funeral March for the Death of a Parrot.http://www.mediaf!re.com/file/znzutmfz2tm/Alkan - Grande Sonate.zipMost of Alkan's compositions are fiendishly difficult piano music. This sonata, subtitled The Four Ages of Man depicts life at the ages of 20 (life's his oyster), 30 (responsibilities and frustrations), 40 (contented domesticity) and 50 (decrepit old age - he was being a bit pessimistic here!). My old piano teacher is the performer.http://www.mediaf!re.com/file/43qjjl2tywi/Arne - Alfred.ziphttp://www.mediaf!re.com/file/diyy5ttllno/Mondonville - Sonates en symphonies.zipLate Baroque French Concerti Grossi. What distinguishes these is the extraordinarily frenetic string writing, at times contrasted with a slow oboe melody floating over the top. Scrumptious.http://www.mediaf!re.com/file/koz0zgt2jyg/Dowland - Songs & Letters.zipSting sings Dowland songs with Lute accompaniment, and reads some short extracts from his letters between them.
OK - by request, some more classical music. Lots of it! Largely modern, but not all. Arranged starting modern, ending up ancient, but not in strict order in between.
Am I the only one who's mediaf!re is acting up? The download cancels itself at about 30% without any notification.
Backstreet's back
ALRIGHT!
Backstreet Boys
(http://i15.photobucket.com/albums/a373/teresias216/bsb.jpg)Code: [Select]http://www.mediaf!re.com/?mgtfvhwewcv
Backstreet's Back
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Millennium
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Black and Blue
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Unbreakable
(http://i15.photobucket.com/albums/a373/teresias216/bsbunbreak.jpg)Code: [Select]http://www.mediaf!re.com/?fbvppvaganr
I just downloaded the Walton Facade (62MB) from my post on a different computer, using IE8, with no problem at all.
But sorry, I'm not going to offer tech support for individual computers over the Internet; doing it as my day job is enough, thanks.
Crystal Antlers - Tentacles (2009)Code: [Select]http://www.mediaf!re.com/download.php?yj2nwncoyyg
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Crystal Antlers - Tentacles (2009)
Crystal Antlers - Tentacles (2009)Code: [Select]http://www.mediaf!re.com/download.php?yj2nwncoyyg
I think this is missing track 9.
http://www.mediaf!re.com/download.php?nlgnqzj4nyj
21st century indie folk music mixed with 19th century listlessness is a rare sound. In the beer halls of the late 1800s and early 1900s, newsboys and butter maids were kicking back, pressed up close to each other tweed blazers and crinoline skirts, gliding to soft, but energetic orchestral sounds that would’ve sounded something like Pale Young Gentlemen.
The band comes from Madison, Wisconsin and Black Forest (Tra La La) is their sophomore effort. The album beautifully bleeds with an upbeat Victorian era charm of chamber pop music. It is a soft, airy push of whimsical cellos, violins, violas and delicately plucked strings. Split in pace, the album offers fast numbers that’ll get the young kids up and out but also slower, dramatic tones for the introspective.
The strings are key to the sound of the album and are front and center in every track. They fill a wide array of genres from classical to cabaret, completely theatrical in nature where one might think they’re watching assorted scenes from a Broadway pop opera. Lead singer Michael Reisenauer’s voice is a charming instrument unto its own, oscillating between a baritone and falsetto.
Standout track on the album is clearly “The Crook Of My Good Arm”, an Eastern European tinged folk rock number that’ll get your feet stomping, shoulders shaking and, in about 30 seconds, out of your seat, grabbing a partner and onto the dance floor, mimicking some sort of forgotten 1800s dance with the same vigor that the song throws at you. Shadows/Doorways is a fifty second instrumental of pure classical music. The untrained ear wouldn’t be able to tell the difference between this track and a true 1800s symphonic gem.
Another favorite on the album is “Our History”. The first brush of sounds to your ears will swiftly remind you of Chris Martin. However, the song offers a lot more than such a trivial comparison. When the violin showers in followed by the youthful acoustic guitar, a nostalgic melody of puerile joy is created; fitting to the title of the track “Our History”.
It is worth noting that the album cover is a cropped image of a painting by Victorian era painter, Richard Dadd, fitting to the sound of the album. The work is titled "The Fairy Feller’s Master-Stroke.”.
http://www.mediaf!re.com/download.php?2zmywhzunzt
Lillianis like a halfway house for geeky high school band instruments. Beat-maker Alias (Brendon Whitney) and his brother, multi-instrumentalist Ehren, rehabilitate the wind section, remaking timbres that haven't had much pop-cultural cachet since the big-band era into hip, upstanding citizens of the weird, loosely defined world of hip hop governed by the East Bay's Anticon collective. "Eman Ruosis Iht" eases you into the duo's mission with low-key pleasantries like an ambient flute, a familiar, fuzzed-out beat, and these simple, wholesome melodies that pervade the entire album. On "Back and Forth," however, the brothers institute a plan of action. The mature, bookish tones of the clarinet are put to work with sprightly, tripping beats and blips. Then a souped-up, hot-shit soprano sax (yes, that's soprano saxophone, ripped with reedy squeals right out of the dastardly hands of bad influences like Kenny G) spins the whole track dizzy, wailing like a cross between a cock-rockin' guitarist and a whirling dervish. By "52nd and West" a flute has learned to use its scales for more socially acceptable purposes. With a benevolent, knowing touch, sponsors Alias and Ehren gently guide their wards into their new lives as functioning members of ambient, beat-driven hip hop.ENJOY!...and please,if I haven't done this right please let me know!...look forward to upping more soon!(http://i44.tinypic.com/30sh6hh.jpg)
http://www.mediafire.com/?hvjttj3yb3z
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The future ain't what it used to be, so these days the past can seem like a thing of the future. To wit: The sophomore LP by Texas-based rock group Midlake opened at #14 on the UK indie charts more than a month before gracing its sullen native shores. Similarly, Midlake take a step back from the synth-age psychedelia of their solid 2004 debut Bamnan and Slivercork on follow-up The Trials of Van Occupanther, an encouraging but ultimately disappointing contemplation of time's ceaselessness, love's promise, and Harvest-era Neil Young.
Speaking of time, Midlake waste little at first. Opener "Roscoe" keeps getting compared to Fleetwood Mac but actually comes closer to the pristine, high-concept chug of the Alan Parsons Project's paranoid 1982 hit "Eye in the Sky" (in a good way, gang) or the similarly anxious space-rock of the late Grandaddy. "Whenever I was a child, I wondered/ What if my name had changed into something more productive like Roscoe/ Been born in 1891, waiting with my Aunt Rosaline," whispers frontman Tim Smith, his phrasing elusive, his grassy tenor warming into multi-part harmonies after one of the year's most casually compelling pop moments.
Alas, nothing else here comes close: A fuzzy guitar solo goes Lindsay Buckingham's way on the legitimately Mac-like "Head Home"; monotonous single "Young Bride" chases ramshackle dance beats and skittery violins through a haunted and hookless forest; and "Bandits" pairs anachronistic wit ("Do you want to be overrun by bandits?") with mild woodwinds, an acoustic intro recalling "Mother Nature's Son", and gray Coldplay piano.
Throughout the album, the desperation for meaningful human contact glimpsed in the record's lonesome centerpiece "Van Occupanther" underpins images of mountaineers, stonecutters, and frozen pines. The album's second most affecting track, horn-sprouting "Branches", further illuminates the protagonist's heartbreak through ominous minor sevenths, "Exit Music (for a Film)" triad-inversion segues, and a canny reference to the Jackson Browne-penned classic "These Days". "It's hard for me but I'm trying," Smith delicately repeats, his voice falling between Young's woozy falsetto and the sinuous timbres of Thom Yorke. The second half of the disc, however, drags amid bell-like vintage synths, pastoral singer/songwriter strums, and a stolid mountain of midtempo melancholy. "On a clear day I can see my old house and my wife," intones Smith, still struggling against the passing seasons for an irrecoverable romance.
After Bamnan and Slivercork's Flaming Lips progressivism, The Trials of Van Occupanther may seem like a retreat. Yet despite all the shag-carpet throwbacks, Midlake's new one rises above retro pastiche to probe its central character, the lovelorn, calendar-confined Van Occupanther; spacey production and allusive songwriting mark the album as a present-day artifact. "We'll pass by for the last time," the disc concludes, but surely a band this promising will be back for more.
http://www.med!afire.com/download.php?mkmmlqzyw2z ENJOY!(feedback is most welcome)
I’m of the opinion that this is what an album would sound like if your girlfriend were an elf. An elf, in fact, with a penchant for the songs of Feist and Kate Bush. Casey Mecija deploys a gnomic voice whose unusual timbre and fragility ultimately charmed me. Top tracks ‘Cliff Jumps’ and ‘Cannon March’ work a nice exchange between synth and strings; cellos, mandolins and keyboard. You are never quite sure what Casey is singing about but apparently she ‘pens songs wrought with the Romantic afflictions of big city life’. What I heard were alternately cheerful melodies, with bounce and verve, fine instrumentation and a gentle sparkle.
http://www.mediafire.com/?tdlo5jd2zlm
http://www.mediafire.com/?nettl4z432nhttp://www.mediaf!re.com/download.php?tmm2oiz2zqz http://www.med!afire.com/download.php?wnjydilg5ynOhbijou - BeaconsQuoteI’m of the opinion that this is what an album would sound like if your girlfriend were an elf. An elf, in fact, with a penchant for the songs of Feist and Kate Bush. Casey Mecija deploys a gnomic voice whose unusual timbre and fragility ultimately charmed me. Top tracks ‘Cliff Jumps’ and ‘Cannon March’ work a nice exchange between synth and strings; cellos, mandolins and keyboard. You are never quite sure what Casey is singing about but apparently she ‘pens songs wrought with the Romantic afflictions of big city life’. What I heard were alternately cheerful melodies, with bounce and verve, fine instrumentation and a gentle sparkle.
Paralleling other English reggae outfits like UB40 and Mad Professor's Ariwa band during the late '70s and early '80s, Adrian Sherwood's various On U Sound outfits took off from Jamaican dub and vocal music to create something both similar and unique. While primarily inspired by the dub of King Tubby and company as well as the slicker sound of dancehall luminaries like the Roots Radics band and producer Henry "Junjo" Lawes, the Dub Syndicate, for one, also incorporated rock elements and a host of original dub effects: drums sound harder and more insistent than on most Jamaican sides, the piano and horns play a more prominent role, and, in an admitted quest for ambient sounds, echo, flanger, and reverb effects are wrought with their own brand of frenetic twist and turns. This Dub Syndicate debut from 1982 captures most of the attractive mix and remains one of Sherwood's best releases. While maybe not as daring as more electronica-minded and big beat-filled releases that followed, Pounding System has stood the test of time better than many On U Sound titles with its subtle marriage of Jamaican music and Sherwood's aesthetics. ~ Stephen Cook, All Music Guide
http://www.mediaf!re.com/download.php?nyojzyjaixmhttp://www.mediaf!re.com/download.php?oknm2zmdynmNot very many reggae albums acknowledge Alan Lomax in the credits. But then, African Head Charge (a band with a constantly changing membership led by percussionist Bonjo Iyabinghi Noah) doesn't really make typical reggae albums. Although the one-drop beat (provided on this album by Lincoln "Style" Scott) influences everything and the basslines have a typical tidal undertow, the stuff that Noah layers on top of the mix has more to do with ethnomusicology than the dancehall. The song titles say it all: "Cattle Herders Chant," a field recording of call-and-response chanting overlaid with Nyahbinghi drums and highlife guitar; "My God," eerie, minor-key African-American church singing supported by a chugging reggae bassline, bare-bones drumming, and the sound of running water; "Deer Spirit Song," an unidentifiable indigenous song in 9/8 meter with a gently driving rockers beat and occasional sound effects thrown in. This is an exceptionally beautiful album, but in a deeply strange way.
All Music Guide
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If nothing on Notes and The Like rocks quite as hard as No P. or D.’s “Go Check,” the new album is still a more than satisfying follow-up to the 2002 debut by Stefanie Böhm and Micha Acher. The duo’s style hasn’t radically changed—the focus is still firmly on breezy electro-pop—but the sound is instrumentally bolder, with chamber strings adding supple depth to songs like “A Million Times” and “Line by Line.” Naturally, Böhm’s candy-coloured voice is the band’s signature element but it’s also a remarkably versatile instrument; note, for example, the contrast she so effortlessly effects between a distorted muffle and breathy whisper in “Sometimes Stop, Sometimes Go.” Throughout the album, the group reaffirms its love of New Order bass lines and sprechsang (“Scan the Ways”) while further perfecting its command of driving electro-pop (“No.One”) and poignant balladry (“Plenty Of”). Put simply, resistance is futile when dreamy hooks and Böhm’s sweet vocals work their infectious magic on cuts like “A Nod On Hold,” “Hands” and the beatific “A Million Times.” Fans of Lali Puna’s Scary World Theory and The Notwist’s Neon Golden could legitimately regard Notes and The Like as a natural complement.
http://www.med!afire.com/download.php?lbioywmr2mwSpool is the collaboration between jhno (John Eichenseer) and John Ridenour, who met in Austin, TX in the early nineties. They played music together there in several bands, including the ground-breaking John Ridenour Cluster. jhno moved to San Francisco, where he helped sculpt the legendary ambient scene of the late nineties and early two thousands. John Ridenour moved to Chicago, where he joined the Aluminum Group, founded Card Table, and became famous. John and jhno realized that the musical vacuum of their separation was gnawing at their very souls, so they reunited in 1998 to record what would become the first, self-titled Spool record. Spool was signed by New Dog/World Domination, who released their debut CD to the extravagent praise of listeners and critics alike.
Riding the crest of this wave, they played various shows and put together a four-piece band to undertake the epochal Ambient Brunch Tour, with drummer Bryan Bowman (from the first Spool album), and Bay Area bassist John Christensen. While preparing for the tour, they recorded the basic tracks for a second Spool release. At the last moment, John Christensen left the project to embark on a life of great joy, and bassist Hillel Familant was brought in to complete the tour. This was the summer of 1999. After that, things more or less fell apart in various ways, and the second album was neglected while Spool pursued other music and other life processes.
During this interval, jhno wrote music software, played with the band Crater (with Scott Amendola and Nels Cline), and eventually moved to Europe. John Ridenour moved to Austin to complete his second solo CD (Goodbye Songs) and then to Urbana where he spawned.
Finally, jhno finished mixing Spool Saves the World between 2005/2006 in Germany. To the surprise and delight of hard-core SPOOL fans everywhere, the CD was finally released on Delicate Ear Records. The world continued to unfold.
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KEXP (90.3 FM Seattle and KEXP.ORG) is proud to announce Live at KEXP Volume Four, the fourth compilation featuring KEXP's exclusive, live in-studio recordings and recordings from live remote broadcasts across the country. KEXP has a commitment not only to putting great music on the radio, but also to use the airwaves to connect musicians with the listeners. Live in-studio performances are an integral part of KEXP's programming and the Live at KEXP compilation series has become a highly anticipated release among listeners and an important source of operating revenue for KEXP.
KEXP hosted over 400 in-studio performances last year alone. (Check out the huge archive of performances available at KEXP.ORG). These performances ranged from local bands just starting out to more established, big-name musicians. The tracks on this compilation bring a different interpretation to each song, each artist and each genre of music. It is a reflection of the sound that KEXP brings to listeners' ears every day. KEXP would like to thank all the artists who donated their time and performances to this one-of-a-kind compilation.
Tracklisting:
1 Pela - Lost to the Lonesome
2 Vampire Weekend - A-Punk
3 The Scotland Yard Gospel Choir - I Never Thought I Could Feel This Way For A Boy
4 Sharon Jones & The Dap-Kings - Let Them Knock
5 The Helio Sequence - Can't Say No
6 The National - Start A War
7 Elbow - Grounds for Divorce
8 Angelique Kidjo - Salala
9 Yeasayer - 2080
10 !!! - Yadnus
11 Fleet Foxes - Oliver James
12 Atmosphere - Guarantees
13 The Hold Steady - Your Little Hoodrat Friend
14 British Sea Power - Down on the Ground
15 Les Savy Fav - We'll Make A Lover Of You
16 Arthur & Yu - Lion's Mouth
17 The Raveonettes - Aly, Walk With Me
18 Calexico - Cruel
19 Carter Tanton - Red Balloons
20 Rufus Wainwright - Going To A Town
http://www.mediaf!re.com/?mywznxnzjjfCraig Armstrong scored the sweeping string arrangements for Massive Attack's PROTECTION. It is therefore fitting that his debut album should see release through the Bristol band's Melankolic imprint. Nor should it surprise anyone that THE SPACE BETWEEN US is a veritable waterworks of strings, harps, and longing. To the classically trained Armstrong's credit, the album's resplendent romanticism never becomes soggy or overbearing. Even as the strings welter and arc in dizzy, heaven-bound spirals, a shadowing of spare downtempo electronics maintains an attractively lugubrious atmosphere.
THE SPACE BETWEEN US is mostly instrumental, though former Cocteau Twin Elizabeth Fraser graces "This Love" with a heart-stopping vocal turn. She blazes brilliantly against Armstrong's flowering backdrop, as does Paul Buchanan's Brian Ferry-like delivery of "Let's Go Out Tonight." Armstrong's gift for simple and sensitive melodicism surpasses the crass, tear-jerking histrionics in which many of his peers wallow. "Laura's Theme," "Glasgow," and Armstrong's original setting for ROMEO AND JULIET's oft-scored balcony scene prove him the equal of icons like Nino Rota and Frances Lai and suggest that cinema is Armstrong's true calling. Sure enough, Armstrong hit the silver screen in 1999 with his score for Jake Scott's PLUNKETT & MACLEANE.
http://www.med!afire.com/download.php?ymuhhn4u2gkI Just Can't Stop It was a late arrival onto the checker- boarded scene, the Specials, Madness and the Selecter had all beat the (English) Beat to the punch, but luckily this wasn't a race. Besides, the band had already primed the pump with a trio of Top 10 singles -- the double A-sided "Tears of a Clown"/"Ranking Full Stop," "Hands Off She's Mine" and "Mirror in the Bathroom," their debut album followed hard on "Mirror"'s heels, picking up the latter two songs and "Full Stop" to boot. Two more of the tracks within set followed them onto the chart, later that summer on another double A-sided single -- "Best Friend" coupled with a dub version of "Stand Down Margaret"." So this was a hit filled set. And so popular were such songs as "Rough Rider," "Twist and Crawl," "Too Nice to Talk To," "Can't Get Used to Losing You" and "Whine & Grine," becoming such staples, that fans can be forgiven for assuming they too were released on 45. Intriguingly, "Losing You" came courtesy of Andy Williams, and highlighted the softer styling that would swiftly overtake the Beat. But "Rough" and "Whine" had solid ska credentials, both were Prince Buster hits, while "Jackpot" was one of slew of racing themed rocksteady smashes that drove The Pioneers too fame, The Specials had opened their own account with another -"Longshot Kick the Bucket"." And it was this sheer diversity of influences that set The Beat's sound apart from their compatriots. Their own compositions were heavily cultural in theme -- the radical cries to depose the prime minister on "Margaret," the slashing anti-violence of "Two Swords" and even more ominous and feverish "Click Click," through the cultural nihilism of "Mirror" itself. With a few softer love and lovelorn tracks taking some of the edge off. Stop was a stunning achievement, its driving, frenetic numbers grounded in punk's fury smashing into the loose-limbed grooves and melodies of rocksteady inspired songs, and banging head on into sweeter pop fueled pieces. The album remained on the British charts for a whopping eight months, eventually peaking at Number Three. Time has not diminished its glory, the songs remain hugely as their continued inclusion in the band's offshoot's repertoire have proved.
http://www.med!afire.com/download.php?1z534mmdeemhttp://www.med!afire.com/download.php?wmm2xj03zjlThe artist known as Kraddy hails from Brooklyn NY and sets the pace with a truly twisted piece of electronic breaks. Think Tipper & Si Begg and you should get a rough idea of what this guy is all about. Godzilla ventures into territories new with some seriously competent production techniques, beats get turned, churned and edited into obscurity, with cheeky little samples squeezed in and pushed out to great effect. 'Son Of The Electric Ghost', turns in the remix still keeping in tune with the original but never quite pulling in as much power.
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San Francisco producer/DJ Matthew Kratz is "known for his intuitive ability to carve beats out of the bits." A merry prankster of the nu breaks skool, he has the ability to be as cerebral as Aphex Twin or Squarepusher while maintaining a dancefloor sensibility with the skittery riddims of jungle, the divebomb bass of acid techno, and the dope flow of hip-hop. His songs showcase a razor-sharp skill with the cut and paste of digital composition as well as an uncanny turntable technique. On his debut full-length, Truth Has No Path, some pieces are reminiscent of the noir soundtracks of µ-Ziq or Amon Tobin (the chopped-hop of "Imminent Threat," the paranoid march of "New World Empire"), while others show his whimsical side (the bouncy glitch intro and infant squeals of "Lonely Electron," the found sample of "You hear that? You know what that is? That's a nice sound..." on "Faux Show," a remix of Ol' Dirty Bastard's "Shimmy Shimmy Ya"), the unifying element being his impeccable ability to let his handcrafted sounds, beats, and grooves shine through. ~ Brian Way, All Music Guide
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LA-based electronic musician, multimedia artist and mad scientist collector Steve Nalepa combines deep dub bass, glitchy breaks, bioacoustic atmospheres and beautiful sinewave melodies to create his patented brand of ambient glitch dub.
http://www.mediaf!re.com/download.php?zcwwjmatgnmhttp://www.med!afire.com/?5det1tlzotyFor Josephine, the band teamed up again with engineer Steve Albini at his Electrical Audio Studios in Chicago, IL for what proved to be an emotional recording session. About halfway through Josephine, they report a noticeable shift in weight. A release of some kind, the kind that comes when you give up holding back the tears. Its a heavy kind of freedom coming to the forefront, an empowering sadness. And when chief Electrician Jason Molina delivers the line an hour glass... filled with tears and twilight from a friends dying day, the mood becomes clear. The band is on its heels, yes, but they are going to fight back in the only way they know how. Molinas concept album is an honest-to-God effort on the part of Magnolia Electric Co to pay tribute to the life and spirit of fallen bassist Evan Farrell (R.I.P. December 2007). Molina has said each tune is a good faith attempt to make real Evans hopes for the record. And in doing so, Evans spirit becomes part of the concept. The loss of Josephine becomes the loss of Evan. Molinas familiar lyrical allegories are still in tact. But here, in what is no doubt the strongest set of songs Molina has written since the inception of Magnolia Electric Co., those classic themes take on new meanings. Molina has approached the universal loneliness before, but never in such a focused, directed manner as found on Josephine.
http://www.mediaf!re.com/download.php?mjmyj2omyzmhttp://www.mediaf!re.com/download.php?nlm3ntlgzj4http://www.mediaf!re.com/download.php?u122l2kgzdhhttp://www.mediaf!re.com/download.php?nuntmtnrod4http://www.mediaf!re.com/download.php?tj0dz2ii40lhttp://www.mediaf!re.com/download.php?myjkwm5jnjzIf you believe they don’t write songs like they used to, here is new hope for old romantics. On her album Chances, Canadian chanteuse Jill Barber picks up the torch where the golden age of music left off. Barber’s unbridled love with the sounds of 50’s and 60’s jazz and folk is the flame that sets Chances afire. And her distinctive, smokey voice is the perfect instrument for a sound that is both instantly vintage and yet still affecting in today’s scene. Stepping away from her folkier past, Jill delivers an album of ten original, fully orchestrated songs that strongly evoke – and could themselves become - classics. From the moment you hear her sultry voice on the opening title track, you are transported to another time and place. The best songs ever written are the ones that somehow transcend time and fashion, this album does just that.To recreate the magic of a live orchestra, Jill enlisted producer and long-time collaborator Les Cooper. His gorgeous arrangements for a skilled backing band with a 10-piece string section were recorded live at The Glenn Gould Studio.
http://www.mediaf!re.com/?zw5ewnhimmyhttp://www.mediafire.com/?1jnkynmomyyOut of the serenity of Milton, Ontario returns their most ambitious export, the young sextet known as The Most Serene Republic. Their third full-length, …And The Ever Expanding Universe is due for release July 14 on Arts & Crafts. Produced by Dave Newfeld (Broken Social Scene, Super Furry Animals, Los Campesinos!), …And The Ever Expanding Universe shows The Most Serene Republic confidently striding forward with a more mature, diverse and exhilarating sound.
With two acclaimed albums and an EP already under their belts, these just now 24-year old musicians have already been performing together for a half-dozen years. Very much a product of their wide ranging personalities, the band is led by Ryan Lenssen’s classical piano and obsession with musical history, never mind his obsessive attention to detail, and singer/lyricist Adrian Jewett’s Joycian stream-of-conscious lyrics and larger then life stage personality. The entire band’s excellence with their instruments is undeniable and is proven both live and on album.
"DON’T FUCK WITH THE FILTH!" - Grant MorrisonI'm meh on it.
The early reaction to Filth, Aaron Funk’s 16th proper album under the name Venetian Snares, was inexcusably harsh. For those only paying attention since 2005’s critically lauded classical breakcore exploration Rossz Csillag Alatt Született, it’s understandable that one would expect the Venetian Snares stamp to grace only the most ballistic drill ’n’ bass and horrifyingly intelligent jungle on the market. Instead, Filth takes a brave turn towards melding VSnares’ aggro breaks with his more subtle, drawn-out Last Step persona, a project he developed to unleash pure acid techno. Consequently, the glitch-crazed unbelievers started a revolt against this somehow less-complicated direction before it was even released, but this rebellion was about as justified as the second Gulf War.
For the longterm fan, however, the direction explored on Filth is far from unexpected. Aside from the Last Step albums, "Kyokushin" and "Flashforward" from 2008’s Detrimentalist presupposed this acid/jungle fusion with their raunchy 303 lines and bleepy space atmosphere. "Poo Yourself Jason" also went there on his last record, pooling acid synths with old-school pop samples, and traces could be also found in the closing "Miss Balaton" progressive downtempo epic. The appearance of the most exciting and gnarly acid record of all time is indeed baffling, but then again, I have been a Venetian Snares mind-controlled sex slave for many years now. I have come to anticipate a limitless variety of alien autopsy child kill torture giraffe rape, and Filth is a bold thread in that rich tapestry.
Keeping with the album title, most of the tracks have brutally perverse names, like "Chainsaw Fellatio," "Splooj Guzzlers," and "Pussy Skull." Also keeping with the title, these excursions into the darkest depths of acid bring more distortion and spine-breaking beats to the genre than witnessed in a dozen Luke Vibert or Ceephax records. Its sound is unnerving and uncomfortable, groundbreaking in its field, and yet it is the most accessible Venetian Snares record he has released since the critically lauded Hungarian album. At the very least, the song structure is focused on logical albeit extremely intelligent beats. I mean, the man’s favorite time signature is 7/4, so one can only expect so much, and this album makes it seem like a completely normal pace to dance to.
"Deep Dicking" sets the tone for Filth. It begins with pure digital distortion, quickly introducing an up-tempo beat, over which the feedback forms into a downward cycling 303 melody that squelches and snarls in just the right nipple-tweaking way. Following that, "Crashing The Yogurt Truck" takes essentially the same downward melodic progression, but fills it out with a colorful assortment of sounds, more bloops, bleeps, classic synthetic noises, and a little Speak & Spell action. It’s not all techno variations, though. "Chainsaw Fellatio" bends the 303s around a disjointed dubstep beat so unruly it could make Burial rethink his gangsta samples, while "Kakarookee Hates Me" rolls along to mega BPM gabber turf. I’m pretty sure we don’t want to guess why Kakarookee, Funk’s cat, took a dislike to him. In any case, you’ll be hard-pressed to find two tracks in the entire Venetian Snares catalogue that are built the same way, let alone on this record.
Regardless of genre, Filth has a place in Venetian Snares’ trajectory, and is every bit as intricate, insane, and intensicore as anything else he’s ever released. Trying to hang a definitive genre classification on this guy for anything he’s ever done is like taking a Rorschach inkblot test. There is a reason why his press releases are written like this:
Venetian Snares, aka Pants Geronemo, aka Buttercock Lesbummer, aka the biggest retard on earth, has once again turned his toilet fantasies into something you can buy at the store, shove in your whore mouth and puke up thru a glory hole into a stranger’s gaping anus. Financing the dubstep scene since 2005, Venetian Snares has somehow again, not bothered to make anything remotely like a Benga record from 3 years ago, instead reaching deep down into the bottomless pit of electronic genres gone by and digging out acid techno for a thoroughly humiliating raping of the sound. This is the shittiest acid record ever made! Venetian Snares actually covered his 303s with his own feces and twisted the knobs with his rock hard cock! At one point he even taped a 303 to a prostitute and kicks the shit out of her legs.
So, why is this press release written like this? Because Aaron Funk is a certifiable genius and off his nut (he’s probably a pervert too, but what superstar isn’t?). He is to Pendulum what Eminem is to Asher Roth. Pendulum takes years between their albums, and they aren’t a third as complex or menacing as this record. Venetian Snares took 10 months to release Filth, and that was a long wait for him. You can’t judge his albums by expectation. Each album requires new aesthetic criteria, and under this light, Filth is easily one of his best yet.
1. Deep Dicking
2. Crashing The Yogurt Truck
3. Labia
4. Mongoloid Alien
5. Chainsaw Fellatio
6. Kimberly Clark
7. Calvin Kleining
8. Kakarookee Hates Me
9. Splooj Guzzlers
10. Pussy Skull
http://www.mediafire.com/?yqn2ykmjtmiBeats do strange things to the body. House, funk and disco massage you into a communal, orgiastic groove. Hip hop can be a strut or a stroll, but either way, it's about the gait, an obsessive masculine focus on how the music carries itself. Jungle, though, took beat science all the way into the realms of the bionic, exploring the margins of what's possible to move to without missing the beat, losing your cool or tying yourself in knots.I like this one better.
Throughout the 90s, BPMs rose as inexorably as oil prices. The techstep of Panacea and Ed Rush hit so hard it skirted the line between pleasure and pain, a weird interzone of cold, rushing exhilaration. When electronica tricksters such as Aphex Twin and Squarepusher got in on the act, the speed of the beat trickery became pure slapstick. Venetian Snares have kept the junglist faith for the last decade and continue to push the envelope even weirder, chopping the breaks up so fiercely the only (ir)rational response is a an all-consuming hysteria, hitting a feedback loop where your reality check begins to check out, and rave becomes raving mad.
Detrimentalist! is certainly every bit as crazy as the title suggests, but crucially, producer Aaron Funk (apparently his real name, but who knows) has a connoisseur's touch in distinguishing the much-sought-after nuttiness from simple, everyday cheese. The album borrows mainly from the stark palette of ragga jungle, but spunks its soundboy samples across the stereo spectrum with the verve of Jackson Pollock. In any one tune, or even any one bar, the snare drum riffs can evoke anything from a machine gun barrage or remorseless robotic fighting machines to simple, silly pleasures such as a card stuck in your bike spokes or ten pins being skittled by a fourteen pound ball. The marvellously named 'Poo Yourself Jason' is stuffed with pure, mindless fairground fun, with greasy Sly And The Family Stone organ hits and James Brown grunts all competing for your ever decreasing attention span. 'Koonut-Kaliffee' is a mini masterpiece of panic-core junglism, letting martial arts film dialogue and stuttering breakbeats circle each other warily like Bruce Lee and Chuck Norris in The Coliseum.
Some of the sampledelic humour fall a little flat, but these kind of absurdist gags are like pizza " when it's good, it's great, and when it's bad, it's still pretty much OK. 'Sajtban' is loveable despite (or perhaps because of) its utter ridiculousness, with sample edits as rough and ready as the jump-cut visual humour of Rentaghost, interpolating singalong TV themes and an endless procession of early 90s rave piano runs.
You'd have thought Aaron Funk, and indeed the ravin' massive itself, would have long grown out of this kind of nonsense, and admittedly about 20 minutes of Detrimentalist! is probably about as much as you can stand without risking permanent psychological harm. But the silliness of Venetian Snares can't hide his rabid inventiveness, and he's surely the only junglist who can convincingly evoke the cold-blooded physical assault of ragga and the sheer incongruity of The Goon Show in adjacent moments. And perhaps it's a truer reflection of what it's really like to be on a dancefloor than the smooth grooves of disco and house " physical possession one moment, and wondering at the sheer wondrous silliness of what you're doing the next.
http://www.mediafire.com/?ntduuzdl5e4When it comes to music, there are times we all discover diamonds in the rough - hidden treasures for the ear that are so pristine, so lush and so near-perfect, that you want to share it with the world. Such a diamond is Kingdom of Welcome Addiction, the third album by Berlin based IAMX. The evolution of IAMX, lead by masterful minstrel and fashion chameleon Chris Corner, began with the dazzling, sexually-charged electro-pop debut Kiss+Swallow, later followed by the dark, guitar-driven dance beats of The Alternative. For their third outing, IAMX once again evolves, taking the heart and soul of its predecessors, yet this time ditching their traditional dance-rock beats and going for a more epic, personal, and therapeutic sound. This is definitely Corner's most personal and mature work to date.If you liked IAMX's previous albums you'll like this. If you've never heard him, he's sort of like Depeche Mode, I guess? Very vampy and dramatic electropop.
"Nature of Inviting" is a strong, dance rhythm opener, and the most Kiss + Swallow-ish the album is going to get, but next up we're knocked to the floor with title track, "Kingdom of Welcome Addiction." It's here when we get hit with a metamorphosis and wall of sounds, not to mention strong vocals by Corner. In "Tear Garden," it sounds as if the band ditched all keyboards and synths and went for piano and nice, strong percussion, resulting in some sort of ethereal lounge number you just want to snap your fingers and sing along to. One of the album's finest moments is "I Am Terrified"-a haunting and gripping ballad of pain and addiction. It's here where Corners evokes a large amount of emotion as the song builds up to an epic climax featuring powerful vocals by Corner. "I am terrified/ I think too much/I get emotional when I drink too much/I buy every cry, because I don't trust," he sings.
"Think of England" is the guitar anthem of the album that's very reminiscent of ‘90s era U2, only better. Those underwhelmed by the latest Depeche Mode album might dig "An I For An I," a gritty and distorted electro-rock number that sounds like something Martin Gore and David Gahan should be going for. Things come to conclusion in a bittersweet sort of way with the moving and fragile "Running." It's here where Corner displays his tender side and evokes a massive sense of vulnerability and emotion. It's one of those songs that sweeps you up, pierces you, then gently heals you only to do it all over again with each listen. One could argue that this is IAMX's best album, but comparing Kingdom to Kiss + Swallow and The Alternative is like that old saying, comparing apples to oranges. Either way, like its title suggests, this album will certainly become an addiction for anyone who takes a listen. If this album should ever awaken the deaf ears of The Recording Academy, it would most certainly deserve a Grammy nomination.
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PHOTEK ni ten ichi ryu (two swords technique) single
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http://www.mediaf!re.com/?tkmznh5tzmuhttp://www.mediaf!re.com/?znd5cunycclfrom someone who was just whining about a lack of heavy, comes something REALLY not heavy, I just think its a cool listen....
I really dont know what to call this.... electronic/pop/enya shit???
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luckily, I think this Amazon customer gives a decent description...QuoteBy M. Wilcox "elvendil"
This is an album I've been waiting for Amazon to get back in stock for months, and finally got my hands on only this week. If you like smooth synth tracks, trancey beats, and luscious female vocals then this album is one for you. It is extremely smooth, and very beautiful - similar in vein to Delerium offerings, but less dance orientated. It features vocals from eleven different ladies and goes for that 'top of a mountain, sweeping camera shot' sort of beauty, rather than the downbeat melancholy aspect that might be expected (especially considering the lyrics). At once very relaxing and oddly invigorating, it's very easy to get lost in the musical sound-scape on offer. The pedigree of tracks on offer helps to ensure that no one can be singled out as 'the best', and the lyrics throughout are second to none, this is poetry set to music. It also has some of the nicest package art I've seen in a long time. The only slight criticism of the album would be that it's almost in danger of feeling a little over-produced.
Highly recommended to anyone with a taste for excellent female vocals. Here you get eleven extremely good ones.
if this link doesnt work right leeme know so I can fix it. mediaf!re was getting "differantly-abled" with me!
Sounds of the Empire sees Capitol K making tweaked-out electronic sound collages that bristle with as much ear-pleasing melody as they drip with innovation. Kristian Craig Robinson and Cliff Harris weave loads of ringing synth sounds with layers of more traditional instruments and sound effects toward a most moody atmosphere. Songs like "People" boom with heavy bass and crash and stutter via dark samples. Unlike knob-twisting peer Luke Vibert, who plays with samples and electronics in a similar yet lighter way, Capitol K never lets their samples get out of hand. Capitol K's samples add crazed depth to the songs, rather than acting as elements toward some catchy goal. The album attacks fiercely at times. "People" is again a good example; after four minutes of interesting dabbling, the duo deploy an armada of evil drum'n'bass madness. One of Capitol K's best traits is that they're not afraid of pop hooks. Many of their dark electronic contemporaries can't claim that characteristic in their music. "Lagoon" is so fragile and gentle in its acoustic foundation that it threatens to turn into a New Order song at any second. The vocals on "Janome Home" are a brilliant change of pace, as the song achieves the blissed-out state Leila was attempting with Courtesy of Choice. One imagines Tim Burgess singing to music by Bjork. "Jump off the Box" comes like a more subtle Orbital. The album works on many levels; songs sound warm and inviting while still having raging, ominous souls. Bubbling cacophony rarely sounds this compelling. Sounds of the Empire is a stunning, confident debut which is full of riveting, accessible electronic artistry.
http://www.mediaf!re.com/?mzxdakzudmoWith an impressive debut album under their belts already, Roadeater takes the campaign nationwide. Opening track Pillow is as close to a pure pop song as they've got so far. It's got an annoying 'singing in the bath' type vocal, but what hooks you in is the neat Cornelius cut-up style of the backing, with its breezy tune and slashed around synth sounds. There's more to come, as Naxxar and Superheroes wield eastern scales and super-heavy rhythms, which put me in mind of Flowers of Romance-era Public Image Ltd. Closer Big Submarine (Polaris Mix) is awe-inspiring - bone-rattling drums intorducing a huge Suicide drone and a sackfull of chaotic electronica. A great finish to a good EP: turn on Capitol K.
http://www.mediaf!re.com/?afimaynzlnzRating: 9.1
The latest effort from London's one-man Capitol K outfit is an elegant stylistic cocktail that mixes indie pop and IDM (let's say the "I" stands for "independent") without compromising either. The hybridization of rock and electronic genres has become a fairly tired musical formula over the last several years, but 26-year-old Kristian Craig Robinson executes with such precision and innovation that Island Row leaves even the seasoned listener slackjawed and struggling for comparisons.
K's music draws from a broad pool of influences, indicative of his geographically scattered childhood. Maltese by birth, he divided his early years between Dubai and Borneo, coming eventually to Britain for secondary school. There, Robinson encountered American indie bands like Fugazi and Sonic Youth, who inspired him to start his first band. His background gets a bit hazy beyond that point, but his music suggests that, somewhere along the line, he ate loads of psychotropic chemicals, picked up a few Rephlex records and bought himself a Dictaphone. All these jumbled elements of his past echo forcefully in his work, and more evenly on Island Row than any of his previous outings.
Capitol K's recording legacy dates back to 1998, when he released a self-titled 12" on Elf Cut Records. Two of the four tracks from that record made the cut for his full-length (the absolutely astounding Sounds of the Empire) on Mike Paradinas' Planet µ imprint the following year. Of that album, Mike writes (and I concur), it "is still one of the best debut albums I have heard." You might even care to scratch the word debut.
Material from these early releases hints only cautiously at Robinson's rock-n-roll leanings. The follow-up Roadeater EP, issued in early 2000, signaled a shift toward a more balanced mixture of vocals, samples and strumming. And Island Row carries the torch-- four of the 11 songs here have proper lyrics, and nearly all feature a bit of guitar-work.
Still, the prevailing theme here is production; the inane, carnival-esque noodlings reminisce of Mouse on Mars, while the occasionally caustic drum breaks recall tunes from Autechre's Gescom side-project. But Capitol K brings so much of his own flavor to the table that likening him to either of those musicians would be misleading.
Exoticism becomes a key theme in Robinson's work-- not the token ethno-techno exoticism of Talvin Singh or Badmarsh & Shri, who intersperse dull drum loops with unimaginative sitars and tablas, and earn credit for "fusing" different genres. It would be more appropriate to say today's world beat musicians layer different genres, always conscious of which sounds belong to the East and which belong to the West, and scarcely exploring any middle ground.
Capitol K breaks this mold, and stakes out a bit of sonic territory somewhere in between. Reversed drum loops bounce between Eastern and Western time signatures, while Robinson's candid falsetto brings urgency to even the most saccharine lyrics. Out of context, many of the lyrics seem puerile, which is probably what makes them so damn effective. It wrenches even my calloused heart to hear K innocently cry the chorus of the opening track, "Heat." "I'd like to know/ If you like the cold/ 'Cause when we meet/ I'll bring the heat." On paper, it reads like a nursery rhyme, but the latent angst beneath Robinson's voice tells a more frustrated story-- one of a lost passion.
"Pillow," which also made an appearance on Roadeater, seems the most readily accessible song of the lot. Even while treading through bubblegum turf, it manages to retain its edge and subtlety, thanks to Robinson's production trickery. But gems lurk in the album's darker corners as well. "Monster," as the name might suggest, can be at times difficult and abrasive, matching heavy guitar distortion with esoteric Eastern melodies. Other honorable mentions include "Breakers," "Lion Anon" and "Forgotten Duffle Coat," on which K collaborates with friend Leafcutter John.
The album loses points for two reasons, the most legitimate being that a handful of the tracks feel disjointed. Capitol K's transitions tend to be remarkably smooth, but there are several on this album (particularly on the songs "God Ohm" and "Is It U?") that it seems he might simply have handled better. The second complaint I'm obligated to lodge against Island Row is a reprimand for the Prince cover, "Dance On." Robinson admits he intended it as a joke, but thanks to American copyright laws, that joke prohibited Americans from importing this brilliant record for nearly four months. I could have done without the inconvenience, especially for this lackluster song.
I hope I've done this album justice, but it's tough to tell when so many terrible albums receive so much critical lip service. If my generic praise leaves you with the impression that Island Row is generic music, do yourself a favor and dig up some MP3s. These songs deserve to be heard.
For this follow-up to his acclaimed Special Forces album, Vancouver-dweller Julian Fane has placed far greater emphasis on more conventional song structures than its predecessor, with vocals taking a central role at every turn. Fane’s voice bears more than a passing resemblance to that of Thom Yorke, and the Radiohead frontman’s solo outing, The Eraser provides an obvious reference point. But while Yorke’s album was an exercise in minimalism (by his standards at least) Our New Quarters positively exudes epic ambition. The title track sets the tone, with its quietly dramatic Sigur Ros-style post-rock, only for subsequent tracks ‘New Faces’ and ‘Youth Cadet’ to introduce shattered electronics and rasping beats. All these elements are distilled to greatest effect on ‘The Moon Is Gone’, the most successful marriage of Fane’s song craft and electronics here. Almost as good, the neon synths and fiery beats (sounding like they’ve been lifted straight off Bjork’s Homogenic album) of ‘Rattle’ provide another highlight. However, the haunting piano chords and whispered falsetto on ‘Downfall’ suggest Fane is at his most powerful when he switches his electronic gadgetry off and plays it straight. It’s absolutely magnificent stuff, managing to sound profoundly emotive without resorting to histrionics.
http://www.mediafire.com/?5jyzdnzzlzy
http://www.mediafire.com/?mqywyzzzdeeWintermute are the perfect kind of band for Oxford-based label Big Scary Monsters. Playful and somewhat cutesy, with their riffs brazenly cheerful, it looks like their debut release is going to find a comfortable home among the label that put records out from the likes of Blakfish and Tubelord.
The moment you press ‘play’ an immediately jaunty guitar riff, that is unmistakably Foalsian in style, explodes out of the speakers. But within ten seconds, it’s all change and the high-tuned guitars have already shifted to plains anew, all the while taking as much inspiration in its funky groove from the likes of the Chilli Peppers as it does with all these pop-math-rock bands that are increasing in numbers by the day.
The whole album is a fairly erratic, convoluted affair, with angular guitar lines sounding like the poppier offshoots of an Omar Rodriguez-Lopez album. ‘Ask A Stupid Question’ toys with the fine line between whimsical experimentalism and much angrier, angsty elements, and even the slower parts maintain an essential pulse to keep the foot tapping.
http://www.sonicdice.com/2009/04/15/album-review-wintermute-robot-works/#ixzz0IPVppdRj&D
http://www.mediafire.com/?uydczyu2yoohttp://www.mediaf!re.com/?t4iqwzzyn2kIn 2009, when Back from the Dead was released, it was impossible for any listener to not be in on Spinal Tap's joke, so it's fitting that this is their first release to play as pure comedy, an album that doesn't even attempt to pass itself off as a rock record. The concept is this: a reunited Tap — hence the name Back from the Dead — celebrates the 25th Anniversary of This Is Spinal Tap by launching an unplugged (and "unwigged," meaning Christopher Guest, Michael McKean, and Harry Shearer do not don the hairdos of Nigel Tufnel, David St. Hubbins, and Derek Smalls) tour, releasing the movie on BluRay and revisiting their old songs in the studio, adding five new songs, and recording "Jazz Oddyssey" for the first time, splitting it into thirds and scattering it throughout the album. "Sex Farm" is given a funky revamp, and "(Listen to The) Flower People" now sounds like Ziggy Marley, but those are the exceptions to the rule: the rest are straightforward remakes of the original recordings, right down to how "Gimme Some Money" has a Liverpool swing and how "Big Bottom" is driven by a farting synth bass riff. The only difference is, the production is clean and pristine, the band is precise and punchy, laying bare the joke, for better or worse. Some listeners may find this approach riotous, since the humor is pushed right toward the front, while many may miss how their original recordings blurred the lines between real rock and fantasy. This hurts Back from the Dead most on the remakes, all of which pale next to the originals, but the surprising things about the album is that all the new songs are top-notch, eclipsing the often forced Break Like the Wind, and striking the right balance between parody and real rock & roll. They're the reason to hear Back from the Dead, which otherwise is just a tad too satisfied with its own humor for its own good.
http://www.mediaf!re.com/?ozjxjtz3y3jThe new album from Baltimore’s Wye Oak will be available on July 21st. The Knot was written and recorded by Andy Stack and Jenn Wasner in their living room. The band started as a basement project with the duo recording demos together and soon expanded to include tours of America and Europe. The NY Times’ Jon Pareles described Wye Oak’s live performance, “Wye Oak segued thoughtful roots-tinged rock into richly overwhelming textural excursions.”
A set of songs that sway, stretch, and scream while always reaching outward for personal connection. As ever, Andy Stack's production layers his own multi-instrumental arrangements over Jenn Wasner's woozy compositions, but musically, too, things sound more precise. There's less squalling feedback than before, but lingering violin and pedal steel bring out the droning Americana that has always informed Wye Oak's sound.
the sharekey gives people access to your whole folder...just so you know...
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Animal Collective - Summertime Clothes EP (2009)Code: [Select]http://www.mediaf!re.com/?zw5ewnhimmy
1. Summertime Clothes (Dam-Funk Remix)
2. Summertime Clothes (Leon Day AKA L.D Remix)
3. Summertime Clothes (Zomby's Analog Lego Mix)
The Most Serene Republic - ...And the Ever Expanding Universe (2009)Code: [Select]http://www.mediaf!re.com/?1jnkynmomyyQuoteOut of the serenity of Milton, Ontario returns their most ambitious export, the young sextet known as The Most Serene Republic. Their third full-length, …And The Ever Expanding Universe is due for release July 14 on Arts & Crafts. Produced by Dave Newfeld (Broken Social Scene, Super Furry Animals, Los Campesinos!), …And The Ever Expanding Universe shows The Most Serene Republic confidently striding forward with a more mature, diverse and exhilarating sound.
With two acclaimed albums and an EP already under their belts, these just now 24-year old musicians have already been performing together for a half-dozen years. Very much a product of their wide ranging personalities, the band is led by Ryan Lenssen’s classical piano and obsession with musical history, never mind his obsessive attention to detail, and singer/lyricist Adrian Jewett’s Joycian stream-of-conscious lyrics and larger then life stage personality. The entire band’s excellence with their instruments is undeniable and is proven both live and on album.
1. “Bubble Reputation”
2. “Heavens To Purgatory”
3. “Vessels Of A Donor Look”
4. “Phi”
5. “The Old Forever New Things”
6. “All Of One Is The Other”
7. “Patternicity”
8. “Four Humours”
9. “Catharsis Boo”
10. “Don’t Hold Back, Feel A Little Longer”
11. “No One Likes A Nihilist”
http://www.mediafire.com/?5qyz2nitmnd
Fans of bookish, polo-shirt'd, sea-breezed Ivy League indie-pop, get ready to get your party on. Or, um, something like that. It's time to discover Discovery. That's the side project of Vampire Weekend's keyboardist/arranger/producer type, Rostam Batmanglij, and Ra Ra Riot frontman Wes Miles. Where their main bands 'whose respective debut discs, Vampire Weekend and The Rhumb Line, were two of 2008's best albums' play preppy, jangling, twee tunes, Discovery do something distinctly different.
Taking inspiration from the chromed-out gleam of modern R&B production, Batmanglij takes charge of sinuous keyboards, boinging beats, and massive synth crashes; approximating disposable pop fodder with an expert ear. Miles who normally spends his lyrical time making bibliophilic connections to e.e. cummings and Virginia Woolf sings simple refrains in a near-falsetto that's pitched even higher by the obligatory autotune. It's brightly-colored, saturated-sounding, fluttery electro fluff that's stylistic lightyears away from Upper West Side Soweto.
http://www.mediaf!re.com/?gmdw4j0mxmxThe debut album by this '80s New Zealand rock group is an exceptional -- if short -- affair from the Flying Nun stable that brought such ahead-of-time wonders as the Chills and the Tall Dwarfs. While the label may be best known for a signature sound, that of melodic and inventive guitar-based pop of the sort the dB's, early R.E.M., and Yo La Tengo were dealing in. The Jean-Paul Sartre Experience sound veered closer to the U.K. indie sound of the Loft, Felt, and late Wire. Simple melodic songs played with a subtlety and control on a par with Brian Eno's reduced minimalism -- while keeping a folk simplicity to all of the songs -- this album has a low-tech ambience by necessity feel that is the common inimitable charm of '80s Kiwi pop. On later albums the group employed more corrosive distortion and amplitude to challenge their peers Bailter Space and Straightjacket Fits -- and even went to the large American indies Homestead and later Matador although only peaked at the threshold of underground status in America. Love Songs is a quirky yet accessible introduction to an inspired '80s group. And if fans were to compare the dates on this album and a 1990s release by, say, Belle & Sebastian, they might be left scratching their heads as to what they were missing way back circa 1988.
http://www.mediaf!re.com/download.php?fzjmw5eywkd
Kaleidoscope World is the Chills' essential document, although it's not an album but a collection of tracks from early- and mid-'80s EPs, singles, and compilation cuts. Perhaps that's not surprising: the Chills are more skilled at crafting interesting odds and sods than sustaining interest over the course of an album, where their somewhat monochromatic approach tends to drag things down. The influence of Syd Barrett/early Pink Floyd is stronger on these early tracks than it would be on subsequent releases, both on the easygoing sing-along numbers and the more experimental outings. The highlight (of both the album and the Chills' career) is their New Zealand hit single, the haunting "Pink Frost."
[Richie Unterberger, allmusic.com]
http://www.mediafire.com/download.php?d5y0ydiykha
The Hold Steady - Separation SundayCode: [Select]http://www.mediaf!re.com/?5qyz2nitmnd
The Hold Steady - Separation SundayCode: [Select]http://www.mediaf!re.com/?5qyz2nitmnd
I'm pretty sure I posted this about 30 pages ago. Either way, if you haven't heard this album yet, it's fantastic. I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.
I'm pretty sure I posted this about 30 pages ago. Either way, if you haven't heard this album yet, it's fantastic. I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.
The Hold Steady - Separation SundayCode: [Select]http://www.mediaf!re.com/?5qyz2nitmnd
I'm pretty sure I posted this about 30 pages ago. Either way, if you haven't heard this album yet, it's fantastic. I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.
Just fyi...Separation Sunday is their second album. Boys and Girls in America is their third.
http://www.mediafire.com/?jtjhzzmmyhtDeastro's Moondagger starts with a song, "Biophelia," that is reminiscent of what the Postal Service might sound like if they were crafting a soundtrack to a Mega Man video game. The one man band from Detroit ain't 8-bit though, it's not even close. In fact, the video game-ish quality gives way to a more pop sound by the second track, and they only make sporadic appearances throughout the rest of the album.
Deastro just doesn't seem to be content to playing one type of synthesizer-based rock, it seems like he wants to dip is toes in many. While I am quick to draw on the Postal Service comparison, I could probably also throw out names like Depeche Mode or countless other 80s synthpoppers. Yeah, we've heard the revival before, but somehow Deastro still manages to sound fresh. Maybe it's the fact that he does draw from multiple influences or maybe it's because he backs it up with a full band. Whatever the reason, Moondagger is a one of those records that everyone is going to end up loving.
http://www.mediaf!re.com/download.php?hdl44yy3hm2http://www.mediaf!re.com/download.php?ggzy2mdnwnnhttp://www.mediaf!re.com/download.php?umhuycj5cqvhttp://www.mediaf!re.com/download.php?ynmzmznntfohttp://www.mediaf!re.com/download.php?btmitjm4jwd
The Kiwi Animal demonstrated how New Zealand breeds some of the most charming pop bands since Lou Reed left The Velvet Underground and The Pastels learned to play their instruments…Xpressway unveiled some of the more ugly and vicious beasts in sheepskin…The Kiwi Animal, if nothing else, proved that Aotearoa harbored at least one stunningly beautiful acoustic-folk band in 80s. If only you had known.
http://rapidshare.com/files/236641788/minnaarsEP.rar.htmlhttp://rapidshare.com/files/162410508/14icedbears_14icedbears.rar
http://www.mediafire.com/?zzmztwojjoohttp://www.mediafire.com/?u3jgod0nhytDepartment of Eagles have the kind of convoluted, meandering backstory that could squash a less compelling band. Before he joined Grizzly Bear in 2004, Daniel Rossen was splicing together samples and bits of unearthed sound with his NYU roommate, Fred Nicolaus; the duo's collages were released, in 2003, as Department of Eagles' eerie, twittering debut, The Cold Nose. That record was followed, in 2006, by a remix album and preceded by a series of vinyl-only singles, under the name Whitey and the Moon UK (also the original title of The Cold Nose). Not long after its release, Rossen partnered with Ed Droste and Grizzly Bear and the Department of Eagles project was put on hiatus-- until late 2007, when the DOE duo, now enlisting contributions from Rossen's Grizzly Bear brethren Chris Bear and Chris Taylor, began recording again.
http://www.mediaf!re.com/?vzxad4om0myhttp://www.mediaf!re.com/?xnvtoogtcnnhttp://www.mediaf!re.com/?aotkcfgnhwlThere is an unbelievable clarity of sound and vision to Veckatimest: vocals (a duty shared by all band members) are sharper and more complex, arrangements are tighter, production is more venturous and lyrics more affecting. Having opened the creative dialogue at such an early stage, Grizzly Bear was able to realize these 12 songs together as a band, making it their most collaboratively compositional album to date.
This yielded an unexpected mix of material that feels more confident, mature, focused and most of all, dynamic. From songs like 'Dory' (a gracefully psychedelic, ever-evolving work),'Ready Able' (a synth-y opus, and one of four songs that boasts string arrangements by composer Nico Muhly) and 'Foreground' (a plaintive, vocal-driven send-off, and one of two songs to feature choral arrangements also by Muhly) to more resounding pop songs like 'Two Weeks' (an other-worldly doo wop featuring backing vocals from Beach House s Victoria LeGrand) and 'While You Wait For the Others' (a triumphant and melodically cacophonous pop masterpiece), Veckatimest is an album of the highest highs and lowest lows an unbelievably diverse collection of songs that celebrates the strength of each band member, and the power of the whole. It was well worth the wait.
Vampire Weekend + Ra Ra Riot form a side project.I simply cannot stop listening to this. Absolutely awesome.
Wait, what?
Discovery - LP (2009)
(http://i8.photobucket.com/albums/a24/phyrexianmeatdog/10125368x.jpg)Quote from: Release NotesFans of bookish, polo-shirt'd, sea-breezed Ivy League indie-pop, get ready to get your party on. Or, um, something like that. It's time to discover Discovery. That's the side project of Vampire Weekend's keyboardist/arranger/producer type, Rostam Batmanglij, and Ra Ra Riot frontman Wes Miles. Where their main bands 'whose respective debut discs, Vampire Weekend and The Rhumb Line, were two of 2008's best albums' play preppy, jangling, twee tunes, Discovery do something distinctly different.
Taking inspiration from the chromed-out gleam of modern R&B production, Batmanglij takes charge of sinuous keyboards, boinging beats, and massive synth crashes; approximating disposable pop fodder with an expert ear. Miles who normally spends his lyrical time making bibliophilic connections to e.e. cummings and Virginia Woolf sings simple refrains in a near-falsetto that's pitched even higher by the obligatory autotune. It's brightly-colored, saturated-sounding, fluttery electro fluff that's stylistic lightyears away from Upper West Side Soweto.Code: [Select]http://www.mediaf!re.com/?gmdw4j0mxmx
At first, I was iffy on it... but it's growing on me pretty quickly. At the very least, it makes an impression.
I give up... SCREW YOU MEDIAF!IRE! :x
Part 1 - http://www.mediaf!re.com/?tnm4cjznjjz
Part 2 - http://www.mediaf!re.com/?zxjyyz2yzhyNadja is a duo of Aidan Baker (guitar, vocals, drums, piano, flute) and Leah Buckareff (bass, vocals, violin) from Toronto, Canada. Their sounds have been called ambient doom music that combines elements of metal, shoegaze, ambient, post-rock, experimental, and neo-classical. They have released numerous albums on such labels as Alien8 Recordings, The End Records, and Conspiracy Records and have toured extensively throughout the world including appearances at noted festivals like Roadburn, FIMAV, and SXSW.
Numbness is a special collection of tracks, compiled by Nadja themselves choosing shoegaze-oriented tracks among their vast previous titles. Most of the tracks were originally released on very limited vinyl or rare compilation albums. Among the 6 tracks, total time of over 70 minutes, there are two vocal-centered tracks which reveal the influence of My Bloody Valentine. The last track "Numb" is an amazing 21 minute drone noise track as if synchronizing dark psychedelia of Mono and Mogwai. A perfect compilation for Nadja beginners to Nadja freaks. Packaged in a special cardboard sleeve in black ink. Just Awesome!
Magnolia Electric Co. - Josephine (2009)After absorbing this album, I am seriously recommending it.
http://i42.tinypic.com/242sn5v.jpg (http://i42.tinypic.com/242sn5v.jpg)Code: [Select]http://www.med!afire.com/?5det1tlzoty
http://www.mediaf!re.com/?hcywmzzydtwhttp://www.mediaf!re.com/?1ckdcmmkm0t
I give up... SCREW YOU MEDIAF!IRE! :x
What's mediaf!re doing that is making you upset?
I never have any issues.
A Hawk and a Hacksaw is a band from Albuquerque, New Mexico. The band mainly consists of percussionist Jeremy Barnes (formerly of Neutral Milk Hotel) and violinist Heather Trost (formerly of Foma). The music is mostly instrumental, usually centred around Jeremy’s accordion. There are occasional unintelligible vocals, shouts and cheers, although the latest album, 2006’s The Way The Wind Blows, has more vocal pieces.
When playing live, Jeremy plays many of the instruments himself simultaneously; strapping bells and drumsticks to his body enables him to play percussion while playing accordion. He has recently been accompanied by Heather Trost, who joined him on his recent tour with The Olivia Tremor Control.
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Part 2 - http://www.mediaf!re.com/?gdg1izmgw25 Hot Chip have followed in the footsteps of Erol Alkan, Miss Kittin, Klaxons and Felix Da Housecat in compiling A Bugged Out Mix, their first compilation since DJ Kicks in 2007. The album comprises a ‘Bugged Out’ club side featuring the kind of techno and house Felix and Al play out (with tracks from John Tejada, Mark Romboy, Dominik Eulberg & Gabriel Ananda and a new Hot Chip tune called ‘Take It In’) and a ‘Bugged In’ side which is a house party mix thrown down by Joe, Alexis and Owen which includes everything from Dizzee Rascal to Hall & Oates, greco-Roman Soundsystem to one of their early influences Dub Narcotic Soundsystem.
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Part 2 - http://www.mediaf!re.com/?emho2ijmjhzPaul Drummond’s love affair with the 13th Floor Elevators continues to be a uniquely fruitful one. First, after years of painstaking research and sourcing interviews with the surviving members of the Elevators and their entourage, came Eye Mind, his hugely detailed biography of this most amazing yet strangely jinxed of bands from the genre-defining first wave of US psych.
Later, having been given unprecedented access to the International Artists masters, Drummond subsequently found himself trusted with the task of assembling what, from day one, was always intended to be the ultimate Elevators box set. With all tracks remastered and remixed by the band’s original engineer and producer Walt Andrus, the 10 CDs that make up Sign Of The 3 Eyed Men include both the original mono and alternative stereo mixes of the Elevators’ two most celebrated albums, Psychedelic Sounds and Easter Everywhere, plus a remastered version of their swansong Bull Of The Woods. Additionally, the box set also includes the first official release of Headstone: The Contact Sessions. Recorded hot on the heels of the Elevators’ legendary debut single, You’re Gonna Miss Me, in February 1966, Headstone was originally slated to be their debut album, predating Psychedelic Sounds by six months. Also seeing the light of day for the first time is a reconstruction of the “lost” third album, A Love That’s Sound (aka Beauty & The Beast). Needless to say, each of these titles come with an impressive array of outtakes, 45 versions, unreleased acetates, backing tracks, alternate mixes and demo and rehearsal recordings.
Completing the 10-CD set are three previously unreleased live collections, Live! In Texas, which features radio broadcasts, TV appearances and audience recordings from Austin, Dallas and Houston in 1966, Live! In California, Avalon Ballroom (from November 1966) and 13th Floor Elevators Live: Death In Texas, which includes the infamous 1967 Houston Music Theatre show and the 1973 reunion in Austin.
Despite their legendary status as trailblazers and the world’s first truly psychedelic band, the Elevators’ career has, until now, been defined by missed opportunities, record company ineptitude, Roky Erickson’s catastrophic mental breakdown and Stacey Sutherland’s desperate attempts to overcome his personal demons. The arrival of this eagerly-awaited box set finally the record straight on the Elevators’ legacy, sanctioned as it is by the surviving members of the band, with its title coming from the Elevators’ selfappointed mystic and electric jug-playing visionary Tommy Hall.
By way of visual accompaniment the set also includes a 72-page book illustrated with vintage concert posters and previously unpublished photos, plus a specially-produced selection of reproduction memorabilia. Thanks to its scope, Sign Of The 3 Eyed Men is the long-dreamed-of trip to the promised land for Elevators fans everywhere. With its release limited to 3,000 numbered copies worldwide and only available from www.internationalartistsrecords.com the message is clear: get your skates on or risk missing out on something very special!
http://www.mediaf!re.com/?lztyzulyq5y2009 release from the acclaimed singer/songwriter. Back And Fourth marks a new musical chapter in which Yorn has taken a different approach to writing and recording with stunning results. Back and Fourth follows Yorn's first three albums, which he considers a trilogy, and is his first album in three years. Yorn wrote all 10 songs on Back and Fourth and recorded the album in Omaha, NE, with producer Mike Mogis (Bright Eyes, Rilo Kiley).
http://www.mediafire.com/?xmjmjdzdjmiI don't know if I have much (or any) pull around here regarding my tastes in music, but regardless I'm just going to say that this album is highly recommended.
Deastro - Moondagger
...Code: [Select]http://www.mediaf!re.com/?jtjhzzmmyht
I know Keeper's was posted in the thread before, but that was a compilation of demos/singles. This is Deastro's official debut album, and it's just fucking fantastic.
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http://www.mediafire.com/?wmtjymtneahhttp://www.mediafire.com/?mmuwgwqjtwzhttp://www.mediaf!re.com/?domnwyetm20Who killed amanda palmer will be uploaded shortly, assuming that nobody has uploaded it so far.
At first I thought you were talking about the Crass album "Penis Envy." And I was all, "Oh, it's no myth, missy!"
^^^^
However, it would be rad if Crass had somehow developed their own mythology.
E is back, sporting a ZZ Top beard and a new wolf-man persona. It's been 5 long years since his last proper album, a somber and inward-focused double-CD set entitled "Blinking Lights and Other Revelations." As is typical for Mr. E, quieter albums tend to be followed by noisier ones. However, no matter what ideas E is trying on for size, everything he records is stamped with his unique and compelling persona. This one is no exception.
Sometimes wearing a mask allows us the freedom to show a side of ourselves that we might otherwise be afraid to reveal. Here, E has assumed a persona of sorts, which differs from anything his audience has seen to date. He's a lusty, swaggering wolfman, carrying a cane and prowling the night. This assumed role seems to allow him to project a confidence unheard in much of his material, displayed most clearly on the opening track "Prizefighter" and the single "Fresh Blood." But what makes this album most compelling is when E drops the guise and reveals his true insecurities, as on "The Look You Give That Guy." That dichotomy makes this wolfman seem all the more human, for beneath the fuzz and fangs still lies a fundamentally reflective and at times insecure person.
The conceptual aspect of this disc is fun and meaningful, but never threatens to overwhelm the content. Song-for-song, this is one of E's best collections. Almost every one of these tracks could stand on its own as a single. The stripped-down sound that E has featured on some of his rawer albums (Souljacker, for example) is in full effect and really works in E's favor. Overall the man sounds energized, mature and confident, always with something interesting and often poignant to say.
E remains the consummate cult artist, and in many ways it's not surprising. His unflinching portraits of insecurity and emotion take some getting used to, especially in the current musical climate. Each project he records is something unique and interesting. This is one of his best to date.
http://www.mediaf!re.com/?m2xxygxmkmn
http://www.mediaf!re.com/download.php?mwm4dthngmqhttp://www.med!afire.com/?lbnioy04t02
I had heard that he would often times vomit on stage from screaming so loud.
http://www.mediafire.com/?y0mjyzmjnjyhttp://www.mediafire.com/?yn32ykzjwmz
I had heard that he would often times vomit on stage from screaming so loud.
Normally I wouldn't comment on things like these, but are you sure you're aware of how awesome that sounds?
This is it. No need to look any further. I never knew what I was missing until I had it. Much like a door opening in wall I never knew existed, my experience with Laserdance could be compared with an unseen weight which was lifted the day "Power Run" was first played. This is the sound of a thousand green laser beams crossing over darkened perspective plane with a vanishing point which flashes to a 4/4 beat. This is optimism in its purest form. The sound running through the heads of CEOs when closing million dollar investment deals on treadmills. This dull shine of a new Walkman combined with the weight of a DynaTAC 8000X. This is the future of music as heard by someone in 1983. I finally understand no one can own a Laserdance record; a Laserdance record owns you; and your family.
While American disco was taken out of commission during the early 80's, its European counterpart continued to enter into an extended after-party complete with space suits and painted backgrounds of far away lands. Space Disco, which was born in the late 70's, reached its cosmic zenith in the early 80's. Its sound typifies the feeling and spirit of the early 80's; a sense of flying optimistic eclipsing the speed of light. Laserdance's classic debut soars on the wings of electronic hand claps and synth lines which only exist inside the glass walls of the 80's. The work of Lindstrom, Datashat and soundtracks to corporate training videos owe a huge debt of gratitude to the Space Disco titans. So whether it is breakfast on a powerboat or a couple of cocktails with the boss's daughter, Laserdance is the perfect soundtrack for any success-driven occasion.
http://www.mediaf!re.com/?1gyctggzzklhttp://www.mediafire.com/?mnzymunb2zz
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something is suddenly not right with this forum..... everytime i look at pg 161 firefox freezes... and that's the only page..?
http://www.mediafire.com/?huwnieimxz2P.O.S. - Audition (2005)http://www.mediafire.com/?nn1ndymwjxjhttp://www.mediaf!re.com/?huwnieimxz2Soviet Kitsch isn't Regina Spektor's first album. 11:11 is her first album, which was followed by Songs. I can upload both of those if you'd like.
knowledge is power!
http://www.mediaf!re.com/?mjjjzwg0kjn
http://www.mediaf!re.com/download.php?mrtdmdjntzthttp://www.mediaf!re.com/download.php?mz43mioxjm2http://www.mediafire.com/download.php?m1h4j4yhmnzhttp://www.mediafire.com/download.php?nzqnfi5jdznhttp://www.mediafire.com/?kjnhxydnzmghttp://www.mediafire.com/?1jmfjjnflkz http://www.mediafire.com/?o0wzjeyvzj3
Do you guys want some more Doomtree stuff? Probably gonna upload some psychedelic albums otherwise.
http://www.mediafire.com/?icuntmzyllmhttp://www.mediafire.com/?nrjym4rziwnhttp://www.mediafire.com/?1nhy1mq2tnjhttp://www.mediafire.com/?t4mamnznvldhttp://www.mediafire.com/?ztm5yovhurmhttp://www.mediafire.com/?z2cuhlmtbdihttp://www.mediaf!re.com/download.php?jtzzjyzjd02
Couldn't find a helpful review, instead have a vidCode: [Select]http://vimeo.com/5003279
http://www.mediafire.com/?zjbzdixxqzcPart 1 - http://www.mediaf!re.com/?nqh5iyjhwzf
Part 2 - http://www.mediaf!re.com/?mmya1ktdgm0http://www.mediafire.com/?joqjaitfqmmTom Morello and Boots Riley have joined forces to form Street Sweeper Social Club. The group’s anticipated self-titled debut album is released June 16th through Warner Music Group’s Independent Label Group. The 11-song set was produced by Tom Morello and features Boots Riley on vocals, Morello on guitar and bass, and Stanton Moore (Galactic) on drums.
“It’s revolutionary party jams,” said Morello of Street Sweeper Social Club. “It’s got huge steamroller riffs combined with depth, charge, funk, while Boots unloads clip after clip of incendiary rhymes rich with satire and venom.” Riley added, “This is a time when the working class is being fleeced left and right. More families will be homeless and more people will be jobless. They’ll need something to listen to on their iPods while storming Wall Street.”
Birdy Nam Nam-Manual for successful riotingVery cool but it seems the file is missing track 7
(http://img205.imageshack.us/img205/3139/birdynamnammanual.jpg)
Electro/turntablism
Couldn't find a helpful review, instead Have a vid (http://vimeo.com/5003279)Code: [Select]http://www.mediaf!re.com/download.php?2zxtndiiniz
http://www.mediaf!re.com/?btn2hz333lufrom last.fm
“There’s this band that I love from East St. Louis, Illinois called So Many Dynamos, and they’re this heavy, fantastic, prog rock dance band. They’ve got their heads as much in the The Mahavishnu Orchestra as they do the Talking Heads. They’re really doing that bizarre fall on the floor dance band fusion thing, but hitting really hard. They’re fucking awesome!” - Chris Walla, Death Cab For Cutie
So Many Dynamos formed in 2002, has released 2 albums (2006’s “Flashlights” and 2004’s “When I Explode”) an EP (2003’s “Are We Not Drawn Onward To New Era”) and a seven inch (2005’s split w/ Houston’s Bring Back the Guns), and has played over 450 shows. They enjoy playing catch, eating at Cracker Barrel, and taking pictures of cats.
So Many Dynamos were recently signed to Vagrant Records and will release their major-label debut “The Loud Wars” in the summer of 2009.
After the mildly disappointing Alternative 4, Anathema strikes back with Judgement. Upon first listen, the music and message seem a bit mellow for these doomy metal moguls. Second listen is like a magical rediscovery of a lost art form, the art of creating simple, depressing hard rock that is so emotionally expressive that it bends one's own constitution. Quiet and introspective on songs like "One Last Goodbye" and "Anyone, Anywhere," Anathema has the ability to spew forth raw, volcanic pain on cuts like "Judgement" and "Pitiless" — the last of which contains the most heart-wrenching solo the Cavanagh brothers have ever penned. Drummer John Douglas also surprises, making an amazing contribution to the album, by writing two of the most memorable songs, "Don't Look Too Far" and "Wings of God." The first is a gorgeous Porcupine Tree-like tune with somewhat upbeat female vocals and melodies. "Wings of God," on the other hand, seems to be a literal interpretation of the album cover, which appears to be God's blinding eye looking down upon the cursed world. One will be amazed at how unconventionally heavy this album really is. It even has a tendency to sap one's strength, upon repeated encounters. Judgement is truly a blinding masterpiece, which pierces the senses with its intensity. Hail Anathema's sorrowful return!The brothers in the band had their mother die so they made this for her- "One Last Goodbye" very sad song.
http://www.mediafire.com/?dzjymymyyzkhttp://www.mediafire.com/download.php?teqq2djmyzzPart 1 - http://www.mediafire.com/?njmmwdimngt
Part 2 - http://www.mediaf!re.com/?ywmngy2gmygAll rock music is a sort of dramatic music. And since the times are tough, it makes sense to have that “drama” be something more like a version of Taxi than something like a version of Titanic. We like Taxi better than Titanic anyway. So we hope that some of the songs on this record can be used as theme songs to folk's own personal versions of Taxi. Because—ideally—the dramatic setting of the music isn't provided by the story or image of the given act or band. It's provided by the lives of the people who use—listen to—the music. That is pop music's promise and problem, or danger. So be careful and don't get canceled. The band is very optimistic—despite or because of it all—and will continue its “Democ-Rock” efforts by releasing a fully-fledged Derocmacy in America limited edition vinyl box-set. It might be called something like Your Cashier Today was ACM CASHIER 96. Matthew and Eleanor are also working on the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions. Both will be released by Thrill Jockey records later this year.
http://www.mediaf!re.com/?tdzowz1kymoThis is what the Dandy Warhols wanted to release in 2003. However, Capitol Records interfered, did some remixing and rearranging and released "Welcome to the Monkey House" instead. This is the 2009 release of the band's version.
http://www.mediafire.com/?q1md3jyo30klauraelise204:
so about 6 years ago i was on tour with a band i was playing in, and while in milwaukee we met up with the so many dynamo guys. they're all really nice guys. anyway, 6 years later, the drummer of the band that i was in while in milwaukee, is now the drummer of fang island, and he just finished up that tour with so many dynamos. small world! sorry to hear you missed fang, they really are awesome. anyway, i uploaded the album that SMD were touring for, 6 years ago when we originally met them. it's has some catchy tunes. enjoy.
So Many Dynamos - When I Explode
http://www.mediafire.com/?xnfgtcmhgzjThe Fiery Furnaces - I'm Going Away (2009)
(http://upload.wikimedia.org/wikipedia/en/a/a3/I%27mgoingawaycover.jpg)Code: [Select]Part 1 - http://www.mediaf!re.com/?njmmwdimngt
Part 2 - http://www.mediaf!re.com/?ywmngy2gmygQuoteAll rock music is a sort of dramatic music. And since the times are tough, it makes sense to have that “drama” be something more like a version of Taxi than something like a version of Titanic. We like Taxi better than Titanic anyway. So we hope that some of the songs on this record can be used as theme songs to folk's own personal versions of Taxi. Because—ideally—the dramatic setting of the music isn't provided by the story or image of the given act or band. It's provided by the lives of the people who use—listen to—the music. That is pop music's promise and problem, or danger. So be careful and don't get canceled. The band is very optimistic—despite or because of it all—and will continue its “Democ-Rock” efforts by releasing a fully-fledged Derocmacy in America limited edition vinyl box-set. It might be called something like Your Cashier Today was ACM CASHIER 96. Matthew and Eleanor are also working on the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions. Both will be released by Thrill Jockey records later this year.
1. I'm Going Away
2. Drive To Dallas
3. The End Is Near
4. Charmaine Champagne
5. Cut The Cake
6. Even In The Rain
7. Staring At The Steeple
8. Ray Bouvier
9. Keep Me In The Dark
10. Lost At Sea
11. Cups & Punches
12. Take Me Round Again
The Dandy Warhols - The Dandy Warhols Are Sound (2009)
(http://www.dandywarhols.com/wp-content/uploads/2009/05/aresoundwebjpg-300x300.jpg)Code: [Select]http://www.mediaf!re.com/?tdzowz1kymoQuoteThis is what the Dandy Warhols wanted to release in 2003. However, Capitol Records interfered, did some remixing and rearranging and released "Welcome to the Monkey House" instead. This is the 2009 release of the band's version.
1 Burned
2 Svientist
3 We Used To Be Friends
4 The Last High
5 Wonderful You
6 The Dandy Warhols Love Almost Everyone
7 I Am Over It
8 Heavenly
9 Plan A
10 Rock Bottom
11 I Am Sound
12 Insincere
13 Pete Int'l Spaceport
the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions.
Code: [Select]http://www.mediaf!re.com/download.php?2zxtndiinizVery cool but it seems the file is missing track 7
http://www.mediaf!re.com/download.php?jtzzjyzjd02Also changed in the original
Do you guys want some more Doomtree stuff? Probably gonna upload some psychedelic albums otherwise.
If you have some of Dessa's stuff, that would be cool!
If there were a vacancy for the missing link between Philip Glass and Sigur Rós, 21-year-old Ólafur Arnalds would at least be back for a second interview.His child-like, neo-classical piano melodies, black and white until coloured in by his string quartet's emotive strains, call to mind Sigur Rós's innocent, uplifting, reflective side - it's no surprise that he's already supported them on tour.
His debut album will no doubt attract comparisons to Sigur Rós, but where Eulogy For Evolution is undoubtedly post-rock in sensibility, it is more accurately a classical score for an unrealised biopic; a chamber piece composed largely for piano and strings full of untold nostalgias and regrets.
In any case, Arnalds charts a different psychogeography to those aforementioned stalwarts, not austere but plainly emotive; tear-jerking, almost, although that would be doing him a disservice. Like the first rays of sun on ice after an arctic winter, or ageing Eskimos pushed out on rafts to die, Eulogy For Evolution strikes a delicate balance between poignancy and lachrymose sentimentality.
http://www.mediafire.com/?yx3t4nnmyynVariations of Static offers elements that will be familiar to anyone who has heard Eulogy for Evolution, Icelander Olafur Arnalds first fledgling. To its favor, though, this five track e.p. is a far more focussed, steady and, ultimately, capable exercise in modern composition. The expanded world of color and percussiveness that promenaded through much of Arnalds rather uneven debut effort fall under the knife, and the lyrical preparation of strings, yearning piano arpeggios, and the sonic whoosh and shimmer of electronics appear more honed in their absence.
http://www.mediafire.com/?nd9ymjyo3hm
Olafur Arnalds - Eulogy for Evolution (2007)Code: [Select]http://www.mediaf!re.com/?yx3t4nnmyyn
My first post:
Olafur Arnalds - icelandic, piano, ambient, post-rock, instrumentalQuoteIf there were a vacancy for the missing link between Philip Glass and Sigur Rós, 21-year-old Ólafur Arnalds would at least be back for a second interview.His child-like, neo-classical piano melodies, black and white until coloured in by his string quartet's emotive strains, call to mind Sigur Rós's innocent, uplifting, reflective side - it's no surprise that he's already supported them on tour.
Olafur Arnalds - Eulogy for Evolution (2007)
Olafur Arnalds - Variations of Static (2008)
Enjoy
P.S. hope everything was done correctly
http://foundsongs.erasedtapes.com/
http://www.mediafire.com/?tmnynmqlzjyWith a roll call of hangouts like Lookout Point and Makeout Creek and mentions of "singing along to 'Raspberry Beret,'" Spelled in Bones feels steeped in the sunny days of June, July, and August, when it's easy to be easygoing and too nice out to get too upset about things like mortality and heartache (even though you're still thinking about them). This, the Fruit Bats' third album, is still rooted in the folky indie pop of their earlier work, but Spelled in Bones is more polished, more focused, and feels more like the output of a full-fledged band, probably because they became a quartet instead of a duo with a cast of supporting characters. As on Mouthfuls, the Fruit Bats continue to move away from the country sounds of their debut, although lap steel and other shades of their beginnings resurface from time to time. Instead, the band looks to '70s pop for inspiration, as on the aptly named "Born in the '70s," which mixes Elton John falsettos, flute-like synths, and the aforementioned lap steel into something both familiar and quietly inventive; "The Wind That Blew My Heart Away," meanwhile, has a jaunty yet bittersweet melody that recalls the best of Paul McCartney's work from that decade. Despite the poppiness of songs like these and "Canyon Girl," the Fruit Bats still have a healthy experimental streak; the opening track, "Lives of Crime," seems to melt every time it should come to a chorus. Spelled in Bones is so consistent that at times it threatens to become too samey, but each song's similarly winding melodies and unhurried tempos end up giving the album a suite-like feel. Every now and then, surprising lyrics like "God's no better than you, just bigger, that's all" (from "Traveler's Song") emerge from the gentle haze of the proceedings, and both "Earthquake of '73" and "Spelled in Bones" itself add enough bitter to the sweet to keep the album from sounding complacent. However, "Every Day That We Wake Up It's a Beautiful Day" closes Spelled in Bones with hope and optimism that are as genuine as they are subtle. It may be a remarkably summery album, but it has enough charm and depth for year-round listening.
http://www.mediafire.com/?ynlgtwhzmztThere is a great deal of irony in the Pissed Jeans' album title Hope for Men, though it may be unintentional. This Allentown, PA quartet (who are all members of the Gatecrashers as well) may have set small parts of the underground on fire with their "Don't Need Smoke to Make Myself Disappear" single and their debut album Shallow, but given their graduation to Seattle's Sub Pop label with this sophomore effort, the music biz playing field -- both aural and visual -- gets wider and deeper. These young men present the kind of aggressive sonic attack that references acts ranging from Flipper to Mount Shasta to Stick Men with Rayguns to No Trend and Drunks with Guns, but the kind of a young man's version of small town alienation they express is simply a less artfully done version of the same emotions expressed on Elvis Costello's debut album. Yeah, that's right: The King Is Dead. Long Live The King. Meaning, of course, that as things change and become less and less tuneful, the drive of the ego and id behind them hasn't changed a bit since the beginning of the invention of the "teenager." There's the sort of post-hardcore feedback and ear shattering noise that is Bradley Fry's guitar, but how is vocalist Matt Kosloff (here known as Matt Korvette -- clever) any different than a latter day David Yow who simply didn't give a damn what the world made of his sleaze and gross-out lyrics and yowl? Both previous incarnations attempted to articulate, however iconoclastically, that they were losers and that they celebrated it. Yow was a genuine misanthrope and Costello rode his confessed outsider weirdness toward a money pile so big it has him doing commercials for a particular brand of luxury automobile.
A big deal gets made of the fact that the majority of this quartet draw their requisite paychecks in the straight world in their bio. So what? The noisy attack in the sound and genuine adolescence expressed in Korvette's lyrics: "I've still got you, ice cream/'Cause sometimes life is less than a dream/And all my other friends turn away/I need to be with something I can relate/Just a taste and my troubles fall behind" from "I've Still Got You (Ice Cream)," or "I'm Right here, in my fantasy world/Setting up all my toys/And making movies and songs/In my fantasy world/It's Friday night and Saturday morning/In my fantasy world/Sitting near piles of books and drinking a soda/With a slice of pizza in my fantasy world..." from "Fantasy World." There's the noise and squall of Fry's guitar, the throbbing, busted vein of Dave Rosenstrauss' bass; fuzzed out, low slung and filthy, it drives almost every song here. Anger, isolation, and the indictment of anything that exists with any level of acceptance on the surface of the world, outside the fantasy universe of the protagonist, is what's under sonic attack here. We have to guess that music is a healthier outlet than drug abuse or an obsession with guns , but is that enough to recommend a recording? Perhaps to some. It's not simply that all this has been said and done before, that's fine, too; but it's been said and done so much better, so much scarier and so much crazier than this, which merely sounds as if it's the post-hardcore mirror dweller's version of John Mellencamp's collectivist anthems. It doesn't rock. It squeals. It doesn't roll and it's not particularly sick, either. It's just there, to take and leave as you please. That these men are now in their twenties and still whining about the grotesqueries of adolescence isn't new either, but it is what they have to offer, creating not "hope for men," but reinforcing the kind of anthemic "anti-cool" as somehow authentic vibe that's been plaguing underground rock for decades. These guys have their underground cred for now, but where do they go next? One more question. whatever happened to Tad anyway; weren't they on Sub Pop, too?
http://www.mediaf!re.com/?oymgyz5jml42009 sophomore solo album from the leader of the Drive-By Truckers. The album was produced by Hood and long-time DBT producer David Barbe (Sugar). Most of his DBT band mates join him on the album as well as Don Chambers, Will Johnson and Scott Danbom from Centro-matic/South San Gabriel. This is also the first time Hood's father David Hood, famed Muscle Shoals bass player, joins him on a record. The album was recorded at Chase Park Transduction Studios in Athens, GA.
http://www.mediaf!re.com/?ebqmzyauzuoYou could tell what kind of a show it was going to be 3 hours before the doors even opened. Outside Brooklyn's Music Hall of Williamsburg, a few stone cold kids stood shivering on line. Their hope? Get through those restrictive doors by any means necessary. A sold out show meant not all of them would make it. But if by chance a few did, a fantastic night of music featuring Brooklyn's own Beirut awaited them.
Zach Condon would choose to begin Beirut's set with a simple "Good evening everyone", diving immediately into the set, to the rapturous applause of the hundreds in attendance. Using an impressive variety of instrumentation (stand-up bass, accordion, trumpet, trombone, french horn, euphonium, and Condon's signature ukulele), the band played a batch of tunes that appropriately ushered the audience to a variety of places around the world. "Gulag Orkestar" sparked a quick trip to the Balkans. During "The Shrew", a song from Beirut's brand new EP 'March of the Zapotec', Mexico became the destination of choice. They also dabbled in a track called "My Night With a Prostitute from Marseille"; this one from Zach Condon's 'Realpeoples' Holland' EP.
At the end of their full set, Condon would be forced to tell the still hungry crowd, "You've bled us dry at this point"; a statement that would hardly deter the crowd from demanding more. Two encores later, the love affair between Beirut and the fans in attendance was complete. They ended the show with a cover of a dancy old Brazilian song, written by Ary Barroso called "Aquarela do Brasil" ("Watercolor of Brazil"); a lighthearted way to send the happy crowd off into the cold streets of Brooklyn indeed.
The Lali Puna sound is a sophisticated, complex mélange of classic pop motifs, pulsing electronic rhythms, and sleek European styling. Valerie herself could be the subject of a dissertation on modern cross-cultural anthropology: a Portuguese-educated German national, of part Asian descent, writing in English, sampling Spanish voices. The band isn't shy about its influences, which include Stereolab, Buffalo Daughter, and Aphex Twin, but close listening reveals echoes of less obvious artists like Nico, Brian Eno, and Saint Etienne -- as well as a strong streak of originality that makes simple comparisons like these somewhat difficult.
Lali Puna's debut album mixes the lush, hushed tone of early Stereolab with the glitch and crackle of electronic experimentalists such as To Rococo Rot, and adds a touch of lo-fi analog beats that wouldn't sound out of place on a Land of the Loops album. Bubbly bass blips mingle with Valerie Trebeljahr's dreamy vocals, as an undercurrent of moody synths paint atmospheric swirls. A touch of improvisational jazz crops up around one corner. Classical arrangements peek out of another corner. It's all tied together with sweeping, vibrant keyboard tones. Trebeljahr's European accent and her habit of singing as if she's dictating political doctrine make for striking, sometimes unsettling listening. The album's opener, "6-0-3," one of the highlights, is a perfect example of her evocative style of inflection, as she calls out numbers as if in a trance. Other standout tracks include "Antena Trash," which sounds like a dance-party-on-downers remix of a song from His Name Is Alive's Mouth by Mouth, and "Fast Forward," with its icy, vibrating strings and eerie, touching vocal passages. The album is encumbered somewhat by a few instrumentals that linger just beyond one's interest, but Tridecoder is never a dull listen, despite its mood music leanings. Like the works of their Morr Music peers, Lali Puna's debut is music that would seem contemporary in just about any decade prior to its release, and probably any decade after its release. The band members breathe life into their electronic tools and never stray from the smart, emotional aesthetic and arrangements that signify a Morr album.
http://www.mediaf!re.com/?ryjytt0nyz2Scary World Theory isn't a departure from the blueprint Lali Puna followed on Tridecoder. Indeed, it comes across like a more polished version of that album, adhering to the Morr Music tenets of melodic beauty and delicate beats. Frontwoman Valeria Trebeljahr still sounds like a long-lost sister to Stereolab's Laetitia Sadier, intoning gently over IDM on a somber winter evening, and the music sounds more than ever like a cross between early Stereolab, New Order caught in a mesmerizing funk, Múm, and Boards of Canada. The ten songs of Scary World Theory are somehow emotionally touching and improvisational in feel, while emanating from complex arrangements and mostly icy electronic instruments. A great deal of credit for the album's mood should probably go to Markus Acher, who moonlights in similar bastions of warmth yet emotional indifference the Notwist and Tied & Tickled Trio. Scary World Theory begins with a trilogy of songs fitted with jazzy piano, glitchy synths, and lush, crackling, and bubbly found-sounds that are as good as any electronic songs at the time of the album's release. Other highlights include the spooky "cookie monster" name-dropping throb of the title track, the warm, Pet Shop Boys-inspired dance grooves of "Lowdown," and the shuffling, multi-tiered melodies of "Don't Think." While the album doesn't always maintain one's interest over its running time, there are enough amazing songs that the album achieves greatness. The only fault one might find is that Trebeljahr sometimes tries too hard to sound like a figure of sociopolitical authority, but she winds up sounding more awkward than she probably intended. The album is at its best when Trebeljahr takes a breathy vocal approach and focuses on melodies over social commentary. As good as Scary World Theory is, and it is amazing in its pristine warmth, Lali Puna seems to have the potential to release an even more focused album that might define altogether the genre of ambient electronic pop.
http://www.mediaf!re.com/?qmwfqzmmjjwLali Puna don't allow their soft electronic-pop to be washed out by the sharp guitars that occasionally poke out of this, the group's third album for Morr Music. Those who picked up 2003's "Left Handed" single -- provided again on this disc -- were possibly taken aback by the instant buzzing surge in the chorus of the A-side, and, excepting the electronic noise that flutters deep in the background throughout the song, it's as ordinarily constructed as a hook-heavy indie rock tune. Though it's as effective and as charming as any other, crossing the pensive drive of New Order with the jagged bounce of the missed Life Without Buildings, it's free of the cozy synth-generated colors that helped make the group stand out from their peers on 2001's Scary World Theory. The rest of Faking the Books tends not to follow this mold. Electronic elements balance out the harsh guitars with regularity, resulting in a handful of full-blown zingers. These songs -- "Call 1-800-FEAR," "Micronomic," "B-Movie" -- bring the wallop, involving queasy synth bleats and blasting guitars in equal doses, along with melodies that are as sweet as ever. Several other tracks are either truer to the older material or slightly more experimental than what you're used to hearing from them. "Geography-5" is a skeletal lullaby with spare percussion and purring synths; "Alienation" and "Crawling By Numbers" fit in strings while also acting as safe havens for listeners who have been antagonized by too much lazy glitch stuff. As stunted as Valerie Trebeljahr's politically minded lyrics might be from time to time, her voice remains a comforting thing to hear. All of these highlights add up to the best Teen Beat record not released by Teen Beat.
http://www.mediaf!re.com/?gyidjnykgmgPatterson Hood - Murdering Oscar (And Other Love Songs) ~ 2009Holy crap, thank you! I think this is one of the few cases where I enjoy the fact the solo project sounds akin to the main project.Code: [Select]http://www.mediaf!re.com/?oymgyz5jml4
http://www.mediafire.com/download.php?mkfqnmznnfu
Does anyone have Allen Toussaint s/t?
Also, please do NOT request albums.
please do NOT request albums.
do NOT request albums.
Does anyone have Allen Toussaint s/t?QuoteAlso, please do NOT request albums.Quoteplease do NOT request albums.Quotedo NOT request albums.
http://www.mediaf!re.com/?jemjmizzwat
lauraelise204:
so about 6 years ago i was on tour with a band i was playing in, and while in milwaukee we met up with the so many dynamo guys. they're all really nice guys. anyway, 6 years later, the drummer of the band that i was in while in milwaukee, is now the drummer of fang island, and he just finished up that tour with so many dynamos. small world! sorry to hear you missed fang, they really are awesome. anyway, i uploaded the album that SMD were touring for, 6 years ago when we originally met them. it's has some catchy tunes. enjoy.
So Many Dynamos - When I Explode
ooh awesome!! thank you :) downloading now!! i did get to talk to one of the guys afterwards, the guitarist... i never caught his name, but he was really nice. i asked him if he had ever heard of the javelins and it took him a minute, but he had because one of the guys in the band is in thunderbirds now! and i guess he knew that band in some way. but i made the comparison of them to the javelins to him and told him that i really liked them and his band a lot.
there was one song that they played towards the end of their set where everybody, sort of all of a sudden, started singing along with. do you know what song of theirs it might have been/which one of theirs has been popular?
http://www.mediaf!re.com/?nnmdmt4vjwk
http://www.mediaf!re.com/download.php?3agn2zjklym
Part 1 - http://www.mediaf!re.com/?ynmmgtttlm4
Part 2 - http://www.mediaf!re.com/?moy0itmwtkthttp://www.mediaf!re.com/?ytyezdtdnnzIn the entertainment industry street credibility is the ultimate test for an artist, and the public's explosive reaction for the underground sensation known as "Twin of Twins" has been overwhelming. Their current CD "Stir it Up Vol. 5" "Crucifiction of the Ghetto" combines comedy, political satire, music and social commentary, from the point of view of a fictional radio broadcast and its guests. As the fifth volume of the series this innovative and well thought out dialogue includes voice impersonations of some of Jamaica's and the world's most colorful characters, such as Mutabaruka, Michael Jackson, R.Kelley, Bounty Killer, Beenieman and Bob Marley. It is currently the hottest record on the streets of Jamaica and can be heard on mini-buses, car radios in bars and restaurants.(http://img150.imageshack.us/img150/8657/twinoftwinsvol8.jpg)
The "Stir it Up" Series, is the brain child of identical twins Patrick "Curly Lox" and Paul "Tu-Lox" Gaynor, professionally known as "Twin of Twins." After spending the past decade as Jamaica's best kept secret, they are now getting the recognition they deserve as two of the Islands most talented individuals. With an array of skills, the brothers have written over a dozen hit songs for their friend Bounty Killer. Songs such as "Warlord Nuh Business," "Likkle Dread Boy," "Oh Come on Now," "Uptown Boy," and his current #1 hit "It's Ok." They have also penned lyrics for many of Jamaica's top talent including Beenieman, Elephant man, and Luciano.
http://www.mediaf!re.com/?miqnihu5dfiLet It Burn is the first EP by Eddie Glass's post-Fu Manchu band Nebula. It features a more psychedelic experimental sound as opposed to the straight-forward approach of Fu Manchu. Just freaking download it and rock out.
http://www.mediaf!re.com/?qmnx5kxo2gnWhen is the title of an album by Vincent Gallo, released by Warp Records in 2001.
The album contains the track "I Wrote This Song For the Girl Paris Hilton" which got its name from a friend of Lukas Haas. Gallo had yet to meet Paris Hilton but she would later appear in his short film "Honey Bunny".
The song "Yes I Am Lonely" was used in the video game Phantom Dust and is played during the ending credits of the game. The track also appears on Phantom Dust Original Sound Tracks.
The song "So Sad" recorded during the "When" sessions but not present on the album is notable for it was released as a vinyl 12" single cut at 78 RPM (and 45 RPM on the other side). It was limited to 300 copies.
The whole album was recorded in Vincent's home and made use of numerous vintage guitars and other equipment. A mellotron is used on some tracks, notable because of the scarcity of those instruments.
http://www.mediaf!re.com/?mmziwhdodz4Around 6 P.M. on a warm Saturday in August 2004, the Pixies took the stage of the world-famous Newport Folk Festival to perform one of their most unique sets ever. Playing a completely acoustic performance, the reunited lienup of Frank Black, Kim Deal, Joey Santiago, and David Lovering give a unique spin to 22 fan favorites. Extras includes a 21 minute "fly on the wall" feature of rehearsals as the band deconstructs their well-known songs from electric to acoustic versions
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http://www.mediaf!re.com/?vzzmv0kbcnifrom last.fm
One of five children in a fifth generation Mormon couple, Hoop was steeped in a musical environment created by her family. She began performing as a child and starred in her high school choir.
Hoop broke away from the strictures of Mormonism just as her parents were separating. During this time, her mother Janette turned the basement into a theatre, and brought in all sorts of eccentrics to rehearse and put on musical plays for the community.
Jesca started to rebel against the traditions of her family and the only life she had known. “My girlfriend and I started smoking pot, which was such an out there thing for me to do given my upbringing. I was singing with the Santa Rosa Chamber Choir at that time. The combination of singing in that style for hours a day and smoking thrashed my voice…until it was gone. I had to leave the choir, and it took me about a year to regain my vocal strength. I had to re-teach myself how to sing in the ways that worked for me… Cut a new pattern and stitch myself back together. It was a blessing. It is why I sing the way I do. Appropriately, at that time I started listening to Kate Bush, Tom Waits, Björk and Diamanda Galas.”
Hoop spent the next several years homesteading in Northern California, Wyoming and in the high mountains of Arizona, where she worked in a wilderness rehabilitation program for mixed up kids.
http://www.mediafire.com/?sharekey=428562f2b4df65c4d6baebe61b361f7ce04e75f6e8ebb871Fun 80's synth-pop from the UK.
Mellow Out is an ironic title if ever there was one: as far as mind- and speaker-blowing experiences go, Mainliner's 1996 debut is difficult to top. Nobody could accuse Asahito Nanjo of pussyfooting around with his noise-mongering outfit High Rise, but he ups the ante on this ultra-heavy, brain-atomizing record, ably assisted by Acid Mothers Temple's Makoto Kawabata and Hajime Koizumi. For the duration of Mellow Out all the needles are stuck firmly in the red, its 35 minutes terminally fuzzed-out and distorted. This definitely isn't a record you'd use to demonstrate the quality of your stereo system. Indeed, the band's apparent scorn for production values makes the inclusion of a production credit appear somewhat comic. Although Nanjo (bass) and Koizumi (drums) lay down a crushing, seemingly monolithic bottom end, amid the weighty layers of that foundation the pair also sustain patterns of rhythmic complexity -- without descending into jazz noodling. Meanwhile, Kawabata's guitar veers between earth moving riffage and shrieking, eviscerating extended solos. Woody Guthrie had "This Machine Kills Fascists" emblazoned on his instrument, but Kawabata's axe is utterly undiscriminating: nobody is spared its wrath. Having kicked out the jams with the frantic sub-two-minute opener "Cockamamie," the record gives itself over to a pair of quarter-hour-plus behemoths, "Black Sky" and "M" (what its title lacks in letters, the track makes up for in noise). These numbers churn and grind, alternating between pulverizing riffs and scything white-knuckle freak-out, as Nanjo's curiously disembodied vocals float over the fray in a cloud of reverb. Mellow Out suggests previous power trios like Cream, the Jimi Hendrix Experience, Guru Guru and Blue Cheer, all locked in a room together and jamming to the death. This is molten acid rock, psychedelic in that it rearranges the senses -- not with fey whimsy but with sheer brute force.
http://www.mediafire.com/?yc0omwtnqwmhttp://www.mediafire.com/?zzkiny24miihttp://www.mediafire.com/?zwitzwmeqiihttp://www.med!afire.com/?ai0xmwjtve5New Sir Richard Bishop
This page is shaping up GREAT so far.
I'll contribute later this evening.
Also, I'm downloading that Jesca Hoop music based on absolutely nothing but her appearance. Damn. Edit: This was an EXCELLENT idea. This is fucking great.
Chilled dub, glitch-hop and thumping grime instrumentals. Heyoka continues driving his unique sound further from the beaten path in pursuit of his evolving craft. This album of dynamic, squelching, creaking downtempo has a very powerful character and a compulsive beat. The rhythmic material lumbers and plods with such determination that it defies anyone not to be drawn into rocking, nodding, foot-tapping or dancing. A dizzying array of extra-percussive blips, taps, scratches, tonal motes and arpeggiated phrases add density to the already dominant grooves - always shifting, always something new, almost more than the listener can keep up with. The musical content is primarily acidic - bass squirts, chord stabs, groaning tonal sweeps and manic zaps - however among this gutsy fabric are some delicate piano melodies, hints of more hummable tunes and snatches of almost familiar themes. There are some inventive vocal effects - plastic yays and yiys that buzz with a throaty reverberation that matches the programmed sounds in intensity and some distant, plaintive sax playing courtesy of Tormenta Galactica.
Pt 1 http://www.mediaf!re.com/?lmt0mnyu4wz
Pt 2 http://www.mediafire.com/?mrtnygzledwHeyoka - Gate Code
http://www.mediafire.com/?nmiqh2azy4mhttp://www.mediafire.com/?ye0zxnk5wxjAnimosity (1985)
Animosity
A fierce follow-up that improves immensely on the band's debut album, Animosity is where Corrosion of Conformity really succeeded to capture their hardcore-metal fury. The Six Songs with Mike Singing EP already explored slightly heavier territory than their debut, and this more metal-oriented direction is continued on their sophomore album, where they truly sound like Slayer's punk kid brothers. Produced by the band and Metal Blade's Brian Slagel, the album also has the thin, trebly production of the day. It may rob the band of its potentially crushing force, but it does give the music a lean, energetic vibe instead. In combination with the slightly more complicated song structures that go beyond the restrictions of traditional, rigid hardcore, this results in music with crossover appeal. Even though they're totally dissimilar, C.O.C. have in common with Motorhead that they could be appreciated by both camps. The luxury of being a noise fan in the 80s. Because the music's more demanding, the band has become slightly tighter, although it's obvious technical perfection wasn't one of their mains goals (some of Mullin's fills are a bit off/clumsy - that's what you get with these trebly affairs that accentuate all of the drummer's mistakes that much). Dean still can't sing for shit, but his hoarse screeching (part HR, part Kronos, part lunatic) serves the music and the message better than Eycke's voice did. Then there's also the band's political stance (it's all in the name, right?). While opening song "Loss for Words" has a lack of lyrical focus that lumps 'em in with the hordes of punk bands out there that confuse having nothing to say with making deep, universal statements (an easy substitute for existentialism that makes you look smarter than the metal kids out there singing about Satan and beer), political punk rarely sounds this effective. Even without the explicit political targets and agit-prop of, for instance, the Dead Kennedys, C.O.C.'s disgust with the (then) current state of politics becomes clear with repeated listens. "Mad World" attacks political leaders and the use of weapons of mass destruction (albeit in a much less successful way than Discharge, who were the undisputed champions of getting the message across effectively), while "Interventions" touches upon their nation's foreign politics (I presume they refer to the fiascos in Lain-America) and couples it to a truly blistering attack. Not all the songs here are as successful and sometimes the only thing you'll remember about a song is that Dean's trick of stretching out a line's last syllable (a bit like Bad Religion Greg Graffin sometimes did on their early songs) and the string of tempo shifts that don't take the song anywhere, but Animosity is definitely an improvement over the clumsier doom-punk of Eye for an Eye, which is only returned to during the instrumental loser, ironically perhaps the album's strongest cut. The ideal place to check out the band's semi-legendary crossover days, Animosity's best moments are pretty damn excellent.
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Technocracy EP (1987)
Technocracy
On paper, nothing whatsoever could go wrong with Technocracy. Appearing two years after the brief Animosity, the EP was undoubtedly gonna contain the work of an even more experienced band, with the urge to finally release some music again. On top of that, the liner notes contain some fierce opinions that seethe with disgust, not only with the "growing sense of nationalism & obvious shift to the right" of their country and its leaders, but also the impact this had on their own scene ("(…) a stale fermentation of Archie Bunker views & "Mosh to kill, tough man in the slam pit" zero mentality"). Promising not to be turned off to heavy music, C.O.C. suddenly intends to become more outspoken, which is obvious from the album cover. The nuclear skull logo finally becomes more meaningful, as the band not only chooses vague political targets, but also focuses on the exploitation of natural resources & reign of technology (the title track) and offers depressing views on life/society, in which sane people have to struggle to get through the day unharmed. Even though you could argue the band became more "punk" again in their stance (luckily, they don't make you reach as often for the dictionary as a Bad Religion album), the musical direction once again shifted a bit more towards metal, with the band settling for a more conventional style not to far removed from the important speed metal bands of the day. The production is a bit more fleshed out, providing more "bottom" which makes them more accessible. However, the potential appeal of these four songs ("Ahh Blugh" is a half minute of filler) is almost entirely neutralized by the frustratingly powerless performance of new vocalist (yep, their third one - not including the pre-Eye for an Eye ones) Simon Bob, who recites his way through this album as if he's sharing his thoughts at a poetry meeting. What this kind of music needs - especially when their intentions are stated this explicitly - is a vocalist with the power and dedication to strengthen those points, and Simon Bob's "what am I doing here?"-tone won't do. As such, Technocracy is one hell of a missed opportunity, which to a certain degree can be compensated by the four bonus tracks with Mike Dean singing, three of which were those also sung by Bob (the other one a new version of "Intervention"). Did they realize Dean's incensed passion was better suited? Was it a lack of other new material? I have no idea whatsoever, but I do know something's wrong when the bonus tracks are the best cuts on your release.
http://www.mediafire.com/?nye3whjggmnhttp://www.mediafire.com/?mtmjtkqizcyA Whisper in the Noise is the project of composer West Thordson, incorporating strings, piano, lush-toned electronics, and atmospheric singing. By turns pretty, melancholic, sad and charming, A Whisper in the Noise evokes a lullaby only half remembered, and the half remembered suggests a companion melody that (though unheard) is somehow unspeakably sad.
The instrumentation is non-conventional, with an orchestral flair. There are several layers of piano, violins, synths, guitars, percussion and voice effects, all nestled together. It is all put together so beautifully that it seems churlish to try to separate it into its constituent elements. I’ll leave that effort to the musos, for me its all about the way the sounds make me feel, and this music makes me feel languid and reflective, yet quietly, dangerously murderous. It’s not an immediate album, it takes effort to get your head around, but then it wriggles into your consciousness and lies across your discomfort like a warm, wet towel.
Jesca Hoop - KismetThis is amazing. Thanks for the share.Code: [Select]http://www.mediaf!re.com/?vzzmv0kbcni
http://www.myspace.com/braveradarhttp://www.mediaf!re.com/?53gfilqyihmRx Bandits are a band that are tragically (or if you like, luckily) kept away from mainstream ears and, at short intervals, inspiring the kind of intense whispering that reminds you of exactly how many people look up to their particular brand of emotionally uplifting and technically startling rock.
Mandala is the third album since Rx Bandits began ditching the “late-90s ska-punk band” thing in the aptly titled Progress, following on from landmark crossover album The Resignation and progressive adventure …And the Battle Begun.
The membership and sound of the Rx Bandits is hardly recognisible from Halfway Between Here and There these days, notably absent in the full recording line up is the entire brass section. It’s a bold move, and back in 1999, you’d be mad for suggesting they would be a four piece progressive rock outfit, but here we are.
There are hints of the brass here and there (Bury it Down Low), but their non-presence in the majority of the album seems to accompany the stronger moments, and the Embree/Choi double act’s guitar work on Mandala is easily the most impressive yet, flourishing in the gap the brass left in their wake.
The strength Chris Tsagakis and Jospeph Troy add from underneath maintains the incredible feel the band perfected last time around and Mandala is a natural continuation of the progressive samba flavoured rock of …And the Battle Begun. You get the feeling that, even more than ever, the depth and passion Rx Bandits encapsulate in their music is something that many bands would do well to pay attention to and struggle very hard to emulate.
Verdict: Brilliant and adventurous music dealt straight from the heart, an Rx butterfly fully emerges from the ska cocoon.
http://www.mediafire.com/download.php?4cymrzxqrzmpart 2http://www.mediafire.com/download.php?fzl3nw5tonz...Mommy's Little Monster finds the band supplying plenty of attitude and aggression as they rip through nine tracks worth of hard, fast, power chord-filled tracks loaded with snarling anti-establishment lyrics and themes. Songs like "The Creeps (I Just Want to Give You") and "Telling Them" show a young punk group that is very angry, and they were going to let society know it whether they wanted to hear it or not. The title track, "Mommy's Little Monster," with its descriptions of the girl with blue hair and the unemployed young punk who loves to drink and fight, gives you a good idea of the characters Social Distortion was surrounded by in the scene of the day...
http://www.mediaf!re.com/?nyz2yn42n5nAlso, I'm downloading that Jesca Hoop music based on absolutely nothing but her appearance. Damn. Edit: This was an EXCELLENT idea. This is fucking great.
A Whisper In The Noise - Dry LandCode: [Select]http://www.mediaf!re.com/?mtmjtkqizcy
http://www.mediaf!re.com/download.php?n4dn2nnvyjlThis is probably one of my favorite films and film scores, and so i decided i'd share it with everyone. Clint Mansell, the composer for Pi and Requiem for a Dream, reprised his role as a composer for The Fountain. The San Francisco-based string quartet Kronos Quartet, who had previously performed for the Requiem for a Dream soundtrack, and Scottish post-rock band Mogwai also contributed to the film score. Darren Aronofsky hoped that David Bowie, whose song "Space Oddity" helped influence the film's astronaut period, would record a "third Tom song" as the musical artist worked briefly with composer Clint Mansell during production.The plan was for Bowie to rework pieces of the score and to vocalize them, but this did not go through. Instead, Mansell researched possible scores to tie together the three different time periods that spanned The Fountain. He wanted the overall feel of the score to be organic, and considered implementing orchestral and electronic elements that would have "a real human element to them that breathes".The score was designed concurrently with the film's production instead of during the post-production phase. For the score, Mansell created a mood that flourished as the film progressed. He described the process of composing the music, "It's instinct and listening to what the film is telling you it needs."
http://www.mediaf!re.com/download.php?tgz2l1u0d0yThis was the very first compact disc that i bought in 1994. Classic EBTG, this is probably one of my favorite albums (despite the commercial success this album spawned due to the song "Missing") all around it's a solid album that helped establish their "sound."
http://www.mediaf!re.com/download.php?iqwykuujhjmThis album really takes me back to a time when i was working at the mall, going to shows everyday and driving around aimlessly with my best friend. Never You Mind is the 2001 debut album of The New Amsterdams (The side project of The Get Up Kids' Matt Pryor) This album is a must have for any one who loves the Get Up Kids as well as anyone who likes the more mellow tracks on their other albums. Also, There's one of the best covers I have ever heard. Their cover of the Afghan Whigs' "When we two parted" is exactly what a cover should be; both an interpretation of the song that makes it their own, and a tribute to the original artist. I could go on and on about Matt Pryor's ability to write poignant lyrics and catchy melodies. But I shant. Just get this.
http://www.mediaf!re.com/download.php?fhyk4wermgl"Attagirl" heralded Bettie Seveert's debut on Minty Fresh Records as well as the band's triumphant return with their most captivating full-length since "Palomine". Chock full of the most memorable songs in this much-lauded band's career, Carol van Dyk's beguiling vocals are front and center over her thick multi-tracked harmonies. Meanwhile, hooky synth-loops and popping rhythmic grooves propel the music forward, woven together with Peter Visser's inventive yet sturdy guitar work. An outstanding record all around featuring the most amazing cover of Bright Eyes "Lover I Don't Have To Love" it's hauntingly beautiful and pretty much the only reason why i ever bought the album, although the whole thing is worthwhile, the Bright Eyes cover really stands out.
http://www.mediaf!re.com/?zznfy2ztteqGot Nuffin is the sixth EP by the indie rock band Spoon. It is set to be released June 30th, 2009 by Merge Records.[1] This EP will mark the first newly recorded music for Spoon since the release of 2007's Ga Ga Ga Ga Ga.
The New Amsterdams - Never You MindCode: [Select]http://www.mediaf!re.com/download.php?iqwykuujhjm
http://www.mediaf!re.com/?mzn4iymywoohttp://rapidshare.com/files/103621978/neonba.rar.html
http://www.mediaf!re.com/?ydczglymvm2
I did some work for Liu Yang (He was introduced as Yang Liu, but I'm not sure which is right) and he gave me this CD as a gift. He's a world-class violinist from China with nearly thirty years of training under his belt. If you like classical music you should definitely give this album a try, it's very good. I'm not actually a great judge because I don't know too much about classical music, but I liked this. Also, it's interesting because the songs are a lot shorter than you would expect for classical music, three of them are less than three minutes long and the average length is less than six minutes. Gao Ping is on piano.
Liu Yang & Gao Ping - Song of NostalgiaCode: [Select]http://www.mediaf!re.com/?ydczglymvm2
http://www.mediafire.com/?kjcjrznnyyb
I've been excited about this movie since I first heard of its existence, but I never could have predicted such a rocking, intense, glorious set of songs to accompany the film's originality. I expected good, but I got brilliant.
The soundtrack plays alternately like a gothic/industrial album [Legal Assassin, Zydrate Anatomy], a quirky piece of novelty comedy [Mark It Up, We Started This Op'ra S**t], and moving musical tragedy [Gold, Genetic Emancipation]. The elements of traditional opera somehow manage to mesh with hardcore guitar riffing. It's an eclectic music fan's dream. All the players, especially Terrance Zdunich [and even Paris Hilton] deliver vocally, and the production is nearly impeccable. [It's easy to see why Yoshiki jumped on this project, since it plays essentially like Violet UK: The Musical.]
I don't normally rave so consistently about records - let alone soundtracks - but I have nothing bad to say here. REPO is amusing, moving, and deliciously dark. Like Dexter with sopranos, or Sweeney Todd discovers distortion. Beauty meets degradation in a truly fascinating way.
http://www.mediaf!re.com/?zijyokmxmfy
(http://www.netweed.com/prohiphop/graf2/wutang-chamber-music.jpg)
http://www.mediafire.com/?jymkanilnwmActually, this is the 2nd disc from The Other Side of All Things.From the very first notes, the mood of the album catches your ear and prepares you for what is about to follow. Nice slow pace compositions, forming an emotional atmosphere, without however being depressing, is what “Capitals” is about.1st part
From a technical point of view, the production is nice and succeeds in “filling” the tracks with the appropriate sadness to rise emotions. All instruments play a complementary role to the melancholic vocals, in such a way that music seems to follow the spoken words. Musically though there are some beautiful melodies and some electronic ideas dressing the lyrics, but their destined purpose is far from being innovative.
It is not easy to say that LJUNGBLUT look like a specific band and this because their musical pathway has very large borders. However, their music has similarities to “James Blunt’s” erotic/depressing music, as also to a “lighter” “Anathema” kind of style.
http://www.mediafire.com/?nmohj1j0efm2nd parthttp://www.mediafire.com/?5ojzl0u2jmm2nd part is a single song, you can download if first, and see if you enjoy it!;)The album has received generally good reviews, scoring an 81 average on Metacritic. [1] It was named the 3rd best album of the year by Revolver. Total Guitar named it 4th in their "50 best guitar albums of the year". It came in at #9 in Metal Hammer's best of 2007 list. Matt Pike noted that David Icke and H.P. Lovecraft were big influences on his lyrics, along with the Bible.
http://www.mediaf!re.com/?zdwrct2i2kqif you like iron maiden this is for you. if you don't like iron maiden, this is still for you
http://www.mediaf!re.com/?imnmltini2mThe Black Angels are back with "Directions To See A Ghost", the second full-length album from Austinƒ_Ts darkest droners. With tidal rhythms and rasping epics, "Directions To See A Ghost""is a driving, psychedelic masterpiece that churns through 72 minutes and 11 tracks. This highly anticipated follow-up to the band's 2006 critically acclaimed debut will leave listeners buzzing.
http://www.mediaf!re.com/?eydmxdmtyjnjust curious, but everyone knows that just changing the i to an ! really does nothing but make us have to change it back right? code boxes and changing that don't do much from preventing google searches (which incidently is how I found this site). pretty much unless the board is private until you sign up for it, changing the i isn't doing anything...I'm pretty sure it's to keep mediafire from noticing all the referrals coming from this board. If you have to copy/paste it and change the ! to a i, they don't know that the number of people downloading these albums is coming from this thread.
http://www.mediafire.com/?gwjwtqt2jwdhttp://www.mediafire.com/?yjlhmmrqtixhttp://www.mediafire.com/?0n2okmnniofhttp://www.mediafire.com/?w02wgwzzmnnhttp://www.mediafire.com/?ywyhlwzlzqtall of that constantines
Mainliner
The Fountain BSO
constantines
kieffer, i've been listening to that album non-stop since i downloaded it. it's so good. cuz i love power pop, but sometimes the production bugs me! this album solves that problem.
http://www.mediaf!re.com/?nyeehmi0fjq
Contstantines
http://www.mediaf!re.com/?wazz2z20dnkconstantines
Are pretty effing rad. I like everything up to Tournament of Hearts, I wasn't a big fan of most of the songs on Kensington Heights unfortunately.
I would still love to see this band live though, fo shizz.
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Where would be a good place to start listening to the Smiths?
http://www.mediaf!re.com/download.php?z4ejmcmnmnq
Where would be a good place to start listening to the Smiths?
Heyoka - Gate CodeQuoteChilled dub, glitch-hop and thumping grime instrumentalsCode: [Select]Pt 1 http://www.mediaf!re.com/?lmt0mnyu4wz
Pt 2 http://www.mediaf!re.com/?mrtnygzledw
This shit is awesome
I was hesitant due to the cover-art but I'm enjoying it a lot.
Also that A C Newman record is wholly below average, The Smiths will always be excellent.
http://www.mediaf!re.com/?mcjzmjomckv
http://www.mediafire.com/?mojgnymyoy0http://www.mediafire.com/?a4mzlth3rtj
http://www.mediaf!re.com/?3m2nfdwmmjwThis is another Minus 5 album. Now the eighth LP from the loose creative
collective/serious drinking association helmed by wayfarer and musical enabler Scott McCaughey. This one is called Killingsworth. A recording worthy of the murders committed during its genesis? Perhaps. Incoherent yarns mostly told after midnight by highway hobos in and around Portland, Oregon? Surely. Killingsworth features an incarnation of The Minus 5 including apparatus support poles McOi, Peter Buck (R.E.M.) and John Moen (Decemberists). Other gypsies in the carnival include The She Bee Gees, further Decemberists Colin Meloy, Jenny Conlee, Chris Funk, Nate Query and many more. Pedal steel belted radials drive throughout the gravelly fern-lined byways of the neighborhood of Killingsworth. Either ride along with the show or get out of the way of its careening wheel man, drunk with liquor and blood. Up to you, friend.
For the Smiths, "The Queen is Dead" is probably he best place to start for their studio albums. They're all good though, but even so their singles were the best thing about them. I'll up their two singles collection. There are some songs that are on both of them, but each has killer ones the other doesn't.
http://www.mediafire.com/?joj1jyztz3mThe Gentle Lurch’s second album, ‘The Beat of the Heart is the Beat of the Boss’ is a sprawling, experimental epic consisting of 14 songs split over two discs. This time round, the band is loath to include anything less than 5 minutes in length. Also, their sonic palette has grown to encompass jazz and orchestral chamber music.
On first listen, it is clear that this is an album that is not going to give up its charms easily. Lars Hillers, heavily accented, half spoken drawl is a barrier that prevents any immediacy being discovered in the sound. Much more pleasant is Cornelia Mothes bluesy vocals on ‘Owl’ and ‘Kept Woman’.
However, tenacity pays when listening to The Gentle Lurch, and eventually the myriad of charms contained in these sprawling arrangements start to present themselves. At times the band sounds almost discordant, at other times, the sound is so lovely that it sounds completely out of place (the backing vocals on ‘The Magic Ingredient to Flames’ being a prime example.
Ultimately, ‘The Beat of the Heart…….’ is not going to be to everyone’s tastes.
That A.C Newman record really is disappointing, actually.I have the opposite opinion of this post :|
Bummer.
Listen to Smith Westerns you fuccs!
http://www.mediafire.com/download.php?0jzm2ggmdegTurning inherently precise electronic lines into a cohesive burst of innovation is hard to achieve. Whimsy is a key ingredient, and while Jason Chung, a.k.a. Nosaj Thing, has plenty of this, he approaches his compositions with a studious and inclusive ear. Chung proved he had this album in him with the 2006 EP Views / Octopus, featuring most notably the rabid, sparkling “Heart Entire.” Since then, he’s remixed the likes of Daedalus and label mate Flying Lotus, and gained exposure as a regular at events like Low End Theory’s club night in his hometown of L.A. On Drift, the peerless influence of Aphex Twin commingles with a preference for hip-hop beats and a collection of synth sounds that range from bird-like to monstrous. While he categorizes his music as hip-hop, he’s merely laying down the beats here. In place of a lyrical message are blips, claps, pulses, and slaps that do, in a way, speak.
As his stage name suggests, Nosaj Thing can create translucent ghosts of songs, manipulating the volume and direction of light vocal lines on “Coat of Arms” to the effect that nothing is grounded or satisfied, even if the melody suggests resolution. There is as much textural variety among this song’s synth lines as there is on the entire album. Similarly, on “Fog,” the airy bass loop that hops all over the scale in the song’s intro gives way to an increasingly slick cast of synths and beats.
Like Richard D. James, Chung embraces beautiful, vulnerable melodic lines that like to snatch the spotlight, if only momentarily, from eerier mates. Sometimes he’ll rest longer on the beauty, but he is never lazy. “Us” could be a fine song with a few essential components, but Chung adds sharp string samples and tiny bits of aquatic atmosphere to the relaxed melody. What might have been an interlude is one of the album’s best songs. The industrial but warm beat on “Voices” could almost fit in with Burial’s world and is unique to this album, guiding a bit-crushed music-box melody and a deep, menacing bass that participate in a haunting melodic dialogue; the only thing uniting the two is the song’s key.
Not all of Chung’s tracks so neatly create organic worlds out of atmospheric variety: “Coat of Arms” and “IOIO” emphasize what’s locomotive in the compositions — and keep emphasizing it in new ways. “IOIO” starts with a ramp up to tempo, and before long the number of percussive and melodic lines has built from a handful to probably more than a dozen. Sometimes, as on this song and “1685/Bach,” the variety is overwhelming, but this may have more to do with the ordering of tracks than anything else; these three songs come in succession. More often than not, Chung’s tireless attention to his work is well-edited, and even the most chaotic and boisterous tracks are riveting.
So, you're saying that people should not listen to Smiths Westerns?Well they can if they want to, but I sure don't think there's any rush...
mp3: http://www.mediafire.com/?0kiwy5yg2my
mp4: http://www.mediafire.com/?gvydtohwzdySo, you're saying that people should not listen to Smiths Westerns?Well they can if they want to, but I sure don't think there's any rush...
http://www.mediafire.com/download.php?2mjyz0l4jkghttp://www.mediafire.com/download.php?zyogzmmnmdmhttp://www.mediaf!re.com/?onjdgzzi2mjthe description from last.fm for the new frontiers:
In a time where big beats and big hooks equal big sales, and transience runs rampant throughout the medium, it is becoming ever so difficult to find records that still matter. You know, the ones that affect you. That stick with you. That serve as an underscore to the essential times in your life. While those types of records are certainly becoming an endangered species, there are thankfully those that defy this trend, and work to supply us with the instant classics we so rarely find anymore.
The New Frontiers are a band on the front lines of this battle with their debut full-length offering, Mending; they wisely let their music do the talking. Sonically, the band once known as Stellamaris offers up their take on a quieter, more introspective brand of indie rock. Anchored by singer Nathan Pettijohn’s emotive vocal delivery, and complemented in kind by an equally skilled Dallas-based supporting troupe, The New Frontiers present tunes with a quiet sense of majesty that still manage to pack a colossal emotional footprint. Their pacing is deliberate, but never sedate and their sound is at once both contemporary and traditional. The overall musical stew is one that combines dashes of alt-country, brit-rock, and indie-pop (among others) towards a final mélange sure to win over sets of ears for years to come.
http://www.mediafire.com/?znmjz4zmytr
http://www.mediaf!re.com/?wjx4jny2nny2009 release from the Portland-based former Alaskans. Salvation Is A Deep Dark Well is a much more complete work than their debut, showcasing the bands full potential. On Salvation, the Builders worked with producer Chris Funk from the Decemberists who brought with him a throng of expertise, patience, instruments, and some of the best musicians in Portland. In the vein of the Southern Gothic tales Ryan [Sollee, songwriter] weaves stories of struggle with the usual cast of characters God, the Devil, soldiers, branches, wind, rain and hell fire. The story of Salvation Is A Deep Dark Well is that there's joy and celebration through the darkness, there's light in the hardest of times, and when you reach the bottom may salvation light your way.
The Builders and the Butchers add strongly to the long list of “indie-folk” bands coming out of Portland with their newest album, Salvation is a Deep Dark Well. The Builders and Butcher fit in quite well with other burgeoning ‘indie-folk’ acts from this region including Horsefeathers, Norfolk and Western, and Blind Pilot. But, their closest sonic kin has to be the Decemberists. Ryan Solle’s voice is strikingly similar to Colin Meloy’s.
The lyrics are similarly dark and depraved and Solle’s songwriting is lush and vivid. My favorite tune Down in this Hole opens with “Nothing lasts forever in a god-forsaken town. The pocket books are empty ‘cause the priest has left the town. He’s giving all his dollars to the girl that works the square, who never get a dime because there’s murder in the air”. The haunting indie-folk ballads are spread over rough, frantic, and ramshackle tunes thick with the harmonica, and banjo of the Deep South and hills of Appalachia. This album makes me think of bourbon, sweat, fog, and moss hanging from old, dead oak trees.
If Tom Waits and Johnny Cash took over a southern church choir, littered it with mandolins, banjos, acoustic bases, hand-made drums, and summoned a dance party, they might call the whole phenomenon The Builders and the Butchers . No other band will make you feel so blissfully compelled to make deals with the devil.
Hey, I'm gonna go see him tomorrow at the Montreal Jazz fest. I really recommend that album. Really good.
Nero's Day At Disneyland is a triumphant and bombastic art techno project orchestrated by Brock Bousfield from Oakland, California. Blending haunted 15th century sacred music with a tangled mess of burnt out electronic noise with a crushingly huge sense of scope. Nero's Day At Disneyland seems to cram together the entire musical history of the last 2000 years.One of the best Breakcore albums I've ever heard
http://www.mediaf!re.com/download.php?z4mywbaxmgiThe collective brainchild of Ben Worcester and Tyler Bancroft, Said the Whale is as much a product of Vancouver’s tremendous natural beauty as it is of the city’s budding independent music scene. With a solid fan base accumulated from a litany of previous bands (My Buddy Dave, The Millionaires, WordsOverMusic) Said the Whale are quickly winning over new fans with every show. Their unique blend of eclectic indie rock captures the essence of what it means to be young, free, and occasionally heartbroken in your early 20s. Theirs is the sound of a thousand summers spent lying under a star-filled canopy in the middle of a field. Original, incisive, and destined to set the independent music scene on fire, it is the sound of Said the Whale.
http://www.mediaf!re.com/download.php?4rt5htzidjzI first came across Kiss Kiss in 2007 when I inadvertently stumbled across a portion of their album Reality Vs. The Optimist available as a partial download at freeindie.com. The band combined a chaotic barrage of orchestrated noise rock with an electric violin to boot and lead singer Josh Benash coming off like Billy Corgan gone absolutely batshit. It was an experience.
The soon to be released new album from Kiss Kiss titled The Meek Shall Inherit What’s Left is a decent follow up album to the bands earlier work creating the image of some insane Russian Bar with their jukebox on the fritz or a Yugoslavian Circus gone awry with even more chaotic tracks giving you the illusion that you may have fallen down the rabbit hole in some bizarre dream sequence. The focus is still present providing enough control to help guide you through the twisted orchestrations and Benash’s vocals have gone a little deeper and darker then last time which settles well with the slower more thematic tracks on the album which, I have to be honest, combined with an eerie piano roll playing softly in the background along with the use of the electric violin makes the slower tracks sound almost epic. Definitely an album worthy of taking a journey with.
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The Gentle Lurch - The Beat of the Heart Is the Beat of the Boss (2009)
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Of all the many albums heralding the arrival of roots, and driving it to ascendency in the Jamaican and international reggae market, few were as uncompromising in vision as Ras Michael's Dadawah -- Peace & Love. The singing drummer had led aggregations of devout Rastafarian musicians for nearly a decade, releasing grounation flavored, nyahbinghi driven records on his own Zion Disc label. Dadawa now brought Ras Michael together with veteran studio hands -- bassist Lloyd Parks, drummer Paul Williams, guitarist Willie Lindo, and pianist/organist Lloyd Charmers, who trebled as producer. The resulting album was a work of faith, but equally it was a leap of faith for the singles orientated Trojan label, whose full-length records had previously tended towards hits round-ups. Dadawa, in contrast, spread a mere four tracks across two sides of vinyl, and while certainly accessible to a wider audience, it was never going to appeal to pop fans. Although not a concept album in the strict sense of the term, it thematically evokes the Biblical final days. "Run Come Rally" calls together the world's righteous in preparation for the upcoming battle with evil. Having gathered together the brethren from "Seventy Two Nations," all bow before Jah in a celebration of His greatness, then give voice to their desire to return to "Zion Land." The set concludes with "Know How You Stand"'s call for freedom, and with it the ability to fulfill Jah's plan. The extraordinary power of the set's themes is echoed by the equally phenomenal backings, all conjuring up the most haunting of atmospheres. While the hand drums give the album a grounation feel, Parks and Williams simultaneously ground the numbers deep in roots. Intriguingly, though, there's no reggae guitar, just Lindo's sublime riffs and licks that flick into the rock realm, while constantly sliding back into blues. Charmers' piano and organ occasionally take over the reggae guitar role, but mostly his keys intertwine around Lindo's leads, accentuating melodies, scattering elegant flourishes here and there, and subtly building up the atmospheres. Even during the most elongated tracks, there's no sense of repetition or self-indulgent meanderings, every note and bar furthers the musical and thematic journey. Charmers' production is superb, the musicians inspired, and Ras Michael's power undeniable. An astounding album that's lost none of its potency over the years.
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Part 1 - http://www.med!afire.com/?anjzlkmuzyn
Part 2 - http://www.mediaf!re.com/?wijdld22mjzOn August 18, Elverum will blow that experiment out to album length when P.W. Elverum & Sun releases Mount Eerie's Wind's Poem, which is being touted as his "black metal album." Elverum recorded the album himself in various locations around his hometown of Anacortes, Washington. Nick Krgovich of No Kids dropped by to add some harmonies, but as with most Microphones/Mount Eerie releases, this is basically all Elverum here. That's the cover above, and the tracklist is below.
The album will be available on CD, digital download, or a clear vinyl double LP in "a gatefold jacket with bronze foil stamping and a pull out lyric poster". One of those options sounds slightly cooler than the others.
When Mount Eerie tours this autumn, Elverum will bring a full band with him, including two drummers. A press release promises gongs and walls of amps. This is going to rule.
http://www.med!afire.com/?1tzyyyognzyhttp://www.mediaf!re.com/?y2mzzeymynzFor a while, former Camberwell Art School student Florence Welch tried to be the singer the record companies wanted her to be: namely, a more rocky graduate from the Lily Allen school of wayward girls. Then one day she began banging on the walls of her mate’s home studio, instead of playing the drums, picked out a melody on the piano (which she can’t play), and wrote Between Two Lungs, a weird and rather wonderful song about a kiss. If you like Björk or Kate Bush, you’ll love it. If you like Nick Cave, Tom Waits or even Siouxsie, you’ll find much to enjoy elsewhere, from the soulful blues of Girl With One Eye to the ghostly love song I’m Not Calling You a Liar.
An intense young woman who read a lot of Edgar Allan Poe as a child, Florence specialises in dark, gothic imagery - werewolves, wedding dresses, bleeding hearts and coffins - and quirky tunes that start quietly and build into big, soaring climaxes. The songs are generally angry, with an undercurrent of violence and/or animal passion, and a nagging hook to keep you there. When this girl falls in love, you gather, she really falls. When it’s over, the only recourse is pain, rage and vast quantities of alcohol. The current single Rabbit Heart was written after her label asked her for something more upbeat, but ended up with a typically jaunty chorus about sacrifice: “This is the gift/ It comes with a price/ Who is the lamb/And who is the knife?”.
Sometimes the rough edges have been over-smoothed: there are all kinds of strange, cheap synthesised noises buried under the layers of polish that I’d like to hear more clearly. But this is a minor gripe, for despite its dark heart, there’s a real joy about this debut. It’s the sound of someone who has found their voice and is keen to use it - as loudly and freely as possible.
http://www.mediaf!re.com/?yokntzhgwyoA new self-released, digital-only EP from lovable electronic popsters Carim Classmann and Galia Durant, Cats And Tracks Volume 2 collects early and previously unreleased material from the duo. On here you’ll find songs like ‘Dad’s Breakdown’ from Psapp’s debut Do Something Wrong EP on Melodic, plus ‘Feel The Fur’ from their outstanding Buttons & War EP, released on Isan’s Arable imprint. There’s a great cross-section of Psapp’s work on this collection, showcasing their playful yet technical infallible production work and the sort of hook-smattered pop pedigree more mainstream artists would be envious of. If you’ve been won over by the duo’s Domino output in recent times, here’s a great introduction to some of their earliest material.
Hey, thanks for the new Phil Elverum!
http://www.mediaf!re.com/?wmmziz5w22dJohn Lennon once said he didn't believe that musicians created emotions in their listeners. Rather, he believed that an artist's role is to bring feelings to the surface that already live deep within us. Thus, while all human beings are connected to one another in some way, there is a special bond we feel with the artists that help us shine a light within our own core.
A few days after George Harrison passed away in 2001, Yim Yames (Jim James (of My Morning Jacket)) was moved to record this six-song EP of Harrison covers, paying tribute to a man that he never met, but with whom he felt a special connection. The tracks have a serene quality that mourn the loss of a legendary spirit while celebrating his enduring influence.
On the EP, Yames performs beautiful renditions of four cuts from Harrison's classic album All Things Pass as well as two of The Beatles tunes that he penned. These six tracks have a raw, minimalist feel – featuring little more than Yames' vocals and acoustic guitar. With all the space, the room in which the tracks were recorded truly serves as another instrument in the mix, creating an ethereal aura for a backdrop.
From his warm, multi-layered vocals on opening track "Long Long Long" to his near-whisper at the end of album closer "All Things Must Pass," Yames sings in a fittingly intimate manner. In the album's liner notes, he refers to Harrison as "a prime example of the healing power of music." These words apply just as much to this EP. As the final chords on Tribute To ring out, one can't help but feel a deep, satisfying sense of catharsis.
http://www.mediaf!re.com/?2zlgoqnjycyTime To Die is the follow up to the mesmerizing Visiter back in 2007. The album will feature a new member in the band as well, upping the number of members to three, a one Keaton Snyder will be featured on the vibraphone.
The Bla Bla Bla ::: Orchid were an early screamo band from Amherst, Massachusetts. Considered by many to be one of the pioneers of the screamo sound, Orchid combined a postmodern aesthetic with hardcore punk, releasing several now-hard-to-find EPs and splits as well as three full-length records. Orchid's influences are assumed to be Canadian hardcore band Union of Uranus and One Eyed God Prophecy, but band members more often cite the German bands Systral and Carol.
http://www.mediafire.com/?zjt1ymm2jxnThe Bla Bla Bla ::: Usurp Synapse was an emo violence band from Indiana. The group combined fast and frantic grindcore influenced drumming and guitar work, and raw screams. Usurp was born in Lafayette, IN. Through numerous line-ups they continued to push the envelope of the then-bugeoning "screamo" sub-sub-genre of punk rock. Their music was available on several compilations and 7" records, including a split release with Jerome's Dream, with whom they toured the United States, on Clean Plate Records. All their releases have been compiled and released on a discography CD, Disinformation Fix, on Alone Records. Antonio Leiriao moved from New York to Indiana to sing for the band in 1999.
The band utilized unconventional marketing methods, such as a die-cut album cover folded into the shape of a penis entering a vagina, and the inclusion of a razor with a record that promoted suicide on Electric Human Project.
Former members played in Fax Arcana, who have since disbanded.
They reformed as a 4-piece in the year 2004, recorded a full length album, then unfortunately had to cancel a uk tour in 2005 which was supposed to be with phoenix bodies. They have been inactive since.
http://www.mediafire.com/?njznzy4jzgohttp://www.mediafire.com/?znzzmmjj2toAmanda Woodward is a screamo band from Caen, France formed in year 2000. The lyrics are in French and they often have political messages (“À L’assaut”, “La Décadence de la Décadence”), while keeping guitar riffs and screaming vocals.
http://www.mediafire.com/?myzz0i5jonkThe Bla Bla Bla ::: The album's title is attributed to Parry Gripp of Nerf Herder (a credit he vehemently denies), who also sings harmony vocals on "I Hope You Die" and toured with the band on their previous record. Hooray for Boobies is the final album with drummer Spanky G, who left mid-production. The song "Yummy Down On This" features drummer Darrin Pfeiffer of Goldfinger.
The track "The Inevitable Return of the Great White Dope" appeared on the Scary Movie soundtrack.
"A Lap Dance Is So Much Better When the Stripper Is Crying" is a parody of the narrative "trucker songs" of Red Sovine.
"The Ten Coolest Things About New Jersey" is simply ten seconds of silence.
The final song, "Along Comes Mary," was never intended to be on the album, but Geffen insisted the band include it. Very rare early promo versions of the album exclude the track.
http://www.mediafire.com/?jzly24qzzdrThe Bla Bla Bla ::: Recorded between 1949 & August 1952. Includes liner notes by William Gay and Colin Escott.
A revelatory collection of songwriting demos and rare early solo radio appearances, most of which had never appeared in un-dubbed form until 1998's complete Williams box set. Highlights include an early take on "Honky Tonk Blues," with an extra verse that didn't make it onto the hit studio version, an eerie cover of the Sons of the Pioneers' "Cool Water" (one of the few cowboy songs Williams ever recorded), and a run-through of "Kaw-Liga," with several false starts and some studio chatter.
http://www.mediafire.com/?3zuioojxjz0http://www.mediaf!re.com/?dwwyyju2icmThe Dead Weather is an American alternative rock supergroup that formed in Nashville, Tennessee in 2009. Comprising vocalist Alison Mosshart (of The Kills), guitarist Dean Fertita (of Queens of the Stone Age), bassist Jack Lawrence (of The Raconteurs and The Greenhornes) and drummer/vocalist Jack White (of The White Stripes and The Raconteurs), the band is due to release its debut album Horehound in July 2009. The Dead Weather was revealed at the opening of Third Man Records' new headquarters in Nashville on March 11, 2009. The band performed for the first time at the event, before immediately releasing their debut single "Hang You from the Heavens".
Yim Yames (Jim James of My Morning Jacket) - Tribute To (2009)
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"Now the premise of this album is very, very simple. What's that? To listen to messages of soul with a solid beat, make you move your feet. Now the premise of the album is to find a passing spaceship and get rescued by it. Oh, come on. Now the premise of this album is, well, the dance, actually, dance business. The highest definition ever achieved in recording. I'll even tell you what two of the secret ingredients are: pure electronic modern electronics. That'll make 'em happy! Oh, look at 'em, they want to get up and dance! Let's have a party, we gonna go swinging! I'm gon' fuck the whole world up! Hahahaha, I'm so full of ideas, and here's a good one!"
If that were a quotation from one person, you might well think that they were a raving lunatic or schizophrenic. "Those," you would probably say, "are the ravings of a lunatic schizophrenic!" Well, the above quotation can be found in "The Premise," the slick introductory track on Wagon Christ's fourth album, Musipal. And although it's culled from all sorts of different sampled spoken voices, it feels as if it's been transferred from the personal schizo thoughts of mastermind Luke Vibert to his flexible fingers. I can't vouch for his sanity or any lack thereof, but the man is pretty full of ideas, and I'll be goddamned if the ones found on Musipal aren't good ones.
Vibert hasn't created an incredibly innovative record, by any means. References can be made from the smooth and dirty grooves of DJ Shadow and UNKLE to the jungle agitation of Squarepusher to full-on dementia, either giddy (Kid Koala) or sinister (Aphex Twin). But Musipal is so stocked with variety and, moreover, actual fleshed-out substance, that it manages to bypass the simple "wacky" status of Vibert's previous release as Wagon Christ, 1998's Tally Ho! This record has moods-- some unnerving, some smooth, dark, mechanical, choppy, bouncy, funky, soulful, and even back to wacky, occasionally, all whenever Vibert sees fit. And each of these elements help create the perfected Wagon Christ formula: an unpredictable mixed bag that comes out even, regardless of how many contents are shifted.
Musipal has more than a couple standout tracks, but out of those, its holy trinity comes during its first half. "Natural Suction" is Vibert's only full-on journey into jungle and drum 'n' bass beats this time out, and pad synths and strings complement the jittery grooves nicely. The title track follows, flowing modestly and effortlessly with the inclusion of a shuffling hip-hop beat, squawking horns, and a duet of bluesy lead guitar and whistling.
Up to this point, Musipal would be perfect for your next social occasion. That is, until the unsettling and dark beats of "It is Always Now, All of It is Now" come in. Despite it being the album's obvious highlight, it's probably a bit too paranoid for the houseguests. Dark synths and orchestra hits punch through the ranting of a madman-- possibly Vibert himself-- whispering and mumbling through a distortion filter and squealing feedback.
There are plenty of flavors for anyone on Musipal, although the record as a whole may be too diverse for some, if that's possible. In my book, diversity is a plus. If there's one thing Luke Vibert can do well, it's everything at once. He seems to mock himself by starting his album with a track called "The Premise" and then never fully being able to explain it. It may be that he'll never decide on a certain premise, or idea, or concept; consequently, he'll probably never cover the same ground quite the same way twice. And the schizophrenia and variance that is Wagon Christ has finally controlled itself just enough to avoid sounding piecemeal. Musipal is, as of now, the quintessential Wagon Christ record, and its only preconceived purpose is one of simply letting you have fun while trying your damnedest to find one.
http://www.mediafire.com/?zimjc3y0zwgLuke Vibert is one of the finest producers in electronic music today. Never content resting on tired formulas, his Wagon Christ alias has ventured in about all manner of abstract instrumental hip-hop, R&B flavored drum and bass, and richly stringed IDM. From the sounds of it, he seems to be chronologically following up YosepH (released under his own name last year) more than 2001’s Musupial, with the latter’s emphasis on a Tobin-like flow and hip-hop basing to an overly uptempo album. Sorry I Make You Lush sees the Vibert crisp synthetic/acidic production applied to a quicker average pacing than his last Warp release seemingly tearing a page out of the Nightmares On Wax’s playbook and reassembling it with a few off-the-wall samples, like a gym teacher’s whistle or an 8-bit Nintendo synth bleep. He keeps the same essential easygoing vibe alive but undercuts it with some superbly executed sub-bass hinting at a touch of evil just below the serene surface. Counterbalancing this is a series of well-constructed ambient breaks that put Freq Nasty’s pop-club mix to shame. Vibert may outwardly portray a tendency toward cheesiness but his complex production yet clean overall sound clearly demonstrates a level of skill and passion unattainable for most. It’s no fluke; he is the only musician to have released a full-length for Warp, Ninja Tune, Mo’ Wax, and Rephlex. He’s the real deal, folks, and he’ll be around for a long time to come.
1. Saddic Gladdic
2. I’m Singing
3. The Funnies
4. Shadows
5. Quadra & Discos
6. Ubformby
7. Sci-Fi Showcase
8. Sorry I Made You Lush
9. Kwikwidetrax
10. Nighty Night
11. Reciever [multimedia track]
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http://www.mediaf!re.com/?maizmmdokmzWell every once in a while people ask me about Buckethead. Why does he wear a mask and bucket. What happened to his parents. Is he part robot, will he hurt us, is he really Colonel Sanders son, on and on and on. Well I can’t tell you everything about Bucket but I can tell you something.
First of all you gotta understand Buckethead grew up real lonely on that farm. He figured no one understood him. The only thing they understood about him was how to treat him bad. To this very day, believe it or not, Buckethead does not like to be shocked with a cattle prod.
It wasn’t all bad, though, on the farm. As soon as he moved into the chicken coop he started to make new friends. The chickens took real good care of him, and they liked him so much they scratched his face off. Now he could wear a mask every day, just like Halloween! He was the luckiest boy he knew. He didn’t know many other boys though, except those kids who lit him on fire that time.
One good way to forget the smell of burning cartilage was watching movies. Down the hill from the coop, and through a knothole in the fence, was the drive-in theater. Every night at dusk the boy could watch great movies like GIANT ROBOT or THE TEXAS CHAIN SAW MASSACRE. The speakers wouldn’t reach to the coop though so he didn’t even know what the movies sounded like. All he heard was chickens when Leatherface would slam the big metal door shut.
So when he got to be about THIS tall Buckethead started playing his little guitar. He would sit and watch the movies and his fingers couldn’t stop moving and now all the sudden there was music. And Giant Robot would shoot rockets out of his fingers and who knows what would happen.
Buckethead practiced so much he started to get real good. But the people on the farm still made fun of him and smashed his family’s eggs. One night, after he got to be this tall, somebody threw a bucket of fried chicken into the coop. Try as he might, Buckethead couldn’t put the chicken back together again. So he put the bucket on his head, picked up his guitar and ran to the cemetery.
Buckethead was real sad but it seemed like he played guitar better than ever. All the grey people and angels in the cemetery listened to the music and it was so beautiful they just stood still and speechless. He figured the spirits of all the fried chickens he ever knew were channeling into him through the bucket, and he played until he collapsed.
Well it prob’ly won’t surprise you to hear that eventually the sun came up and the rooster crowed. And some folks say Buckethead had chicken grease and barbecue sauce smeared around the mouth hole on his mask. Whatever happened that night, the bucket stayed on his head, and in the morning it was filled full of chicken bones.
http://www.med!afire.com/?yemmmnz0injFor his second studio album and proper Matador debut, Memphis prolific punk wunderkind Jay Reatard has moved beyond his roots and recorded an album chockful of irresistible melodies, the songs cascading with joyous hooks. He would not be Jay Reatard, however, if there wasn’t a certain aggro negativity, and the song titles and lyrics do much to undercut the pop sensibility: I’m Watching You, Hang Them All, Can’t Do It Anymore, Wounded, It Ain’t Gonna Save Me.
The perfect summer album for disaffected youth across the country, Jay will be trekking from coast to coast all summer with his ex-In The Red labelmates The Oh Sees and TV Smith (of the Adverts).
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This is quite an improvement from their first album. Instead of the "let's play as fast as we can without any regard to the quality of our songs" mentality, there's a lot more personality and playfulness to go along with their raging adolescence. The easiest way to describe the style of Boogadaboogadaboogada! would be skatepunk with a brain and a sense of humor. True, there are some elements of that, but there are also hints of pop-punk that would eventually mature into the sound of Screeching Weasel that everyone's familiar with. The silliness is still there with songs such as "I Hate Led Zeppelin," which has an angst-ridden Ben Weasel shouting "'Stairway to Heaven' makes me see red/Bonzo's buried, only three more left." Then there's "I Wanna Be Naked," where after the second chorus the band breaks into the Ramones' "I Wanna Be Sedated," only with an obvious lyrical change. Overall, Boogadaboogadaboogada! is a pretty fun album that has an ultimate party feel to it, perfect for any circle pit or Thrasher skate video. -AMG
http://www.mediaf!re.com/?djdyueqfdz1 Thanks! All I have is Anthems for a New Tomorrow.
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Ras Michael's Dadawah -- Peace & Love.
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Frankie Stubbs has delivered another manifesto of emotional overload, of vocal heart meltdown on record for a solid 47 minutes. Delivering the first Leatherface album of new material in six years, Horsebox is another stunning achievement of brain, brawn, guts, pathos, and liquid fire. Even without the gut-wrenching cover of Nick Cave's "Ship Song," it's clear these guys don't just pummel you senseless -- they flat out know how to play, and Stubbs writes and arranges in an extremely mature manner that feels more complex the more you hear the individual parts. Horsebox is so charged, it's as stubborn to get into as it is to do descriptive justice to, but it also entices from the first play. Stubbs continues to work in mid-tempo material, with passages where the guitars drop out or merely pick at power-lead parts. He and second guitarist Leighton Evans are at their call-and-answer best on the bridge of the most melodic killer "Closing Time," following a passage that's merely bobbing bass and tremendous drumming. "Lorrydrivers Son" and "Box Jellyfish" are two more melodic, meticulously picked gems that give some break from the gale. A criticism? Perhaps they could go out on a limb a little more. It would be good to show more people the deeper ranges of Stubbs' tastes and abilities. That such a bomb like this could be dropped is some kind of miracle -- a marvel doubled when one considers that this band was thought dead forever a few years ago. Like all the hottest LPs, it will take you a few plays for its more discriminating qualities to take hold, for its emotional center to reveal itself amidst the volcanic eruptions, aside from the sound of Stubbs' headlong imploring. And once it does, watch out.
http://www.med!afire.com/?gctzmnzmyirThe Dodos - Time to Die (2009) ~ Mp3 320
The Dodos - Time to Die (2009) ~ Mp3 320
Doesn't seem to be working, can I get a re-up?
http://www.mediaf!re.com/?4jtzwaimyyaTime To Die is the follow up to the mesmerizing Visiter back in 2007. The album will feature a new member in the band as well, upping the number of members to three, a one Keaton Snyder will be featured on the vibraphone.
http://www.mediaf!re.com/?wnqxmmdhafzHappy Cactus was a band formed by Colin Meloy while he attended Helena High School. Other members of Happy Cactus included David Casey, Deidre Casey, and Mark Schummer. Meloy went on to lead Tarkio and later The Decemberists, while the Caseys formed the Watercarvers Guild with David's father Darrell and brother Nathan The band's genre can be described as "alt-country," "indie," and "folk." Former Band members cite R.E.M., The Replacements, The Beatles and Uncle Tupelo as influences.
http://www.mediaf!re.com/?f2m2jlm24ydWidely hailed as one of pop's brighter young things, Dan Black is best known so far for the single "Symphonies", which brings to mind the young Beck.
An expatriate Englishman whose debut album was recorded in the basement of his Paris apartment, Black displays few specific musical allegiances, skipping nimbly from baggy Madchester shuffle-grooves to electro twitchers to more straightforward club stompers, as the material demands. He displays a deft touch with string samples, modulating from cello stabs to full orchestral pads on tracks like "Symphonies" and "U + Me =", though his real skill lies in blending diverse elements into smooth adult pop arrangements reminiscent of World Party, particularly on the impressive "Ecstasy". Lyrically, he seems obsessed with dreams, whatever the emotional slant of the song. In "Cocoon", he offers the compliment "You give me ideas when the dreaming stops". Moments later, in "Yours", he's complaining about someone's "Passive-aggressive daily routines/ Now you pull up even my dreams". His own position, though, is probably best represented by "Life Slash Dreams", where he admits, "Life is life, dreams are dreams, and I'm floating somewhere in between". Which is usually where the best ideas originate. An impressive debut.
http://www.mediaf!re.com/?ddbj3onjjtnYear In The Kingdom unravels some kind of galactic wilderness. Tillman’s 6th album lyrically borders on mystic; proffering a transcendent union, an effortlessness. Strange and honest, this song cycle inhabits it’s own idea-scape; one seemingly obsessed with wrestling death. These are afterlife dialogues of a mysterious future. Celestial badlands.
Unknown to just about everyone, Tillman started recording in April, tracking most of the instruments during the two week session himself. Hammered dulcimer, banjo, recorder, cymbals of varying size and wheezing air organs all feature heavily and lend YITK it’s bizarre scale, conjuring tidal shifts with tiny movements. The string arrangements, performed by Jenna Conrad, as well as transposed from Tillman’s sung direction, were intended to rest on chords almost counter-intuitively, bringing to bloom complex, decontextualized tones. Most noticeable upon first listen, however, is the production itself. While most of Tillman’s records evidence some shambolic home recording, YITK is undisturbed throughout. Out up front of the mix, and dry as a bone, Tillman’s voice is featured in a way unlike any of his previous records.
YITK sounds liberated; it is far and away Tillman’s most joyful work. Created with little input or context, it is seemingly disinterested in communicating much else than a meditation for the few who allow themselves to listen with an open heart.
In 2008, Tillman joined Seattle band of longtime friends and musical collaborators, Fleet Foxes who he’ll be touring with in Europe and the US throughout July, August and September.
Tillman will then embark on a national US tour for Year In The Kingdom in September which continue throughout the Fall.
http://www.mediaf!re.com/?hz4zhnzkznkPoor Charlie Fink. His south London band, formed with his brother and some mates, features two girls on vocals. Both leave to do their own thing: Emmy The Great to make music with her own band, Laura Marling to become a Mercury-listed singer-songwriter and one of the hits of 2008. But part of Marling’s success is down to Charlie - he produced Alas, I Cannot Swim. He was also her boyfriend. Double-pleased.
Then Laura chucked him.
So Charlie Fink goes away. As his heart plummets his imagination soars. Soon his reflections on love and loss will find form in an album and accompanying film. Both will be called The First Days Of Spring. One song, a folk-blues lament with tear-dripping brass, is called My Broken Heart (”I saw my world cave in”). Another, I Have Nothing, begins with a choir humming and rain falling. The film is unveiled at the Latitude festival next weekend. It will, I suspect, be wonderful.
This is a beautiful album. Moving rather than maudlin, uplifting rather than depressing. Instrumental #1, all strings and brass and piano, is like the overture to a David Lean epic, not least because it leads straight into the mighty, hot-stepping, choir-driven Love Of An Orchestra.
“This is the love song that I write while still in love with you,” Fink sings over booming drums, and more choral backing vocals oh the standout Blue Skies. Next to the irresistible-yet-twee-ish indie-pop of last year’s Top 10 summer hit 5 Years, he’s upped his game quicksmart.
Impressionistic symphonic-pop maestro Sufjan Stevens, back this autumn with a new album, had better watch his back. Belle & Sebastian’s Stuart Murdoch, cooking up his own long-gestating, musical-film project, has been served notice. Here is a song-painter blessed with huge talent. Rich Charlie Fink.
If anyone thought Sonic Youth were getting a little too comfortable, The Eternal proved they weren't afraid of change, even as they closed in on 30 years of making music together. The Eternal is Sonic Youth's first album for legendary indie label Matador Records after a nearly 20-year stint with Geffen Records, which dovetails nicely with the fact that this is also the band's first album with former Pavement bassist (and Matador alum) Mark Ibold. Sonic Youth even changed their usual songwriting approach, writing and recording tracks in quick batches instead of planning an entire song cycle at once. Dust wasn't allowed to settle on these songs, nor could it -- the most striking thing about The Eternal is how hard it rocks. The contemplative haze that drifted over Murray Street, Sonic Nurse, and to a lesser extent Rather Ripped is blasted away by opening track "Sacred Trickster"'s lunging, massive guitars and Kim Gordon's demand to be pressed up against an amp. The rest of the band sounds revitalized, too: Lee Ranaldo's excellent "What We Know" is a furious yet complex rocker, and Thurston Moore sounds like the leader of the gang on "Thunderclap for Bobby Pyn," which name-drops the Heaven's Gate cult and the alias of Germs singer Darby Crash between its "whoa-oh" and "yeah yeah"-fueled choruses. This is the heaviest Sonic Youth have been since Sister, and it's fitting that their return to the indie world touches on their SST days. That's not the only era they revisit, however. "Poison Arrow"'s skronky grind evokes Dirty's sexier moments; "Antenna"'s radio love turns Murray Street's sun-streaked drones into epic pop; and "Calming the Snake"'s tumbling, atonal riffing suggests summery menace as much as it does Sonic Youth's no wave roots.
While there's a little bit of almost everything that has made Sonic Youth great over the years, the band hasn't put these elements together in precisely this way before. Considering how expansive their last few albums for Geffen were, The Eternal's relatively concise songs also set it apart, but when Sonic Youth do stretch out, it's with purpose. "Anti-Orgasm" begins as a duet/duel between Gordon and Moore, who trade challenges and come-ons over free-falling guitars that become a rolling, slow-motion excursion; the track's instrumental interplay is more violent, and more sensual, than its words. "Massage the History" is even more vast, encompassing fragile acoustic strumming, distortion storms, and dead calm over its nearly ten-minute expanse. While The Eternal doesn't flow quite as effortlessly as some Sonic Youth albums, it's perfectly balanced, its raw moments tempered by the subtle "Walkin Blue" and "Malibu Gas Station," which creeps so imperceptibly toward its raging guitars that they're almost unnoticed until you're caught in their undercurrent. Sonic Youth's freedom to follow their bliss is what holds The Eternal together; just as paradoxically, the changes they make on this album not only bring excitement to their music, they reaffirm just how consistently good the band has been -- and continues to be -- over the years.
http://www.med!afire.com/?mwjtemimnyjWalter Schreifels used to be a very hard-rockin' dude, the leader of loud, hard bands like Quicksand and Rival Schools. His new band, Walking Concert, takes a very different route. Leaving behind the raging guitars and vocal shredding, the group is just as emotionally involved and exciting, only now it's a pop band with pop hooks that stick deep and leave wounds when you yank them out. Traces of early Costello, classic Pavement, and Ted Leo crop up here and there, and so do glimmers of bands like Spoon, the Wedding Present, the Kinks, and Guided by Voices too. Not to say that Walking Concert are derivative. They just follow in some large footsteps. On their debut, Run to Be Born, they are tight, tough, sweet, and tender. The record bounces back and forth between jumping rockers like "Studio Space," "What's Your New Thing," and "But You Know...It's True" and tear-stained ballads like "Run to Be Born," "Girls in the Field," and "The Animals." There are also tracks like "Calypso Slide," with its loose, street-corner epic feel, or the acoustic guitar and string quartet "A Lot to Expect," which aches like mid-'60s Dylan -- tracks that sound like Walking Concert could easily break out of the indie rock scene and just be a great rock band. If they do, it will be down to Schreifels. He's got a perfect rock & roll voice, very immediate and affecting, at times spilling into wild bursts of joy, other times whispering secrets in your ear. The guitars are perfect, the arrangements live and real, but what makes Walking Concert the kind of band they are is his voice and his songs. Longtime fans of Schreifels and his hard rock groups may think this record is too soft or poppy, but too bad for them. Anyone who likes their music lean, exciting, heartfelt, and intelligent will be rejoicing about his conversion. Long live pop and amen to Walking Concert!
http://www.med!afire.com/?bnrjzh01yujUntil 2009, the music of Yonlu lived only in the virtual world on MySpace and on Luaka Bop's Three Inches of Music series. Yonlu was born Vinicius Gageiro Marques, and he hailed from Porto Alegre, Brazil. The difficult part of the story is that Yonlu was a very serious and sensitive young man who found life in this realm unbearable. He took his own life via carbon monoxide poisoning while signed on to a suicide forum on the internet, and remained online to the end, just 36 days before his 17th birthday, and after writing a long letter absolving his parents of any responsibility whatsoever. He left his parents a CD of his music before he died, but it was later, while going through his computer, that his father found most of the songs on A Society in Which No Tear Is Shed Is Inconceivably Mediocre. To his astonishment, he also discovered that Yonlu's music had made its way to many corners of the world and had been commented upon by various friends, DJs, and critics.
That's the myth, sad though it may be. The 14 songs that make up this collection are something else, however. They're infused with a freshness, innocence, and musical vision that is singular in scope and breadth. Yonlu's inspirations were myriad: they ranged from Radiohead and Elliott Smith to Gilberto Gil and the entire Tropicalia movement to classic bossa nova. Indeed, if this music can be called anything at all, it is 21st century bossa, infused by lo-fi and post-rock aesthetics. Yonlu was a musical and cultural polymath (he was an accomplished visual artist) whose sensitivity was matched only by his ability to realize his creativity. Check the tape manipulation skullduggery in "A Boy and a Tiger," where new acoustic, indie rock, samba, hip-hop, and spoken word all take their place in a mix that is dazzling in its reach yet utterly breezy in its space. "Humiliation" weaves together the tenderness of Caetano Veloso with the emotional pathos of Smith and Badly Drawn Boy. His cover of the Kings of Convenience's "Little Kids" is brief, but draws equally on shimmering bossa rhythms, overdubbed acoustic guitars, what sounds like a harp, and a rather complex bassline. Likewise his reading of the great gaucho artist Vitor Ramil's (another big influence on Yonlu) "Estrela Estrela," which is done reverentially and tenderly, carrying within it all the honest, open emotion of the original and adding intricately woven acoustic and nylon-string guitars. But the true wealth of this material lies in Yonlu's own songs. Of course it is tempting to read this through his tragic biography, but to do so would sell this music short. Check the primitive bossa meets futuristic MPB of "Ole Por Nos," with its delicately layered vocals, the messed up folktronica of "Q-Tip," or the glitchy edited loops on "Deskjet Remix with Sabrepulse," directed by the sounds of a charango. The set closes with "Waterfall," an utterly gorgeous and haunting folk song where layers upon layers of vocal harmony are chanted, sometimes in falsetto, sometimes in basso, and fall around an acoustic guitar treated with lacey reverb, sparse keyboards, and an atmosphere so thick its beauty is almost Baroque -- and all this before the rhythm loops kick in. It is as celebratory, innocent, and unremittingly beautiful as anything you are likely to ever hear. This may be the only recording we ever get to hear from Yonlu, but as such, it is a treasure trove of complexity, mystery, and redemptive art. Indeed, this is bedsit music elevated to the realm of high art.
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Iggy Pop - Preliminaires (2009)Code: [Select]http://www.mediaf!re.com/?myem3jjtnkz
http://www.mediaf!re.com/?moygaztmhjjThe idea for a collaboration between Canada’s prolific neo-doom duo Nadja and New Zealand’s pitch black droners Black Boned Angel was first hatched in conversations between 20 Buck Spin and Nadja’s Aidan Baker around the time Nadja released their Truth Becomes Death EP on Alien8 Recordings in 2006. 20 Buck Spin ran the idea by Campbell Kneale of Black Boned Angel, who at that point was unfamiliar with Nadja. After hearing their material, the complimentary potential was realized, and the groups began their cross-continental collaboration sending music back and forth digitally.
Time passed and both groups, along with Campbell’s altar-ego Birchville Cat Motel, were extremely busy releasing their own material. By the end of 2007 the collaborative effort had realized three fully formed tracks. One more accessible track that included vocals called “Christ Send Light” was released in 2008 as a CD EP on Kneale’s own Battlecruiser imprint. The other two long tracks were combined for a full length release for 20 Buck Spin. With the album being a collaborative effort 20 Buck Spin also convinced two close comrades, David D’Andrea and Stephen Kasner, to collaborate on some artwork. Again, artistic collaborations take a great deal of time, and finally in 2009 both art and music have finally come together for this much anticipated release.
The two 20+ minutes tracks contained on this self-titled collaboration have a less accessible vibe then the Jesu-like track on last year’s “Christ Send Light” EP. There are no vocals to be heard. They are comprised in equal parts of Nadja’s fuzzed-out, lurching and hazy dream-doom, and BBA’s razor-sharp metallic riff-shards. Extended passages of riff-static noise bleeds one track into the next while deep space eerieness looms ever present in the shadows. Finally the whole thing collapses under the weight of its own self-created black hole. This is the end.
Note that the CD cover displays only a small amount of the featured artwork, which is pictured much more fully on the LP cover.
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Iggy Pop - Preliminaires (2009)Code: [Select]http://www.mediaf!re.com/?myem3jjtnkz
Also, that Walking Concert album for the bottom of the previous page is quite excellent. You should check it out!
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Robo-spazmatazz genre-splicers An Albatross pack more riffs, time changes, and esoteric rock references in one song than many bands jam into an entire album. Fitting for a bunch of dudes whose credo is some sort of mystical mumbo jumbo of cosmic love, fantasy animals, sci-fi weirdness, and-- as the new album expounds on-- space pilgrimages in search of world peace and harmony. And yet, I think they're serious! These love-in rambles only give the ballistic tunes that much more cheeky appeal. For their third full-length, The Family Album, AA continue their psychedelic aural terror, but dig deeper into the annals of kraut and classic rockdom.
No doubt influenced by extremo screamo acts like Blood Brothers, At the Drive-In, and the Locust, their breakout EP We Are the Lazer Viking-- and to a lesser extent their second full-length, Blessphemy... of the Peace Beast Feastgiver and the Bear Warp Kumite-- displayed a grindcore/prog-rock hybrid with lots of new-wave synths and dancey spastic grooves. Whereas Blessphemy turned away from the new wave-y stylings in lieu of more organ sounds (Farfisa and Hammond B3) and space synths (Moog and Korg), Family expands on this golden age of keyboard rock (ELP, Deep Purple, King Crimson, Yes). If it weren't for the numbers-crunching turbo drumming, the engine of this operation would have to be keyboardist Phillip Price who seamlessly alternates between sleek interstellar atmospherics, shrieking dissonant attacks, rolling vamps, and carnival-esque monkey grinds. Take "...And Now Emerges The Silver Pilgrim", a sideways butt-shakin' number that vibes Arab on Radar (surely another big influence) but within its short two-minute run, flips between Herbie Hancock-like DayGlo splats and three-ringed clown-car chasing.
The biggest change in the songs is the way they take already overstuffed freak outs-- usually averaging two and a half minutes-- and add even more textures to ramp up the epic feel: Album closer "3,000 Light Years By Way of the Spacehawk" (one of two songs clocking in over six minutes) adds a string section to the cacophony of vocalist Eddie B. Gieda III's bird-like squawk and the band's space truckin' rumble. "The Psychonaut & The Rustbelt" explores a kind of Oingo Boingo vaudevillian boogie complete with saxophone, death-metal blast beats, and Gieda's David Yow-channeling howls; and "A Convivial Feast of the Peace Beast" highlights "Riverdance"-on-meth jigs with xylophone sprinkles. Album showpiece "The Hymn of the Angel People" pairs more turbo circus music with highbrow art rock: Halfway through the jam, things unravel into a tranquil angelic keyboard-and-saxophone-driven celestial hum where the band ethos gets pontificated by a British-accented poetry-reciting female. Not your dad's prog rock, but equally as smart and a damn sight more engaging.
http://www.mediaf!re.com/download.php?zyd2mrnttjyhttp://www.mediaf!re.com/download.php?julexiwvdyzFukpig play old style crusty grind. the band is made up from Drunk on vocals, Migg (Mick Kenney - Anaal Nathrakh, Mistress, Frost) on drums and leads and Misery (Paul Kenney - 2nd Live Guitar for Anaal Nathrakh, Mistress, Frost) on Guitars and Bass.
New album Spewings from a Selfish Nation limited to 100 copies released on FETO records
It could be very easy to be disappointed with Sometimes Things Just Disappear after Polar Bear Club’s awesome debut EP The Redder, The Better but just give this one a little time; it’s a slow burner.
On this (their debut full-length) Polar Bear Club continues to blend catchy pop-punk hooks with slower and more angular post-hardcore guitars, finding a balance between gruff vocals and melodic harmonies. It is a tried-and-true formula in today’s punk landscape, but Polar Bear Club somehow manage to escape being just another sound-alike. They slow things down just enough to sound a little more intriguing than the majority of their peers.
Now before actually hearing one note from Polar Bear Club people were telling me that they sounded a lot like Hot Water Music. To be honest (though) I really don’t hear it. On Sometimes Things Just Disappear the band sounds more to me like The Casket Lottery meets Rise Against; angular yet poppy (but not too poppy). It all adds up to something that can be blazing but is much more effective when it moves a bit more slowly. Slowly in a way that might disappoint those looking for something more biting and anthemic, but if you are looking for something that sounds like Hot Water Music, you should probably just go listen to Live At The Hardback instead anyhow.
http://www.mediaf!re.com/?do1jnqjw1meThe title of 31 Knots' debut full-length, A Word Is Also a Picture of a Word, was taken from Don DeLillo's novel Libra. Like DeLillo's fictional speculation of the events leading Lee Harvey Oswald to President Kennedy's assassination, 31 Knots' album is undeniably sinister, evoking conspiracy and "men in small rooms" with a calculating precision and complexly constructed matrix that would do the novel proud. The guitar and bass move and change with a frenetic nervousness over complicated rhythms. 31 Knots desperately dodges simple labels as A Word Is Also a Picture of a Word grinds from a Jawbox intensity to experimental start/stop guitar parts ("E for Alpha"), from Fugazi politics and riffs interchanged with dreamy melodies ("Buy High Sell Low") to math rock ("Pity Has No Power"). Lyrics apply a sense of institution and red-tape mechanisms to deeply emotional ground. On "Frozen Found Fire," Joe Haege sings "by the last count my hands were co-conspirators." The target of the plot might just be the world of easy-to-categorize rock music.
http://www.mediaf!re.com/?izktmmywvwkIn the three short years leading up to this record, Portland, OR's 31 Knots became a veritable juggernaut of punky, quirky pop power. From the tight-as-hell compositions on The Curse of the Longest Day and Talk Like Blood (both out in 2005), to the alternating tense-loose-expansive experimentations of 2006's Polemics EP, 31 Knots continued to break new musical ground without losing any of their signature pop/punk/prog/math rock tendencies. The 31 Knots' style filter often put the boys in the same camp as Modest Mouse (and other strict math rockers), but a deeper look revealed a more Police or Fugazi-like aggregation of influences. Strictly speaking, 31 Knots could drop their guitars, drums, basses and synths for tubas, pan flutes, zithers and banjos, and it would still sound like 31 Knots. And so it is, with 2007's The Days and Nights of Everything Anywhere, that we find the boys broadening their sound palette, while honing their singular, signature style. Not too many bands could utilize jarring stop-start musical passages and still be called "relaxed," but that is one of the chief elements that makes 31 Knots so enjoyable overall and The Days and Nights so enjoyable in particular. The fellas seem to have achieved that laid-back, comfortable confidence that only comes with virtuosic musicianship and bandmate-to-bandmate telepathy -- and they make it sound so easy, you may be fooled into thinking it is. The album is packed with odd time signatures, dramatic dynamic variations and prog rock-level riffery, but you'd hardly notice it -- as the songs presented are so carefully serviced, and so fully realized, that they exist as individual works rather than musically dextrous showcases. The technical precision is just a bonus and songs like "Sanctify" and "Imitation Flesh" remind you that, for all of their musical skill, 31 Knots are as keen on serving a song as they are on rockin' it out.
http://www.mediaf!re.com/?mlzz1kjktynThe album title refers to the theory that people are moving to more rural areas in reaction to the growth of suburbia. Penturbia, the album, however, is 12 songs of top-notch college pop/rock. The vocals are unique and come off quite creative, with a nod to Switchfoot as well as some of Troubled Hubble's influences such as Built to Spill and Ben Folds Five. In many ways, the sense of humor and musical angle are reminiscent of Archers of Loaf, as much of the music is upbeat; the band has found a way to make even gloomy subjects not be musically miserable. The entire album is a lot of fun and quite catchy, even in its occasional introspective moments. Songs like "I Love My Canoe" will have the ever-too-serious indie rocker rolling his/her eyes on the first listen and singing along on the next. It's fun and yet still retains some indie credibility with its lack of cheesiness. It's bands like Troubled Hubble and albums like Penturbia that show the underground to still be alive and well.
http://www.mediaf!re.com/?0my2ty3gm2jMutating time signatures, elaborate guitar phrasing, and fast-walking basslines may traditionally signify 1970s prog-rock obesity, but the Chicago quartet Trenchmouth takes these elements to a field far more left of center. Fueled by punk anger, no-wave art damage, and a healthy dose of dub ska, Vs. the Light of the Sun captures the group's aggressive musical palette that consistently teeters on the edge of chaos while maintaining a ridged form. Lyrically, the songs teem with occupational imagery that mirrors the goose-stepping rhythms and espionage riffs. Vocalist Damon Locks schizophrenically switches from oppressor to resistance by speak-singing in the disturbed cadence of a mad dictator or shell-shocked survivor. Calling out the warning "they got lights for eyes and submachine guns/they're rolling over houses like they were made of marzipan," Locks confirms that Trenchmouth Vs. the Light of the Sun is an armed conflict.
http://www.mediaf!re.com/?zwomanyymjuPolvo-Todays Active LifestyleNever a band to follow formulaic musical styles, Polvo once again shakes things up with its twisted song structures of multiple tempos and intricate, distorted guitars. Today's Active Lifestyles goes from the raucous "Thermal Treasure," with its tangled guitars, into the meandering "Lazy Comet," with its singsong, rhyming lyrics, to the spare, melancholy "My Kimono," which features a solo by guitarist Ash Bowie. And that's just the album's first three songs! The band experiments with several ideas throughout the album, and each concept is successful. The album ranges from cascading guitar solos in "Stinger (Five Wigs)" to the straightforward "Tilebreaker" to the catchy, rolling, keyboard-punctuated "Time Isn't on My Side." Overall, it's an excellent album with many layers. You can listen to it over and over again and still catch new things going on in every song.
http://www.mediaf!re.com/?zq4mduduzdjhttp://www.mediaf!re.com/?yyhzzzyyyzzThe full title of this record is actually a poem...
No more stories
Are told today
Im sorry
They washed away
No more stories
The world is grey
Im tired
Lets wash away
...and the music within is just as ponderous and epic as that implies. For No More Stories, the band has dropped the continuous suite style of And the Glass Handed Kites in favor of discrete songs. The album features some tracks that stray from Mews usual quiet-to-loud song structure (see Cartoons) but their trademark epic prog-rock is still the dominant force here. This is the first time that Mew has recorded as a three-piece, since bassist Johan Wohlert left to focus on his family. The band has brought back Rich Costey, who also produced their breakout hit Frengers, to produce this album.
Dan Black - Un (2009) ~ Mp3 320Anyone else have a problem trying to unzip this?Code: [Select]http://www.mediaf!re.com/?f2m2jlm24yd
http://www.mediaf!re.com/download.php?dmlzjmr2knmhttp://www.mediaf!re.com/download.php?zjyzmmjm1gmAn Albatross-The Family Album
http://www.mediaf!re.com/?zjnyjnim3fmhttp://www.mediaf!re.com/?jjz3mnmuxh1http://www.mediaf!re.com/?iuzqm4tgy0mAnyone else have a problem trying to unzip this?
Pt 1 http://www.mediaf!re.com/?mgnjahzy3my
Pt 2 http://www.mediaf!re.com/?gwljow2zida'Electronica has been reinvigorated as barriers between fiercely guarded genres continue to come crashing down, whether it's Flying Lotus and Samiyam's messy marriage of hip hop and electronica or house, techno and electro collapsing in on each other. Sub Swara is a New York club night and label that's been running since 2005 and is frequented by pioneering producers such as Hank and Keith Shocklee of The Bomb Squad. Sub Swara's debut LP Coup d'Yah (Low Motion Records) showcases what the night and its collective of DJs, producers, vocalists and instrumentalists are about: the track Infiltrate floats filtered tablas over jagged two-step bass; the brooding Alabaster Dub places subcontinental horns and kathak classical dance rhythms with snares and dhols; Belgrade Riddim playfully chops up marching band brass with slinky percussion; Banga ties ragga to trampolining bassline; The Balance is rolling, fidgety bhangra-bashment; and Koli Stance morphs from hypnotic tabla-funk into a gnarly, stomping banger. Coup d'Yah is a clean sonic draw on Indian instruments, electronica, dub and dancehall but beyond that, it's 21st-century global basstronica. It sounds exceptionally fresh and relevant.' - Metro UK
Pt 1 http://www.mediafire.com/?zzjlyyafjmn
Pt 2 http://www.mediafire.com/?mgztuzgnivoBlack Cat #13 was a band from Ontario, Canada. Their style of music was a blend of electro, hardcore, and rock music. They were active from 1998 to 2000, and performed a total of 47 shows. The band is mostly remembered for having as a member Jesse F. Keeler, a member of the successful dance rock group Death from Above 1979, and later the electro/house musician MSTRKRFT (coupled with Al-P).
http://www.mediaf!re.com/?hvmtizgwuxjthis is one of my favorite LPs. i have freaking tattoos from the booklet for christ sake. haha. it's fast and loud, and you should dig on it.
http://www.mediaf!re.com/?ejwzjyf2wdyawesome fast and screamy band from souix falls south dakota, label em' whatever you want, members of in loving memory.. some of the best people i've ever met due to playing music. my friends and i took these midwesterners to the beach for the first time on their first tour. ever see a bunch of guys from souix falls freak out over the oceans undertow? haha good times.
http://www.mediaf!re.com/?mg2tjwttjwzI played with this band years ago with a band called ruheada. I’m trying to dig up some recordings of that, and flipping through all my 12” looking.. ha. Anyway.
A seething mass of hardcore energy and screamo vocals, Philadelphia's Hot Cross are a fortuitous collision of talent from a handful of noteworthy punk bands, including members of Saetia, Southpaw, Joshua Fit for Battle, You and I, and Off Minor, though the group's music has managed to avoid the pitfalls of the "side project syndrome" and evolved into an exciting and challenging entity all its own. Hot Cross came together in 2000, when percussionist Greg Drudy (ex-Saetia and Southpaw), guitarist Matt Smith (formerly of Off Minor, and a member of She's Hit! with Drudy), and singer and guitarist Adam Marino (from Saetia and Errortype: 11) decided to join forces and form a new band devoted to fast, loud, and lean punk rock. Needing a bass player, the new band invited their friend Josh Jakubowski (ex-Joshua Fit for Battle) to join, but soon afterwards Marino dropped out, citing the demanding time commitments of Errortype: 11. After a few practices as a three-piece, Casey Boland (formerly of You and I) came aboard as a second guitarist, and Hot Cross began working up material in earnest. After completing a set of songs, Hot Cross decided they needed a stronger singer, and Billy Werner, another veteran of Saetia and She's Hit!, was sent a copy of the band's demo while he was studying overseas. Upon returning, Werner jumped into the group head first, and played his first gig with Hot Cross less than a week after returning to the United States. After contributing to a couple of compilations, the band released its first EP, A New Set of Lungs, in early 2003, followed a few months later by a split single with Light the Fuse and Run. By the end of the year, Hot Cross had released their first full-length album, Cryonics, though the independent Level Plane label. Smith and Jakubowski traded places on bass and guitar for the band's second album, 2004's Fair Trades and Farewells, but after nearly six months of touring following the record's release, Jakubowski left the band to pursue a career as a recording engineer. Jakubowski's departure was amicable, and the band (continuing on as a quartet) approached him to record its third album, Risk Revival, which was released by Equal Vision Records in February 2007.
— Mark Deming , All Music Guide
http://www.mediaf!re.com/?ekoyeyjmqylPg. 99 were a hardcore punk band from Sterling, Virginia, located in the outskirts of Washington D.C. “We were just a group of friends who all wanted to play music and try to make our lives more incredible”. They formed as a 6 piece in the Winter of 1998 and later became an 8 piece. They went on several full US tours over their 5 year existence. They have 11 records out on many different labels, all of which have become great friends to them.
http://www.mediaf!re.com/?5zm0iwlznyzThe Saetia discography CD finally sees the light of day. It includes their LP, their 7", demo tracks, and a compilation track; seventeen tracks in total. Saetia played bombastic screamo core with lots of volume variances coupled with both screaming and singing. Passionate, messy, subtle, and chaotic all at the same time. The CD is well done and comes with a really detailed booklet that includes lyrics, photos, commentary from the various members; all in all, an appropriate closing chapter to the Saetia story.
http://www.mediaf!re.com/?qjwn5kh20aohttp://www.mediaf!re.com/?juzbtmqnz4ahttp://www.mediaf!re.com/?jmyddjyznwt
http://www.mediafire.com/?4gzizmo3ztzThe placid vocals are mixed in perfectly with an array of different instrumentals, whether it be electronic beats, cello, saxophone, or piano. The overall sound is comparable to Modest Mouse vocals combined with a Pinback or Earlimart composition.... Putting a good start to 2006, this is an essential album to all music enthusiasts." ---Aaron Seelig and Spud Swenson, Thunder Radio
"Drums poke along at a turtle shuffle. Guitars pick high, lonesome clouds of notes while the bass tends to do the heavy lifting of slowly inching the songs forward. String instruments sigh in unison at the back of the mix. It's actually perfect moping music, in other words, and perfect for a cold, slushy, and gray time of year." --Jess Harvell, Baltimore City Paper
"Anar Badalov and Flora Wolpert-Checknoff might be barely out of their teens, but they already sound like they've passed into the netherworld. ...the distant souls equip themselves with keyboards, guitar, saxophone and various programming elements to make their brand of indie rock--but in the end they sound like ghosts tapping on a wall, trying to reach out to the land of the living." ---Kurt Orzeck, Harp
"It is amazingly put-together in composition, sounding like something that other bands might have worked for years to achieve, yet it also maintains the alluring roughness of music that has never passed through the filters of overproduction. ...an uncomplicated combination of sound that magically meshes into one of the most captivating albums you'll hear this year." ---Anne Valente, Playback
"You can tell that they've got a very honest, stripped down, and seductive sound. Every second of the album pulls on your heart strings, drawing you more into the songs." ---Shane Stiles, Rise and Revolt
http://www.mediafire.com/?mkmjgqnmti4http://www.mediafire.com/?mgewmhhtgmwWhen the narrative comes to be written for standout albums of 2009, there’s going to be a whole heap of Scottish bands involved. And they just keep coming: The Phantom Band, My Latest Novel, Meursault, We Were Promised Jetpacks, the live Frightened Rabbit Album, Broken Records… There Will Be Fireworks are the latest to well up from the fertile Scottish plains, and I suspect, come the end of 2009, they’re going to be somewhere near the top of that ragged heap, if not at the very top.
The facts are these: There Will Be Fireworks are four Glaswegians – old school friends – Adam Ketterer (drums, glockenspiel), David Madden (bass), Gilbran Farrah (guitar, violin, piano) and Nicholas McManus (guitars, vocals, organ) and this is their first record, though it has been a fair while in the making. It was recorded pretty much live in a huge 17th century mill in Stratharven and it’s hard to miss the fact that the circumstances of the recording have invaded the record’s very weave – it sounds huge. What the band have done is taken the dynamics of a certain strand of post-rock (think Mogwai and Explosions in the Sky) and squashed them into throbbing, explosively passionate songs, and in doing so have channelled something of a new sound – a propulsive, widescreen sound that seems at once born of the organic live recording situation and something else, something deeper. There are lives packed into these songs, and at times it feels as if the skin is close to ripping.
The album begins with a poem written specially for the album by the Stornoway writer and poet Kevin MacNeil. His writing is full of heat and fire, often frayed at the edges – quite a coup for the band and just the perfect fit. His lilting yet powerful monologue (”for there will be fireworks/and they will light up your eyes/and you will feel more alive than ever before/just as your sister would wish for you…”) is consumed by an immense firewall of howling guitars. It’s a powerful statement of intent. Somewhat surprisingly it fades into the calm of ‘So The Story Goes’ – a vast sounding track, but one built around a bare skeleton of distant guitars and understated brass. It’s here and on ‘Midfield Maestro’ that you get a real sense of that recording base the band used – the gaps between the instruments seem almost unnaturally huge at times, and whilst the production isn’t always perfect it’s great to hear such an honest and live sound.
‘Midfield Maestro’ is also where you get a real sense of the band’s emotional punch – and it’s the first of a trio of songs that give the album its narrative heart. As ‘Midfield Maestro’ builds to a huge close (and Ketterer’s drums sound immense here) McManus is bleeding into the mic ‘we’ll set these tapes on fire as your heart breaks in my car/you’re unravelling in my arms’ and you can hear his intakes of breath as they vibrate against his taut vocal chords. The track melts into ‘Guising’ a gorgeous vignette detailing a trick or treat incident, which in turn becomes ‘Off With Their Heads’ – a genuinely epic track which is the band at their very best: raw, ambitious and adept in weaving emotion into dynamic sonic patterns. The closing moments make me want to bust through the top of my head.
You could say, though it would be unfair (what of the broad sweep of ‘A Kind Of Furnace’, the strung-out drama of ‘We Sleep Through The Bombs’ and ‘We Were A Roman Candle’, with it’s blizzard of guitars and aching refrain of ‘I could have been more cautious!’?), that the record never recovers from this highpoint But in truth, and this rambling review is testament to this, the record is ambitious and detailed enough to hold the attention – you can get lost in shadowy corners, listen for buried references to earlier tracks, and all of the while feel a part of the thing. It’s a truly inclusive record. Christ only knows what they’re like live.
http://www.mediafire.com/?zqojyfvddonThere is an obvious sense of natural progression that can be heard on any given Eulogies track. They are a refreshing objection to the stagnant reality of rock ‘n roll. The haunting yet calming sound Peter Walker’s majestic voice is easily up to par with any lead singer already well appreciated in the music community. And with extensive touring, and the release of their latest album Here Anonymous (due April 7th), these realities are sure to shine a light for Walker and company.
It seriously appears as though this four man crew work as hard as possible to create very heart felt tunes. “The Fight (I’ve Come To Like)” is as catchy as it is a great example of said progression of naturalization. “This Fine Progression” (seems to be a theme, maybe?) is more sappy melodrama may believe you have already heard somewhere, somehow. But, there is no replication of anything beyond their own dreams and ventures into the study of life’s usual caricature of itself.
For fans of artists of life and earth, it doesn’t get much better than these guys. For folks only looking for conveniently place euphoniums with no real sense of being, don’t bother. Eulogies will soon prove themselves to be a staple among artists in this era of discontent.
http://www.mediaf!re.com/?gtldymmzkzm
http://www.mediafire.com/?zmjyt2ymmuzNowadays, it is difficult to find a sound as authentic as Arkells’. It’s also comforting to know that Canada is home to a band that knows how to rock as hard as these guys do. Their sound is a mix of rock riffs, soul, and blues. Jackson Square is a compilation of catchy songs that, from the first listen, you’re instantly hooked.(From http://awmusic.ca/2008/12/05/arkells-jackson-square-review/)
Jun Seba (せば じゅん Seba Jun?) is a Japanese hip-hop producer and DJ who records under the name Nujabes. The alias is an anagram of his first and last name spelled backwards and combined. Alongside making music, Nujabes is also owner of the Shibuya record stores, T Records and Guinness Records and founder of the independent label Hyde-Out Productions. Nujabes's (New-jah-buhs) genre-blending music style is known for a distinct cool jazz and soul influence. He most typically uses samples from artists such as Miles Davis, Pat Metheny, and Yusef Lateef and adds live instrumentation, such as flutes, acoustic guitar, piano, and saxophone to create warm, mellow tracks.
http://www.mediafire.com/download.php?wdyj4hgtkjn1. "Moon Strut"
2. "Don't Even Try It" (featuring Funky DL)
3. "Strive" (featuring Apani B)
4. "Home Sweet Home" (featuring Substantial)
5. "Still Talking To You"
6. "Luv (Sic)" (featuring Shing02)
7. "Steadfast"
8. "Lyrical Terrorists" (featuring Substantial & L-Universe)
9. "Lose My Religion" (Remix) (featuring L-Universe)
10. "It's About Time (Fat Jon Remix)" (featuring Pase Rock)
11. "Plazma Avenue" (featuring Five Deez)
12. "D.T.F.N." (featuring Cise Starr)
13. "People's Don't Stray" (featuring Funky DL)
14. "Luv (Sic) Part 2" (featuring Shing02)
http://www.mediafire.com/download.php?2zzjhy3215u1. "Blessing It (Featuring Substantial and Pase Rock of Five Deez)" (Produced by Nujabes)
2. "Horn in the Middle" (Produced by Nujabes)
3. "Lady Brown (Featuring Cise Starr)" (Produced by Nujabes)
4. "Kumomi" (Produced by Nujabes)
5. "Highs 2 Lows (Featuring Cise Starr)" (Produced by Nujabes)
6. "Beat Laments the World" (Produced by Nujabes; contains a sample from "Blessing It")
7. "Letter From Yokosuka" (Produced by Nujabes)
8. "Think Different (Featuring Substantial)" (Produced by Nujabes)
9. "A Day by Atmosphere Supreme" (Produced by Nujabes)
10. "Next View" (Featuring Uyama Hiroto on Sax)
11. "Latitude (Remix) (Featuring Five Deez)" (Produced by Nujabes)
12. "F.I.L.O. (Featuring Shing02)" (Produced by Nujabes)
13. "Summer Gypsy" (Produced by Nujabes)
14. "The Final View" (Produced by Nujabes)
15. "Peaceland" (Produced by Nujabes)
http://www.mediafire.com/download.php?2mzktzzzgy31. "Feather" (featuring Cise Starr & Akin)
2. "Ordinary Joe" (featuring Terry Callier)
3. "Reflection Eternal"
4. "Luv (Sic) Part 3" (featuring Shing02)
5. "Music Is Mine"
6. "Eclipse" (featuring Substantial)
7. "The Sign" (featuring Pase Rock)
8. "Thank You" (featuring Apani B)
9. "World's End Rhapsody"
10. "Modal Soul" (featuring Uyama Hiroto)
11. "Flowers"
12. "Sea Of Cloud"
13. "Light On The Land"
14. "Horizon"
http://www.mediafire.com/download.php?gfwu2h4qugz1. "Voice of Autumn"
2. "Sky Is Falling" (featuring CL Smooth)
3. "Waltz for Life Will Born" (featuring Uyama Hiroto)
4. "Imaginary Folklore" (featuring Clammbon)
5. "Hikari" (featuring Substantial)
6. "Counting Stars"
7. "Another Reflection"
8. "Fly By Night" (featuring Five Deez)
9. "Old Light (Voices from 93 Million Miles Away Remix)" (featuring Pase Rock)
10."With Rainy Eyes" (featuring Emancipator)
11. "Luv (Sic)(Modal Soul Remix)" (featuring Shing02)
12. "Windspeaks" (featuring Uyama Hiroto)
13. "Winter Lane (Nujabes Remix)" (featuring DSK)
14. "After Hanabi (Listen To My Beats)"
Anybody want some Death From Above 1979?
http://www.mediaf!re.com/?qk5u1zggz1z0101, 0103, 0107, 0108, 0113, and 0115. Since all jj choose to show of themselves is their music, video, and occasional blood-spattered merch, then those Sincerely Yours catalogue numbers represent the sum total of what we know about them. Hell, we wouldn't even know jj were a "them" had the group's Gothenburg, Sweden-based, Tough Alliance-owned label not confirmed that. So... they're mysterious-- but not inscrutable: Despite a brief discography that's already geekily byzantine enough for anybody who ever bought into the legend of Factory Records, jj's full-length debut is as easy to enjoy as whatever the last CD was you brought home with a giant cannabis leaf on the cover. They're as naive as they are cynical-- or is it the other stupid way around?-- and they manage to be pretty, touching, funny, and motivating, in different ways, in all the right places, for nine songs lasting 28 minutes.
You don't need me to tell you for the 128th time (320th if you're at CD quality) how digital file distribution has spread sounds and ideas across the globe during the current decade, and jj have earned a place among the current wave of pop globalization, sharing both the island sounds and sticky-fingered irreverence of their labelmates the Tough Alliance, Air France, and the Honeydrips. Sure, jj still carry traces of iconic twee label Sarah Records, but they celebrate a broader definition of "pop". Sometimes, as on "Lollipop"-biting slo-mo raver "Ecstasy", jj do this by borrowing from global hip-hop culture. But they also participate. Never by straight-up rapping, but by expanding the reach of ambient music-- defined expansively, as Brian Eno once did, as music that "suggests, a place, a landscape, a soundworld which you inhabit"-- to include a whole new kind of swagger. "Of course there is people out to get me," a female vocalist sings on "My Hopes and Dreams" as hand percussion evokes the Avalanches' beach blowouts, hypnotic guitar recalls German Kosmiche Muzik, and gusts of winds whistle over high-noon Ennio Morricone strings.
Then again, on the same song, jj's singer just wants "someone to share my hopes and dreams with"-- a humbler goal to be sure, but jj excel just as much at strummy intimacy as they do at lavish blissouts. The lo-fi hooks on "Tell It to My Heart"-biting closer "Me & Dean" suggests TTA's aching teen-pop cover "Lucky", only done as an original this time. The pisstake-y giggles also make you wonder if you're hearing their mixtape outro.
When jj drift closer to early-1990s ambient-house, they still allow emotion to flood through the textures, and they never start repeating themselves. Opener "Things Will Never Be the Same Again" sets almost new-agey strings and Enya-esque sailing imagery to a bouncy Caribbean rhythm: "I close my eyes and remember/ A place in the sun where we used to live." For all the flickering synths and rainforest percussion of "Masterplan", we also get Top Gun guitar rocketry, faux-innocent-as-Disney sing-song, and that reporter guy from YouTube going, "I'm dyin' in this fucking country-ass fucked-up town." jj n° 2 may be easy on the ears, but it isn't wallpaper.
At their most ideal, ambient, hip-hop, punk, and the most crassly commercial pop all have in common an "anything goes" approach. Like any ideal, this usually gets fucked up pretty fast. "New Age" harnesses ambient's chill-out pleasantness to eco-politics and yuppie mysticism; old rappers start dissing younger rappers for not following in their footsteps or being more socially conscious; the punk and indie traditions become as idol-worshiping as the classic-rockers they sought to displace. jj obliterate that bullshit and get back to a place where Lil Wayne can be ambient, and Enya can show up on an album with a pot leaf on the cover.
Free mp3 "From Africa to Málaga", on some days my favorite track on the album, is almost as suited for a cruise-ship commercial as Iggy Pop's "Lust for Life". But it also faces Important Ideas like death and art with the clear-eyed precocity of an adolescent, riding in on trade winds with a message that could speak to middle-school cheerleaders and middle-aged soccer moms and middlebrow-loathing former punks alike: "The thought that you found/ Takes you to town/ Smashes your face/ Burns out your heart/ Then you go home and turn it into art." Pop's just fine, too, thanks.
If it were up to me, this EP would come with the following disclaimer:
"Warning: Use of this record may result in the listener finding themselves unable to enjoy any other music immediately after hearing. The following 13 and a half minutes are addicting, original, danceable and catchy. You may also find difficulty in removing these songs from your head, even when not actually listening to the compact disc. If symptoms persist, please consult the full length You're a Woman, I'm a Machine."
While this relatively short release is only comprised of six tracks, I have yet to find a flaw within it. It somehow manages to combine a gritty punk rock sound with some of the catchiest hooks I have ever heard. What you may not immediately pick up on with this band is that it only consists of two people: a bass player and a singing drummer. And the difference between DFA and other duos (the Black Keys, the White Stripes) is that every track is entertaining and manages to have a totally different feel. They somehow manage to expand on the drum and bass combo to create their own genre. Needless to say, if you were attempting to describe what this EP sounded like to someone else, you would have severe difficulty in finding a comparison to any other artist.
The opener "Dead Womb" segues from a creepy telling of the dangers of cocaine and kicks into a fast-paced attack, and it doesn't slow down a bit from here. Next is my personal favorite, the speedy and toe-tapping "Too Much Love." After this, the techno-style sounds of synthesizer lead into another two minutes and 30 seconds of what can only be described as blistering dance-punk with "Do it!" and it doesn't skip a beat from there.
I will conclude this review with the same simplicity that Heads Up delivers: If you are looking for something fresh, raw, energetic and also unbelievably good to go running to, then get a "heads up" on this record immediately. -Punknews (no AMG review)
http://www.mediafire.com/?dmmm40mwkc2Death From Above 1979 makes their considerable racket with only bass, drums, and the occasional Moog squelch assist. This isn't a gimmick — between Sebastien Grainger's frantic wail and the overdriven bass riffs of Jesse F. Keeler, the duo's You're a Woman, I'm a Machine pulses with a steady, sweaty energy that's punctuated with arena-sized hooks. "Blood on Our Hands" boils dance-punk nearly all the way down, leaving only a relentless hi-hat cymbal, while "Turn It Out" and "Cold War" churn on double-time rhythms and rudimentary, yet completely effective bass runs. The duo's setup certainly limits their range, which means the album can occasionally resemble one long song. But at just over a half-hour, it's over before any questions about the lack of guitars can even start to form. There are hyper indie rock flare-ups, like in the Hot Snakes/Rocket from the Crypt yelp of "Going Steady." And "Sexy Results" is a flirtatious and amplified cross of new wave and Rapture-style strut that comes complete with a cowbell upbeat. Preoccupation with the opposite sex provides some of You're a Woman, I'm a Machine's strongest moments, from Grainger's "I don't need you/I want you" clarification on "Romantic Rights" to the frenetic late-album standout "Pull Out." Other highlights include the title track's layered vocals and wiry punk revivalism, and the subtler "Black History Month," which is a nice break from the record's consistently jerking pace. In the 2000s, dance-oriented energy keeps creeping regularly into rock & roll. On You're a Woman, I'm a Machine, Death from Above 1979 makes people move by exposing the live-wire tension rock music had all along. -AMG
http://www.mediafire.com/?izmznmmiyyjSusumi Makai introduced his world of carelessly colliding strains of dance music — incorporating left-field disco, funk, hip-hop, and house, along with good old sloppy garage rock and spaghetti Western soundtracks — with 12" singles that were scattered across 2001 and 2002 on the Flesh and XL labels. One of these, "Tunnel Music," appeared on Playgroup's DJ Kicks disc in 2002, while "Serious Trouble," a similarly buoyant track with buzzing fuzz-bass riffs, also got lots of spins from DJs who adore similarly whimsical and irreverent dance-oriented labels like Output and DFA. There's no focus to Makai's debut full-length at all, but that's obviously not the point. Apart from the reliance on thick grooves and funny noises, along with liberal use of scratchy flicks of guitar, there's little common ground shared by these tracks. And while the numerous comparisons that have been drawn — name any combination of hip artists and have them swap bodily fluids or ride funny cars together — have mostly been bunk, there's an endearing "anything goes" playfulness at hand that more dance producers would do well to adopt. The album might be too meandering and tether-less at certain points, but the wealth of ideas practically makes it a non-issue. -AMG
http://www.mediafire.com/?yg1nwmzjogl
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http://www.mediafire.com/?m2cztzit1od
Jesca Hoop-Silverscreen demos
http://www.mediaf!re.com/download.php?gun0mv1q4hv"Vagarosa" is the highly anticipated new studio offering from the young, beautiful and talented singer/songwriter Céu after her acclaimed 2005 sef-titled debut album. It's certainly worth the wait. Céu - real name Maria do Ceu Whitaker Pocas, it means "sky" in Portuguese and is pronounced "sell" - possesses a strikingly pure voice, and her tastes are unfailingly eclectic. Her voice is not only beautiful, it's also brilliantly flexible. She sounds as self-assured and poised as you'd expect from an independent musician from São Paulo. On her new lbum she mostly sticks to the style and grooves that made her famous as the most interesting singer to come out of Brazil since astrud Glberto and Bebel Gilberto. Electro influences are discreetly scattered around, a dash of reggae (check the track "Cangote") is there also. She takes the São Paulo sound into after-hours territory, framing and multi-tracking her fragile, silky-smooth yet punchy and sexy voice with space-warped reggae beats, DJ scratching and some beautiful, dark-toned horns. Add some elegantly warm jazz lite and soul textures, and you have all the makings of a summer hit.
Sample: http://www.myspace.com/ceumusic
Nujabes
http://www.mediaf!re.com/download.php?nwjtndfmoloIf at age 24, Ben Cooper (Radical Face) can record an album as subtlely beautiful as "Ghost", admittedly a concept album four years in the making, what will be his next endeavor to keep what is hopefully an expanding fanbase captivated?
"Asleep On a Train" opens this album instrumentally. It's a beautiful mood piece that only hints at the treasure chest that's about to descend on your tympanic membrane. Then, Ben puts it all out there. Cut #2 "Welcome Home, Son" is unquestioningly the best song I've heard for 2007. Sufjan Stevens would be jealous of the sheer melody and layering of this masterpiece. Buy the album for this song alone.
Swedish singer/songwriter José González is a star in his native land. His album Veneer was released there in the early 2000s and has achieved gold status. Far from the pop album you might expect from such a statement, the album is an entirely acoustic affair that reflects a childhood spent listening to equal parts bossa nova, classical, and post-punk by the likes of Joy Division. Touchstones for González's sound include Nick Drake, Paul Simon, Red House Painters, and Elliott Smith, all artists who are literate, quiet, and melancholy but also create memorable songs as well. Veneer was released in the U.K. by Peacefrog in 2003 and was a critical success there; it was released in the U.S. by Hidden Agenda in the fall of 2005. His U.S. prospects were aided by the appearance of his song "Crosses" in the season-ending episode of The O.C. The title track from his 2006 Stay in the Shade EP also appeared on an episode of that show. The EP showed a move away from the bedroom sound of the first album but still maintained the same high level of songcraft and performance. In 2005 González joined with Elias Araya (organ, Moog) and Tobias Winterkorn (drums) to form Junip, releasing an EP at the end of the year with a full-length to follow in 2006. The year 2007 saw him returning to his solo career with the album In Our Nature.
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http://www.mediaf!re.com/download.php?qmmu4wmdznw
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Where should I start with Spoon?
Also you misspelled Australian, tsk tsk
Kill the Moonlight is probably the one that they're best known for. Hit the college kid mainstream kinda I guess?
Radical Face - Ghost (2007)
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http://www.mediafire.com/file/42atmzyajjwSydney's Dolly Rocker Movement are equal parts Velvet Underground, Brian Jonestown Massacre and georgeous west-coast folk. Blending quaint psychedelia and haunting jabs of love, Dolly Rocker Movement pervade a space in your brain that's reserved for acid.
http://www.mediaf!re.com/download.php?0jdrmaj3zdohttp://www.mediaf!re.com/download.php?lmwnymu2mjuhttp://www.mediafire.com/download.php?zgminmimttvhttp://www.mediaf!re.com/?zomjntnmt1z
Second Collection is the catchiest, I'd start there and move onto Modal Soul if you enjoy that.You forgot to upload the Ristorante Mixtape. I'm assuming you lifted the same torrent the rest of us did.
http://www.megaupload.com/?d=N3YAKTJEhttp://www.megaupload.com/?d=MRD4XQS2%20http://www.megaupload.com/?d=SHXNSVYK(http://img24.imageshack.us/img24/1874/planetsofoldm.jpg)
CAVE IN - PLANETS OF OLD EP (2009)Code: [Select]http://www.mediaf!re.com/download.php?zgminmimttv
Don't let the album name's acronym fool you. This is not "Poo". Cave did a single reunion show and released this as a vinyl only release.
P.S. I have a boner
http://www.mediaf!re.com/?zmlrmyjgzmthttp://www.mediaf!re.com/?u4xdbmm2ikt
http://www.mediaf!re.com/?mnzzdgj2dejhttp://www.mediaf!re.com/?rttymynwzeyhttp://www.mediaf!re.com/?izmnhzjz31hhttp://www.mediafire.com/?3niozjk2zxn [new rar - error with the old one]http://www.mediaf!re.com/?yvhzmtgwmlihttp://www.mediaf!re.com/?zm5myhujmdlhttp://www.mediaf!re.com/?ydgimykmlfi
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Wino - Punctuated Equilibrium (2009) and bonus 10"
(http://img194.imageshack.us/img194/125/coverbqu.th.jpg) (http://img194.imageshack.us/i/coverbqu.jpg/)
Punctuated EquilibriumCode: [Select]http://www.mediaf!re.com/?zmlrmyjgzmt
Bonus 10" (this is recorded using my ION USB turntable, there are some pops and hisses, I hope not to offend anyone's ears)Code: [Select]http://www.mediaf!re.com/?u4xdbmm2ikt
With the Obsessed and Saint Vitus in the '80s, Scott "Wino" Weinrich all but invented doom metal (well, the parts that Sabbath didn't create), and in the 2000s, his power trios Spirit Caravan and the Hidden Hand didn't bogart the deep-focus high. Here, perhaps his most deft rhythm section (Clutch drummer Jean-Paul Gaster and Rezin bassist Jon Blank) acts as a liberating army -- trad doom, hardcore tempos, mathematic instrumentals, and a Fugazi lope ("Wild Blue Yonder") coexist perfectly with his famously piercing, rounded guitar tone. It's change any hesher could believe in.
-Jim Gross (Spin Magazine Online)
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http://www.mediaf!re.com/?mhwgdjiymiohttp://www.mediaf!re.com/?mnktwmn3mmy(http://img24.imageshack.us/img24/1874/planetsofoldm.jpg)
CAVE IN - PLANETS OF OLD EP (2009)Code: [Select]http://www.mediaf!re.com/download.php?zgminmimttv
Don't let the album name's acronym fool you. This is not "Poo". Cave did a single reunion show and released this as a vinyl only release.
P.S. I have a boner
holy fucking spacecakes batman, Cave In are back?!?!?! HOW THE FUCK DID I NOT HEAR OF THIS?!
needless to say, that EP is out of this fucking world, in both sound and awesomeness! do you know if they're planning another full-length?
http://www.mediafire.com/?zmmm2ozkrj4http://www.mediafire.com/?q0yz55zt4mthttp://www.mediaf!re.com/download.php?zm2izq2zldm1. Service 1:25
2. Trouble Is 3:21
3. Gol'dust 3:43
4. Slow Cure 4:07
5. Back Home (The Return) 3:03
6. 40 Furrows 1:57
7. House 3:40
8. Winter Takes All 3:19
9. Weather Vane 5:20
10. 40 Acres 2:37
11. Spits 2:05
12. Nina Sing / Funklove 3:09
13. Certitude / Chev 2:51
14. Crucible / Geologic 2:50
15. 40 Thieves 3:08
16. Nothin' at All 5:28
17. Swell 3:48
18. Tobacco Road 4:36
I really don’t want to use the “best hip hop group you’ve never heard of” cliché, but if anyone can live up to that overused, often ridiculous statement, it’s probably Common Market. Though they have a huge following in their native Northwest (Seattle), they’ve failed to really break out in other areas of the country, even following the success of label-mates Blue Scholars. That should change, however, with Tobacco Road, the long-awaited full-length follow-up to the duo’s self-titled debut and recent EP Black Patch War.
Producer Sabzi (who is also the producer/DJ for Blue Scholars) is simply brilliant, and has been for quite a few years now. His trademark horns are traded here for synths, but the other hallmarks of his sound are still intact: smooth, jazzy organs, crisp drums and a remarkable knack for melody and musicality. His production lacks the punch-you-in-the-face immediacy and straight-up hardness of a lot of underground hip hop, but it makes up for that with an emotional resonance and organic catchiness that few producers can touch.
The other half of Common Market is emcee Ra Scion, who I really want to like. He’s got good politics, an incredible flow and some mind-blowing lyrics. All in all, he’s very good. Maybe too good.
One thing a lot of emcees don’t seem to understand is that being perfect isn’t necessarily a good thing. If your rhymes are 100% technically proficient, if every syllable is exactly where it needs to be and every vocal rhythm crisp and clean, you actually risk losing the audience. There’s such a thing as “too much flow.” A little raggedness and negative space here and there is, in my opinion, a good thing. Ra is a superlatively talented emcee, and it’s because of (rather than despite) this that I found myself almost losing interest; the lyrics are simply overwhelming.
For those who listen to hip hop solely for its sonic qualities, this isn’t a problem. If you consider the emcee’s voice another instrument, you’ll love Common Market. But I know that Ra is really dropping knowledge—I just wish I could catch it without having to read the lyrics (which are provide on the Common Market MySpace page, complete with footnotes).
There are exceptions, however, as songs like “Weather Vane” and “Nina Sing” showcase a more deliberate flow that allows some thought-provoking content to shine through. Again, Ra is an emcee’s emcee (much like Invincible, whose album is similarly dense) and definitely shines when in that mode; when he steps out of it, however, he can be transcendent
But if the biggest criticism of the group is that the emcee is too good, you should know that this is an album worth checking out.
All in all Tobacco Road is very solid, there are no weak tracks. And though the duo probably could have done a little more with the concept (the title is a very loaded phrase for people familiar with its origins) beyond using it as a metaphor to umbrella over the usual indie-hip hop fare – this is another small complaint. Musically, this album is as good as anything that’s come out in quite a while. And Common Market deserves to be more than “the best hip hop group you’ve never heard of;” hopefully they’ll get a chance to showcase their considerable talents to a wider audience this year.
Sample: http://www.myspace.com/commonmarket
(http://img24.imageshack.us/img24/1874/planetsofoldm.jpg)
CAVE IN - PLANETS OF OLD EP (2009)Code: [Select]http://www.mediaf!re.com/download.php?zgminmimttv
Don't let the album name's acronym fool you. This is not "Poo". Cave did a single reunion show and released this as a vinyl only release.
P.S. I have a boner
holy fucking spacecakes batman, Cave In are back?!?!?! HOW THE FUCK DID I NOT HEAR OF THIS?!
needless to say, that EP is out of this fucking world, in both sound and awesomeness! do you know if they're planning another full-length?
I dunno about a full length, but they had a VERY successful reunion show and I would be surprised if they put all their not-half-as-awesome-as-cave-in projects like Clouds and Doomriders aside to make more rock that actually rocks. Here's hopin, Grimbo.
Kraftwerk - The Catalogue (Promo Box Set)Sooo disappointed that they're the english versions. :-( :x
Sooo disappointed that they're the english versions. :-( :x
You have to listen to Kraftwerk in Deutsch!
http://www.mediafire.com/download.php?ytwmj35y2me http://www.mediafire.com/download.php?zkumt2d25jiFrankmusik is Vincent Frank, a vocalist, producer, and erstwhile beatboxer from Croyden, England, whose compositions nod to the Crystal Castles' chiptune-fueled mania and Imogen Heap's intelligent, bittersweet electro-pop. His debut EP, Frankisum, was released on Apparent Records, a label he co-founded with David Norland, in the fall of 2007. He was signed to Universal/ Island soon after, boosted by the buzz generated by that disc. A full-length album was in the works for 2009. - Allmusic
Dude (http://thepiratebay.org/torrent/4856758/Frankmusik_-_Complete_Me_(2009))
After touring in support of their 1993 masterpiece Anodyne, the seminal alternative country band Uncle Tupelo split up over long-simmering creative differences between co-leaders Jay Farrar and Jeff Tweedy. Tweedy recruited much of the band to form Wilco, while Farrar teamed up with original Tupelo drummer Mike Heidorn to form Son Volt, the more tradition-minded of the two Tupelo offshoots. Joined by brothers Jim (bass) and Dave Boquist (guitar, fiddle, banjo, fiddle, steel guitar), the band signed to Warner Brothers and released its debut album, Trace, in 1995. It was greeted with excellent reviews from most critics, offering a set of stark, subtle, mostly downbeat songs that drew from traditional country, folk, and roots rock. The single "Drown" was successful on both college and rock radio, and the band subsequently added unofficial fifth member Eric Heywood on mandolin and pedal steel for its second album. 1997's Straightaways mined territory similar to Trace and again received positive reviews, though some found Farrar's lack of creative progression troubling. 1998's Wide Swing Tremolo was a somewhat harder-rocking affair, but the erosion of critical support for the group continued. They ended up on an unofficial hiatus (rumors of their breakup were denied), and Farrar debuted as a solo artist with 2001's Sebastopol, putting the future of Son Volt in further doubt. He continued with his solo career throughout 2002 and 2003, and in 2005 Rhino issued Retrospective: 1995-2000. But Son Volt wasn't over. Farrar revived the nameplate in July 2005 with the issue of Okemah and the Melody of Riot (Legacy). For the album, recorded in St. Louis, Farrar was joined by drummer Dave Bryson, bassist Andrew DuPlantis, and ex-Backsliders guitarist Brad Rice. Search arrived in early 2007.
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http://www.mediaf!re.com/?fifmjjmnilyWith their limited resources, the Scroggins sisters put the boogie down in the Boogie Down Bronx. Major kudos to Universal Sound for compiling ESG's best works for A South Bronx Story, a crucial document of sparse, old school funk. Until 2000, the group's scant material had been nearly impossible to find. The most legendary inclusion is the Martin Hannett-produced 7" EP that was originally released on Factory (later released as a 12" in the U.S. by 99 with live tracks backing it). This release featured their trademark "Moody," which ended up being listed as a Top 50 classic by nearly all of New York's dance clubs; it was also immortalized on a volume of Tommy Boy's excellent Perfect Beats series, lodged between Liquid Liquid and Strafe. Like the remainder of their recorded output, it featured the three "R"s: rhythm, rhythm, and more rhythm. Also on the debut EP was their most sampled "UFO"; the nauseous siren trills at the beginning found sped-up use in at least half a dozen rap tracks in the late '80s and early '90s. Big Daddy Kane and LL Cool J used it, and the Bomb Squad slyly swiped it for Public Enemy's "Night of the Living Baseheads." But arguably their best moment was "Dance" with its jumpy Motown rhythm, post-punk bass, and narrative/old school vocals. It sounds like a wild mix of the Supremes and Metal Box-era Public Image Limited. Deborah's bass, though not as musicianly, captures the spirit of PiL's Jah Wobble copping Motown session bassist James Jamerson. It's that sort of sprited, unconscious hybrid that made ESG so unique. After all, they played the opening night of Manchester's Factory club and the closing night of Larry Levan's Paradise Garage. -AMG
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Part 2 - http://www.mediaf!re.com/?i0wznmfzmdjhxxp://www.mediaf!re.com/download.php?anmd3a223ew hxxp://www.mediaf!re.com/download.php?ehlj4j9dgm4 http://www.mediaf!re.com/?of1jmjgevvd Part 1 - http://www.mediaf!re.com/?cy00tjnb2im
Part 2 - http://www.mediaf!re.com/?wnmlnthvuzb http://www.mediaf!re.com/?mlmjhxyin4m Part 1 - http://www.mediaf!re.com/?x3vbb9pt4zj
Part 2 - http://www.mediaf!re.com/?2n9vw0mtnuf
http://www.mediaf!re.com/?gvznwizkyzfAs the story goes, Not Exotic grew out of vocalist/guitarist Al James' quiet home recordings. As contributors were gradually acquired, so did an identity for the project, and Dolorean was born. But even with the addition of understated percussion, shimmering synth and piano, and stately cello, the record still runs on James' sharply rendered lyricisms and quietly deliberate guitar work. In first-person musings like "Hannibal, MO" and the incredible opener, "Morningwatch," the spaces between chords linger like low-lying morning fog, and accompanying instruments drift in and out of focus, as late-night memories often do. This confessional or diary quality aligns Dolorean with avant folk, but it's not that simple. Tracks like "Traded for Fire" and "Still Here With Me" seem like slowcore as they surge quietly toward resolution; they suggest an acoustic Bedhead strumming along with Neil Young. It doesn't really matter where the characterizations lie -- the album's rustic, well-appointed feel is just plain comforting. Friends pass easily through James' lyrics, just like they do as collaborators. Elsewhere, there's a sense of escape from life and love. "Sometimes I try to be a fighter pilot," he imparts over the barely ascertained wee-hours groove of "The Light Behind My Head." "And I'm always ridin' alone in the cockpit/If I lose my mind/I'll just press eject/And drift down/Like a lazy dove." The drifting metaphor is a key to Not Exotic's whispered wow and flutter. "Sleeperhold" might run a bit too long, but its formless wane is the only time the album looks too far inward. For the rest of its lilting yet crisply defined span, Not Exotic glistens like the ghostly circus organ winking in the depths of "Jenny Place Your Bets." - AllmusicDOLOREAN - VIOLENCE IN THE SNOWY FIELDS (2004)
http://www.mediaf!re.com/?q5mnmjomwgiIn late 2003, Al James and Dolorean made some gentle waves with the Yep Roc-issued Not Exotic. The album had an endearingly offhanded quality about it, as if the songs were sung straight from James' tattered lyric book. But there was also a palpable gravity in its mixture of indie folk and quietly surging, nearly slowcore arrangements. For 2004's Violence in the Snowy Fields, James has lost none of his flair for lucid storytelling. But his songs are more expansive and dynamic, and supported by a wider range of instrumentation. Drummer Ben Nugent puts a country tavern two-step into opener "The Search," and the title track is an homage to the Band with its crackling electric guitar, layered harmonies, and easygoing sway. And "Dying in Time" is a gorgeous orchestral pop thrill, complete with a string quartet, vibes, and dramatic lyrics that wax smoothly about love and death. Though Dolorean makes these stylistic leaps with confidence and grace, fans of the first album's sparer moments won't be disappointed with Violence in the Snowy Fields, from the atmospheric pedal steel and nightmare meditations of "Put You to Sleep" to the skeletal acoustic picking and fragile delivery of "In the Fall." "You should let me know/If you think of me at all," James sings in a wavering high register, and his loneliness feels heavier than a stone. Other highlights of the album's softer side include "My Grey," a Clem Snide-ish number with brushed strings, told with James' trademark first-person honesty. Offering both fragile guitar ballads and full-band backbone, Violence in the Snowy Fields is an engaging, quietly rewarding listen. - AllmusicDOLOREAN - YOU CAN'T WIN (2007)
http://www.mediaf!re.com/?nlgjzyt1mzfYou Can't Win is a slow drive through the kind of America that feels as wrung out and worn through as a pair of old sneakers. It's the kind of terrain traversed by other introspective, rustic, youngish men like Jeff Tweedy, Joe Purdy, and (to an extent) Will Oldham -- the kind of place you go if you're looking for empty stretches of pavement and hulking, rusted-out factories moldering in the tall grass. Dolorean's lead singer and songwriter, Al James, is interested in stories about men on the outskirts; You Can't Win, to put it in the words of writer James Salter, concerns itself with "a breed of aimless wanderers" who "have an infuriating power, that of condemned men. They can talk to anybody; they can speak the truth." James is interested in giving voice to this truth, and it sure does yield some sad songs. While James plods over some clichéd subjects on this album (women and booze chief among them), he at least has a knack for story. "Beachcomber Blues" and "My Still Life" tread the usual territory of busted hearts and broken dreams, but James manages to flesh out these old ideas in some surprising ways; the beachcomber becomes a symbol for the directionless wanderer, and the arid Californian landscape is riddled with images of an ex-lover. Granted, there's a lot of drowsy, dull-hearted shambling going on here, and it's a little depressing to come up against a wall of relentless melancholy such as this. But even if this trip is a tad on the soporific side, Dolorean still manages to travel through some beautiful country. - Allmusic
http://www.mediafire.com/?2ogbjmgnzdzWhere should I start with Dolorean?
http://www.mediaf!re.com/?gtmktiajimuPerhaps more sonically upbeat than its predecessor, Creaturesque's details are at times painted in both optimistic and sobering tones. Reitherman's scattershot poetics touch on an array of ideas; it's oppressive American machisimo and Suburbanite sexuality. It's soft drugs and convertible cars. It's the struggle for higher expectations within the mess of modern life, and when wrapped up in the structures of Throw Me the Statues' sure-handed tunes it's an all too delicious combination.
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http://www.mediafire.com/?kyojngzi10tBONUS DISChttp://www.mediafire.com/?zzw1jmj2xcmSUN KIL MOON - APRIL (2008)http://www.mediafire.com/?zc1bmtm1tklBONUS DISChttp://www.mediafire.com/?e2hzzdityzlAfter dissolving his previous band, Red House Painters, singer/songwriter Mark Kozelek resurfaced with Sun Kil Moon, refining and expanding the luminous acoustic balladry and harrowingly intimate lyricism that are the hallmarks of his career to date. Their debut LP, Ghosts of the Great Highway, appeared to wide critical acclaim in late 2003, and Kozelek assembled a new touring band to support its release, spending the better part of 2004 on the road. That summer, Kozelek joined with Low's Alan Sparhawk in the classic-rock cover band the Retribution Gospel Choir, issuing a tour-only EP in advance of the second Sun Kil Moon album, the much maligned Tiny Cities, a collection of covers by indie rock band Modest Mouse. The album was the first released on Kozelek's own Caldo Verde label. April, featuring guest vocals from Will Oldham and Ben Gibbard, followed in 2008. - Allmusic
OK guys Wilco have exactly one record to impress me with. Which one is it.
http://www.mediaf!re.com/?d4ndzmhzwxzhttp://www.mediafire.com/?2enkdmznknkSweden's Jens Lekman emerged from relative obscurity to quickly establish himself as the darling of the global indie pop set, winning widespread acclaim from fans and critics for his uncommonly witty and well-crafted pop songs. In 2004, Lekman issued his acclaimed full-length debut, When I Said I Wanted to Be Your Dog, distributed in the U.S. via Secretly Canadian. The three EPs on Secretly Canadian leading up to this record have been solid songcraft mixed with pop wackiness. Expect more of the same here, only better. He must have been saving his best songs for the album, because there isn't a dog in the bunch. Kicking off with the warped "Tram #7 to Heaven," which begins with the deathless lyrical couplet "Did you take Tram #7 to heaven/Did you eat your banana from 7-11," delivered in Lekman's best deadpan Jonathan Richman voice, the album is a wild ride punctuated by clever samples, drop-dead gorgeous melodies, tender feelings, and silly jokes. Lekman knows how to craft songs that stick in your mind. Almost every song here is the kind you find yourself humming at odd moments. "When I Said I Wanted to Be Your Dog" won't even come within sniffing distance of the U.S. charts, but don't let that stop you from discovering one of the goofiest, most artlessly charming talents to arrive since Beck. - Allmusic
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Hey so time for a Pianos Become the Teeth post!
Portishead, one of the three distinctive jewels in the trip-hop crown, may finally quench the ever-increasing thirst of all of the genre’s fans tomorrow, with their first album release in over a decade, in ‘Third’. I am one of these fans, no doubt about that, but there is no swell in the back of my throat, in fact, my tongue is as wet as a water-fight in a carwash. Why? That is down to my recent discovery of movie-score and ‘Sunday Munich’ mastermind Menton J. Matthews’ trip-hop/modern classical project ‘Saltillo’ and their 2006 album “Ganglion”.
Borrowing and utilizing aspects which make each jewel shine so bright in the coveted crown; Saltillo has managed to make an album which is at once dark and solemnly moody, uplifting and heart-achingly intense, cool and dangerously catchy. Bobbing and weaving in and out of genres, Saltillo never quite stays still, and even when it does, it hides behind the pillars of ambiguity, and is all the better for it. The chamber orchestra compositions give the album a fierce individuality when showcased against its obvious influences, yet accessibility is never compromised as this is one of the most listenable trip-hop albums I’ve ever heard.
A sombre violin tune on ‘A Necessary End’ begins the album, to be closely followed by the first of many vocal samples sitting atop of expressively broken beats. Not opting for the upbeat first track, we are plunged into an ocean of melancholy, a tale of death and meaning, from which there seems no return. This track immediately showcases Matthews’ impeccable timing and his wife Sarah’s hauntingly poignant voice. But it is surpassed by the next track, ‘Giving In’, possibly my favourite track on the album. Sarah Matthews’ voice here is just stunningly moving in its mellow, fragile resonance and it really gives the song a humanly warming quality that would be lacking without it. ‘Remember Me?’ is the first track without vocals, and it flows with a splintered rhythm which is insanely hard to not tap along to.
‘Hair on the Head of John the Baptist’ is just an excellent track. If you are to download a track which puts Saltillo under the spotlight, this is the one. If DJ Shadow were around to score Shakespeare plays, they would have sounded something like this. A bluesy soulful voice bellows out the ultra-catchy line “hair on the head of John the Baptist” to a dense surrounding of intelligent breakbeats and simple pianos. One of the albums highlights is when the song appears to be over, ending to the quote of “I loved you not” only to suddenly pick back up again in dramatic fashion. Energetic and focused, ‘Blood and Milk’ highlights Matthews’ special talent of picking out and placing perfect samples in a way that only Shadow himself exceeds. Shadow’s ‘Right Thing’ may come to mind when listening to the trip-hop heavy ‘Backyard Pond’. Extremely scattered in its approach, an anaesthetizing melody is laid out over complicated blips and screeches and ethereal samples, all coming together to create a surreal jigsaw of easy-to-swallow, hard-to-digest complexities.
Rounding up the album, ‘Grafting’ sounds as if the earth itself managed to find a violin and a drum machine and construct an, ironically, otherworldly sound. Extremely organic but strangely disconnected, the plaintive violins are interrupted by the fluctuating raw intensities of Mercer’s distinctive voice, while the backbeats keep the song tied to the ground. Sarah Matthews returns for the penultimate track ‘I’m On the Wrong Side’ and is much welcomed by the listener. Her voice isn’t perfect, but it hangs so delicately in the album’s dark mist that you get the feeling that if it were any different it may just collapse. A very short track, it brings Portishead to the forefront of the memory bank. Finishing with a completely piano-made track, '002 F#m', Matthews brings the album to a close with elegance and style.
With “Ganglion”, Saltillo has truly thrown down the gauntlet over what it means to create a truly original trip-hop album in today’s music scene. It’s not perfect of course; ‘Praise’ is an oddly stale and skippable track and ‘A Simpler Test’, though a great song, features turntablism which is too frantic and electronics and samples too crude and impersonal when put against the record’s other more humane songs. Whether it will stand the test of time that the crown jewels have remains to be seen, but for now, it quite dramatically stakes a claim for there to be a new throne constructed in the trip-hop hierarchy, one which could only seat the intricacies of Saltillo’s beautiful, fractured, wholly immersive neo-classical creation.
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Was a bit suprised this one hadn't been posted yet
Saltillo-Ganglion
Belying his status as a narcoleptic slacker icon, Badly Drawn Boy proved himself a tireless pop songwriter, with arrangements that reflect a great deal of creativity. Born Damon Gough, he began recording after meeting the like-minded Andy Votel at a Manchester nightclub. The pair formed the Twisted Nerve label, and Gough debuted as Badly Drawn Boy with an EP and several singles. The recordings dovetailed nicely with the experimentalist pop fringe of artists like Scott 4 and the Beta Band, and the attendant media hype allowed him to guest alongside Thom Yorke, Richard Ashcroft, and Mike D on 1997's celebrity-filled UNKLE LP Psyence Fiction. His 1999 single "Once Around the Block" grazed the British charts, while XL Recordings signed the pop auteur and released his debut album, The Hour of Bewilderbeast, in 2000. Just before its American release, the album earned another round of critical praise with Britain's vaunted Mercury Prize for Best Album. December 2000 brought the birth of his daughter. Author Nick Hornby was won over by his music and asked the singer to score the film being made of his book About a Boy. After that project, he moved away from music for a few months to work on new material. After recording during most of 2002, he emerged that fall with Have You Fed the Fish? Two years later, Gough resurfaced with the simpler One Plus One Is One. Born in the U.K., a poppier collection of songs inspired by his childhood and (as the title suggests) Bruce Springsteen's Born in the U.S.A., arrived in fall 2006.
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woah, awesome, I just played a show with this band a couple weeks ago. Amazing band.
Also, I got video of their guitarist playing Every Rose Has Its Thorn while in a banana costume. It is on the internet.
MySpace: www.myspace.com/thewanderingsons
Last.fm: www.last.fm/music/Cory+Chisel+And+The+Wandering+Sons
Website: www.corychisel.com/
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http://fileshare212.depositfiles.com/auth-1248586251d6c4df49bf7ad7bdab80f2-68.94.114.86-465894374-22349609-guest/FS212-13/_2009__Spectrum_-_War_sucks_ep.rar
Bedhead, why did you take a big music dump and not tell us anything about the music?
oh tite! yeah they are on tour right now.
if you played with pianos i might enjoy yr band link plz.
SUN KIL MOON - GHOSTS OF THE GREAT HIGHWAY (2003)
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SUN KIL MOON - APRIL (2008)
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oh tite! yeah they are on tour right now.
if you played with pianos i might enjoy yr band link plz.
well, we were the mellow band on the bill... here's one band you may dig from that same show:
http://www.myspace.com/suffixchicago
then the band I'm in:
http://www.myspace.com/joiedevivreband
The Angelic Process - Weighing Souls With Sand
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Beautiful Noise/Drone metal.
Do you know if it is true that they will be releasing the Benton Falls album Fighting Starlight on vinyl.
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Following the spectacular 2007 album Hello Avalanche, The Octopus Project presents Golden Beds: five different tunes from five different rooms of the neon mansion the band has built. Some are brand new, some represent fresh takes on ideas from the past, but each explores a different facet of their omnivorous sonic creations - from big-riff Rock to tiny electronics to blissful sing-alongs. So roll up those shirt sleeves and get ready to dip your arms deep into a kaleidoscopic candy jar filled with tasty Octopus-flavored treats of both the audio and visual varieties. With over 40 minutes of sights and sounds, this new EP will have you strapping on silver-stitched shoes and jumping on Golden Beds without a care for what Mom says.
http://www.mediaf!re.com/?tdmi2jwym2m
Cory Chisel and The Wandering Sons - Cabin Ghosts - EP
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Hailing from Appleton, Wisconsin, The Wandering Sons have a smooth sound reminiscent of smoke-filled, backwater lounges. Strong lyrics back up the polished notes of an oboe, piano, bass violin, and percussion. Members of the band include Cory Chisel, Dan McMahon, Rick Setser, Adam Plamann, and Adriel Harris.
The Wandering Sons frequently plays in small venues throughout the Great Lakes region, including Illinois, Wisconsin, and Minnesota.Code: [Select]MySpace: www.myspace.com/thewanderingsons
Last.fm: www.last.fm/music/Cory+Chisel+And+The+Wandering+Sons
Website: www.corychisel.com/Code: [Select]http://www.mediaf!re.com/?hzdmn55kmmq
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Who loves you, bitches?
New why? :p
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On his first-ever live album, singer-songwriter Mark Kozelek pulls everything together. Limited to 10,000 budget-priced copies, with two unreleased tunes on board, it's obviously targeted to fans, though it's a judicious, career-spanning effort that careens through the debauched sometime-genius's work with the Red House Painters, Sun Kil Moon, and on his own. This record's so darn good it might belong, like Richard Thompson's Small Town Romance and Cheap Trick's Live at Budokan, to that weird variant of live album which supplants a greatest-hits type collection as the perfect introduction to an artist. These sparse, emotional versions often sound better than the originals, thanks in part to his longtime collaborator, guitarist Phil Carney. Kozelek not only covers the Christmas favorite the album's named after--which is sweet, but his otherwise released take on "White Christmas" is even better--but also includes typically superb reworkings of songs by AC/DC, Modest Mouse, and the Cars.
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http://www.mediafire.com/?wmkkmd1hywdJOSH RITTER - HELLO STARLING (2003)http://www.mediafire.com/?ory05mjjmnzJOSH RITTER - THE ANIMAL YEARS (2006)http://www.mediafire.com/?gxnyqjiyzltJOSH RITTER - THE HISTORICAL CONQUESTS OF JOSH RITTER (2007)http://www.mediafire.com/?mj22eejmzthWhile his name might not be on the tip of everyone's tongue in his homeland, folk-leaning singer/songwriter Josh Ritter has benefited from numerous positive reviews and a loyal fan base. Born in Idaho, Ritter bought his first guitar after hearing the Bob Dylan and Johnny Cash classic "Girl From the North Country." While attending college in Oberlin, OH, Ritter got his first listen to Leonard Cohen and Gillian Welch. He fell in love with the songs instantly and dropped his neuroscience major in favor of the pursuit of music. With classic folk venues like Club Passim, Boston was the place Ritter chose to follow his dream. He recorded and released self-titled debut in 1999, but it was 2002's Golden Age of Radio that got him noticed.
Selling copies on his own funded touring, which funded more albums and so on. Signature Sounds Recordings soon picked the album up, gave it exposure on a national level, and the four- and five-star reviews started rolling in. The HBO series Six Feet Under grabbed a track from the album for their end credits, while Ritter received an offer to open for the Frames on a tour of Ireland. Soon his single "Me & Jiggs" was in the Irish Top 40, a headlining tour of the country was sold out, and a tribute band named Cork was playing nothing but Ritter material in numerous Irish pubs.
Back home the following was growing with sold-out shows in New York City and Boston, while an invitation to the Sundance Film Festival began 2003 on a high note. It took 14 February days in rural France to record his third album, and much of the equipment used for the session was Curtis Mayfield's old gear. The result, Hello Starling, was released in September the same year. Animal Years, his much anticipated follow-up, arrived in March 2006, with Historical Conquest and the live CD/DVD In the Dark: Live at Vicar Street arriving in 2007. - Allmusic
The third release on Fool House, the new label from French indie-dance blog Fluo Kids, Ayrton Senna represents a similar kind of convergence. In the early 2000s, Delorean originally set out to be something like Jimmy Eat World crossed with Elliott Smith, keyboardist Unai Lazcano confided to The Pop Manifesto magazine last summer. By the time of their promising Transatlantic KK album a couple of years ago, Delorean had absorbed the synth-pop sleekness of New Order and the echoey guitar spikes of post-punk revivalists like !!! or the Rapture, with one transcendent moment: so-called "breakhop" finale "Apocalypse Ghetto Blast". On the Ayrton Senna EP, the group's burgeoning dance-pop savvy comes into bloom with three unstoppable summer bangers, the Talabot remix, and a digital-only bonus cut.
Despite their rock roots, Delorean do tracks, not songs. Singer/bassist Ekhi Lopetegi is a Ph.D. candidate with a background in philosophy, but Delorean use his Factory-ready yelp more as just another element to loop than as a vehicle for delivering lyrical content. "Seasun" is the best example of Delorean's layered approach to composition, methodically building 1990s piano-house keyboards, disembodied female vocals, Baltimore club-ready handclaps, and a ringing guitar line into the ultimate beach house (not Beach House). But "Deli", with its breakbeats and youthful enthusiasm, and "Moonson", all 90s-house liberation and anthem-rock yearning, are almost as thrilling. Talabot's "Kids & Drum" remix of "Seasun" could well hold up after even more listens than the original version, its hand-percussion samples reaching closer to the islands but its vast, clean lines stretching out toward space.
Summer always ends too soon, and before long I'm sure beachy dance music will sound as cloying as rock fans considered the Beach Boys by the late 1960s. Like Wavves in Barcelona, Delorean recognize there's a dark side to their ecstatic vision, the aching truth that utopia-- literally, "no place"-- can never totally be fulfilled. As equally impressive bonus track "Big Dipper" puts it: "Babe, if you want to we could run away up into the sun/ But we would only fade from black to black." Delorean's similarities to other "sunny", "shimmering" new artists, ultimately, are far less important than their similarities to other practitioners of well-crafted and instantly gripping pop.
http://www.mediaf!re.com/?e5ovammnwmq
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http://www.mediaf!re.com/?sharekey=709a6b159441fb081686155677bb268554f592730c94ad7ahttp://www.mediafire.com/?nuhzmizzmkzCARTER BURWELL - IN BRUGES (2008)http://www.mediafire.com/?q4hjjvmy1w0ADRIAN JOHNSTON - BRIDESHEAD REVISITED (2008)http://www.mediafire.com/?ye3rytjdzj4
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Deastro's new EP: Orange Swimmer, Red Summer
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Really great EP, Really great band.
http://www.mediaf!re.com/?mzmmmzymdy0Deastro's new EP
Deastro's new EP
Moondagger really underwhelmed me, but I'll give this a try.
http://www.mediaf!re.com/?kzny4nmwm1gJosh Ritter is an American singer-songwriter, whose style is in the tradition of folk music and ballads. He is influenced by the lyrics of Bob Dylan, Bruce Springsteen, and Leonard Cohen, and the works of Mark Twain. The "Girl In The War" EP was released on August 29, 2006 as a download only EP, and on November 27, 2006 as a CD. It features one album track, the title track, along with several covers and demos (including the studio version of "Peter Killed the Dragon" which later appeared on the "Live at the Record Exchange" EP.
http://www.mediaf!re.com/?imywydneommNeon infused electronica meets the darker motivations of indie rock in this avant-garde collaboration, featuring talented San Diego musicians Trent Hancock and Mike Cooper (Transfer). Wanting to allow the spectrum of their music the freedom to reach out beyond its norm, Trent and Mike chose a style and name that allows just that; ghostbird literally means owl and both men allow their fascination with the solitary sentinels of the night to inspire the creation of a captivating sound that transcends the boundaries of indie rock. Emotionally charged lyrics, coupled with dynamic beats and explorative melodies, broadcast ghostbird’s vast range to their audience, while still winking in the direction of their diverse influences. Trent, whose early influences include Chili Peppers, Sublime, Radiohead, Strokes, Soundgarden, Beck, Zeppelin, and Nirvana, is proud of the Fray-like tenderness of their track “Sing”, as well as the Radiohead intensity in the longing of “Night Kills Day”. - Ghostbird's Myspace: http://www.myspace.com/ghostbirdmusic (http://www.myspace.com/ghostbirdmusic) and Official Website http://ghostbirdmusic.com (http://ghostbirdmusic.com)
http://www.mediaf!re.com/?dnydjhmzyjmThe Postmarks are a pop band from Miami, Florida. Their self-titled LP was released in February 2007 and has been met with critical acclaim from Rolling Stone and Spin, as well as Pitchfork Media and a host of other music blogs. The group was discovered by Andy Chase of Ivy and subsequently released on his Unfiltered Records label. Before the release of the album, an EP of remixes was released on iTunes featuring remixes by James Iha, Brookville, Roger O'Donnell, Tahiti 80 and more. In Spring 2007, the band toured North America with Smoosh and Memphis. The lineup expanded to include Jeff Wagner on keyboards and Brian Hill on bass guitar. A brief summer tour took place to coincide with the band's appearance at the Lollapalooza festival. - Wiki Article
Together with fellow multi-instrumentalist Jonathan Wilkins and singer/lyricist Tim Yehezkely, Moll crafts meticulously arranged, richly cinematic music with subtle nods to Bacharach, Brian Wilson, classic British indie and vintage French pop. Had The Sundays embraced a Baroque aesthetic or Van Dyke Parks orchestrated an especially autumnal-sounding Françoise Hardy album, it might have sounded something like The Postmarks. “We aim to produce songs that sound like they've always existed and always will exist,” says Moll of his band's chic, sepia-tinted output, and with Yehezkely and Wilkins on board, all is possible. Yehezkely, we should point out, is a gal with a boy's name; a beautiful, yet inscrutable individual possessed of a soft-textured voice that's simultaneously seductive and detached. When Tim Yehezkely sings, clocks stop, people listen, and ice cream refuses to melt. - Postmarks Myspace
http://www.mediaf!re.com/download.php?mht04dzeymmhttp://www.mediaf!re.com/download.php?nkzmmlidyvyhttp://www.mediaf!re.com/download.php?zz0zzgzyzglWhat an amazing 180-degree flip from the hard-as-nails grimy aesthetic of last year’s electro “banger” to today’s tremendously polished disco aesthetic, which dictates that every synth be scrubbed clean until it glistens so that the vocals - wonderfully chilled from their round-trip gliding through the cosmos - can skim across each one with nary the risk of crashing head-on into a chunky distortion or grinding bassline. It’s almost like the time your parents finally took a stand and told you they’re not coming over with boxes of groceries again until you clean your nails and actually get a proper haircut because they can barely see your eyes anymore. No better is this, the value of the pristine, displayed than in the work of Valerie’s own Anoraak, whose debut mini album, Nightdrive With You, has just been released this week.
This limited edition eight-track album features six original tracks which feature Anoraak’s delightfully awkward-sounding Teenagers-esque vocals combined with dreamy ‘eighties-inspired synth-waves to create a kind of shimmering, fantastical soundtrack to Spring. Adeyhawke’s remix of the title track and Anoraak’s own remix of College’s Teenage Color finish the record off, displaying the tight-knit nature of the charming Valerie community. Does Nightdrive With You feel like a mini album? Not a whit.
http://www.mediaf!re.com/download.php?midmnlyyzwmYesterday was the day for the secrets to come out to the sunlight and take their cover off, unfold, etc. The great conceptual universe supporting College’s Secret Diary is just one part in the artistic integrity. The artwork (by The Zonders, you know), the music and the thought behind it results in greatness. Out on the label Futur, if the stuff I know from the guy is an indication, then it’s gonna be one of the bests this year. You know the drill: playful 80s, dance-pop brilliance, the future in the mask of retro-disco and beautifully melancholic atmosphere.
If this album doesn't finally get Valerie the huge hype they deserve, I'll just give up on everyone who claims to be a music journalist.
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http://www.mediafire.com/download.php?gwjmnixdyyzFirst bursting upon the music scene as lead singer of The Cranberries, Dolores O'Riordan has already had one of the most successful careers in popular music of the past 20 years. With four top 20 Billboard albums, eight hit singles, and worldwide album sales of over 40 million under her belt, she decided to embark on a solo journey. Her first solo disc, Are You Listening?, came out in 2007 and now, two years later she is back in action with No Baggage, a bright, clean, and astoundingly emotive recording. The album features not only Dolores' instantly recognizable vocal style and songwriting, but also a glimpse into a life viewed forwards and backwards simultaneously, seen most prominently in the quasi-Beatlesque track, "Fly Through" and the infectious, driving lead single, "The Journey." (Amazon.com Stock Review)
http://www.mediafire.com/download.php?n0ze3nzimcmIt's been a long wait for the solo debut from Irish icon Dolores O'Riordan. After all, the Cranberries issued their swan song in 2001. After their break up, O'Riordan collaborated with Germany's Jam and Spoon, Italy's Zucchero, and David Lynch composer Angelo Badalamenti. She also appeared, as herself, in the 2006 comedy Click. All the while, she toiled away on her first solo effort. Fortunately, good things come to those who wait. Co-produced by Youth (the Verve, U2), Are You Listening? is a throwback to 1980s-era Siouxsie and the Banshees and Sinead O'Connor--sweeping keyboards, forceful drumming, and muscular guitar work. It may seem like a melodramatic move, but the music never overwhelms the slight yet steely figure at the center of the maelstrom, particularly on the lilting "Ordinary Day" and haunting "Black Widow." Cranberries fans expecting something more demure may be taken aback, but O'Riordan's supple voice should win over most skeptics. And lyrically, she compensates with tender words inspired by her husband ("Apple of My Eye"), the death of her mother-in-law ("Black Widow"), and the birth of her youngest child ("Ordinary Day"). -Kathleen C. Fennessy (Amazon.com Stock Review)
And, finally, a new record from The Postmarks (whose previous record has already been posted).
THE POSTMARKS - MEMOIRS AT THE END OF THE WORLD (2009)
Intrigued by the retro-ish cover. This is really good music.
http://www.mediafire.com/download.php?yiutvmjydyu
Northern Portrait was established in Copenhagen, Denmark determined to make guitar-based indie pop - a style of music the group lost their hearts to many years ago. The first song ever written and recorded by the band was "Crazy", a melodically bright and catchy tune set to a rather straightforward lyric about the desire to stay special at all costs.NORTHERN PORTRAIT - NAPOLEON SWEETHEART (2008)
Celebrating their first year in existence, Northern Portrait present their second EP, which contains four new tunes about taste and distaste.
http://www.mediafire.com/?2jjkkwonmjh
http://www.mediaf!re.com/?hrumzydhymyAs its title would lead one to believe, the 'Black River Killer' EP contains the disturbing and great song “Black River Killer” from Blitzen Trapper’s excellent Sept. ‘08 full-length album 'Furr'. What is perhaps less evident from the title is that it also contains 6 more songs that have been, up to now, only available as a CDR that Blitzen Trapper has been selling at their live performances for the past year or so.
http://www.mediaf!re.com/?5i0wjydjz4vThis is the May 2009 release in the Sub Pop Singles Club 3.0 Limited to 1500 copies on clear red vinyl
Due to delays, the 7″ wasn’t actually released until early July.
I am incredibly sorry people, I forgot to tell that this was the link that Deastro gave themselves. I checked it to see if the tracks were good, but I didn't zip it myself, so I didn't zip it properly. Sorry again if there was trouble.
PS: I use 7-zip.
http://www.mediafire.com/?zfmydktxodjhttp://www.mediafire.com/?ilnnyzzzvwm
Northern Portrait is one of my favorite discoveries from 2008. With a strong influence from The Smiths, and a sound very similar to acts like Math & Physics Club and Voxtrot, Northern Portrait craft sublime "guitar-based indie pop". Grab both of their EP releases in glorious 320kbps!
http://www.mediafire.com/?demwdvyyytyFrom the offset, Brooklyn's The Antlers have set a melancholic mood with the artwork for their new album: one hand, tagged with a hospital identification band, limply stretches to touch another amidst a background of glowing red. Then there's the album's title, Hospice, which drudges up imagery of cold white hospital sheets and the creeping acceptance of a slow, impending death. It all sounds a bit morose, and while Hospice personifies all the isolated heartbreak of the terminally ill, it's also brimming with a sense of hopeful humanity. Antlers lead-man Peter Silberman's voice, while not entirely similar in timbre, is reminiscent of Jeff Buckley's in its emotive weight. Set against some of the moodiest, droning ambience you'll ever hear, Silberman candidly tackles self-imposed solitude. On the sprawling "Wake," Silberman sings "It was easier to lock the door and kill the phones then to show my skin." It's a feeling we can all relate to and the band tackles their subject matter in a way that never feels heavy-handed or overly dramatic. While Hospice is predominantly filled with similarly delicate moments, songs like "Bear" and "Two" do offer a poppier respite to all the gut-wrenching beauty. Those of you who like your music all shits and giggles might find Hospice a bit tedious, maybe even suffocating, but those willing to peel back all of its layers will find a treasure, an album of unyielding depth and poignancy. - Capt. Obvious
http://www.mediaf!re.com/?nnznnmriz4zThere's been quite a resurgence in folk music as of late and it's encouraging to see it coming from all areas of the country. With What The Crow Brings, Rhode Island natives The Low Anthem combine elements of gospel, country, and folk-rock elegantly. The duo consists of Ben Miller and Jeff Prystowsky, who at the ages of 23 and 22, are in their songwriting infancy. That being said, the pair's youth isn't particularly noticeable considering the nostalgic feel of their songs, which draw from influential songwriters like Tom Waits and Neil Young without being outright impersonations. Vocally, the melodies are soothing and unassuming, providing a fitting soundtrack for a rainy midday drive or a cigarette-and-coffee backporch conversation with friends. While What The Crow Brings may not demand your attention initially, the lyrical content holds up well under careful scrutiny, reading mostly as unpretentious and sincere. The old-timey "A Weary Horse Can Hide The Pain" reads, "Our best laid plans, our patient dreams/ Fell through our hands, between the seams." Other songs such as "Bless Your Tombstone Heart" and the lover's lament of "This God Damn House" extend this feeling of nostalgia. There's even a solid interpretation of the Carter Family's 1928 chart-topper "Keep On The Sunny Side." Instrumentally, the duo relies on acoustic guitar and bluesy slightly-overdriven electric guitar as the backbone for most of the tracks while adding touches of non-conventional instruments as accents. In fact, if you listen closely, you might hear a pump-organ, tube harp, marimba, or even a toy piano. Ultimately, The Low Anthem's brand of folk is melodic and catchy, and multiple listens uncover subtle touches that strengthen an album that was crafted with care. -- Capt. Obvious
http://www.mediaf!re.com/?jgztdtmnzwmOh My God, Charlie Darwin was recorded in an island cabin sporting a makeshift recording studio that had to be transported by ferry. Ranging from junkyard rock ditties to stark folk balladry, the tracks on the album contain a smorgasbord of instrumentation that includes zither, pump organ, Tibetan singing bowl and oil drum. The subject matter of the songs revolves around the warring elements of community and competition. References to Charles Darwin's idea of "survival of the fittest" intermingle with a longing for acceptance. It's an interesting dichotomy and this band of 20-somethings manages to fit the heady subject matter into deftly crafted yet diverse folk songs. There's the album's opener "Charlie Darwin," a gentle track sung in falsetto, and then there's the rough-edged rendition of Jack Kerouac/Tom Waits' "Home I'll Never Be." The band covers sparse material and raucous jangle with equal mastery and Oh My God, Charlie Darwin is some top-notch Americana that builds on their excellent debut. -- Capt. Obvious
http://www.mediaf!re.com/?oiokcgjmdzmAt first, Marissa Nadler's Songs III: Bird on the Water doesn't seem especially notable. It's a 12-track breakup album detailing Nadler's pervasive loneliness, her gentle finger-style guitar augmented with cello, percussion, mandolin, synthesizers, and electric guitars. Her voice is remarkable from the outset-- a sad, husky air that climbs to perfect grace notes with ease-- but by the time Nadler sings, "Oh my lonely diamond heart/ It misses you so well," 100 seconds into opener "Diamond Heart", you're pretty sure you've heard this one before. Not so fast: As Nadler and her gorgeous, incredibly isolated Songs III would have it, there's plenty worth waiting for. Nadler doesn't want empathy for the hurt that caused her to write "Diamond Heart" in a hotel room bathtub in New Jersey or "Bird on Your Grave" for a friend who died mysteriously; she's just trying to ease some of that monumental pain into the next space. And-- though its micro-payoffs may come in the form of a solitary harmony here, a hushed mandolin chord there, or the eerie bells lending a richer atmosphere to the beautiful "Dying Breed"-- such a feeling makes Songs III one of the most focused and engaging singer-songwriter releases so far this year.
Of course, that can be a tough sell for folks accustomed to concentrated emotional whomp. Aside from its presiding atmosphere of pain, little about Songs III feels direct. It peels free in slow, steady layers, Nadler's sorrow ensconced in impressionistic phrases and careful musicianship. As a songwriter, she's still painting relationship trauma in grayscale sadness, occasionally calling on stunning images-- "eyes as deep as brandy wine," "red-painted lips and a jezebel crown," "breaking on the daylight"-- to better realize sullen torment. But that latter layer makes Songs III much more effective than Nadler's 2005 debut, The Saga of Mayflower May. Nadler's a bandleader now: With acoustic wonderment still in place, she brings most of Philadelphia's Espers to bear here. They augment without distracting, building on her gravitas with quietly breathtaking nuance: A cymbal-scrape pallor from Otto Hauser, or Jesse Sparhawk's weeping mandolin; like Helena Espvall's doubled cello parts smeared over Nadler's "rose-colored dreams" on "Thinking of You", these sounds highlight the words. Even the album's loudest moment, Greg Weeks' piercing electric lead on "Bird on Your Grave", won't wow you from afar, but it will pull you close enough to identify with Nadler's pain.
As a vocalist, Nadler stretches this environment towards infinity: By doubling and tripling her vocals and lacing several distinct interpretations of one melody, she implies that her despair is now as it was then as it always will be. During a splendid, organ-and-guitar take on Leonard Cohen's "Famous Blue Raincoat", for instance, the narrator's desolation comes doubled in verses, tripled in the chorus, and chased consistently by the organ. Doom follows her like a rain cloud, it seems, soaking her feelings but powering this, her best set of songs yet. Sure, that's a mundane thing to say about an artist, but on Songs III, it's notable after all. - Grayson Currin, March 7, 2007
http://www.mediafire.com/?zijmkbimgtn Info on this band is scant. I've ascertained the following information: (a) The Middle East is from Australia. (b) The Middle East broke up at some point. Now their frustratingly uninformative Myspace page says (not finished) after their name. For the love of Buddha, let this mean the band has decided to stay together after all. If this isn't the case then I'm willing to trade a finger and a 6-pack of grape sodas for their resurrection. There are talentless overpaid hacks plastered all over the television and spewing worthless dreck through radio airwaves, and then there are unknown bands like The Middle East huddled into dingy basement practice spaces creating gorgeous music filled with complexity and heart. It's sad how most of the worthwhile art is created in anonymity. The band's album The Recordings Of The Middle East combines lush folk-rock with ambient flourishes. The absolutely stunning "Blood" establishes itself with sparse guitar and keys, verses sung with a disarming fragility, and ethereal background vocals. When the song crescendos into its full band gorgeousness, you realize you're listening to something special. If you like what you hear, spread the word. This band is too damn good to be overlooked. -- Capt. Obvious
http://www.mediafire.com/?ztjnm5ynl24The Little Hands of Asphalt is the twee folk side project of Sjur Lyseid, lead singer of Oslo based indie rock quartet Monzano. The music departs from Mozano's mellow indie rock but retains a more definite, and certainly better recorded version of Lyseid's sentimental and warming vocals throughout. Part of the appeal of the act is the timelessness of the arrangement. The fingerpicked acoustic guitar, occasional bass, quiet drawn violins and simple muted drums is hardly a revolutionary selection of instrumentation, but something about the delicate, confident and constant voice suggests otherwise. Ultimately the music is nice and easy to listen to, and the songs are lyrically dense, intelligent and sufficiently deep in terms of excellent storytelling to have some kind of lasting impression on the listener. From a genre whose grassroots I often might avoid out of impatience, something draws me in here and keeps me coming back. The Little Hands of Asphalt may not break new ground in many obvious ways, but they take the ground they are currently residing on to a whole new level, at the definite risk of sounding cliche. There is clear influence, whether intended or not, from Kings Of Convenience, Bright Eyes and Josh Pyke. - Peter Lanceley
THE LOW ANTHEM - OH MY GOD CHARLIE DARWIN (2008)
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hey is it true the new arctics cd has been leaked?Yeah, but it's pretty scarce, and the quality isn't the best.
http://www.mediaf!re.com/?yqnohdyawrxChemlab (an outfit with a changing membership that has revolved around vocalist/lyricist Jared Louche and programmer Dylan Thomas More) prefigured the aggressive electronica sound that would later be popularized by bands like Prodigy and, to some degree, Nine Inch Nails. This record shows them to have been sonically prescient but a bit too nihilistic and vulgar for prime time. There's more than a hint of late-period Ministry in "Exile on Mainline" and more than a hint of early-period Ministry in "Pyromance," but the almost dubbed texture of "Lo-Grade Fever" and the corroded wah-wah guitar on "Latex" are all their own. Louche's lyrics are sometimes unintentionally hilarious ("Roulette's spinning, the wheel of distinction/Darwin's selected you for total extinction"), but that's sometimes a welcome relief from the unrelieved heaviness of the band's sound. - Allmusic Review
http://www.mediafire.com/?zzzt2jkoiz2Stereolab was poised for a breakthrough release with Emperor Tomato Ketchup, their fourth full-length album. Not only was their influence becoming apparent throughout alternative rock, but Mars Audiac Quintet and Music for the Amorphous Body Center indicated they were moving closer to distinct pop melodies. The group certainly hasn't backed away from pop melodies on Emperor Tomato Ketchup, but just as their hooks are becoming catchier, they bring in more avant-garde and experimental influences, as well. Consequently, the album is Stereolab's most complex, multi-layered record. It lacks the raw, amateurish textures of their early singles, but the music is far more ambitious, melding electronic drones and singsong melodies with string sections, slight hip-hop and dub influences, and scores of interweaving counter melodies. Even when Stereolab appears to be creating a one-chord trance, there is a lot going on beneath the surface. Furthermore, the group's love for easy listening and pop melodies means that the music never feels cold or inaccessible. In fact, pop singles like "Cybele's Reverie" and "The Noise of Carpet" help ease listeners into the group's more experimental tendencies. - Allmusic
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http://www.mediaf!re.com/?2hzd00ltejyThe Seaside EP is a collection of six Owen songs previously only available as Japanese bonus tracks and the Owen track from Association of Utopian Hologram Swallowers 2x7". Limited to 3000 copies.
http://www.mediaf!re.com/?kmzllwuhimzThe Fine Print (A Collection Of Oddities and Rarities 2003-2008) features songs written by band members past and present, including Patterson Hood, Mike Cooley and Jason Isbell. 7 of the twelve songs come from The Dirty South era… a highly creative time for DBT. Hood explains “That was an especially fertile period for the band, as we more or less wrote that album and the one before it, Decoration Day, as well as my first solo album all in a three year period as we were recording and touring behind Southern Rock Opera.” The record also contains four covers including “Rebels” by Tom Petty, which the band recorded originally for the TV show “King Of The Hill” and “Like A Rolling Stone” by Bob Dylan which provided Shonna Tucker with her first ever lead vocal performance on a DBT recording.
Brother duo Caleb and Ashton Bird, better known as Tweak Bird, team up for their sophomore album, Reservations. A unique sound and funky style makes them a force to reckon with. Their first album offered an amazing voice and some very interesting sounds that were hard and grungy. Add some dark sounds to some mesmerizing drum solos and you get Tweak Bird at its finest. The two-man team has a knack for new sound and innovative lyrics. These are two guys that are musically inclined to tell a story, with a lot of drum and some hearty guitar.
Reservations is a reminder that Tweak Bird is doing something very unique. The combo of their high-pitched voices (which sometimes sound like they are even mocking themselves) makes for a great song. In “Spaceships,” the Bird brothers link dazzling sounds together to make a story- one that sounds like it is being told around an Indian drum circle. “Spaceships” has a different sound from their first album, a delightful change with a slower tempo and sense of longevity in their music. “Whorses” gets your heart pumping with the fast guitar and heavy sounds. Not so surprising the song is about aliens and Indians; the guys are able to create an eerie sound with some sometimes-creepy lyrics. A dreadful delight made from two hairy guys with a talent for moving music ahead…pretty dreamy. This is a band that can surely be a live show favorite.
http://www.mediafire.com/?mjjtzmzdznnOwen - The Seaside EP (2009) ~ Mp3 V0
http://www.mediafire.com/?wynxxzoi0my PART TWOhttp://www.mediafire.com/?fyocrlf2nzu http://www.mediafire.com/?wmyojj4vl2t http://www.mediafire.com/?axqnznmil1i http://www.mediafire.com/?mt23ejgimtj
Drive-By Truckers - The Fine Print (2009) ~ Mp3 V2
John Corigliano is about as bad as music can get. :x
Drive-By Truckers - The Fine Print (2009) ~ Mp3 V2
Was looking forward to getting this upon its release, thanks for the tease!
Just so you know, the zip file seems to be corrupt [at least for me]...
It is impossible for anyone to remain in a bad mood after listening to Aim & Ingite in full. It is one of the most fulfilling albums I’ve heard in a while. The brain trust of fun. - Ruess, Dost, and Antonoff - have something to be extremely proud of; an album that is and will be well received from critics and fans alike. Aim & Ignite is what a pop album should sound like. Hell, Aim & Ignite could even cheer up Rob Gordon. So turn those frowns upside down, as fun. has released the most essential pop album of 2009.
http://www.mediafire.com/?yyzmytiknzn
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THE MIDDLE EAST - THE RECORDINGS OF THE MIDDLE EAST (2008)
Debut album from fun. The new band of Nate Ruess from The Format.Oh thank god I've been waiting for this for so long. Thanks a bunch
Fun - Aim and Ignite
(http://i199.photobucket.com/albums/aa219/livbarrob/f_aai_150x150.jpg)QuoteIt is impossible for anyone to remain in a bad mood after listening to Aim & Ingite in full. It is one of the most fulfilling albums I’ve heard in a while. The brain trust of fun. - Ruess, Dost, and Antonoff - have something to be extremely proud of; an album that is and will be well received from critics and fans alike. Aim & Ignite is what a pop album should sound like. Hell, Aim & Ignite could even cheer up Rob Gordon. So turn those frowns upside down, as fun. has released the most essential pop album of 2009.Code: [Select]http://www.mediaf!re.com/?yyzmytiknzn
http://www.mediafire.com/?yfhljneonck Wading through the music scene's waters as a singer-songwriter is tough. Women have it hard enough, trying to live up to examples set by Joni Mitchell or Kate Bush. But men have a whole other caliber of legend to be dealing with: that string of gone-too-soon cases including Nick Drake, Jeff Buckley, and Elliott Smith. Add to this the sheer number of buskers trying to break out, especially in a city of strivers like Los Angeles, and the odds are stacked against Ferraby Lionheart. He makes music mostly by himself, and he regularly plays L.A. clubs like Hotel Cafe and Tangier, which are thick with aspiring troubadours.
With his debut full-length, Catch the Brass Ring, Lionheart turns in a diamond in a field flush with mediocre talent. Lionheart opens up his sound nicely here in comparison to the simplicity of his self-titled EP from last year, recorded mostly in his own apartment. Catch the Brass Ring features fleshed-out backing, strings, and horns. He tactfully keeps all the new sounds from burying him under a pile of, in the words of fellow Angelenos Silversun Pickups, "well thought out twinkles." The heart of the music is still Lionheart's ace songwriting, with lines delivered by his voice, which is sometimes warbly, sometimes wavering, but always winning. Brass Ring's short intro, "Un Ballo Della Luna," floats on soft strums that seem to come from a thirties transistor radio. In fact, an old-time vibe runs through most of the album, which Lionheart even addresses with the line "I was born a world ago" in "Small Planet." No surprise here, as he cites Cole Porter and Judy Garland as influences and often sounds like present throwbacks M. Ward and Becky Stark. "Vermont Avenue" could be coming from a street-corner musician both musically and lyrically, as Lionheart, again with just spare guitar, moans lyrics seemingly ripped from John Fante novels: "We don't have a dime between us/ We can make a meal of dust/ Mary's in the market mural/ Vendors on the sidewalk circle."
Lionheart is good at switching between guitar- and piano-dominated songs, and the latter dominates on "The Car Maker," a standout among standouts. He again goes with the "L.A. is just too hot and hard to deal with" state of mind, singing, "I'm tired of trying/ Who am I working for?" and, "It's not I don't see, it's that I don't wanna see/ It's not I don't know, it's that I don't wanna know." Catch the Brass Ring's one fault is that it ends on a bad note: "Put Me in Your Play." The song is exactly what its title indicates -- Lionheart singing to a playwright flame of his, telling her that if he can't be in her life, she can at least put him in her new work. That's Counting Crows territory right there. But one strikeout on a debut album of eleven songs still leaves Lionheart with quite a batting average. If he keeps it up, Los Angeles might just have a new poet laureate. - prefixmag.com Review
http://www.mediafire.com/?zjnolyhgmwm Despite the recent surge of indie-friendly bands aiming for grandiosity, upgrading to a Big Sound is no simple matter. Sure, many artists have lately begun to emulate the stadium-size approaches of luminaries like U2 and Bruce Springsteen, or even more recent large-venue successes like Coldplay or Pearl Jam, but few have successfully pulled off the transition. The fact that many of these bands have yet to achieve any sort of mainstream crossover makes the pursuit even more difficult; it's hard to make arena rock when you're still playing the clubs. The Frames have a bit of an edge in this regard, being massively popular in their home Ireland, a big fish/small pond status best portrayed by the cultish crowd singalongs on their live album Set List. But since the group has emigrated to American label Anti-, the Frames have sought to translate their outsized stage presence into a larger album sound, first on 2004's Burn the Maps and now on The Cost. But while seeing a band cramming XXL songs into an intimate space can be a thrilling experience (it's was one of the Arcade Fire's secret weapons on the way up), in the sterile environment of a record, shooting for majestic can just as easily result in sounding middling and generic.
The Cost draws deep from The Book on Writing Epics, utilizing all the most popular strategies toward the goal of writing large-canvas anthems. There's the song with the slow build ("People Get Ready"), the song with the really simple metaphor ("Falling Slowly"), powerful one-word song titles ("Rise", "True"), and many, many songs with the triumphant violin solo. Pretty much the entire album sticks to the same contemplative tempo, and singer Glen Hansard unfurls his (considerably dampened) brogue-laced falsetto in all the right places, underscoring the real, real emotional parts. If that whole process seems underwhelmingly by-the-numbers, you'd be right...there's very little to The Cost that attempts to surprise. And while there's nothing wrong with a predictable approach when deployed with expertise, it's disappointing from a band like the Frames, whose brash energy is best depicted by the raw, immediate Set List. Behaving themselves enough to conform to Big Sound ideals means sanding away their sense of humor and raucousness; only the meta-aware "Sad Songs" (with its tongue-in-cheek "Born to Run" reference) and the relatively boisterous intro to "Falling Slowly" let the band indulge its playful side.
All these compromises do yield a few strong moments of proper grandeur. "When Your Mind's Made Up" executes the quiet-to-loud ramp-up to perfection, starting with some nicely entwined guitar and piano and reaching a caterwauling, electric-fiddle peak. "The Side You Never Get To See" integrates orchestration without sounding forced, showing it doesn't hurt to have a full-time string-player in the band when you're going the symphonic route. Yet too often, Colm Mac Con Iomaire's violin is the only element preventing the Frames from sinking to the status of just another post-Radiohead purveyor of mass-audience melancholic anthem ballads. That's an injustice to the Frames, but one of their own making, as The Cost reflects the all-too-common misstep of abandoning too much of a band's unique identity in the pursuit of the Big Sound. The enlargement process doesn't have to entail diluting a band's character in order to hit all the epic-song signifiers, as bands like the Twilight Sad and the Hold Steady have recently shown. Unfortunately, that's the path the Frames have chosen to take, and they've paid the cost without reaching the reward. - Rob Mitchum
http://www.mediafire.com/?jmtzfwmyljz Genesis. An admiration for that particular progressive rock band is perhaps one of the few commonalities Martin Page and I share. Though, now that I consider it, Page harbors a partiality to the pre-Collins Genesis records and I definitely fall into the post-Gabriel realm of fandom. Apparently the distinction between the two is still fiercely debated, with many fans still referring to Collins as the "new guy."
But I digress.
Aside from a mutal partiality to Genesis, I have an absolute adoration for In the House of Stone and Light, the first LP from Page. Released in 1994, the album gained significant buoyance from the success of its album-titled track and subsequent single "Keeper of the Flame." The video clip for "In the House of Stone and Light" was played endlessly on VH1 (back when they actually rotated music videos) during the summer of '94 and could still be seen deep into 1995 (usually adjacent to the outstanding Annie Lennox clip for "No More I Love Yous"). The track also spun heavily on radio and featured on adult contemporary playlists for years afterward. Despite a default categorization as a "one hit wonder", I find the record an endless source of indulgence I return to at least once a year. This is partly because of the polished, superlative songwriting and partly because of the exceedingly intricate care given to the instrumentation. Prior to recording his debut album, Page had written songs for acts as diverse as Go West, Tom Jones, Earth Wind & Fire, Heart, and Starship. This experience in the music business, combined with Page's involvement in seminal eighties techno band Q-Feel, allowed him to slate such venerable session musicians as Robbie Robertson (of The Band, on guitar) and Phil Collins (of Genesis, on drums) who lent their considerable talents to the harmony of Page's magnum opus.
Spaced throughout In the House of Stone and Light are the ubiquitous love songs ("Light in Your Heart", "I Was Made For You"), yet a variety of disparate topics are addressed on the album, including: domestic violence ("In My Room"), World War II internment camps ("The Door"), and a general condemnation of modern wars and societal ills ("Shape the Invisible"). Curiously, the single version of the marriage ballad "Keeper of the Flame" was coupled with the b-side "Broken Stairway" - which could very well have been written about a divorce. Though this may strike some as a contradictory move to some, I found it a perfect accompaniment to the chugging percussion and amiable tone of the a-side. "Broken Stairway" is a heartachingly beautiful piano ballad clocking in at a scant two minutes forty-nine seconds. In that brief period of time, what unfolds is perhaps one of the saddest songs I've had the pleasure of discovering. "In the House of Stone and Light" is my favorite album from the nineties, and though I've heard every song at least a hundred times....they somehow never get tiring. What higher praise could I give? - Leif Sheppard
http://www.mediafire.com/?jbzwzrndygw PART TWOhttp://www.mediafire.com/?owgletdmg35
http://www.mediaf!re.com/?kont0wzddzmhttp://www.mediaf!re.com/?03jjmmnnimi http://www.mediafire.com/?tenykmyjxtzhttp://www.mediafire.com/?omjzuywz5nkhttp://www.mediaf!re.com/?mzznjnmexxm Arriving out of the thriving Chicago music scene, Pinetop Seven did not take the same highway as others. Rather, they chose the alternative country route and the resulting disc Pinetop Seven revels in old-time dance hall piano and weary rhythm tunes that one might imagine came out of the bars back in the wild west days. Here and there, they hop up the tempo a bit as on "Flushed with Sun & Passion," but mostly they stick to their dusty sounds so well highlighted as on "Out on a Broad American Night" and "Money from Home." Pinetop Seven is a fine initial effort from a band that is destined to grow. - Allmusic
http://www.mediafire.com/?zwtjcqtzyzm Dusty small towns and pickup trucks spring to mind when listening to Pinetop Seven's second full-length, Rigging the Toplights, which is packed with stories of loss, desolation, and hard luck. Although there are clearly country influences at work, the album is much more difficult to categorize than that. Through their unique blend of musical styles, unusual instruments, and intricate lyrics, Pinetop Seven has created a haunting collection of dark, melancholy stories. Vocalist Darrin Richard takes on the role of the storyteller, using his voice as an instrument to convey the achy loneliness of each song. His vocal delivery perfectly complements each song's unique acoustic instrumentation. The band uses all sorts of instruments to create their rich song moods, including accordion, rain stick, toy piano, clarinet, and upright bass. Every song is so carefully composed that each note flows perfectly into the next. The effect is an extremely polished and complex but sincere album. And somehow, through all the sadness, Pinetop Seven manages to communicate a vague feeling of hope. - Allmusic
http://www.mediaf!re.com/?mi0m3dzlmzg In the museums of the distant future, America will be reduced to an animatronic Wild West saloon, with the Pinetop Seven's Bringing Home the Last Great Strike stuck on a perpetual loop. We'll be nothing but a kickline, a poker game, and a roomful of hard luck stories. Everything will be dusty. The anachronisms will be lost on our descendents. We'll have been an empire of cowboys. It's not such a bad obituary. Bringing Home the Last Great Strike would definitely not count as insurgent country; there isn't a punk bone in its body. It's an incredible line-up of bruised and tired music where folk, bluegrass, Louisville post-rock, Eastern music and electronics all drink side by side. As pristine and complex as the arrangements sound, the album's been kicked around and beaten up. Brimming with unglamorous stories of circus freaks, drifters, stranglers, ghosts, and drunks, Pinetop Seven have crafted a rich, melancholy work of music for the unemployable.
The introductory fanfare, "As the Mutiny Sleeps," is a somber homage to the Band's "Theme from the Last Waltz," twittering with bells and glockenspiel while a muted trumpet whimpers and dour clarinet calls the album's plodding approach. "On the Last Ride In" is a lazy, twanging tale of departure. The drifter's regret is a familiar theme, but Richard's evocative lyrics lend color and depth to the sketch: "From under the clouds/ His father's face/ Promising rain, rain, rain/ And all sides came crashing down." One of the more traditionally instrumented tracks on The Last Great Strike, the acoustic strum melds with the soft Fender Rhodes, upright bass and distant violin. "An empty trunk no longer full of all that trust," Darren intones as the music recedes.
"A Black Eye to Be Proud Of" is one of the record's standouts; emerging from electronic loops, fat vaudeville piano stomps out the melody. Darren Richard assumes the first-person narrative of a young man who's fallen in love with a whore: "But Leah, I think that could change/ I've got money for you to teach me." The narrator is a boy compared to the brothel's other clientele: "My own black eye to be proud of never came/ I'm a coward still the same/ Skinny arms and watery eyes." The Pinetop Seven have cited director Jim Jarmusch as an influence, and in "Black Eye," that influence becomes apparent, rewriting the conventions of the unrequited love song with humor and subtle sadness. Bringing Home the Last Great Strike is unique in trafficking so liberally in human misery without ever approaching angst. Richard deftly avoids every inclination to wallow in his characters' misfortunes as a cipher for his own, while also never deriving the kind of morbid thrill in the rustic bizarre like a certain sister-/mountain-fucking Kentuckian whose music is often strikingly parallel. The Last Great Strike is a jukebox anthology of American unhappiness. All its nostalgia seems directed toward a more miserable time. This, in the end, seems to be the West worth remembering. - Pitchfork Review Excerpt
http://www.mediaf!re.com/?tjz2zimwlmy Lest We Forget (a mail order- and tour-only compilation of unreleased Pinetop Seven material) contains five unreleased gems from the songbook of Pinetop leader Darren Richard, a remix of "Mission District" from last year's astounding Bringing Home the Last Great Strike, and over half an hour of excerpts from a live, improvised performance that constituted the soundtrack for the silent film The Wind. It's these improvised pieces that conjure for me images of the very fabric of the universe flying apart and reconstituting in unimaginable ways.
This gives way to the pensive holding pattern of "Horse in the Sky," which is ultimately relieved by the compilation's closing track, "Burial Scene," which is dominated by Richard's spare piano lines conjuring Chopin at his most despondent. This performance sits surprisingly well next to the first six tracks, all of which constitute proper songs ranging from 1998 to 2001 and recorded at the band's Chicago loft space. You know a band is really great when you're totally entranced 15 seconds into the first track on their odds-and-sods, tour-only collection of outtakes and live recordings. The unreleased demo "Mosquitoes" opens with a percussion loop before piling on vibes and guitar. Richard croons through the verses before layering his buoyant tenor in lush harmonies on the chorus. Melissa Bach's cello-- the only instrument not played by Richard on the song-- swoons sonorously on the bridge, lending a dark underpinning to Richard's stunning falsetto harmonies.
Darren Richard is completely alone on the other demo included here, the gorgeous "Cradlesong." It's almost unbelievable that one man recorded this by himself, as all of the instruments are impeccably played, including a deftly interwoven guitar loop. Richard even goes out of his way to vary his tone on the backing vocals in order to make it sound like multiple people singing backup. The structured instrumental, "Some Ritual Business at the Lake," from the sessions for Bringing Home the Last Great Strike, also features Richard solo, throwing down some impressive slide guitar.
Lest We Forget portrays Darren Richard as the central force in a very versatile collective that draws freely from the communal Chicago scene. Richard himself emphasizes that this is a demo-quality release intended for fans only, but it seems as though he's just being modest, as there's only one moment on the entire disc-- the hissy intro to "Cradlesong"-- that sounds underproduced. The fact that something so utterly worth having is unavailable in stores is a shame. Any extra effort needed to obtain this collection is well worth it, as the rewards contained within are enough to repay any expenditure, and ease your nerves about your place in a doomed universe. - Pitchfork Review Excerpt
http://www.mediaf!re.com/?u2k4nnfnrje The title track from Pinetop Seven's fourth album, The Night's Bloom, begins with a murky overture that sounds like it's playing through an old Victrola-- distant, subdued, aged and dusty. At the song's 0:37 mark, though, the strings swell, becoming fuller and more detailed, as if a black-and-white film has suddenly erupted into Technicolor brilliance. This moment, which is the first of many unexpected sonic hooks on the album, not only sets the tone for the dozen songs that follow, but also reintroduces Pinetop Seven after a five-year absence, serving as a tangible transition from 2000's subterranean-dark Bringing Home the Last Great Strike to the more varied sound of The Night's Bloom. In that half-decade interim, the band has grown from being Darren Richard's more-or-less solo project into a collaborative ensemble that has cut its teeth on small tours and ambitious new scores for old silent films like The Wind and Laugh, Clown, Laugh. Those exercises have proved instructive: The Night's Bloom should place the band alongside Iron & Wine and Calexico as the best of bewildering and beautiful Americana.
Still, despite the collaborative dynamic on The Night's Bloom (most of the string and horn arrangements are credited to cellist Bach and/or trumpet player Walcott), Pinetop Seven still feels like Richard's brainchild, with the music scoring soundtracks for the short films in his head. Setting his story-songs in the region Ray Bradbury once described as "the October Country" ("that country where it is always turning late in the year, that country whose people are always autumn people, thinking autumn thoughts"), Richard proves a confident storyteller who fully inhabits his hard-luck characters and knows precisely which details to disclose and which to withhold. His voice soars, but it does so solemnly, resonating with the intensity of a projector's arc light as he relates these black comedies of humiliation that evoke the tragedy of being someone else's fool. "June" (a cousin of "A Black Eye to Be Proud of" from Bringing Home the Last Great Strike) follows a couple on a fateful trek into the woods: I "won't tell you what we did," the narrator says, "don't know the word for it." But he has ominously ulterior motives: "They'll never look at me again that way." Sung in the voice of a love-starved outsider who just wants to show a sympathetic woman "what I'm capable of," "A Page From the Desert" is a murder ballad without the murder, and "Witness", with pop-song dee-dee-dee's illuminating its chorus, relates a story of petty revenge that builds to an ending worthy of Flannery O'Connor.
Distinguishing between the band's music and Richard's lyrics, however, seems largely beside the point. As with any good soundtrack, The Night's Bloom derives its power from the interaction between sound and story-- how the racing-heart conclusion of "His Aging Miss Idaho" embodies the precarious intensity of love; how the quiet strings and unsteady vocals reinforce the intimacy of "Made a Whisper Out of Me"; how the descending guitar triplets on "Fringe" mirror the whistled theme of "A Page from the Desert". All the elements intermingle with one another to put bloom on the night, and the result is perhaps the most evocative and sweeping realization yet of Pinetop Seven's particularly cinematic aesthetic. - Pitchfork Review Excerpt
http://www.mediaf!re.com/?zimzkmm5jzv Beneath Confederate Lake lie the songs that have fallen away over Pinetop Seven's nearly 10-year history, either discarded, forgotten, or saved for the right moment. For this rarities release-- a companion to last year's lushly orchestrated comeback, The Night's Bloom-- the band troll for a handful of tracks, and the results are surprising. Instead of a jumble of waterlogged debris, Beneath Confederate Lake sounds like a proper album, its songs preserved by the deep, dark waters. Most come from the five years of intermittent sessions that produced The Night's Bloom; they are interspersed with old songs newly recorded, a track by Darren Richard's side-project Grand Isle, and two contributions to the soundtrack of the obscure indie flick Numinmata: When Body Hunts Mind.
As that filmic source suggests, a large portion of Beneath Confederate Lake is instrumental, echoing Richard's interest in soundtrack work. Short interstitials like "Lewis & Clark, Pt. 1" and "Pt. 2" as well as lengthier songs like the opener "High on a Summer's Tree" and the tango "Fadograph of a Yestern Scene" conjure a darkly curious atmosphere with a percussive sound that recalls Pinetop Seven's self-titled debut. While the mood and melodies are strong enough to make these songs stand on their own, they also provide a backdrop for the tracks that feature vocals and Richard's literary lyrics. "The Western Ash", "Two Dead Men in a Vermont Graveyard", and the alternate take of "Hurry Home Dark Cloud", which are all from the Night's Bloom sessions, develop the musical and conceptual themes the band introduced on that album. They make full use of the larger lineup to create a lush, textured sound over which Richard's inimitable vocals shimmer like an aurora borealis.
Still, this song and the similarly timely-- and more successful-- title track instructively point out the complexity of Richard's songwriting. He sets his story-songs in a hazy American past that incorporates colonial figures, Old West and Native American imagery, and dustbowl details, which are echoed in the technical complexity and antiquated instrumentation of the music. And yet, no matter how historically rooted the music, Richard's concerns remain current. He's engaging the past to address the present, and by relaxing thematic control over the selection and sequencing of these songs, he may have come up with his most relevant album to date. - Pitchfork Review Excerpt
PINETOP SEVEN - RIGGING THE TOPLIGHTS (1998)
(http://a.imagehost.org/0579/2Riggn.jpg)Code: [Select]http://www.mediaf!re.com/?zw4ewdyyzmzQuoteDusty small towns and pickup trucks spring to mind when listening to Pinetop Seven's second full-length, Rigging the Toplights, which is packed with stories of loss, desolation, and hard luck. Although there are clearly country influences at work, the album is much more difficult to categorize than that. Through their unique blend of musical styles, unusual instruments, and intricate lyrics, Pinetop Seven has created a haunting collection of dark, melancholy stories. Vocalist Darrin Richard takes on the role of the storyteller, using his voice as an instrument to convey the achy loneliness of each song. His vocal delivery perfectly complements each song's unique acoustic instrumentation. The band uses all sorts of instruments to create their rich song moods, including accordion, rain stick, toy piano, clarinet, and upright bass. Every song is so carefully composed that each note flows perfectly into the next. The effect is an extremely polished and complex but sincere album. And somehow, through all the sadness, Pinetop Seven manages to communicate a vague feeling of hope. - Allmusic
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http://www.mediaf!re.com/?1tiymnnmtho Album link is fixed too.
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http://www.mediaf!re.com/?tuarothozndInfluenced by drinks, drugs and gravity, the foursome behind Brit band Wave Machines pump out eclectropop hits packed with psychedelic undertones and catchy beats that make you feel like you’re floating on air. But their debut album, Wave If You’re Really There, isn’t only full of frolicsome tunes. Songs like “Punk Spirit” and “You Say The Stupidest Things” slow it down, showing off their rock ‘n’ roll attitude that keeps to the background of the more dance-inspiring tracks like “I Go I GO I Go” and “Keep The Lights On.” Set to hit stores 15 June 2009, the album is a perfect match for the summer weather and arrives in just enough time to get you hooked before the season’s festival frenzy. Be sure to catch them at this year’s Glastonbury or Bestival festivals or check their website for the entire list of upcoming shows.
http://www.mediaf!re.com/?y252tnzgzw0Revered for his work fronting the influential group Pedro The Lion, Curse Your Branches is David Bazan's first full-length release under his own name. It's a flat-out masterwork by a modern American poet at the height of his powers (Paste Magazine called him a Dostoevsky for our all-at-once world and one of the 100 Best Living Songwriters alongside indie-rock stalwarts like Iron and Wine's Sam Beam, Mountain Goats' John Darnielle, and Bright Eyes' Conor Oberst, and legends like Nick Cave, Merle Haggard, Sly Stone, Dolly Parton, Kris Kristofferson, and John Prine and that's not even listing any of their Top 20).
Pedro the Lion got started playing to the Christian rock scene, but the narrative arc of Bazan's albums has increasingly traced his crisis of faith and his questioning of the Evangelical world in which he was raised; while retaining the vast majority of his original audience, the strength and subtlety of his work also has built a large secular audience and garnered him mainstream critical acclaim. Curse Your Branches is the deepest and most overtly autobiographical exploration of his theological struggles and resulting battle with alcohol to date, and a meditation on all things passed between the generations belief, doubt, love, addiction that showcases his incredible arrangements and melodic sense, and, of course, the trademark dark humor, incisive lyrical economy, and light touch in dealing with heavy themes that has drawn comparisons to no lesser talents than Prine, Randy Newman, and Leonard Cohen.
David Bazan - Curse Your Branches (2009) ~ Mp3 V0
http://www.mediaf!re.com/?zgtjmigazyj DISC TWOhttp://www.mediaf!re.com/?tkmem1gzing It's mystifying that the recordings that give listeners all the trouble are the albums that offer a lasting impact. Over the Rhine's Ohio is just such an album. It is a sprawling, two-disc sermon on want, need, recalcitrance, and traditional American spiritual matters viewed in an untraditional manner. Produced by OTR and Mahan Kalpa, it is full of contradiction and represents two different sides of the band's sound. Disc one is almost completely devoid of rhythm and has nothing whatsoever to do with rock & roll; its dynamic is fragmented to the point of being absent in places, and its pace is like that of a slow, controlled, forest burn. Disc two is rhythmically more varied and projects the questions on disc one more forcefully. Emotion, physical desire, and spiritual catharsis are not so artfully stated, making them come to the listener more immediately; and ultimately, there is some haunted spirit of rock & roll present in its tracks. As an album, Ohio, with its sense of tight tracking and meticulous overdubbing, carefully positioned silences, lyrical artifice, and an insistence on absolute control, seemingly turns back on itself and stands in opposition to the rest of the band's catalog, and in places, stands against itself. Because of its utter lack of playfulness and self-conscious seriousness, it seems to move against the grain that rock & roll by its inherent nature, revels in. However, none of this is to be discounted. There is great value in the aesthetic view that Linford Detweiler and Karin Bergquist hold in their collective, velvet-gloved fists. When feeling a record on a gut level as deeply as Ohio demands, it becomes imperative for the listener to observe not only the narrative journeys in the songs themselves, but the one going on in the mirror as well. Ohio is full of OTR's trademark struggle with the fractured beauty, the brokenness, the sacred, the lure to redeem the sensual and the sexual from the tawdriness of popular culture, the revelation in everyday life, the nagging, seemingly eternal doubt that has been discarded as profane or blasphemous by those wishing to discount the human condition, and so forth. In other words, these transcendent themes are also central to the evolution of not only rock & roll, but popular music across the board.
On disc one, songs such as the opener, "B.F.D.," and "What I'll Remember Most," with whinnying pedal steel guitars (courtesy of under-recognized guitarist Tony Paoletta), brushed drums, and acoustic six strings, become accoutrements for Bergquist to explore the deep, hers, Detweiler's, and yours as you twist uncomfortably in the jagged ellipses at the end of her lines. The more itchy the lyrics get, the more pronounced the artifice becomes -- "Jesus in New Orleans," a song that is unbelievable in its haggard gospel setting, becomes shiny new because of that uptight framework. Disc two comes from the heart of the process, immediately in the moment. In the songs that reference something outside the first person, such as "She," "Another Number One," "How Long Have You Been Stoned," and so forth, the power of observation becomes the articulation of archetype and metaphor. It is as if these songs all echo and underscore Bergquist's vocal ache that is as timeworn as it is brazenly insistent: "I wanna do better/I wanna try harder/I wanna believe down to the letter...." As the pedal steel whines into the center of the tune's spine, backed by a lilting piano and a faltering rhythm track, Bergquist's voice embodies the entire struggle; she's pointing the mirror into the face of the listener who "needs the grace to find what can't be found." That pop music can do such a thing is a wonder. That it can cause such visceral reactions, both attractive and repellent, is remarkable; that a band can focus so single-pointedly is a miracle. Ultimately, OTR's Ohio is a work of tattered grace, a deeply moving, maddening, and redemptive work of art, and necessary, ambitious pop. - Allmusic Review
http://www.mediaf!re.com/?ymfieqmgzy4 Out from under the sprawling, ambitious Ohio, where sonic and lyric expanses were truly ambitious yet emotionally taut and controlled, Over the Rhine bring things back to the heart on Drunkard's Prayer. Literally recorded in the living room of Karin Bergquist and Linford Detweiler, it is the most intimate and personal recording in OTR's catalog. Acoustic guitars, upright bass, and piano are the primary instruments of expression here, though a drum kit, electric guitar, cello, and some sparse horns and organs weave their way through this quietly elegant mix. As a singer, Bergquist is becoming a true stylist. She has always been subtle, but she manages to underscore the maximum emotional intent in a sung line by relying on nuance and an increasingly sophisticated manner of phrasing rather than histrionics. She lets her words drop with full literate articulation, yet she leaves unnecessary weight outside the song's frame. There is no ether on Drunkard's Prayer; songs are relaxed yet fully formed, rooted in a sense of place and time. There is a touch of melancholy even in the most hopeful tomes here, such as on the gorgeous "Born," where Pete Hicks' slippery electric guitar hovers spectrally over the sparse piano and acoustic foundation. Bergquist juxtaposes the seriousness of learning to love and laugh in the midst of living an everyday existence: "Put your elbows on the table/I'll listen as long as I am able/There's nowhere I'd rather be/Secret fears, the supernatural/Thank God for this new laughter/Thank God the joke's on me…." Lines wind together and shimmer in the foreground as voice and instruments become one. On "Spark," amid Detweiler's piano and David Henry's cello, gently yet purposefully strummed six-strings gently urge Bergquist to offer love's manifesto as the only concrete hope in the midst of fear: "You either lose your fear/Or spend your life with one foot in the grave/Is God the last romantic?" Addressing fear is a preoccupation; it is touched on nearly everywhere -- not as a physical force, but as an elemental construct in the heart of Bergquist's protagonists, a place inside the individual that needs to be encountered, entered into a dialogue with, and understood if it is to be dismissed -- give a listen to "Lookin' Forward" and "Little Did I Know." Love in its different incarnations -- from embrace to loss and grief to acceptance -- is the other experiential terrain here. "Hush Now," "I Want You to Be My Love," and "Bluer" are fine and varied illustrations where folk, rock, and American roots musics caress and kiss. The set closes with a an original, arresting arrangement of "My Funny Valentine." It is here that Bergquist's discipline as a vocalist is displayed in spades. Drunkard's Prayer is perhaps the only recording that could have followed Ohio. It is tender, poetic, gracious, and in places deeply moving. As mature and assured as it is, it may also be the best place for the uninitiated to get acquainted with OTR. - Allmusic Review
http://www.mediafire.com/?tnjmuy2ywnf
http://www.mediaf!re.com/?dxm1lymnnnm There's plenty to admire on this follow-up to 2007's The State Of Things, not least Jon McClure's swashbuckling political commentaries, which state much the same things as before, but with added panache. For a while though, it seems as though he and The Makers may be barking up the wrong tree, as the opening "Silence Is Talking" takes War's "Low Rider" riff, swaddles it in electric sitar, and harnesses it to a baggy Madchester groove – a concoction less palatable than it sounds, and not helped by the clumsy chant of "Free will is paramount". Things improve markedly with "Hidden Persuaders", which makes similar points about the advertising industry as the Vance Packard book whose title it borrows, angled to target the band's youth constituency with references to how admen "get you buying the jeans that you don't really need from the fashion dictators". Set to guitar arpeggios studded with twinkly celesta highlights, and featuring a haunted trumpet break, it recalls the retro pop of fellow Sheffielder Richard Hawley and John Barry's thriller themes.
"Manifesto/People Shapers" applies similar criticisms to specifically political matters, McClure's target this time being the faceless people who stuffed racist leaflets through his letterbox. "What democracy's this, when people-shapers bend and twist?" he wonders, finding solace in the anger the leaflets prompt in him, concluding "I'm in love with the notion of giving a fuck". Musically, the track's an oddity, its goth stylings bringing to mind the strange prospect of Bauhaus with a political agenda. Equally odd, however, is "Professor Pickles", a song about some "Dr Feelgood"-style drug supplier, in which the cheap electric organ and tambourine – not to mention the reference to The Electric Prunes' acid anthem "I Had Too Much To Dream Last Night" – construct a retro-psychedelic ambience, as if it were an outtake from Ogden's Nut Gone Flake or Sgt. Pepper.
The band revert to their more usual Madchester-revivalist mode for the Stone Rose-y "Mermaids" and "The End", in which McClure's disgust at what he calls "emotional economists" comes across like an Ian Brown protest number foretelling doom: "If you're looking for the end, it won't be long". McClure's adept at this kind of flamboyant rhetorical flourish, whatever the subject. "Please don't try and contact me, the river owns the battery from my phone," he tells the former friend brushed off in "Long Long Time", while "No Soap In A Dirty War" concludes with the anthemic chorus "I don't want to die in the same hole I was born", an aspirational attitude one would have imagined was a bit too New Labour for him. - The Independent Review
http://www.mediaf!re.com/?mk4kmcyrtnk True, “subtlety” is not the first word one thinks of in regard to the Arcade Fire. And yet Edinburgh’s Broken Records, whom the murmurs have begun to tout as Scotland’s answer to the Arcade Fire, make it plain that it takes more than accordion and strings and elaborately wrought Weltschmerz to sell a lack of subtlety. Until the Earth Begins to Part is the best foot forward from a band whose every motion swells with great passion, but who are so preoccupied with the adornments of great passion that they often leave the substance to be inferred.
Maybe “substance” is the wrong word. Until the Earth… is a crowded, engaged album, concerned with what singer Jamie Sutherland calls “all the shit things men do” and intent on conveying that concern with seven players’ worth of instruments. There’s nothing damning about that per se – consider the Arcade Fire’s Funeral and Coldplay’s Viva la Vida, two much better albums that are just as evangelically cheesy. What’s missing here isn’t content, just some of the details that allow albums like those to draw you in even as they beat you over the head with sentiment. Like momentum, which Until the Earth… exhausts faster than it can build. Most of its songs surge and recede too regularly and too fitfully to have much dynamic staying power; the album’s prettiest passage, a sudden outburst of layered insistence toward the end of the slow-building “Wolves,” comes out of nowhere and back in short order. Lead single “If the News Makes You Sad, Don’t Watch It” has a wonderfully tense melodic body, but the bottom keeps dropping out because each moment seems under strict orders to be more urgent than the last.
The vocals are another issue: the considerable depth afforded by the album’s instrumental arrangements is usually offset by Sutherland’s voice, the kind of anguished yowl that hasn’t successfully conveyed emotional depth since the early 1990s. He uses it to superb effect in “Thoughts on a Picture (In A Paper, January 2009),” but the same tricks make a flop of the noncommittal gypsy-fetish “If Eilert Loevborg Wrote A Song It Would Sound Like This” (that being the tormented ex of the heroine in Hedda Gabler, for those keeping score at home). The band ebbs and flows excessively, but the vocals hemorrhage earnestness with every sentence, which belabors the point a lot quicker. You can bet Broken Records’ ambitiousness is their best quality, not their worst; plenty of bands have better poise and still fail to be as interesting. They’re trying too hard for all the right reasons, and every so often the byproduct is great – but they’ve yet to find that thing, that detail, that lets them go for the gut at every single moment without your eventually wishing they’d just give it a rest. - Dusted Magazine Review
http://www.mediaf!re.com/?ijbmte3m2d2 If Frankmusik’s pop star dreams don’t go according to plan, it won’t have been for want of trying. The 22-year-old known to his parents as Vincent Frank has tweeted and MySpaced his progress through 2009 with a zeal that makes Stephen Fry seem coy. His first three singles for Universal have been accompanied by a marketing spend more typical of an era in which, at its most profligate, Tears For Fears spent a month of studio time perfecting the drum sound on a single song.
In March, Frank’s televised Live And Lost experiment led him to make sacrifices in the name of promotion that few other artists would consider. He undertook a 20-date tour of Britain, with just £20 and no accommodation. Relying on his own MySpace updates to alert fans to his whereabouts the former beatboxer from Croydon blagged and crashed his way around the UK, singing the Doobie Brothers’ What a Fool Believes at a Newcastle bagel bar in exchange for food. All of which was most entertaining. But what it really needed to produce was a sizeable hit single. When the industrially catchy Better Off As Two stalled at 26, Universal put back the release of Complete Me, hoping to attach the album to a more successful song. For now, a slightly desperate gamble appears to be working. Confusion Girl has been A-listed at Radio 1. That Radio 2 has followed suit suggests that Frank’s career may finally be airborne.
If Complete Me makes a bona fide pop star of him, it will be, in part, down to the same demographic marriage of convenience that has led La Roux to go supernova. As with the La Roux effort, Complete Me pulls off the odd feat of sounding anachronistic and thoroughly modern and, in the process, bagging itself two audiences. It’s the modernity that you notice first: the chopped-up synth samples that slide atop the elastic funk of In Step couldn’t have been made in any other decade. Similarly, the processed bursts of the Stranglers’ Golden Brown on When You’re Around sound respectful and iconoclastic, a balancing act that needs the arrogance of youth to succeed.
Of course, that he’s heard Golden Brown is key to the appeal that these songs hold for the older pop fan. You suspect that Frank would merely greet you with bewilderment if you told him that some people don’t regard the 1980s as a golden era. The fact is, however, that he’s too young to be encumbered by the most hateful excesses of that decade. What he has inherited, however, from the likes of A-ha, Vince Clark and Pet Shop Boys is a devotion to songcraft that doesn’t preclude a desire to sound state-of-the-art. If nothing else, that will explain the guileless exuberance of Gotta Boyfriend?, Better Off As Two and Time Will Tell. Like almost all of Complete Me, these are break-up songs that address the end of a two-year relationship. You can only surmise that there’s real pain in there, the sort of pain that most songwriters underscore with a sincerely strummed acoustic guitar — but the affirmative surge of a Frankmusik song is entirely consistent with someone who has pledged his allegiance to pop over and above that of love. On this evidence, his pain is our gain. - Times Online Review
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http://www.med!afire.com/?wzo0mnqvnxdhttp://www.mediaf!re.com/download.php?uejmckmgzid1. Charmeleons Ghost Skip
2. Yellow Car, I Called It
3. Kiss and Tell
4. Revive
5. Cj Rough Wreath
6. Noahs Shark
7. Clinton wasn't on a bill, He was One
8. Ami Jean
Sample: http://www.myspace.com/pirouettemusic
http://www.mediaf!re.com/download.php?yjyuzgqfnz01. Begin Again
2. My Life Is Only a Daydream
3. Future Perfect
4. Suddenly Everything Happens
5. Consolation Song
6. Brook Lune
7. New Light to Guide
8. Wishing Well
9. You Set the Scene
10. Once and Ocean
If his new project did not look so promising, David Skirving would most likely be kicking himself for leaving the acclaimed Camera Obscura when he did. Now a fixture in the contemporary indie-pop scene, Camera Obscura has now become a highly accomplished act, releasing three acclaimed albums that have garnered both critical praise and receptive sales with their amiable association of country and general pop influences. Skirving was an original fixture in the band’s lineup when they formed in 1996, playing the part of guitarist before he left the band in 1999 and was replaced by Kenny McKeeve. Most of us know what has become of Camera Obscure by now, so what about Mr. Skirving? He mainly kept up with his musical ambitions in his native Glasgow, forming the oddly titled California Snow Story almost directly after his disbandment from Camera Obscure. The band’s lineup revolved over the years, with Skirving being the consistent driving force with a friendly group of backing musicians. California Snow Story’s first release, One Good Summer, came in 2002 on the Shelflife label with sales that were considered somewhat lackluster, though with musical results that appeared promising. As a result, Skirving went on a slight hitatus, though he abruptly returned in 2005. With his return to the musical world, his songwriting appeared sharper and more concise, leading to the arrival of vocalist Sandra Belda Martinez, best known as the vocalist for Superété. The duo was later joined by keyboardist Madoka Fukushima and drummer Alan Skirving, finally establishing a lineup with enough credentials to record their long-awaited debut full-length album, Close to the Ocean. It is set to be released on May 24th.
Though the name California Snow Story may sound a bit like an oxymoron, the music is fortunately more soothing on the mind. There are no perplexing styles or experimental techniques on Close to the Ocean. Instead, it is a rather straightforward release that would most likely sound best on a brisk Autumn day with its relaxing melodies, soft instrumentation, and lulling vocals. Ironically, I would have most likely compared California Snow Story to Camera Obscure even if I held no knowledge on Skirving’s past with the band. This is mainly attributed to the vocal techniques utilized throughout most of Close to the Ocean. Both David Skirving and Sandra Belda Martinez relay sets of cozy vocal accompaniments, whether it be singing in the form of a duet or through separate verses. In most circumstances, like in the serenely compelling “My Life is Only a Daydream”, the verses hold separate vocal cuts while the chorus is touched by an invigorating duet, sounding quite beautiful over the delicately crafted acoustics, guitars, and slight whirs of synths. The percussion is barely above an inaudible tap, often exchanging shuffles for the usual excitable fervor; a technique that proves to be most effective with consideration toward California Snow Story’s expertly perfected tone. Close to the Ocean is one of those rare rainy-day albums that somehow manages to integrate both a tranquil setting with memorable melodies in order to avoid any tedious or unbearable sensations.
Even though it moves quite indolently like the majority of Close to the Ocean, “Suddenly Everything Happens” maintains to be the most blatantly energetic on the album. With the slight whisper of an organ underlying the constant rhythmic patterns of an electric guitar, Skirving and Martinez both take turns on the vocal front, alternating between each verse before sliding into an anticipated duet toward the conclusion of the song. It turns out to be an admirable effort, showing what California Snow Story is perfectly capable of. One of the only gripes that I have with Close to the Ocean is the lack of vocal variation. Both Skirving and Martinez fit perfectly into their intended objective of creating soothing pop songs, though a slight measure of uplifted emotion or increased melancholy could create potentially devastating hooks, an aspect that some shallow tracks like “A New Light to Guide You” and “Wishing Well” could benefit from. With its ten songs, the first half of Close to the Ocean should be the perfect soundtrack for a breezy day in October. Even while the level of enjoyment will rely on either weather or mood for most individuals, the debut full-length from California Snow Story is enjoyable for the most part. Perhaps Skirving’s departure from Camera Obscura was not such a bad move after all, as California Snow Story seems to fit his restful ambitious quite well.
http://www.mediaf!re.com/?ynwntgdfynjDisco punk band HEALTH are prepping the release of their second album Get Color, due September 8th on Lovepump United. According to Pitchfork, "Die Slow sounds like a party where Lightning Bolt's playing at one end of the room and Giorgio Moroder is studiously banging out psych-disco masterpieces at the other..." Can't wait!
http://www.mediaf!re.com/?jzgoxm4g1nmDon’t threat people, there’s nothing really going on with the all-ladies Brooklyn trio, apart from releasing a new, juicy album that is. Last year’s incredible, albeit very short self-titled gained the Vivian Girls a lot of praise, especially from behalf of music blogs like the one you’re reading now, but also attracted some criticism because of it’s lyrics. Now, only 12 months after their well received debut, time in which they’ve extensively toured the country, playing all the big indie festivals, alongside huge acts like Sonic Youth, the Vivian Girls are more than ready to release their sophomore LP.
Like most of you may have guessed from the title, the new album is titled “Everything Goes Wrong,” contains 13 tracks and is said to be a lot, lot lengthier than the first one. Not only is it going to be a longer album, though, it’s going to have a slightly different sound, more moodier, influences like Gun Club and Neil Young being cited.
“We recorded 15 songs, but if we put them all on the album, that’ll be an hour’s worth of music, so we’re going to have to cut some of them out,” Ramone goes onto explain. “Our last album was like 22 minutes, so we figure if this album is longer than 44 minutes that’ll just be insane. It would be twice as long.”
Well, yeah, I guess it kinda makes sense. Recordings were held sometime in March and it’s said the band managed to finish it in six days versus the three days it took for the debut album to complete. Does this means we might get a more mature, baked album? Hopefully. Everything Goes Wrong will be out in September 8th via In The Red . Tracklist right bellow - also, for those of you unfamiliar with the band, check out my favorite track of Vivian Girls’ debut, “Tell The World.”
Can we get a critique or some word on Health?
http://www.mediaf!re.com/?e0ynzzhznhn Boards of Canada's 2005 album, The Campfire Headphase, included a song called "Chromakey Dreamcoat" that sounded like guitar loops playing on a wobbly phonograph. You have to wonder if this was a shout-out to their li'l homey Bibio, who cut three records for Mush from the whole cloth of this idea. Like his idols, he filled his electro-acoustic music with antiquated cultural products and nature sounds-- things that are beautiful because we've less and less use for them. But he lacked range, his wavering loop-collages falling into two categories: those informed by the sprightly forms of British folk, and those that were nearly formless.
Bibio released Vignetting the Compost just five months ago, and it seemed to cement his status as a pleasant one-trick pony. So it's shocking how utterly and successfully he rewrites his playbook on this Warp debut. I actually have to eat a little crow. I wrote of Compost that Bibio had a "thin, modest voice that verges on anonymity," and suggested that he should favor atmosphere over songcraft. This seemed justified: The more the songs approximated pop structures, the less interesting they became. But on Ambivalence Avenue, Bibio proves that he actually can sing and produce memorable arrangements. He used to make FX blurs with traces of pop and folk; now he inverts that formula with bracing clarity.
The results are fantastic and diverse: The title track weaves bouncing vocals through crisp guitar licks and bouncy flutes; "All the Flowers" is a fey folk gem; the dreamy "Haikuesque (When She Laughs)" is better indie-rock than many indie-rockers are making these days. Summery anthem "Lovers' Carvings" coasts on crunchy, gleaming riffs and upbeat woodblocks, and the autumnal "The Palm of Your Wave" is simply haunting. It's hard to believe that these inspired, moving vocal performances are coming from the same guy who recorded moaning ambiguities like "Mr. & Mrs. Compost". Occasionally, you'll hear a little tremble in the strings and go, "Oh right, this is Bibio," but mostly, detuned atmosphere has been replaced by silky drive.
While these songs are a quantum leap for Bibio, they still reasonably project from the foundation he's laid. But there's no accounting for the remainder of the album, which finds him paddling the uncharted waters of hip-hop, techno, and points outlying. "Jealous of Roses" sets lustrous funk riffs dancing between the stereo channels as Bibio belts out a surprisingly effective Sly-Stone-in-falsetto impersonation. "Fire Ant" spikes the loping soul of J Dilla with the stroboscopic vocal morsels of the Field; "Sugarette" wheezes and fumes like a Flying Lotus contraption. The music feels both spontaneous and precise, winding in complex syncopation around the one-beat, with subtle filter and tempo tweaks, and careful juxtapositions of texture (see the arid, throttled voices scraping against the sopping-wet chimes of "S'vive"). Many songs taper off into ambient passages that have actual gravity, gluing the far-flung genres together. It's the kind of seamless variety, heady but visceral, that few electronic musicians who aren't Four Tet have achieved.
While Ambivalence Avenue is an excellent album by any measure, Bibio deserves extra credit for venturing outside of his established comfort zone. He began his musical career trying to emulate Steve Reich and Boards of Canada on no-fi equipment. He was fascinated by the physicality of media-- of degrading tape and malfunctioning recording gear. And he was interested in the natural world, letting the sounds of streams and rainshowers stand in for his own personality. Having depleted these ideas over the course of three solid albums, he's put them aside to do nearly the opposite. Ambivalence Avenue moves the focus from the flaws of media to their capacity for precision, and takes fewer cues from nature than from the urban sounds-- including Dilla and Madlib-- that Bibio admits discovering in recent years. By jettisoning a limiting aesthetic, he reveals his abilities to be startlingly vast, and one of our most predictable electronic musicians becomes a wild card. - Pitchfork Review (Score: 8.3)
The A Place To Bury Strangers album has been yanked from mediaf!re for content violation :(
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http://www.mediafire.com/?mmgnjjmjjgmBilling themselves as “emissaries from your local, tightly knit community of anarchists and squatters,” Santa Cruz, Calif.’s Blackbird Raum embodies a distinctly youthful sub-sub-genre of dark protest folk. Borrowing accordion and banjo from the more morbid corners of traditional European and American music, the young group plucks up aggressive acoustic music as they share their none-too-subtle politics.
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http://www.mediafire.com/?omuodtmryza http://www.mediafire.com/?zmrwjihet2m Hit the right couple of notes and you could convey even the most complex of feelings. Our ears are hyper-attuned to nuance, whether we notice it or not, and certain sounds can telegraph an avalanche of emotion. Enlisting this shorthand sometimes encourages laziness in musicians, but nobody minds when the results work. For example, "The Birds", the lead track from Telefon Tel Aviv's third album Immolate Yourself, isn't much on paper-- some sequenced synths, an insistent snare, some ghostly, hard to make out vocals-- but its six or so minutes set the stage so nicely for greater things to come it doesn't matter that there's not much there. The fact that the rest of the disc only occasionally delivers on that promise shouldn't be held too strongly against its achievements.
Immolate is arranged and produced with almost microscopic attention to detail by the Chicago team of Joshua Eustis and Charles Cooper, who was tragically found dead the week of this album's release, and the emotions it evokes are undeniably effective-- and musically similar to Junior Boys or M83, sentimental groups that specialize in electronic music imbued with a certain elusive pop glow. Indeed, one of the pleasures and frustrations of Immolate is how subtly it similarly exploits the nearly invisible barrier separating song from simple synth sketch. Yet unlike the more cohesive albums from those aforementioned acts, Immolate is a one-step forward, one-step back proposition, marching in place to an internal setting somewhere between chilly background mood and something more melodic and engaging. It's impeccably crafted but oddly non-committal, pulling you in and out like a dream. Part of the problem stems from the practical matter of sequencing-- not in programming terms but simply how the album progresses. Following "The Birds", "Your Mouth" pulls off nearly the same sleight-of-hand trick, implying more substance than what's actually there, priming you for something bigger to happen but ultimately leaving you hanging.
The payoff arrives with the next track, "M", which after its slow swoosh of a start develops into an honest-to-goodness song, with vocals, a hypnotic hint of a melody, and herky-jerk drums equally informed by the clubs and contemporary top 40. It's not a Technicolor Wizard of Oz moment, but the effect is largely the same. Something's different, something clicks, or at least clicks and connects in a better way than what came before, even more so on "Helen of Troy", which sounds like a great lost Depeche Mode single-- there's even an actual chorus! With the subdued but still solid "Mostly Translucent", it again sounds like Telefon Tel Aviv found their inner Martin Gore, and the super "Stay Away From Being Maybe" finds the group heeding that advice, the listening experience shifting to a more enthusiastic "definitely." Then, disappointingly, Telefon Tel Aviv retreat back to mood piece on the pretty but ephemeral "Made a Tree on the World", which once again relies too much on a few well-placed chords and the easy sentiments they suggest. "Your Every Idol" doesn't justify its five minutes of echoing drums, droning synths, and disembodied voices and the record closes with the relatively perfunctory title track and like riding a Mobius strip, we feel back at the beginning again. For all the pleasant stops along the way, the album hasn't come full-circle so much as spun its wheels in place. - Pitchfork Review
http://www.mediafire.com/download.php?qmukoemctmd Summary: Cooper recorded this EP in two hours, simply putting a microphone up to his piano and playing. It is bare and simplistic, but that has its profound qualities and also makes the album relaxing. Score: 3 out of 5 I’ve always enjoyed Matthew Cooper of Eluvium fame for his subtleties. From everything I’ve heard from him, he took extreme precision to his music and seemingly at the last second, added subtle swells and voices that no one can hear, but its obviously there because it added a density and complexity to his sound. An Accidental Memory in the Case of Death sounds like just that, an accident. It seems as if Cooper sat in a studio with a piano and laid down a few basic ideas for an upcoming album, and these takes leaked. Cooper apparently recorded it in two hours with one microphone on his piano. It is unlike anything he has ever done. It stands stripped bare of his beautiful nuances. I’ve never heard any release quite as simple as An Accidental Memory in the Case of Death. Every song features one main piano melody that Cooper builds upon throughout the generally short tracks. With everything occurring on one instrument,
Cooper now possesses the ability to do whatever he wants, putting in any ritardandos and any rubato that he wishes. His piano skill shows itself, as this is truly a live performance set in a studio. He meant for the EP’s bareness and simplicity. While Cooper never breaks out into any ferocious classical-styled piano runs, his chordal comping and perfect balance between left and right hand exude brilliance. Even in this live performance of one-off takes, Cooper makes no noticeable mistakes. There are some slight piano tuning issues, with some of the notes from before messing the tuning of the current chord. Cooper has a typical method to his piano songwriting. In most songs, his left hand lines out the chord progression with a sort of walking arpeggio. This helps him keep time and holds the song together.
However, he doesn’t limit himself to that, sometimes using the left hand for chords to invoke some sort of power into the song. His melodies are often relentless, never using much space and getting notes in at all times. Still, the melodies are simple and accessible, memorable. He uses dynamics well, about as well as he can with his delicate compositions and bareness. That bareness, what makes the EP, is also what hurts the EP. An Accidental Memory in the Case of Death fails only in its lacking variety and sameness throughout. Really, every song on this release flows together like one big, slow, piano concerto. The tempos hardly vary and Cooper plays with one, convicted emotion. On a timid, quiet release such as this, it adds to the style but it has more cons than pros. The Well-Meaning Professor, the centerpiece, offers the only slight variety on the EP in style and feel. The song takes seven minutes to build up and expand, and by the song’s full expansion Cooper is showing his full piano chops.
He plays frantically and slightly chaotically. The Well-Meaning Professor is a great piano track and the only song on the EP that reached its true and full potential. An Accidental Memory in the Case of Death shows that Cooper is not a one-trick pony. Sure, he can sit in a studio for months and pour every sound he can produce into each song and make the most intricate and dense song possible, but sometimes that’s not how he is inspired. Cooper finds the beauty in simplicity, even if he might enjoy it a bit too much on this release. He manages to create a relaxing and enjoyable EP, but it does nothing more for the listener than it will on the first listen. Its replay value is low. He could have at least taken the time to do some production work instead of just sitting down, playing, and releasing it. If he didn’t have the time then he shouldn’t have made the EP. Still, it has its moments and is certainly worth at least one listen for fans of Matthew Cooper and his work. - Sputnik Music Review
I just got a flash drive and have started using public library computers to download albums.
Showcasing a dozen tracks which hail from a rainbow of eclectic musical genres from both the traditional and experimental spectrum's of sound, yet belonging to none. The most important aspect, and well worth emphasizing at that, of this release that truly moves it onto its own level is its utter lack of sterility and banality. 'Kukan', despite its subtle electronic nature, feels alive, generated directly in your immediate environment or between your ears. It is this aspect which elevates music, and specifically this stellar release, into true artwork masterpiece status. After you have listened, you will understand to the fullest just what that means.
http://www.mediafire.com/?nyzzzgneyonhttp://www.mediaf!re.com/?jmmewjlgmmmhttp://www.mediafire.com/?jqimz52mdbi“i write songs for those who see the face of god in dirt and rust and broken things. for those who love desolation and who make of it ceremony and song. for those who bear memory’s weight and who count the days of their youth in the blinking lights of distant radio towers and deserted intersections. who read in the crumbling names of towns on water towers the dispatches of passing seasons and forgotten heartbeats. for those who in dreams find great and unknowable mystery. who love words that sound upon their lips like secrets and sighs.”
This album definitely has a melancholy tone about it, but it’s not meant to be sad or somber. It’s a celebration of the hurt of nostalgia and the ending of things. The dying of seasons. Passings.
This album differs from my first album, Hymns to the Darkness, in several ways. First of all, it sounds better. I recorded it all myself in my living room. But I’m better at recording now. It features the pedal steel guitar, which I taught myself to play for this album.
It features some very talented guest musicians, which is different from “Hymns.” It features KatieJane Garside (Daisy Chainsaw, Queen Adreena, Ruby Throat) on vocals on “Where we fall we’ll lie”, which is a track she co-wrote. Andria Degens of Pantaleimon is on “Lights on the Hills,” on vocals, harmonium, and bass. Matt Bauer is on banjo and harmony vocals and Jay Foote is on bowed bass on “Night Jasmine.” Josie Little is on harmony vocals on every other track where you can hear a female vocalist. Sara Zentner, my wife, is on piano on “I’ll be Here When You Wake.”
I’m really proud of this album. I think it’s the best one I’m capable of doing.
The new album is a deeper journey into the music than his previous work on “Hymns to the Darkness”. There is more experimenting with duets, more ambient texture mixed in with his acoustic leanings. Take one listen to “Where We Fall We’ll Lie” and you will know of what I speak. Zentner is bringing in a new facet of his performance – almost a fringe folk edge. Another aspect of note is production – there definitely seems to be more emphasis on making the album a beautifully dark and raw recording. When I say “raw” I mean something that just might take something out of you, this isn’t simply a sit down and sing your songs while we record them experience. I especially enjoy the inclusion of the mandolin, echoing banjo and increased overall atmosphere oozing from this recording . It is an album that needs all it’s parts though, every limb and piece of Zentner together in order to be appreciated. Sure there are stand alone tracks that are great (the title track for one), but each one lends to the entire package.
There is much more inclusion of the fairer sex this time around as well, including Katiejane Garside (from the above mentioned “Where We Fall We’ll Lie” of which she co-wrote) and the great Josie Little who performs on at least 4 other tracks. You even get Matt Bauer and Jay Foote on the lamenting “Night Jasmine” – one of my favourites. Overall, maybe it is the collaborative effort of this album that gives it a larger scope, or maybe I just really like dark Americana artists.
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Part 2 - http://www.mediaf!re.com/?t52ozxfzmqzThe very idea of folk music has recently become distorted: we no longer think fiddles and pipes, and we might not even look to artists such as Joni Mitchell and Simon and Garfunkel as pioneers, as acts like Fleet Foxes and Bon Iver reinvent the genre for modern times. Yet folk remains more than simply a vehicle for acoustic guitars; it is a means of storytelling.
James Yorkston has never quite fitted in with the new guard of folk artists, the likes of Justin Vernon et al. Not quite radio friendly, not especially advert ready, the Scot has long produced folk music in a traditional style, albeit with some rock music leanings. So it is only appropriate that he should now choose to interpret the songs that have so inspired him, with the help of the Big Eyes Family Players in lieu of his Athletes.
‘Folk Songs’ features an array of songs which are interpretations of traditional Anglo-Irish folk tunes, passed down through generations, and increasingly delivered as modern renditions. Most of them Yorkston himself learned from performers of the ‘60s - Anne Briggs is mentioned a few times - and had evolved into something new by the time they reached his ears.
The tracks that stand out the most are, surprisingly, those that feel the least traditional. ‘Mary Connaught and James O’Donnell’ is the closest to a rock song - featuring the same frantic rumbling Yorkston previously applied to Lal Waterson’s ‘Midnight Feast’ - and comprises a highlight for its sinister harmonies and maritime atmosphere. At the opposite end of the blurred spectrum is ‘Just As The Tide Was Flowing,‘ which - being brief and jaunty in nature - may be the closest thing to a pop song on the record. But even the most traditional of the lot, ‘Thorneymoor Woods,’ is far from predictable: the tale of a poacher, it is told through a musical evocation of mist.
‘Folk Songs’ serves as fine introduction to both Yorkston and traditional folk. Many are bound to recognise a tune familiar if ever caught on their grandparents’ radio as a child, while those who are au fait with the newer age of folk can embrace the opportunity to learn from the old guard. Hopefully it will be a jumping off point for further exploration.
http://www.mediaf!re.com/?dcmnqnzzzmtI listened first to Mazzy Star only a few years back, and at once was enveloped in the dreamy blanket that the band weaved with their music. Songs like Fade Into You and Rhymes of an Hour were made for a lazy day on the bed. Sandoval’s smooth and intimate voice fit well with the guitar thrums of David Roback to create the “aural equivalent of longing” as one reviewer put it.
After 1996, Hope began working with other bands and Mazzy Star was lost, much to the disappointment of fans. Sandoval formed The Warm Inventions in 2001 and came out with the debut album Bavarian Fruit Bread the same year. The Warm Inventions are Hope and Colm Ó Cíosóig (the drummer from My Bloody Valentine). Bavarian came and went without much news. The Warm Inventions since then also came out with two EPs both of which got little airplay. However, now the band is coming out with their second album, Through the Devil Softly on September 15; and it seems its time to play the music once again.
The band has released one song off the album – Blanchard, and it has the same drowsy plaintive soul that makes Hope special. Blanchard is a bluesy dreamy affair with Hope holding center-stage with her breathy caressing vocals tumbling through a cloud of lush guitar. As usual, the lyrics are almost impossible to decipher, yet the music does a good job of guiding the listener along a whirl of emotions. “I play death in the space of my life. That’s how I feel, and I never think it twice.” In concerts, Hope and the band usually envelop in a blanket of darkness punctuated by flickering lights here and there, ensconced in their own space. They expect the listener to do the same, cocooned in their music, a thoroughly private affair.
In other news, Hope has confirmed that she and Roback haven’t called it quits and they are still working on their fourth album. So Mazzy Star will be back, hopefully soon. One guy termed Mazzy as “country music as imagined by Tim Burton”. Nothing could be truer.
Hope Sandoval up
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I don't know if anyone is interested in this, but i'll UP it anyways...
Kings of Leon - Live at Oxygen Fest 2008
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http://www.mediaf!re.com/?xnoiqtmhjyzA truly incendiary deep soul performer. O. V. Wright's melismatic vocals and Willie Mitchell's vaunted Hi Rhythm Section combined to make classic Memphis soul during the early '70s. Overton Vertis Wright learned his trade on the gospel circuit with the Sunset Travelers before going secular in 1964 with the passionate ballad "That's How Strong My Love Is" for Goldwax in Memphis. Otis Redding liked the song so much that he covered it, killing any chance of Wright's version hitting. Since Wright was already under contract to Houston-based Peacock as a gospel act, owner Don Robey demanded his return, and from then on, Wright appeared on Robey's Backbeat subsidiary. Wright's sanctified sound oozes sweet soul on the spine-chilling "You're Gonna Make Me Cry," a 1965 smash, but it took Memphis producer Willie Mitchell to wring the best consistently from Wright. Utilizing Mitchell's surging house rhythm section, Wright's early-'70s Backbeat singles "Ace of Spades," "A Nickel and a Nail," and "I Can't Take It" rank among the very best Southern soul of their era. No disco bandwagon for O. V. Wright -- he kept right on pouring out his emotions through the '70s, convincing his faithful that "I'd Rather Be (Blind, Crippled & Crazy)" and that he was "Into Something (Can't Shake Loose)." Unfortunately, he apparently was -- drugs have often been cited as causing Wright's downfall; the soul great died at only 41 years of age in 1980.
Debut album from fun. The new band of Nate Ruess from The Format.
Fun - Aim and Ignite
(http://i199.photobucket.com/albums/aa219/livbarrob/f_aai_150x150.jpg)QuoteIt is impossible for anyone to remain in a bad mood after listening to Aim & Ingite in full. It is one of the most fulfilling albums I’ve heard in a while. The brain trust of fun. - Ruess, Dost, and Antonoff - have something to be extremely proud of; an album that is and will be well received from critics and fans alike. Aim & Ignite is what a pop album should sound like. Hell, Aim & Ignite could even cheer up Rob Gordon. So turn those frowns upside down, as fun. has released the most essential pop album of 2009.Code: [Select]http://www.mediaf!re.com/?yyzmytiknzn
This link is pooped out. =(
can you re-up PLZZZ??
http://www.mediafire.com/?ctjjjdixuj3ARCTIC MONKEYS - HUMBUG (2009)
[img]http://a.imagehost.org/0009/Arctic-Monkeys-Humbug-Cover-Art-Design.jpg[img]Code: [Select]http://www.mediaf!re.com/?mm5eyrmvnmn
ARCTIC MONKEYS - HUMBUG (2009)
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Needs a Re-up
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http://www.mediafire.com/?zi0mrtnmiom Vancouver's Stephen McBean may be better known as the principal songwriter and frontman for the gritty psych outfit Black Mountain, but he also leads that group's gentler counterpart, Pink Mountaintops. Though Pink Mountaintops was originally conceived as a solo project, McBean clearly thrives in a collaborative environment. The project's third album, Outside Love, features input from an impressive cast of indie rock staples such as Sophie Trudeau of Godspeed You! Black Emperor/A Silver Mt. Zion, the Sweet Hereafter's Jesse Sykes, Josh Stevenson of Jackie O Motherfucker, and his longtime creative collaborator, Amber Webber of Black Mountain and Lightning Dust.
Although Pink Mountaintops were temporarily put on the back burner after the success of Black Mountain's self-titled sophomore album in 2005, McBean resurrected the group the following year with the release of Axis of Evol, on which he continued to explore his deep-rooted love of dark psychedelia with minimalist rhythmic patterns and spidery, hazy, lo-fi guitar. With Outside Love, McBean takes this theme on an adventurous journey to surprising heights, and the fully realized sound allows his ideas more room to breathe. The granular spaciousness of the production, when paired with intentionally sloppy drums and chiming guitars, imparts an atmospheric, almost gothic feel. This works beautifully on the Mazzy Star-esque "While You Were Dreaming" and on the outstanding opening track, "Axis: Thrones of Love", which expands with lackadaisical smokiness as a rinse of reverb settles like morning mist over the male-female co-sung chorus.
Despite the cloudy threads that crisscross through every song, Outside Love throws out some supremely positive vibes. On "Holiday", McBean declares that everyone he knows deserves a vacation in the sun "until the lions are off of their backs", and "The Gayest of Sunbeams" is a shambolic, joyous romp built on uptempo chord shifts and group vocals that burn with enthusiasm. But it takes multiple listens to uncover the complexity of Outside Love; despite its deceptively simple architecture, it's grounded by rich stylistic flickering. The folky ambiance of "And I Thank You" could have slipped out of Bill Callahan's back catalogue, while the string section that hangs in the background of "Vampire" has a discreet but haunting presence, like cobwebs diffusing light through a window. This kind of agile songwriting shows that Pink Mountaintops' substance lies not only in what they show, but in what they choose to hide; here on Outside Love, they move between shadows and light until the form is revealed. - Pitchfork Review
http://www.mediafire.com/?yt4jzjjzomn A friend recently volunteered a capsule review of Papercuts' new album, You Can Have What You Want: "Catchy, but it'd be better if it wasn't so... muted. It's like the guy's singing through the wall." On one level, my friend's right. Jason Quever's one-man (plus guests) band makes blurred-edge music with damp organs, milky guitars, reverbed vocals, and sticky, half-familiar melodies seemingly snatched from some collective unconscious. And the album's opening couplet, "Once we walked in the sunlight/ Three years ago this July 4th", sums up Papercuts' temperamental pitch with tweet-like brevity. Their 2007 LP was titled Can't Go Back, but as a songwriter Quever can't help but indulge nostalgia, including its bitter constituents, regret and remorse.
Papercuts, however, aren't agoraphobic shut-ins exorcising romantic demons and venting life's inequities. A backward-- and inward—looking predilection actually serves the band artistically. Quever crafts his aesthetic from the raw materials of Zombies, Velvet Underground, and Galaxie 500 appreciation, Phil Spector worship, and an indie rock gospel that equates modest ambitions with really, really meaning it. And the Bay Area singer-songwriter has buffed this sound to a rose-colored finish playing in and touring with 60s-rock fetishists Vetiver and pop deconstructionists Beach House and Grizzly Bear-- folks who consider musicological context. So a shivering dirge like "Jet Plane" or the spacey ether-float of "A Peculiar Hallelujah" don't seem unduly muted. They're simply well-crafted examples of a certain introspective, highly melodic pop tradition.
Although YCHWYW doesn't offer a song as memorable as Can't Go Back's superb "John Brown", the tracklist's reasonably solid. First single "Future Primitive" is cool and minimal, pitting pulsed bass, throbbing toms, and biscuit-crisp snare hits and tambourines against Quaver's high, hazy croon. In the few moments before his voice enters the analog mix, you could almost imagine a smart-suited Smokey Robinson stepping up to the mic. Hypotensive organ droning opener "Once We Walked in the Sunlight" and a few other stretches drag, but punchier tracks like "A Dictator's Lament", with its infectious Paisley Underground chorus, and "The Void", which flips its slow-creeping intro for a psychedelic, honey-harmonied outro, redeem the record's narcoleptic drifts.
But then, warm bath and afternoon nap pop (or, as the "Future Primitive" video intimates, tunes for lone, swaddled journeys across post-apocalyptic landscapes), is what fans have come to expect from-- and love about-- Papercuts. If these songs are low-voltage wires that hum, buzz, whir, purr but rarely jolt, they yield just enough electricity to light the way forward. - Pitchfork
Aim and Ignite
fun
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Summery in an unexpected way befitting a project whose name translates to "black ice cream," Awe Owe puts folk, jazz, electronic, and pop music through a distinctly Latin filter, reflecting Helado Negro main man Roberto Carlos Lange's Ecuadorian heritage and Miami upbringing. Lange is also a member of Savath & Savalas, joining that group for their 2009 album Llama, and both projects combine tradition with experimentalism in a way that sets off both sides of their sound -- and since Savath & Savalas and Prefuse 73's Guillermo Scott Herren appear here as well, it's easy to see Helado Negro as a part of an extended collaboration between him and Lange. However, Awe Owe has its own nimble yet intimate approach, flitting from the breezy, acoustic album-opener "Venceremos" to "Espuma Negra"'s hazy strumming to "I Wish"'s electronics and tumbling drums with an organic flow. Helado Negro also ranges from more live-sounding songs like the surreal ballad "Dos Sueños" to wispily layered creations such as "Dahum," which builds from a simple drum loop into something as transporting as anything by Panda Bear or El Guincho. Lange and company sound just as strong with either approach: "Awe," an elaborate tour through a jungle of playful keyboards and hypnotic percussion, and "Deja," the album's darkly strummed closer, couldn't be more different, but they're both standouts. Even though Helado Negro never really repeats itself, Awe Owe holds together wonderfully, offering an immediately engaging listening experience that only gets richer with each listen.
http://www.mediaf!re.com/?m52hg5kdmn5Upon Googling “Lithops” for more information about Ye Viols!, several results appeared, none of which had anything to do with the album. Apparently, Lithops are plants that thrive in the barren desert regions of South Africa and Namibia, and their outer coverings resemble stones. Lithops, however, is also the solo guise of Jan St. Werner — member of Mouse on Mars, Von Südenfed, and Microstoria — and the pieces comprising Ye Viols! were created to accompany various installations and dance works by David Maljkovic, Rosa Barba, Illui Nanobac, and Lee Yaung.
As it happens, the curious lithops plant serves as an appropriate metaphor for the music of Jan St. Werner. Beneath the austere surface of each song lies a vibrant human core: “Inductech” was crafted as the score of a modern dance piece, and “Bacchus” was used to soundtrack a series of collages that conveyed the collapse of the ego. And even beneath the harsh, synthesized square waves of “Handed,” you can imagine a human hand manipulating oscillators, creating constantly evolving rhythmic variations.
While much of the music Jan St. Werner creates with Andi Toma as Mouse on Mars is highly accessible and playful, his work as Lithops veers toward the more ominous and mysterious. “In nitro,” for example, features dull pounding and strident metal scraping in a cavernous, resonating chamber, while the claustrophobic “Bacchus” sees St. Werner wrangling violent feedback and white noise into submission. While mostly dark and ambient, the album also features some interestingly beat-driven tracks that are near-danceable.
Admittedly, there’s a lack of cohesion among these songs (each one is culled from several very disparate sources) and most are likely too abstract for fans of, say, Mouse on Mars. Ye Viols! does, however, contain some undeniably fascinating sounds and atmospheres for those looking for a more challenging listen.
1. Graf
2. Handed
3. Sebquenz
4. 21.jhrdt
5. In Nitro
6. Apps 1
7. Apps 2
8. Bacchus
9. Penrose Ave
10. Inductech
11. Wammo
http://www.mediaf!re.com/?zijlmmkwmzm
Mute Math - ArmisticeCode: [Select]http://www.med!afire.com/?wzo0mnqvnxd
Easy aoty contender, puts all electronic pop/rock from this year to shame.
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Mute Math - ArmisticeCode: [Select]http://www.med!afire.com/?wzo0mnqvnxd
Easy aoty contender, puts all electronic pop/rock from this year to shame.
dead
http://www.mediaf!re.com/?mumm0mwjnmz http://www.mediaf!re.com/?vykoonmgmz1 http://www.mediafire.com/?fjymtmdlwjz
http://www.mediaf!re.com/?nogmtxvylh2http://www.mediaf!re.com/?wxhmzjzvecmA lot of people had never heard of Brendan Benson before he formed The Raconteurs in 2005 with guitarist Jack White of The White Stripes. At the time, the band was (and, too often, continues to be) pitched as White's personal side project. But Benson had a solid solo career before The Raconteurs, and anyone familiar with his music will confirm that he's responsible for much of that band's hyper-infectious power-pop sound. You can hear as much on Benson's latest solo album, My Old, Familiar Friend, available here in its entirety two weeks before its official release.
Benson is a meticulous songwriter — and, as with his three previous solo releases, My Old, Familiar Friend is a work of carefully orchestrated precision. The songs are tightly wound, with ridiculously catchy hooks, perfectly placed handclaps and harmonies and sweet, buoyant melodies.
My Old, Familiar Friend also holds a few surprises. A track like "Garbage Day" can open with Motown-inspired strings, morph into a neo-psychedelic run reminiscent of The Beatles, then head back to Motown. "Don't Wanna Talk" opens with the rumbling drums of Gary Glitter's "Rock and Roll" before it suddenly turns into a sunny pop romp. The songs tread familiar territory — broken hearts and troubled relationships — but mix the dark imagery with a wink and touch of wit.
My Old, Familiar Friend will be released on Aug. 18.
http://www.mediaf!re.com/?zyqdzkzywujSimian Mobile Disco have named their sophomore album Temporary Pleasure. It'll be out August 17. The cast of guest vocalists includes Beth Ditto, Jamie Lidell and Gruff Rhys (Super Furry Animals). Zan Rowe caught up with producer James Ford, who reported that some of the music was made here in Australia earlier this year when Simian Mobile Disco were touring with the Big Day Out. "Ten Thousand Horses we actually mixed in Australia in a studio in Australia. We had a day off and instead of going to the beach like everybody else on the tour we went in to the studio. And I think yeah, that was the mix that made it on to the record. Ford said that he was hoping to be back in Australia with Simian Mobile Disco again this summer.
http://www.mediaf!re.com/file/mbz2nidwmgm/Jay_Jay_Pistolet-Happy_Birthday_You-(Promo_EP)-2008.zipLike an iced cold beverage on a summer day, this EP will leave you wanting more. Hailing from the UK, Jay Jay Pistolet (pronounce Pissed-o-Lay) provides your ears with tasty melodies that are reminiscent of acts like Slow Club, Johnny Flynn, Florence and the Machine and Noah & The Machine. "Happy Birthday To You" is probably my favourite track, nearly a tie with "Bags of Gold." Get it.
http://www.media!ire.com/file/lo4njwvmkyw/Fionn Regan {2006} The End of History.rarJump into my time machine and let's go back to 2006 when this CD got stuck inside of the CD player of my 1997 Ford Contour GL. It was a blessing in disguise, and perhaps a sign from the higher powers that this cd would have a song for my every mood and provide me with catchy tunes while I drove to school, rolled a joint in the parking lot before work and even making out in the backseat. Fionn Regan is a singer songwriter from Ireland, who's work and material has gained so much attention that it's been used on television. Musically, he's like Connor Oberst meets Bon Iver. I recommend the tracks "Put A Penny In The Slot" and the title track "The End of History
http://www.mediaf!re.com/file/kytnuwygztt/Soko.zipShe's a chick. She's french. She plays guitar. She's adorable as a baby covered in fucking diamonds while holding a puppy that's dressed like a colonial settler. Get this. She reminds me of Gregory and the Hawk but with an adorable french accent. Best song hands down on this EP is "Shitty Day" it will make you smile, but also make you sad because you will never be as adorable as she is.
http://www.mediaf!re.com/file/2yqgoqzzdwz/Mekkabees - Recolour it 08.zipThe original pressing on The Maccabbees 2007 release "Colour It In" was posted here before, but not this 2008 REISSUE WITH BONUS TRACKS. And let me tell you, the bonus tracks are what made me fall in love with it. I first found out about these guys in the summer of 2007 when I saw them play a show and it was love at first hear. I bought the original cd, but when I discovered the bonus tracks on the reissue, I couldn't help myself. If you downloaded this previously I HIGHLY SUGGEST YOU DOWNLOAD THIS VERSION FOR THE BONUS TRACKS. There are 6 new tracks (songs 14-20). I cannot reiterate how great this alubm is. My favourite of the bonus tracks is entitled "The Real Thing" which is similar (and I think better) than my original favourite album track "Toothpaste Kisses." Don't be a tampon, download this album and love it.
ames Yorkston - Folk Songs (2009)
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http://www.mediaf!re.com/?2mwnnvnzmu0 PART TWOhttp://www.mediaf!re.com/?imrjz2jey0w http://www.mediaf!re.com/?zrmjzzmtktj PART TWOhttp://www.mediaf!re.com/?e1zjdzm3nmq http://www.mediaf!re.com/?oomzter2zmm http://www.mediaf!re.com/?yyfw0zghzai DISC ONE, PART TWOhttp://www.mediaf!re.com/?ngcdmnnnnkz DISC TWO, PART ONEhttp://www.mediaf!re.com/?zjmok5mznhu DISC TWO, PART TWOhttp://www.mediafire.com/?dvzmemdyyln
Aim and Ignite
fun
[img]http://www.dailyeargasm.com/wp-content/uploads/2009/05/fun__aim-and-ignite.jpg[img]
Wow . . one of the best albums I've heard in a LONG while. Thanks! :)
http://www.mediafire.com/?kmyzmznen5i PART TWO (MP3, 320 kbps)http://www.mediafire.com/?wczyqo0mmmm At his core, Morrissey has always been conservative -- not in his politics, of course, but in how he romanticizes the past and plays by the rules of a different time. His passions, whether it's the New York Dolls or '60s British cinema, exist out of time, and he's gone to great lengths to ensure that his music also can't be pinned to a particular era, which means all his solo albums share similar musical and theatrical traits, and they're subject to the whims of fashion. In the years following the Smiths, he could rarely set a foot wrong, but sometime after releasing his best solo album, Your Arsenal, in 1992, the British music press turned on him and he was not much better than a pariah during the mid-'90s heyday of Brit-pop, the very time that he should have been celebrated as one of the great figures of British pop music, particularly since the Smiths inspired every band of note, from Suede and Blur to Oasis and Pulp.
By the time he released Maladjusted in the summer of 1997, he was a forgotten legend, not even given approval of his album art, and instead of cranking out records to the diehards, he chose to move to Los Angeles and wait out the storm. He stayed quiet for seven years. During that time, fashions changed again, as they're prone to do, as Brit-pop turned toward the sullen art rock of Radiohead and Coldplay, the mainstream filled up with teen pop, and American rock music was either stuck in the death throes of grunge and punk-pop or in emo's heart-on-sleeve caterwauling, which owed no little debt to Mozzer's grandly theatric introspection in the Smiths. Instead of being seen as a has-been, as he had been in the latter half of the '90s, Morrissey was seen as a giant, name checked by artists as diverse as Ryan Adams and OutKast, so the time was ripe for a comeback.
But Morrissey had waited long enough to do it on his terms, rejecting major labels for Sanctuary (on the condition that they revive the reggae imprint Attack Records) and recording You Are the Quarry with his longtime touring band, with producer Jerry Finn, best-known for his work with neo-punk bands blink-182, Sum 41, and Green Day. Finn's presence suggests that Morrissey might be changing or modernizing his sound, designing a large-scale comeback, but that runs contrary to his character. Apart from some subtleties -- the glam on Your Arsenal, the gentleness on Vauxhall and I, the prog rock on Southpaw Grammar -- he's worked the same territory ever since Viva Hate, and there's no reason for him to change now. And he doesn't.
There are no surprises on You Are the Quarry. It delivers all the trademark wit, pathos, and surging mid-tempo guitar anthems that have been his stock-in-trade since the beginning of his solo career. It's not so much a return to form as it is a simple return, Morrissey picking up where he left off with Maladjusted, improving on that likeable album with a stronger set of songs and more muscular music (even if no single is as indelible as "Alma Matters"). If You Are the Quarry had been delivered in 1999, it would have been written off as more of the same, but since it's coming out at the end of a seven-year itch, he's back in fashion, so its reception is very warm. Frankly, it's nice to have his reputation restored, but that oversells the album, suggesting that it's either a breakthrough or a comeback when it's neither. It's merely a very good Morrissey album, living up to his legacy without expanding it greatly. But after such a long wait, that's more than enough. - Allmusic
http://www.mediafire.com/?ydhinmeuk0j PART TWO (MP3, 320kbps)http://www.mediafire.com/?zywzmkgly2m Live at Earls Court finds British rock icon Morrissey and his band performing in London at the end of the You Are the Quarry tour. Not to be confused with the DVD Who Put the "M" in Manchester? recorded at the beginning of the tour in May, Live at Earls Court is a completely different concert from December 2004 and features a vastly different set list. While past live Morrissey albums such as Beethoven Was Deaf featured the singer's penchant for beautifully ragged ersatz rockabilly, Earls Court showcases the more polished group sound developed out of the You Are the Quarry sessions, which isn't to say that Morrissey has lost his edge. On the contrary -- such songs as "I Have Forgiven Jesus" and "The World Is Full of Crashing Bores" prove that his legendary wit and sardonic tongue are fully intact and as sharp as ever. Similarly, his burnished baritone vocals have arguably never sounded better and the lush, muscular band arrangements frame him with a glam regality befitting his late-career resurgence. Although newer songs off You Are the Quarry are the focus, longtime Moz fans will be delighted at the amount of Smiths songs included here. In fact, the mix of the old, the new, and the unexpected -- he also performs some rare B-sides -- makes Live at Earls Court one of the most successful albums of Morrissey's career. - Allmusic
BATTLESTAR GALACTIPOST
BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON FOUR (2009)
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DISC TWO, PART TWOCode: [Select]http://www.mediaf!re.com/?m3mmmmnt4jj
http://www.mediafire.com/?zzw2zzwiyjnAu4 - On: Audio (2006)On Audio, the group’s full-length release, is an uplifting, ethereal trip through the rhythms of nature and the nature of dreams, mixing blissed-out ambience with melodic, fairytale songs.
http://www.mediafire.com/?lo2m2yzne2tLights Out Asia - Tanks & Recognizers (2007)http://www.mediafire.com/?ffenzjjgynlNiyaz - Niyaz (2005)Niyaz (ﻧﻴﺎﺯ) is an Iranian musical trio. The group was created in 2005 by DJ, programmer/producer and remixer Carmen Rizzo, vocalist and hammered dulcimer player Azam Ali, formerly of the group Vas, and Loga Ramin Torkian of the Iranian crossover group Axiom Of Choice. Niyaz is a Turkish, Persian and Urdu word meaning “yearning”.
Niyaz’s music, described as “mystical music with a modern edge”, is primarily a blend of sufi mysticism and trance electronica. Niyaz adapts Persian, Turkish, and Indian folk songs and poetry, including the poetry of Sufi mystic Rumi, with electronic instrumentation and programming.
BEAR MCCREARY - BATTLESTAR GALACTICA: SEASON FOUR (2009)Tried downloading it twice - iz corrupt. CAN HAZ FIX?
DISC TWO, PART TWOCode: [Select]http://www.mediaf!re.com/?m3mmmmnt4jj
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Nerddddddd
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Johnboy's fiercely pummeling riffs and razor-sharp breaks made their 1993 debut one of the finest in noise rock since the Jesus Lizard. But on Claim Dedications, the Austin-based band further honed their monstrously heavy sound with an only slightly refined element to their grizzly, discordant approach. Produced by Steve Albini, the album is the stuff a noise rocker's dreams are made of: heavy, melodic, intense, cerebral, dissonant, urgent chaos.
http://www.mediafire.com/download.php?2y2kykjtewnhttp://www.mediafire.com/download.php?jdgfuqnj0mqDidjits
Fuckemos
Gut
Ed Hall
Cows
Cherubs
Noodle
Seaweed
Glorium
Sockeye
Chaindrive
American Psycho Band
http://www.mediafire.com/download.php?mlmzhhnrklzhttp://www.mediafire.com/download.php?gdn3zjzjzef
some slightly older stuff that is still awesome;Code: [Select]http://www.mediaf!re.com/?zzw2zzwiyjnAu4 - On: Audio (2006)Quote from: last.fmOn Audio, the group’s full-length release, is an uplifting, ethereal trip through the rhythms of nature and the nature of dreams, mixing blissed-out ambience with melodic, fairytale songs.
YES....GOOD.....LIKE.....THANK.
http://www.mediaf!re.com/download.php?1zknndgnetthttp://www.mediaf!re.com/download.php?wj2nzwtykirFionn Regan - End of History
Fionn Regan - End of HistoryBe Good or Be Gone is one of the better music videos I've seen in a long time.
Was a bit suprised this one hadn't been posted yet
Saltillo-Ganglion
(http://img24.imageshack.us/img24/9528/saltilloganglion.jpg)QuotePortishead, one of the three distinctive jewels in the trip-hop crown, may finally quench the ever-increasing thirst of all of the genre’s fans tomorrow, with their first album release in over a decade, in ‘Third’. I am one of these fans, no doubt about that, but there is no swell in the back of my throat, in fact, my tongue is as wet as a water-fight in a carwash. Why? That is down to my recent discovery of movie-score and ‘Sunday Munich’ mastermind Menton J. Matthews’ trip-hop/modern classical project ‘Saltillo’ and their 2006 album “Ganglion”.
Borrowing and utilizing aspects which make each jewel shine so bright in the coveted crown; Saltillo has managed to make an album which is at once dark and solemnly moody, uplifting and heart-achingly intense, cool and dangerously catchy. Bobbing and weaving in and out of genres, Saltillo never quite stays still, and even when it does, it hides behind the pillars of ambiguity, and is all the better for it. The chamber orchestra compositions give the album a fierce individuality when showcased against its obvious influences, yet accessibility is never compromised as this is one of the most listenable trip-hop albums I’ve ever heard.
A sombre violin tune on ‘A Necessary End’ begins the album, to be closely followed by the first of many vocal samples sitting atop of expressively broken beats. Not opting for the upbeat first track, we are plunged into an ocean of melancholy, a tale of death and meaning, from which there seems no return. This track immediately showcases Matthews’ impeccable timing and his wife Sarah’s hauntingly poignant voice. But it is surpassed by the next track, ‘Giving In’, possibly my favourite track on the album. Sarah Matthews’ voice here is just stunningly moving in its mellow, fragile resonance and it really gives the song a humanly warming quality that would be lacking without it. ‘Remember Me?’ is the first track without vocals, and it flows with a splintered rhythm which is insanely hard to not tap along to.
‘Hair on the Head of John the Baptist’ is just an excellent track. If you are to download a track which puts Saltillo under the spotlight, this is the one. If DJ Shadow were around to score Shakespeare plays, they would have sounded something like this. A bluesy soulful voice bellows out the ultra-catchy line “hair on the head of John the Baptist” to a dense surrounding of intelligent breakbeats and simple pianos. One of the albums highlights is when the song appears to be over, ending to the quote of “I loved you not” only to suddenly pick back up again in dramatic fashion. Energetic and focused, ‘Blood and Milk’ highlights Matthews’ special talent of picking out and placing perfect samples in a way that only Shadow himself exceeds. Shadow’s ‘Right Thing’ may come to mind when listening to the trip-hop heavy ‘Backyard Pond’. Extremely scattered in its approach, an anaesthetizing melody is laid out over complicated blips and screeches and ethereal samples, all coming together to create a surreal jigsaw of easy-to-swallow, hard-to-digest complexities.
Rounding up the album, ‘Grafting’ sounds as if the earth itself managed to find a violin and a drum machine and construct an, ironically, otherworldly sound. Extremely organic but strangely disconnected, the plaintive violins are interrupted by the fluctuating raw intensities of Mercer’s distinctive voice, while the backbeats keep the song tied to the ground. Sarah Matthews returns for the penultimate track ‘I’m On the Wrong Side’ and is much welcomed by the listener. Her voice isn’t perfect, but it hangs so delicately in the album’s dark mist that you get the feeling that if it were any different it may just collapse. A very short track, it brings Portishead to the forefront of the memory bank. Finishing with a completely piano-made track, '002 F#m', Matthews brings the album to a close with elegance and style.
With “Ganglion”, Saltillo has truly thrown down the gauntlet over what it means to create a truly original trip-hop album in today’s music scene. It’s not perfect of course; ‘Praise’ is an oddly stale and skippable track and ‘A Simpler Test’, though a great song, features turntablism which is too frantic and electronics and samples too crude and impersonal when put against the record’s other more humane songs. Whether it will stand the test of time that the crown jewels have remains to be seen, but for now, it quite dramatically stakes a claim for there to be a new throne constructed in the trip-hop hierarchy, one which could only seat the intricacies of Saltillo’s beautiful, fractured, wholly immersive neo-classical creation.Code: [Select]http://www.mediaf!re.com/download.php?idbzdm2yjhj
http://www.mediaf!re.com/?mzyhijrywod Joe Pernice is an immensely talented songwriter, but he's not necessarily one of our most literary, at least not as the word is most commonly invoked. Unlike writers such as Ray Davies or Elvis Costello, Pernice isn't known for his tricky wordplay, tight character studies, or flights of fancy. Rather, as an erstwhile solo artist and the leader of the Scud Mountain Boys, Chappaquiddick Skyline, and, most prominently, the Pernice Brothers, he's focused on the big picture: the swoon of strings, the subtle interplay of chiming guitars, hook-enhancing harmonies, the whole slightly out-of-time chamber-pop package. Lyrics included, of course, but rarely are they specifically so clever or incisive to call undue attention to themselves. That's a tad ironic, since Pernice, unlike 99% of his peers, actually holds an MFA in creative writing from U Mass, but up until now one of the few documents of his fiction was his 2003 33 1/3 novella inspired by the Smiths' Meat Is Murder. Now comes It Feels So Good When I Stop, Pernice's debut novel, and it, too, features its fair share of autobiographical elements, an aspect which Pernice has cannily amplified by recording a companion "novel soundtrack" to the book containing several covers of songs referenced therein.
It's a smart way for a songwriter-turned-novelist to break the fourth wall without distracting from his prose, complementing the story (some snippets of which, as read by Pernice, appear interspersed through the disc) while emphasizing his parallel musical background and prowess. To that end, the covers here are particularly diverse, ranging from Sebadoh and Plush to Tom T. Hall and Todd Rundgren. Pernice's instinct for assembling the whole package comes in handy, too-- not just in the music's connection to the novel but how Pernice takes this eclectic slate of source material and fits it to his established melodic métier. Del Shannon's "I Go to Pieces", for example, undeniably reflects its 1960s rock'n'roll origins, but Pernice polishes it up and contemporizes it enough that it wouldn't sound particularly out of place on one of his more conventional records. The same goes for Dan Penn and Spooner Oldham's "I'm Your Puppet", a hit for James & Bobby Purify and here a laid-back jangle-pop breeze. On the indie rock tip, the jagged guitar lead of Pernice's wistful rendition of Sebadoh's "Soul and Fire" is the only nod to the skuzzier origins of the original.
Elsewhere Sammy Johns' smooth 1975 hit "Chevy Van" and Tom T. Hall's malleable new standard "That's How I Got to Memphis" are reminders that Pernice's career began in alt-country, while the Dream Syndicate's "Tell Me When It's Over" reminds us of the college rock and punk roots that made so many alt-country acts "alt" to begin with. "Black Smoke (No Pope)" hones closest to the novel, credited as it is to the Young Accuser, the name of the band featuring Pernice's page-bound protagonist. It's an easy-going instrumental that, in an instance of life-imitating-art-imitating-life, is getting its own separate 7" release (as a B-side) via Sub Pop, the label that gave Pernice his first break back in the Scud Mountain Boys' days. (Sub Pop calls it "the non-fiction version" of a fictional single). It bears mentioning that It Feels So Good When I Stop, the book-- which begins with a quote from Elvis Costello's King of America-era "Our Little Angel"-- also references such acts as the Pogues, the Clash, Naked Raygun, and the Chills (among many, many others), bands that might have pushed Pernice further outside his comfort zone. Even if as usual said comfort zone is nothing to complain about, Pernice's way with a pretty tune is pretty well documented. If It Feels So Good When I Stop expands his abilities as a writer, it'd be at least interesting to hear a record of his that does the same for his skills as a musician. - Pitchfork Review ( Overall Score: 6.8 )
http://www.mediafire.com/download.php?qzyxan2memw Yeah, that one is well-made too. I'm not even the biggest fan of Coldplay, but they produce some of the most superlative video clips.
Also, it's nearly impossible to go wrong with Jens Lekman.
oh my god seni my bandmate has the love and napalm art on a poster
http://www.mediafire.com/?gyxcdcjninmNothing on Jens Lekman's second album does anything to change the fact that he's a true pop music genius. Night Falls Over Kortadela is witty, pretty, silly, and wise; and filled with instantly memorable melodies, thrilling moments of surprise in the arrangements, and laugh-out-loud lyrics. As always, he draws from a wide range of musical influences, mixing in deft samples from sources as varied as Renaldo & the Loaf and fellow Swedes the Tough Alliance, and always sounding like a guy who is head over heels in love with music. This love translates into the joyous atmosphere that spills over the record like candy from a piñata as he leaps from disco-fied love songs (the blissful "Sipping on the Sweet Nectar") to doo wop-meets-hip-hop ballads ("Kanske Är Jag Kär I Dig"), from orchestral declarations of devotion ("And I Remember Every Kiss," with orchestra on loan from Enoch Light) to delightfully ramshackle rockers ("Friday Night at the Drive-In Bingo"). Lekman mixes and matches sounds and genres like the world's most adept DJ, coming up with practically his own style in the process. It's hard to think of another artist who so gracefully blends the acoustic with the electric, the real with the fake. Lyrically Lekman sticks mostly to love, finding it, losing it, sacrificing for it (his story of being his friend's boyfriend to fool her father on "A Postcard to Nina" provides the album's lyrical highlights), but most of all believing in it wholeheartedly. He also shows his talent for capturing the small moments of life — whether it's cutting the tip of your finger off while slicing avocados ("Your Arms Around Me") or worrying about your little sister ("The Opposite of Hallelujah") — hasn't dimmed at all. Jens Lekman is a craftsman, a showman, and a magician all wrapped up into one tuneful bundle of joy, and Night Falls Over Kortadela is his best album. It'll have you walking in the clouds before the first song is half over and have you filled with happiness for days afterward. What more could you ask for?
http://www.mediafire.com/?1y1did2ywhmIf you haven't heard Jens Lekman yet, you're missing out on one of the true pop geniuses of the early 2000s. His sound is glittering and shiny bedroom pop built on gentle guitars, bold and often hilariously obvious samples, subtle orchestration and arrangement topped with lyrical turns that brings laughs, and heartfelt vocals that can bring tears. Lots of people have done the same thing but few are as sweet and sly, few have the musical skills, and few balance the smarts and soul quite so gracefully as Lekman — maybe Stephin Merritt in his prime, maybe Beck at his most intimate. Maybe. Oh You're So Silent Jens collects songs from singles, collections, and EPs released between 2003 and 2004 and as great as his 2004 album When I Said I Wanted to Be Your Dog is (and it is great), this is the place to truly experience the wonder and power of Lekman's music. There are so many highlights it would take as long to describe them as it would to listen to the disc. Still, a couple deserve mention, like the shimmering and quite wonderful "Maple Leaves," the achingly melancholy version of the Television Personalities' "Someone to Share My Life With," the loose-as-a-goose folk-rock charmer "I Saw Her in the Anti-War Demonstration," the insanely peppy and fun "A Sweet Summer's Night on Hammer Hill,"and the heartbreakingly lovely "Rocky Dennis' Farewell Song," which makes fine use of a Stylistics sample and Lekman's lyrical acumen. If you already have the three EPs that Secretly Canadian released, you'll still need this for the rare Swedish EP tracks, namely the near a cappella (with crickets) "Another Sweet Summer's Night on Hammer Hill" and "Pocketful of Money," which features one of the great goosebump-inducing moments for indie geeks when Lekman drops in a wholesale sample of Calvin Johnson singing the "I'll come runnin' with a heart on fire" hook from Beat Happening's "Gravedigger Blues" and then starts singing along. Almost worth the price of the record right there, but you also get the two songs from Lekman's first 7" release (the subdued "At the Dept. of Forgotten Songs" and the 7" version of "Maple Leaves"), "F-word" from an En Garde fanzine release, and the lilting and sweet "The Wrong Hands" from the Accelerator compilation. Then there is the folky and perky remix of "Julie" from When I Said I Wanted to Be Your Dog, which is beautiful as well. So you need this collection — no questions asked! Jens Lekman is a pop visionary. He is creating music no one can touch, and Oh You're So Quiet Jens collects most of his finest work. Simple as pie.
http://www.mediafire.com/?whv0d4dzt1eWithout stating the obvious, 2003 was a long, long time ago. The sounds that dominated those years are long since forgotten and for most touring outfits that cut their teeth in that era, trying to successfully bridge the gap of changing landscapes and fans over a half decade in this increasingly inpatient industry is almost impossible.
Considering the fact Reverie Sound Revue broke up, sold out their original EP, got back together and haven’t released any material in the last five years makes the expectations heaped on their new LP even more surprising.
The more surprising fact is that not only did RSR meet the high expectations of fans that probably can barely remember the original members or their all too short EP, they exceeded them. Driven apart by school, location and time, Reverie Sound Revue shouldn’t have been able to create such a unique, swift slice of dreamy pop – Yes, they have the chops. They’ve always had the chops – but since reforming in 2005 they’ve never all been in the same room to record, and you’d be naive to expect such a confident record that personifies the fresh start the morning brings and moves without a single misstep.
The self-titled full length – out on Boompa now – shows that RSR is more than Lisa Lobsingers sexy coo; more than the fantastic guitar interplay Patrick Walls and Marc De Pape or a tight rhythm section. They took 5 years to record the songs, ensuring the final product was perfect and remarkably, by not rushing the process or trying to fall inline with the sounds of today, RSR has released one of the best pop records of the year.
Opening with An Anniversary Away, the band blends Lisa’s vocal presence with an airy groove that never tries to do too much. The band lets you settle into the ear pleasing tones of the dueling guitars and rapid fire drumming. When the follow it up with the bass and drum heavy, We are the Opposte of Thieves, a track that uses Libsinger’s falsetto so perfectly, you wonder if the band has used the first six-minutes to show their best work.
In reality however, the record is sequenced beautifully. Starting out of the gate with two quick moving pop nuggets they grab your attention, they pull the reigns and control the ride as Debut to a Prelude floats by like clouds, but the distorted tones the band puts over the harmonies gives it just enough traction to keep you interested. And that’s pretty well the best way to describe RSR really. Even while exploring the most pleasant melodies and dream-like textures, the band manages to keep on foot on the ground, resulting in a record that is full of singles (An Anniversary Now, Arrows, You Don't Exist if I Don't See You) but still cohesive and complete listen.
Somehow, during the extended recording and writing process, RSR stayed true to their sound but shifted enough to keep it modern and unique. I’d ask people to take a page from Reverie Sound Revue’s book, but if I had to wait another five years to hear something this good, it would be pretty tragic.
We Lost the Skyline is a live recording by Porcupine Tree, recorded during an in-store performance at Park Avenue CDs in Orlando, Florida, with 200 fans in attendance. Although it was originally planned that the full band would play, lack of space dictated that only the two guitarists/singers Steven Wilson and John Wesley did. This one-off performance was captured by a remote recording facility and the complete 8 song, 33 minute show is now being released in a mail order only CD, but the band are currently negotiating a low-key release for the CD through a number of independent stores in the USA that have supported Porcupine Tree over the last few years (including Park Avenue CDs itself). However, the CD was released in Poland in small quantity.
http://www.mediaf!re.com/?hikwijm1jyjSome months after the release date of the fantastic "Fear Of A Blank Planet", Steven Wilson and his band is back with a new original EP released by Peaceville Records, "Nil Recurring". This EP only features four songs but with approximately thirty minutes of music, this is obviously a must for all the people who like Porcupine Tree. Don't worry, this EP follows the road of their previous full length album so if you're still into dark melancholic progressive Rock/Metal, be sure that you'll check "Nil Recurring"!
http://www.mediaf!re.com/?o4yyz4mouktBEATS ANTIQUE, an oakland based group featuring ZOE JAKES, DAVID SATORI, AND SIDECAR TOMMY, which has stumbled down the rabbit hole and emerged anew on the other side. BEATS ANTIQUE forges a curious alliance between middle eastern traditions and potent west coast circus, underground hip hop, breakbeat brass band, downtempo, glitch and dubstep.
Supporting their 2nd album, COLLIDE (2008 CIA records), BEATS ANTIQUE'S DJ sets on BASSNECTAR'S "THE OTHER SIDE" tour feature their diverse sound collage as the opening act for one of the nation's most well known DJ's. ZOE JAKES, nominated as Zaghareet's "Best Interpretive Artist 2007", presents a unique take on Tribal bellydance, influenced by Art Nouveau, tango, Breakdance, and Indian classical dance. BEATS ANTIQUE has brought the paradox of electro-acoustic music into the future.
http://www.mediafire.com/download.php?mqoztz20dyvhttp://www.mediafire.com/?khi1ncnmewahttp://www.mediafire.com/?znmimrqljmzLemon Demon- Dinosaurchestra
http://www.mediaf!re.com/?wxrlgoileuhVictoria Bergsman (best known for her work with the concretes and peter bjorn and john's worldwide smash hit single 'young folks') wanted to travel to record in a mysterious, relatively uncharted area avoiding the usual clinical studio experience which she has always disliked and found to be an uncreative environment. she chose pakistan. sole accompanying musician soderstrom's powerful, often minimal guitar work, victoria's sublime, mysterious vocals and enigmatic lyrics, powered by the sounds, beats and rhythms of genuine local pakistani musicianship (some who play with abida parveen and nusrat fateh ali khan) has created a magical musical concoction. add to this the production skills of dan lissvik (one half of the ultra creative swedish duo studio) who pieced the whole project together back in sweden, and you really have a genuine album of the year contender. standout's are the opening track 'to lose someone' which sets the scene perfectly on this magical experience and the cover of animal collective's 'my girls', which victoria has re-interpreted as 'my boys'.
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Part 2 - http://www.mediaf!re.com/?duomymkawwgBack in 2005, LCD Soundsystem released 45:33, a 45-minute, 33-second-long, continuous piece of endlessly mutating space-disco. Nike commissioned the album-length track for a utilitarian purpose: it was supposed to soundtrack a jog. Since then, Nike has commissioned similar running mixes from folks like De La Soul and A-Trak, but no one has, thus far, been able to approach 45:33's dizzy heights.
When I interviewed LCD frontman James Murphy a few years back, he had this to say about the piece: "A company like [Nike] is pretty brand-heavy, and I thought maybe it wouldn't fit in with that. But they totally put it out, and I'm very, very proud of it. It's one of my favorite things I've ever made. I'm as proud or more proud of it than anything I've ever made."
Since 2005, 45:33 has taken on a life of its own, not least because Murphy turned part of it into the backing track for the Sound of Silver highlight "Someone Great". Originally an iTunes exclusive, DFA released 45:33 on CD and vinyl in 2007.
On September 14, the same label, in conjunction with Parlophone, will release a full album's worth of 45:33 remixes called, appropriately enough, 45:33 Remixes. Dance music titans like Prins Thomas and Pilooski will contribute. Before the release date, DFA will release the individual remixes as a series of 12" singles. Tracklist below.
Meanwhile, LCD Soundsystem are currently working on their third official full-length, which can't come soon enough.
http://www.mediafire.com/download.php?1m2nnmidyjjhttp://www.mediafire.com/download.php?mvodgyvmnuk
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Beats Antique
Hailing from Madison, WI, the Youngblood Brass Band parlay America’s continued (?) fascination with brass bands into a very nice album. Unlearn’s brand of hip-hop is always entertaining but leaves room for improvement.
Always stretching their limits, the Youngblood mesh a heavy dose of hip-hop into the brass band equation. This is nothing new. A little-know group from New Orleans, Coolbone, had it down pat years ago. Even jazz artists (like Lester Bowie) have explored hip-hop with brass. The Youngblood are always enjoyable. The group has developed a sound very different from the New Orleans sound of the Dirty Dozens Brass Band or the Mahogany Brass Band. The Youngblood Brass Band has an outsider’s view on hip-hop and traditional New Orleans music. They have a strong harmonic and lyrical foundation, but need to interact as a group a bit more to reach the next level.
Most of Unlearn’s cuts are instrumentals, but guest vocal spots from Talib Kweli and Ike Willis freshen the palette. The highlight of the album is Kweli’s appearance on “Ya’ll Stay Up.” He rightfully takes the spotlight and elevates the group to new heights. Though the rhymes are somewhat simple, the mere presence of Kweli makes all the difference. The Youngblood do know their hip-hop and Talib Kweli is it. The band has accomplished a great deal if their crossover music introduces just a few listeners to hip-hop.
The high-energy scream of a brass band has to be witnessed live for full effect, but Unlearn captures this band at their best. This album is their best performance to date. Though immediately enjoyable, the record lacks depth. The straightforward references to Stevie Wonder, Lauryn Hill, and the Roots are fine, but often lack originality. At the very least, they have paid respect to some of the top artists of our time. The performances are slick and educated. The polished playing doesn’t translate well to the solos though, which sound over-rehearsed at times. Surprises still lurk—the horn solo on “Chinatown” keeps things interesting.
Before the Youngblood, perhaps four years ago, a group called Mama Digdown’s Bass Junction appeared in Madison at open mics and street sides. Crowds loved the Digdowns. The group worked well together, comprised of many familiar Madison musicians. Essentially a side-project, they did release a string of albums. Many members worked with local groups like Phat Phunktion or pursued music degrees. At some point Mama Digdowns seemed to change dramatically, with the original members moving on. The new lineup never lived up to the original group. Yet, there was still a craving in the Madison scene for brass bands. Enter the Youngblood Brass Band, taking the spotlight as Madison’s premier pop “marching” band. While predecessors the Digdowns were traditional, the Youngblood strive to turn that corner.
The Youngblood Brass Band still getting started. They have talent, but are still searching for that spark: something to fuel their own voice and provide more feeling. Hopefully they stick around to offer up more and better albums in the future. Unlearn is quite an achievement, which is remarkable for being a self-released album.
mp3 / 320
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http://www.mediafire.com/?z1wwywwnxw1 Trying to dissect Dappled Cities is a bit like trying to pin down a mirage. On the one hand, the Sydney band has some very identifiable characteristics: Flaming Lips-worthy psychedelia, ’80s-style synth-pop, and chipper post/disco-punk (cue the hi-hats). On the other hands, no one else really sounds like them, and their albums are so soupy with effects that it’s easy to get lost in the mirror maze of it all. Following 2006’s sophomore effort, Granddance, which saw the five-piece focus more on a shot at success in the States, the long-gestating Zounds is similarly likeable yet unwieldy.
Perhaps the best guide through the album’s twists and turns is new recruit Allan Kumpulainen (replacing exiting founding member Hugh Boyce), whose shifty, streaming drum work commands as much attention as the helium vocals and cosmic synths once you hone in on it. In fact, his twitchy presence is one of the first things we hear on Zounds as it weaves beneath opener ‘Hold Your Back’. The song builds from there with Alex Moore’s bass, Ned Cooke’s keys, and the pillow-y voices of guitarist Tim Derricourt and guitarist/keyboardist Dave Rennick. It also establishes a loose pattern for the rest of the record; sparkling effects, ’80s tinges to the guitar and bass lines, and vocals that swing between smarmy and dramatic, depending on who’s singing.
Upbeat and even danceable, ‘The Price’ is an obvious choice for the first single, although the earlier track ‘Answer Is Zero’ has the album’s catchiest refrain with the gently cooed line “Measure my distance from the sun.” ‘Wooden Ships’ and ‘Miniature Atlas’ are also punchier than expected, while the centrepiece ‘The Night Is Young At Heart’ lingers nicely. Competing with the drums for secret-weapon status on the album are the vocal harmonies that surface on nearly every track. They prove most effective on ‘Kid’ and on the twangy, insistent ‘Stepshadows’, which caps things on a definite up note.
Zounds didn’t have the easiest birth. Firstly, Dappled Cities struggled with the album’s American co-producer, Chris Coady, who has worked with TV On The Radio and the Yeah Yeah Yeahs. Then two other producers were enlisted to mix some of the songs. But with the band signed to the L.A. indie label Dangerbird (home to Silversun Pickups and Sea Wolf) in the States and receiving advice from A&R guru and pro bassist Justin Meldal-Johnsen, there could be a significant breakthrough following this album. The band certainly deserves it, mining a unique sound since their inception in 1997.
Even if worldwide success doesn’t come, Dappled Cities will be just fine. They’re beloved here in Australia, and with their Disney-stamped children’s show Alphabreaks putting them in front of impressionable toddlers, the band could widen its influence to include entire an new generations of devoted - and equally doe-eyed - fans. - The Vine Review
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Part 2 - http://www.mediaf!re.com/?tynnwjnyvboThird Eye Blind blasted out of San Francisco when "Semi-Charmed Life" went to # 1 at Modern Rock and their self-titled album sold 5 million copies worldwide. This debut album contained several other chart-topping singles such as Jumper, How s It Going To Be, Graduate and others cementing the band's place in music history. The unique combination of brutal and controversial lyrics mixed with infectious melodies made an indelible connection with fans it s a phenomenon that defines Third Eye Blind and has made them the most requested band on college campuses. The band s song Jumper was recently used in Jim Carrey s movie Yes Man and regularly sells over 5,000 singles a week, 10 years after its release.
Third Eye Blind is an unprecedented story of a band coming into focus with the help of an entirely new youth culture and causing an underground sensation it s a fan relationship that had driven the band and Ursa Major, their first album in six years. In a sense, Third Eye Blind s fans are so inextricably linked that they re considered another member of the band.
From 2007 2009, the band performed before a remarkable 1 million people, marking them the most-requested artist at colleges nationwide. Pure and authentic, a canon of songs with no media coverage or radio play have compelled a new generation of followers by organic word of mouth alone. Fans attached themselves to songs like Slow Motion and Motorcycle Drive By, the former of which was censored by their record company but began appearing on file-sharing sites with full lyrics, and is now hailed as a masterpiece being covered by countless other bands.
Emotional, reflective, aggressive, and sometimes outwardly political, Ursa Major features some of the most intense music of Third Eye Blind s career.
http://www.mediaf!re.com/?clnmzyzuzln2009 sophomore album from Scottish Dance artist/producer Calvin Harris who shot to fame with his 2007 debut album I Created Disco. After working as producer for Kylie Minogue and being nominated for various awards including a Brit for best single, this is another collection of Pop inspired Dance tracks taking in everything from Electro House to the anthemic Pop Trance of the lead single 'I'm Not Alone'. Also features 'Dance With Me' and the title track.
http://www.mediaf!re.com/?onznymj5gji "So listen," Destroyer's Dan Bejar confides/boasts at the top of "Bay of Pigs", "I've been drinking." It's a line you could affix to the front of just about any of Bejar's glam-folk tunes; he does, after all, tend to sing like he's trying to blow the last fleck of Chianti from his bottom lip. But here it is, leading off what's now Destroyer's longest track (by several minutes) in a catalog peppered with epics. The rumors were indeed true, as "Bay of Pigs" is in fact an "ambient disco" number, a couple of genres that even for the ever-eclectic Bejar seems oddly foreign on paper. I mean, Destroyer goes disco? The guy must've been under the goddamned table when he came up with that one.
This sprawl, paired with that succinct, near-summation of a first line-- oh yeah, and the dozen-minute screed that follows-- makes "Bay of Pigs", if not the single best Destroyer song, certainly the ultimate. It's an exceptional work, a surrealistic epic rich in novelistic tone and texture and sometimes shockingly vivid in its imagery. But it's also a 13-and-half-minute long Destroyer song in a spacey, eventually lite-disco style, and it's rife with all the quirk and self-reference of your favorite Bejar song, and then some. An entry point for curious New Pornographers fans this ain't.
The narrative is as troubled and prone to time-lapse and footnotes as you'd expect from Bejar's longest-ever tome; the tune is ostensibly about the botched 1961 Cuban invasion, but for an aside or 12 our narrator cops to being 20 years old in 1992, throwing up in an English garden, his antler-wearing conquest all the while lost in the desert. And, hey, maybe there's Christine, stowing away from Destroyer's Rubies' "Painter in Your Pocket", to whom Bejar refers as the rage-inducing object of his affections. Getting one's head around a tale this sinewy and sprawling is no easy task, and while Bejar's done exceptionally well in widescreen, the blowhard majesty of his compositions can wear one down after the third rave-up. But "Bay of Pigs" feels about half as long as the actually half-as-long "Shooting Rockets" from last year's fine Trouble in Dreams, and, weirdly enough, it's the disco that keeps you from flagging out around minute nine.
That said, don't go looking for your minimal dubstep Balearic whaddyacallit here; "Bay of Pigs" sounds like a synth rock band playing disco, and more specifically, like Destroyer playing disco, having never met a big build they didn't like. As such, the track burbles to a slow start, synths twinkling around Bejar as he explains away the booze on his breath. It's essentially one synth wash after another for a spell, swarming around Bejar's words before settling into a stuttery New Ordery synth pattern, a wet slap of a beat, and a little Spanish guitar. You'd look awfully funny trying to dance to the largely low-end-deficient first half or so, but "Pigs" gets a pretty good groove going about halfway through, pulling in all the elements from before and marrying them with a startlingly apt dancefloor refrain: "Free and easy/ Gentle gentle/ The wind through the trees makes you mental/ For me". The track stays out of Bejar's way when need be, helps carry over some of the wordier verses on the back of a thumpa or two, gets real good around the chorus, and then backs out slowly; it hangs onto the song like a rumpled sportcoat, the kind Bejar himself favors.
Talk about your self-reference; on the flip of "Pigs" is "Ravers", a stripped-down, slowed-up take on Trouble in Dreams' "Rivers". It took me a minute, honestly; "Rivers" was a fairly peppy tune about "a standoff with the fucking horizon," more notable for its easygoing chorus melody than its words, but "Ravers" finds Bejar sounding pickled and determined as he moans those very same lyrics over an even spacier synth wash than "Pigs". To hear Bejar, who sounds almost like he's being propped up to get through this one, wail this one out into the ether is practically to hear a completely different tune, and he imbues the song's central lines with a lot more feeling and pathos than the livelier LP version. Bejar's long been a songwriter of the highest order-- and "Pigs", butt-minded sonics and all, is one of his finest-- but his powers of performance and interpretation have nearly caught up in the last few years. Bay of Pigs draws a clear line under that part of the Destroyer equation, as both songs here owe their successes to execution just as much as his early work got by on intent. I'd assume Bay of Pigs' disco diversion to be just that in the long run, but after the relatively wagon-gathering summary of Trouble in Dreams, this certainly feels like a break and, perhaps, the first blush of something new. Cheers to that. - Pitchfork Review
http://www.mediaf!re.com/?iouuzyg4yaoAs Tall As Lions are back with 'You Can't Take It With You', the highly anticipated follow up to 2006's self-titled full-length. As Tall As Lions already has a solid fanbase in place and has been supported by writers at Alternative Press, Stereogum, Death & Taxes and Spin among many others. The NY-based band has shared the stage with Superdrag, Circa Survive and Sparta where crowds arrived early on each evening due to the band's huge buzz.
The third full-length album by New York's As Tall As Lions, 'You Can't Take It With You'', is a thoughtful, textured tour de force of soundscapes, vocal harmonies, melodies and insightful lyrics about the modern world. The songs' subject matter faces head-on the politics of God, love, war, and the human condition while examining everyday struggles such as anxiety, isolation, and money." With You Can't Take It With You', the band; vocalist-guitarist Dan Nigro, guitarist Saen Fitzgerald, bassist Julio Tavarez and drummer Cliff Sarcona, has made its smartest and most impressive album to date.
This might be in part to it being the most difficult to make. Before ATAL had made 2006's 'As Tall As Lions', the group, who had formed while in high school, had finally gelled as a unit and were ready to make a mature, well polished album. Having accomplished that goal, the musicians now pushed themselves harder and vowed this time to recreate the feel of their live performance for 'You Can't Take It With You'. In the nearly two years it took them to write and record the disc, they changed producers three times, traveled cross country to record it (with no studio time booked) and not surprisingly nearly imploded. "Listening to it now, and not being in the thick of it, I can respect all the trials and tribulations", Fitzgerald says. "I was often frustrated about the length of the process, but we couldn't have made an album like this any other way."
The group began thinking about the follow-up to the sophomore release as far back as fall 2007. Around that time, the phrase You can't take it with you popped into Fitzgerald's head. Envisioning how it related to modern society and culture, especially in regard to how people were becoming detached from one another because of technology, he thought it was particularly relevant. It was only later he learned of the 1938 movie of the same name and how the phrase had since become ubiquitous. "I think I saw it in an advertisement", he says. "It concerned me at first, and then I laughed. I said, 'Wait a minute, that's kind of what this is about anyway.' That phrase in an advertisement actually makes it perfect." The title's concept would soon be a major theme in much of the album's lyrics.
The band decided to head out to California in January to begin tracking with Mark Howard (Dylan, U2, Daniel Lanois). While they got some gold out of those sessions ("Sleepyhead" and "We's Been Waitin"), ultimately, the pairing proved dysfunctional and ended abruptly. They found themselves desperately needing to find someone new on short notice in Los Angeles. "We almost broke up numerous times", Fitzgerald says. "The band was very unstable for a while, because we took such an ass-backwards approach to it." Eventually, after consulting with several producers, they met Noah Shain. After recording one track with him, they were impressed with his passion for the songs and they never left his studio.
By the time the group finished the album, they felt a greater sense of accomplishment than on any previous recording. It was the most arduous journey As Tall as Lions has made together, but they all agree, it was worth it. "There was a black cloud over this album the entire time", Fitzgerald says. "But looking back on it now that the work is done, I can say, 'You know what? We went through all that shit, and I'm so glad we did because it gave the album grit and tension and character. It shaped it into something special.' We're all extremely proud of it."
With the release of 'You Can't Take It With You' this summer and tour plans with Dredg and Rx Bandits, 2009 is sure to be busy and rewarding year for As Tall As Lions.
http://www.mediaf!re.com/?oza2wtygmz2Squarepusher’s excursions as a solo bass virtuoso will be immortalised with the forthcoming release of 'Solo Electric Bass 1', out on August 17th on Limited CD and Digital.
This live recording was taken from one of his spellbinding solo bass performances at Cité de la Musique, Paris in September 2007. A performance that only consists of Squarepusher on stage with a bass and a small amp.
It should be noted that the recording of this bare live show has been represented in its truest form ie. in one take with no editing afterwards. All compositions on this record are his own.
This strictly limited release is a rare documentation for fans of the 'pusher and anyone who wishes to explore some highly interesting, and technically astounding compositions with the bass guitar. Anyone who has witnessed him live will already know of his mesmerising unique style which he incorporates into his big production live shows.
Squarepusher’s progression to this pure musical form has always been hinted at in his recording work prior to this release; with instrumental tracks on Ultravisitor such as 'I Fulcrum' and 'Andrei', the jazz trio sets of his 2005 UK tour and his first solo bass performance in Turin the same year alongside the London Sinfonietta, as time has gone on Tom Jenkinson – Squarepusher - has voiced his exploration of this expression more and more culminating in a small European tour in 2007 which included a sold out headline performance at the Royal Festival Hall.
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Part 2 - http://www.mediafire.com/?zvgn2jyklvgWhen Soulsavers recorded 2007's It's Not How Far You Fall, It's How You Land they were out of contract, scraping by on credit cards and had just begun working with Mark Lanegan; not known for his frivolity. Unsurprisingly, it emerged as dark and depressed. Two years, a major label record deal and mountains of ecstatic reviews later, and the duo's prospects have brightened considerably, though their sound – as their fans will be relieved to hear – has not.
Like its predecessor, Broken fuses delta blues, grizzled gospel and comedown electronica to create an atmosphere that is both grand and bleak. In fact, on initial listens the mood is so downbeat that songs blur oppressively into each other, not helped by a hoary blues vocabulary where blood is always ''cursed'', wounds ''never heal'' and bones are always ''weary.''
Understandably, many will lack the appetite for second helpings. But for those who persevere, there are enough gleams of light poking through the cloud cover, and enough slowly revealed surprises to make the effort worthwhile. So while Death Bells is too dourly self-regarding to truly love, and the long, creaky Gene Clark cover Some Misunderstanding sounds distressingly like Chris Rea, other songs see Soulsavers live up to their considerable reputation.
One is Unbalanced Pieces, where the solemnity of Lanegan's central melody is lifted by a skulking, hypnotic bass and one of the album's few big, hummable choruses. You’ll Miss Me When I Burn is far starker, based around little more than a mournful, circling piano, but is all the more moving for its simplicity.
Unusually, the album saves its best surprises for the end, when Red Ghost makes a late, strangely uplifting appearance. On the sweet, sad-eyed lullaby of Praying Ground, the Australian sings with an authority and assurance remarkable in a newcomer. Even more boldly, she more than holds her own on her duet with Lanegan, Rolling Sky, which is as menacing and unpredictable as an approaching storm.
Broken is probably too stubborn and idiosyncratic to win over many who haven't already acquired a taste for either Soulsavers or Lanegan. But those who have are likely to love it deeply and fiercely.
DESTROYER - BAY OF PIGS (2009 EP)
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http://www.mediafire.com/download.php?mbuzdj0fztmKerouac's friend Steve Allen provided the accompaniment at the piano, with results so impressive that it would lead Kerouac to a short but dazzling career as a recording artist. The first result was this album, which came at the suggestion of either Allen or his friend, producer Bob Thiele, who was working for Dot Records at the time. The record was cut in a single session and a single take for each piece. Allen's graceful piano opens the recording and Kerouac comes in, reading "October in the Railroad Earth" for seven minutes, off of a roll of paper in front of him. Kerouac's reading are in a class by themselves, and separate from Allen -- the two performances co-exist and weave together without ever really joining, and the result is a peculiar form of jazz; Kerouac did his thing, Allen did his, and the result was a spellbinding performance, and it was musical, despite Kerouac's seeming monotone reading, which never slowed or otherwise interacted with Allen's piano -- his voice dances to its own beat, with Allen embellishing and working around him
Lemon Demon- Dinosaurchestra
Sexy., I found him yeaaaars ago with the "Word Disassociation" video on albinoblacksheep (barely remember that place), and LimeWire'd (LOL) a bunch of his songs. Haven't had a full album, though. Definitely downloading. Thanks!
Poetry for the Beat Generation - Jack Kerouac + Steve Allensuch a great album. the piano really helps make this album
(http://upload.wikimedia.org/wikipedia/en/3/34/PoetryForTheBeatGeneration.jpg)Code: [Select]http://www.mediaf!re.com/download.php?mbuzdj0fztmQuoteKerouac's friend Steve Allen provided the accompaniment at the piano, with results so impressive that it would lead Kerouac to a short but dazzling career as a recording artist. The first result was this album, which came at the suggestion of either Allen or his friend, producer Bob Thiele, who was working for Dot Records at the time. The record was cut in a single session and a single take for each piece. Allen's graceful piano opens the recording and Kerouac comes in, reading "October in the Railroad Earth" for seven minutes, off of a roll of paper in front of him. Kerouac's reading are in a class by themselves, and separate from Allen -- the two performances co-exist and weave together without ever really joining, and the result is a peculiar form of jazz; Kerouac did his thing, Allen did his, and the result was a spellbinding performance, and it was musical, despite Kerouac's seeming monotone reading, which never slowed or otherwise interacted with Allen's piano -- his voice dances to its own beat, with Allen embellishing and working around him
I didn't even know there were 2016 members (read: active) of this forum, haha.Perhaps, people have shared the link around. After all, p4k gave them a nice write-up.
As Tall As Lions - You Can't Take It With You (2009) ~ Mp3 V2Oh, fantastic. I didn't even know they had another release on the way
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Holy shit. Myy up of Delorean's Ayrton Senna EP has (as of right now) 2016 downloads. Unless mediaf!re is telling me lies.
http://www.mediafire.com/?gmemcjjnzzwTo my knowledge Jay-Z and Radiohead have never performed on the same bill, let alone the same stage. Perhaps organisers should take note here; it could be a very, very good idea. Granted, the rap king of New York coupled with Oxfords favourite indie titans doesn’t immediately light many fires. Well not until you’ve actually sat down and listened to this album and appreciated how well the contrasting sounds complement each other. One interesting aspect is being able to listen to Jay-Z’s rapping without the big hip hop production that usually accompanies it. Never been a Jay-Z fan? This could well change your opinion and perspective.Everyone should download this, it's fantastic.
Brainchild of New York producer/DJ Minty Fresh Beats, ‘Jaydiohead’ takes its lead from Danger Mouse’s notorious ‘Grey Album’; the subject of mass panic in the music industry and several cease and desist orders from EMI. Where as Danger Mouse focused entirely on sampling the Beatles ’White Album’ and laying vocal tracks from Jay-Z’s ’Black Album’, ‘Jaydiohead’ utilises various material in Radiohead and Jay-Z’s respective cannons. Radiohead fans will recognise well sampled hooks from the likes of ‘I Might Be Wrong’, ‘Karma Police’, Jigsaw Falling Into Place’ and ‘The National Anthem’ fitting seamlessly with Jay-Z’s brilliant delivery.
Album opener ‘Wrong Prayer’ sets the standard, which remains excellent throughout. Jay-Z’s vocals are crisp and full of clarity as they cannon along next to slide guitar refrains and key samples from ‘I Might Be Wrong’. Up next is the track that people are most likely to head straight for, ‘99 Anthems’. As such is the popularity of Jay-Z’s ‘99 Problems’ tackling it seems a bit fool hardy, if the original Rick Rubin mix isn’t its pinnacle then surely the AC/DC sampling version aired at Glastonbury is the peak? Maybe not, this version really is a fine piece of work and repeated listens indent it into your brain quickly. Familiar vocals are tightly underpinned by the distorted and growling bass line from ’The National Anthem’ with flecks of Thom Yorke’s vocal floating in and out.
‘Karma Police’ makes its appearance next alongside Jay-Z’s ‘No Hook’ from the ‘American Gangster’ album. I wasn’t overly keep on the album version, it lacked the punch and originality of a lot of Jay-Z tracks, this however is a different matter entirely. ‘No Karma’ features some of the best sampling on the album. ‘Karma Police’ has been expertly picked apart, rearranged and fused with the vocals to create something so impressive sounding that not being generally available does it a disservice. The campaign to hereby release this track into the charts starts here!
The album continues to bounce along at a stunning rate with Radiohead tracks ‘Jigsaw Falling Into Place’, ‘Optimist’ and ‘15 Step’ all making an appearance in various guises. Far from just stringing samples and beats together to support Jay’Z’s vocals, Minty Fresh Beats is obviously a master of his art as drums, keys and guitars are all meticulously used in creative and usual ways to build and elevate the tracks. If this man isn’t already producing for big projects and labels then this release should see his work roster bolstered ten fold for the rest of the year.
To say this album comes highly recommended is an understatement. I’ve purposely not listed each and every track and vocal that’s sampled on it as not to ruin it. If you are a Radiohead and a Jay-Z fan then this is quite literally a must; you will enjoy experiencing the two artists music side by side, breathing in harmony together. If you are only a fan of one or the other it is still worth picking up and experiencing a new angle on either artist. A worthy addition to any music collection and one that’s destined to be on my stereo for the foreseeable future. Oxford just got bling, who’d have thunk it?
http://www.mediafire.com/?5arzyy2zozyGary Go rose to attention after touring the U.K. with Take That, and his self-titled debut offers the same sort of epic, polished pop that Take That embraced post-reunion. This is unapologetically commercial stuff, laced with touches of symphonic strings and fueled by choruses that aim for the cheap seats at Wembley Stadium. The genre is certainly familiar -- a veritable melting pot of Keane, the Script, and greeting card sentiment -- yet Go still manages to carve out his own identity, appropriating the chimes of U2's guitars and the polished piano balladry of Coldplay without succumbing to complete imitation. Of course, it doesn't hurt that he simply doesn't look like a pop star, preferring tailored suits and prominent eyeglasses to the more informal attire of his contemporaries. The emphasis here remains on his music, though, all of which was self-produced by Go on a relatively shoestring budget. Songs like "Wonderful" and "Engines" are the sort of anthemic tracks often dreamed up in million-dollar studios, but Go helms them at half the price, filling his sonic canvas with double-tracked vocals, keyboard loops, and enough palpable yearning to garner radio attention. The fact that the end results sound similar to Go's machine-made rivals proves to be a double-edged sword, however, both attracting fans for its genuine approach and repelling others for its similarity to manufactured pop.If you like Death Cab for Cutie, you'll like this guy
Gary Go-Gary Go
(http://ovocolorido.files.wordpress.com/2009/07/gary-go-album1.jpg)
http://www.mediaf!re.com/?qt232no4tjtAnthony da Costa, a “WFUV 2009 New Artist to Watch” and an “MSNBC.com 2009 Top Five Up-&-Coming Young Singer,” has released a new record, “Not Afraid of Nothing.” His music combines indie, alt, folk, rock, Americana and pop, plus what it’s like to be “a very, very young man, with a very, very old soul” (Pete Fornatale, WFUV).
Anthony da Costa IS not afraid of nothing. A public statement, a self-realization, an album title, a cool chance to use a double negative…or all of the above. Not sure. But one thing is certain: Anthony’s new record is anything but careful.
In 2007, at 16, he became the youngest winner ever at the Falcon Ridge and Kerrville Folk Festivals. In 2008, at 17, he released two, critically- acclaimed albums. He also played prestigious folk festivals, including the Philadelphia Folk Festival and Tonder Festival in Denmark, and opened for music icons, like Loretta Lynn and Dan Bern.
Now, in 2009, at 18, and before heading off to Columbia University this fall, he’s released a new record, “Not Afraid of Nothing.” But, in this album, his eighth, Anthony ventures into new musical territory. While one foot’s in folk, the other foot’s loose and wandering into various genres, influenced by the work of Elliott Smith, Ryan Adams and some other, less-obvious artists, like The Smiths and Jay-Z.
“I needed to get to someplace else with this record — someplace with a little groove.”
“Not Afraid of Nothing” is a homegrown record, recorded mostly on a Macbook Pro with an MBox in living rooms and basements throughout Anthony’s hometown of Pleasantville, NY. As for the songs, they document his last year in high school — a year of clarity and confusion, love and loneliness, change and nostalgia and, ultimately, renewal.
“This album is definitely the most of me that I’ve put out there, but I hope it can be about all of us in a way. If it’s not, than I’m not doing my job.”
http://www.mediaf!re.com/?ehn0i22fzf1Dear Cave Singers,
I’ve got to be honest with you. The thing we had last summer, it was great. It opened my eyes to a lot of things, and honestly, I’m grateful for the time we spent together. Do you remember those times when I put ‘Helen’ on every compilation that I made last year, because everything about it was so perfect? You were in my head from June to the end of August. It was an intense time, and one that I’ll always treasure. But that’s all in the past now. It’s over. I still love you, but I’m not in love with you.
That’s not to say we can’t be friends. There are things about your new album Welcome Joy that I really like. The instrumentation is still as sharp as it’s every been, many beautiful guitar melodies, delicate interplay between instruments, and Peter Quirk’s voice is still the same. The opener ‘Summer Light’ is a crisp and airy standout; ‘At The Cut’ is sensational too, thudding along thanks to Derek Fudesco’s delicious bass-heavy guitar riff and a driven vocal performance. It’s easily the best thing on Welcome Joy. But there’s something different about this new endeavour. Invitation Songs had production values, it felt like it there had been some serious thought into each segment of a song. It was the work of craftsmen, everything was just so, and the sequencing was especially good. With this new one, while there’s still no doubting the artisan levels of skill, those talents are obscured, like there’s a low fog over almost everything.
Track selection seems arbitrary. The mix is muddy, and sometimes it just seems like the whole thing has either been rushed to completion or cut off early. If you were going in a new direction, if it was going somewhere, I’d understand. But that’s just it. There’s no change at all. It’s like the groove has been mined so hard that the ideas have been exhausted. The whole sky has been reduced to a single point of light. Lyrical themes repeat from the first album, but there’s no weight behind them. There are only one or two moments that get vaguely close to the stuff of old. If there were a couple more of those, there wouldn’t be this palpable sense of disappointment.
You’re still a band who are definitely worth seeing live. And there’s a better album than this left in you, I’m sure of it. It’s just there was the expectation of more, and this has left me a bit cold. It isn’t all your fault, and maybe my expectations were too high. Maybe it’s just how I am, wanting new things, needing surprises, idealizing you, craving the romance of it all, and then when the excitement wears off, the cracks in the glaze become apparent. I’m very critical about everything, but you knew that already. Maybe when you come back around we can get a drink and catch up?
http://www.mediafire.com/?ju5my3gru2t Back in the early '80s, when extended dance mixes were crossing over from the late-'70s disco scene into mainstream pop music, the idea was particularly embraced by the British dance-pop acts of the time. Among the most ardent remixers circa 1982 were Duran Duran, who always dubbed their extended remixes/re-recordings "night versions." Nearly a quarter-century later, Belgian dance-rock conceptualists Soulwax borrowed that bit of pop culture ephemera as the title of their remix project Nite Versions. Radical dance-oriented remixes and reconstructions of tracks from Soulwax's 2005 album, Any Minute Now, Nite Versions is an unabashed celebration of the sound of early-'80s dance mixes, with ironic samples ("NY Lipps" blatantly lifts Lipps Inc.'s cheesetastic masterpiece "Funkytown" for all of its main hooks) and regular use of all of the clichés of the era. This isn't just a sarcastic joke, however; both due to Soulwax's natural talents and to their obvious affection for the style they're working in, Nite Versions is a fluffy, frivolous, but utterly enjoyable listen.
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Part 2 - http://www.mediaf!re.com/?zjyhiy0wvtmIt might be too soon to declare In Prism the best Polvo record ever . . . but it might be okay by the time you’re done reading this.
It’s de rigueur to ask the question, Why now? What makes a band decide to get back together for a few shows ten years later, and then for a few more? Well, I don’t know because I didn’t ask them, because the reasons don’t matter, only the results. Isn’t it pretty much always the same stuff anyway? “Because we could, because we thought it’d be fun, because we got asked.”
What I do know, and what every old fan will quickly realize seconds into In Prism’s opener, “Right the Relation,” which is so much more “Polvo” than Polvo was, is that they would not have made this record a year after 1997’s Shapes, their last album. Nor would they have two years later, or five. Not they couldn’t have; they just wouldn’t have. Only at this point in life would they be so assured, so casually stormy and intensely calm, graceful and free with their power only as guys their age, grown-ups who grew up without growing up, without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness, the writing, the singing, the words you can understand, and the ones you can’t.
Polvo spent 90 to 98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. On In Prism, those ideas come together like overlaid transparencies, many planes phasing into a cool new geometry, the parts visible but inseparable. And while there was nothing wrong before, it’s now so much more rightperhaps because after ten years, after other bands (Ash: Helium, Libraness; Dave: Idyll Swords and, with Steve, Black Taj; newest drummer named Brian: The Cherry Valence) and their tours and records and worries (if they had any), none of the peripheral stuff matters anymore. You just get to a place in life where a whole set of crap that might’ve once kept you up at night no longer means a thing. The lunchbox genrefications burped up by people who flunked algebra, any perceptions of competing with other groups for anything, what the band will do next or the label they’re on or might want to be on (though we can all agree that it’s cool to see Polvo back on Merge); that stuff’s for less experienced bands, if they want it. Now is for Polvo, and Polvo is for now.
In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree?
Cobra Starship would likely be the first to agree if you were to call them a joke band. The goofball lyrics, the kitsch-en sink approach to the music, and the day-glo visual images they portray are the work of a band that doesn't take itself seriously at all. The only point of contention would be whether the joke is funny and worth telling repeatedly, or if it's an annoying one that may have been funny once but is now wearing itself thin. If you are in the latter camp, then Hot Mess will hold no appeal for you at all. The silly dance pop, lightweight emo pop, and generally irreverent approach to music will make you want to break the disc in half. On the other hand, if that list sounds good to you, then Hot Mess is just what you'll want to be spinning on hot summer nights, late-night dance parties, and girl/boy's nights out. That their sound includes healthy doses of cheerleader chants, glam rock shouts, corny synth lines (played on the most cheesy of all synths, the keytar), mindless dance beats, arena rock guitars, totally fake hip-hop poses, '80s pop rip-offs, and vocodered vocals makes it a near-perfect pop sound for the age of short attention spans, gossip girls, and guyliner, and sounds like exactly what the title promises. The songs that sound like pre-ordained radio hits like "Good Girls Go Bad" (which features the amazingly post-modern guest list of Gossip Girl's Leighton Meester on vocals, Lil Wayne producer Kevin Rudolf behind the board, and a co-write from pro songwriter/Am Idol judge Kara DioGaurdi), "Wet Hot American Summer" and "Move Like You Gonna Die" have all the spangles, club sweat, and ridiculous energy you'd expect, but this time out you can also hear a little bit of real emotion (on the heartbroken R&B jam "The World Will Never," or the seemingly heartfelt and melancholy "Fold Your Hands Child"), some earnestly sweet melodies (the chorus of "Living in the Sky with Diamonds"), and a feeling that even though the band is a joke, it doesn't have to be a total throw away one-liner all the time. These slight diversions also keep the record from feeling like a non-stop rush of sugar-smacked silliness, which is something that made the last record less than a success. Hot Mess is a complete success and shows that the band could possibly grow past the comedy and become something else entirely. Not that they need to, though, it's be perfectly fine if Cobra Starship stayed a joke and kept making records as fun and frothy as Hot Mess.
http://www.mediafire.com/?kgi2gytnuo3Imelda May-Love Tattoo(2009)Love Tattoo is the debut solo album by Irish vocalist Imelda May, formerly of the roots outfit Blue Harlem. Originally released by the indie Foottapping imprint, it was later licensed in the U.K. by Ambassador and in the United States by Verve Forecast. May has captured the attention of the United Kingdom with its release, and for good reason. It's a striking gumbo of tough boogie-woogie, streetwise razor-edged rockabilly, intimate sultry vocal jazz, and sassy jump blues. May wrote all but two of the set's 12 tracks and produced the set; she also plays the bodhran, an Irish percussion instrument from antiquity. She's surrounded herself with an ace band that includes her husband, guitarist Darrell Higham, trumpeter Dave Priseman (who also plays flügelhorn and percussion), pianist and organist Danny McCormack, bassist Al Gare, and drummer Dean Beresford. The kickoff is the stomping rockabilly of "Johnny Got a Boom Boom" (infer what you might from the title). With a slapping double bassline intro, the drum kit latches on and takes it for another eight measures before Higham's nasty guitar begins its cutting strut. But May's vocal tops it all and swaggers confidently with its expression of raw sensuality. This is a love song from the streets, but it isn't trashy. It's got its own kind of in-your-face class. Contrast this with the gorgeous bluesy ballad "Knock 123," with its slow walking piano and basslines and a halting guitar figure, and May's voice all croon and caress. The title track is a wild stomp and roll where blues, rock & roll, country, and boogie collide behind her blues shout. May is a trained vocalist to be sure, but when the material calls for it, her voice contains a certain rough grain — earthy, raw, and full of unbridled passion. It's even evident in the country ballad "Falling in Love with You Again" (one of the tracks where her bodhran can be heard prominently). The lilt, grace, and haggard elegance of her voice reveal an entire well of feeling that seems to bubble up effortlessly yet without artifice. The entire album is deliciously and unabashedly retro, but comes off as spontaneous, fresh, and full of adventure. The uptempo tunes are simply unhinged, while the ballads are full of authentic emotion. The tunes aren't overly arranged, the production is minimal, and the instruments — as well as her voice — sound unembellished. Imelda May is capturing the attention of Europe for a reason; she is a rare and very exciting talent who understands the history of American roots music and knows how to use that understanding in a contemporary context without pandering. Love Tattoo is righteous. Period.
http://www.mediafire.com/?m4edjjjmdmjSpecializing in no-wave flavored indie rock, UUVVWWZ's name originated when they tried to map out the phrasing of one of their songs by jotting down notes on a brown paper bag. Followers of music theory will recognize right away that UUVVWWZ isn't a typical verse/chorus/verse/chorus structure, and while many of the group's songs aren't quite as unusual as that string of letters seems (most of them do, in fact, incorporate choruses), the group steers pretty far from the norm on their self-titled record. The musicianship is stripped down and deconstructed, with close attention paid to negative space. Sometimes this instrumentation, or lack thereof, verges on messy, but never to the point of feeling unfocused or falling apart. Tom Ambroz lays down jagged beats that are more about the time signature than power; Jim Schroeder can shred hard by way of dissonant, zig-zagging guitar runs between chunky guitar chords, but he often chooses to dumb down his abilities by playing single notes; and Dustin Wilbourn plays the backbone role, trying to hold it all together by mirroring the guitar work or by playing tasteful, in-the-pocket bass riffs. The real star of the show, like it or not, is the prominently mixed Teal Gardner, who either shrieks like a banshee or sings in a sultry Chan Marshall style. When she opts for the second method, she tends to go for tricky notes, sometimes hitting them and sometimes waivering around them, making her voice an acquired taste. Similarly, her lyrics are intelligible, but they're not easily decipherable. Even though English is her first language, it might not be so clear when she sings infantile lines straight-faced, like "Honey call me when you want to talk/And we can talk hard/All work can be fun/Fun to work hon/Got to be on!/I like to be on!" and the barbaric battle cry "Have want!/Have need!/Have want!/Now be!" There's definitely a J-pop influence present, particularly in the excellent Melt Banana tribute "Jap Dad," where Gardner titters Morse code jibberish over a crazy descending guitar and bass scale before squealing the hook "M.A.K.E.M.E.L.O.V.E.Y.O.U!" These wilder songs, along with "Shark Suit" and the fierce "Trapezeus," show that UUVVWWZ is a unique force in the indie world, and the sweet, soothing moments of "Neolaño" and "The Sun" prove that they're just as good when they show restraint and mellow out. There's a fine line between simplicity and chaos.
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http://www.mediafire.com/file/ydmaqy2ytnt/Autumn of the Seraphs.rar
http://www.mediafire.com/file/ydyhyzmnil3/Autumn of the Seraphs bonus.rar
Cobra Starship-Hot Mess(2009)
http://www.mediaf!re.com/?a3boxgknlzmBy the time Sondre Lerche had released his major-label debut (2002s critically acclaimed Faces Down), the then 19-year-old Norwegian wunderkind was already a veteran of the music world. Signed to Virgin Norway in 2000, Lerche released the chart-topping EP You Know So Well in February 2001. A commercially successful follow-up EP, No Ones Gonna Come, was released in June of the same year, accompanied by numerous local performances and increasing industry praise. Lerches distinctive voice and natural talent for writing appealing and alternately sunny and melancholic pop tunes quickly established him as a definite contender for significance throughout Europe and beyond.
This is dropping in September so enjoy getting it early.
London songwriter Imogen Heap is better known for her skill in employing the internet to push her career than for her actual music. She's got hundreds of thousands of Twitter followers and MySpace friends (though not, inexplicably, the sales to match), but the only songs that might be familiar to non-fans are the 2007 Grammy-nominated Can't Take it In and Hide and Seek, which made it on to The OC. This beguiling third album deserves to be her breakthrough moment, though the absence of an obvious Hide and Seek-style focal point may hinder its chances. Ellipse is questing and musically inventive, using electronics as its foundation, but fleshing out the bleeps and clicks with everything from the chirp of jayhawks (on Little Bird) to an Indian flautist (Tidal). An understated vocalist, Heap sounds by turns warm and inviting and mistily detached - and her resemblance to Alanis Morissette on the track Earth cannot go unremarked. Lovely stuff.
http://www.mediaf!re.com/?2m2zzndkkkmhttp://www.mediaf!re.com/?nyikk532zmyThis collaboration between psychedelic slurry merchants Yellow Swans and big noise on the big noise scene, John Wiese, begins very much as you'd expect, with a towering hunk of din and colourful mid-fi abrasion. Once 'That's A Lot To Ask' has finished scraping out your ears, 'Evicted CD-R' kicks in with high frequency sine wave tones and near-silence, slowly building up a dark, cloudy atmosphere before plunging headlong into what sounds like an orchestra tuning up in a very big cave, amplified to ridiculous extents. 'Disco Girlfriend' is more consistently abstract, establishing a flaked-out, caustic ambience before 'Happy New Year' mellows out with some airy chimes and only the very slightest, hovering drifts of static. Finally, 'Lost In The Blood' embarks upon a quietly droning journey that finishes with an ominous foghorn conclusion, floating off into the distance.
http://www.mediaf!re.com/?zym0wngi5mgFitzsimmons albums are all uniquely good on their own but live is where I think his music really flourishes. Based purely on the content of this music, it’s vulnerable and it’s never more vulnerable than hearing it recreated for a live audience. I had the chance to catch him live a few years ago at Jammin’ Java in Vienna, VA. He went through 7 songs and it wasn’t nearly long enough.
As for the release, Live from the Downtown Studios is 7 live versions of songs taken from his most recent “The Sparrow and the Crow” (which in itself, exists in a emotional heaviness that exudes connection – make sure you read the interview done about the album here). The song choice and the order is what I find intriguing – using the two “songs” as a framework of the album which the other songs are then hung from.
As most fans of his music will tell you – there are certain times when William Fitzsimmons is on repeat in the iPod. As much as I think the music once released becomes manipulated by the listener and normalized into our experinces – I’ll try not to put too much on the music.
Here’s my take:
I Don’t Feel It Anymore (Song of the Sparrow) – Sets a dark tone for the album to let you know what you’re getting into. Interestingly, William provides the vocal for both parts in the song. This is in sharp contrast to the album release where it was as if both parties in the relationship were working it out.
Goodmorning – I would say that this is the most hopeful song in the repertoire, I love the “You will find love, you will find peace” lyrics.
After Afterall – In it’s original release this song makes the transition from one album to another. Located centrally on this release with a haunting piano brings forward ideas of quiet resolve and the walking wounded in post relationship blahs.
If You Would Come Back Home (feat Rosi Golan) – This is my favorite track on the album. Williams’ voice dances with Rosi Golan’s throughout the song but at the climax of the song (begins at 2:50) the slight breaking notes of the vocal adds volumes to the music.
Maybe Be Alright – This song is full of regret with the invitation to change course. Some would say that the singer is being a doormat, others could call it the higher road post breakup. I call it coming to grip with the teetering reality of messy breakups.
You Still Hurt Me (feat. Rosi Golan) – I love the guitar flourishes in this track. This song seems to dance through a rough patch
Please Forgive Me (Song of the Crow) – This is by far the saddest song of the bunch. The admission of hurt and guilt and the burdens of past deeds. No mercy is asked for and maybe none is given.
Just yesterday I was taking to a friend about this music and while it’s highly introspective I don’t find it depressing. Is it a reminder of darker days, certainly. But when I hear it now I’m contemplative and love listening while I’m getting work done.
Live albums can be so hit or miss, especially because most are flavored with a ton of studio magic and that changes the DNA – I def recommend checking out this one.
The Summer Cats aren't the kind of cats who like to curl up and purr the day away, they're more apt to chase things, run around wildly, and basically tear stuff up. The Australian quintet states their aim as clearly as possible on the first track of their first album Songs for Tuesdays. "Let's Go" bursts out of the gate with a supercharged Flying Nun-inspired attack (the Clean especially, but also some early Chills too) built around fuzzy guitars, peppy organ, and shouted vocals. The rest of the album follows in kind with barely a break for breath. Thirteen songs in 32 minutes doesn't leave a lot of space for meandering or epic ballads or wasting time with guitar solos; it does leave plenty of space for memorable hooks and for songs that sound like they were created just to be played loudly in the summertime. Any summer mixtape would be improved by the addition of the noisy rocker "Hey You," the droning Stereolab-esque "Lonely Planet," or the wildly oscillating "St. Tropez." You could really take any song and plug it into that sentence; the record is that strong and unified. The only complaint you might have with a record as tightly constructed as this could be that the songs all run together. The group heads this off in a couple of ways. While bandleader Scott Stevens takes most of the vocals, he turns a few over to other members of the group, most notably Irene, who provides the innocent female vocals that pair up with Stevens' slightly manic tones perfectly. Secondly, they vary the sound of each song just a little bit. Some songs are heavy; some are lighter than air. Some have distorted guitars; some have clean and jangly guitars. It's an admirable attention to detail that does a world of good. The Summer Cats spent a few years honing their sound on singles and EPs, and it really pays off on their debut. It's the sound of a great rock band playing and writing at the peak of their game, and Songs for Tuesdays is an album anyone with a fondness for spiky, catchy, and super fun indie pop should own.
http://www.mediafire.com/?yztwitafzmw
http://www.mediaf!re.com/?4wnjwyhmgjk
Also if someone has Jupiter- Starfucker, can you upload it please?
http://www.mediaf!re.com/?3jgwjatwmjw
With the release of their debut album, Survival Strategies in a Modern World, Swedish trio Liechtenstein will likely get lumped in with the Vivian Girls and all the other bands of the late 2000s who revisited girl pop styles of the C-86 era (and of bands like Black Tambourine who borrowed from that sound in the '90s). While it may be a somewhat fair comparison since they do share a few stylistic qualities like a stripped-down sound, a lo-fi recording style, and a songwriting approach that favors simplicity above all, Liechtenstein are different enough to stand out from the crowd. They do this in a few important ways. First, they bring on influences that other similar bands of recent vintage haven't delved into much, like the angular simplicity of Young Marble Giants ("All at Once"), the warm vocal harmonies of the Marine Girls ("Postcard"), and the bopping giddiness of Talulah Gosh ("By Staying Here [We Will Slowly Disappear]"). It's also very likely that the members of the band are familiar with the Messthetics comps that round up loads of excellent early-'80s D.I.Y. pop and post-punk groups; they have a similarly homemade and shambling yet well-constructed feel. You can hear it in the jumpy "White Dress" and the herky-jerky "Sophistication." Next, they deliver the songs in a sunny, breezy manner that's really hard to manage without sounding overly twee or insubstantial. This is down to both the rich vocal harmonies and arrangements that give the songs some room to breathe. Even the songs that have more of a punky, Shop Assistants feel, like "Roses in the Park," have a lightness and warmth that most of the other revivalists can't approach. Survival Strategies is a very backward-looking album -- to be sure you could have thrown it on your turntable in 1986 and it would have fit in perfectly with the surrounding sounds -- but it also sounds very good in the late 2000s, and that's what really counts.
http://www.mediafire.com/?joiuumilmom man, this is pretty good
http://www.mediafire.com/?winwzwjamli Erik Hassle has been one of Sweden's greatest contributions to Pop music. With his debut single, "Hurtful", I'm effortlessly blown away by this Swedish lad. He defo reminds me of the old Robbie Williams with a bit of an edge. He doesn't look like your ordinary pop idol. He's with the big o' curly hair but with an unbelievable voice. His debut album had been making airwaves since its release earlier this year, now he's trying to break in the British music scene with his debut single, "Don't Bring Flowers" will be released on August 24th.
"Don't Bring Flowers" isn't my ordinary taste for his debut single in the UK. "Hurtful" or "Love Me To Pieces" would be a better choice but I happen to like the song. Not that much as same as the first two but It's convincing me of a potential hit. I'm still skeptical about the performance outcome of the song in the UK. Will it be received well by the audience? One thing's for sure now, this guy has a lot lot more to offer, maybe if he could promote the song, he could end up having the same success as her fellow Swedish artist, Agnes had when she released "Release Me" and went in the top 3. - The Beat Review
http://www.mediafire.com/?wmjjhwzeihm
http://www.mediaf!re.com/?nzejyymym5gJonathan Wilson - "La Isla Bonita"
Golden Animals - "Beautiful Stranger"
Winter Flowers - "Live to Tell"
Mountain Party - "Material Girl"
Jeremy Jay - "Into the Groove"
Ariel Pink - "Everybody"
Giant Drag - "Oh Father"
The Tyde - "Hung Up"
Alexandra Hope - "Lucky Star"
The Chapin Sisters - "Borderline"
Apollo Heights - "Dress You Up"
The Bubonic Plague - "Who's That Girl"
The Prayers - "Cherish"
Lion of Panjsir - "Crazy for you"
Lavender Diamond - "Like A Prayer"
Part 1 - http://www.mediaf!re.com/?uitt1gmyndk
Part 2 - http://www.mediaf!re.com/?dhetjmm14oeIt feels like a bit of a cheat to kick off a review by quoting someone else, but this particular quote is rather apt. David Harrington, the Kronos’ artistic director and founder, once said, ”I’ve always wanted the string quartet to be vital, and energetic, and alive, and cool, and not afraid to kick ass… But it has to be expressive of life. To tell the story with grace and humour and depth”. With Floodplain, the Kronos Quartet has done all the above. Once again, they’ve pushed boundaries to produce a disc that stretches, excites and inspires the senses.
The album title refers to the fertile, flood-prone strips of land bordering rivers. The idea is that floodplains experience new life after the catastrophe of flooding, just as cultures that undergo great difficulty will experience creative fertility. Certainly, the countries represented here, from the Middle East, South Asia, Africa and Eastern Europe, have all endured more than their fair share of hardship, and the music frequently reflects this. Emotion is at its most raw; one senses anger, sorrow and wounds not yet healed, and this is certainly true for the disc’s two newly commissioned works. The first of these, the edgy, unsettled Tashweesh, is by the Palestinian hip hop group, Ramallah Underground, who David Harrington discovered through myspaceIran. The second, Serbian composer Aleksandra Vrebalovs ”…hold me, neighbor, in this storm… ”, is a dignified, contemplative hymn that whips itself up into an angry, whirling climactic frenzy. There are also traditional arrangements of works from Lebanon, Turkey and Iran, contemporary interpretations of classical music from Azerbaijan and India, and popular music from 1940s Egypt and 1970s Iraq. The quartet are joined in a hauntingly beautiful performance of the Azerbaijani folkloric love song, Getme, Getme, by one of Azerbaijan’s most celebrated performers of the country’s improvisational mugham singing, Alim Qasimov, and his ensemble.
Full marks to the Kronos Quartet for championing countries more known in the West for their instability than for their rich musical cultures. It’s the vibrant musical performances though, saturated with humanity, pathos and soul, which give this disc its edge.
http://www.mediafire.com/?e4himntizye
http://www.mediafire.com/?wmvlumqttjzAt the heart of every great rock and roll band lie four essential elements: bass, drums, guitars and vocals. That, in its purest essence, is JET. And JET, in their purest essence, have again captured those elements with their third album, Shaka Rock. With their previous releases- 2003's Get Born and 2006's Shine On- JET broke out of their native Australia and established themselves as a multi-platinum, international success story, merging the charisma and energy of classic rock and roll with just enough punk swagger and contemporary flair to create something uniquely theirs. Here at last is a band that's returning the cool to rock and roll. 2009's Shaka Rock reveals new dimensions of JET while never losing the raw roots of Get Born or the grace and melody of Shine On, which together went on to make JET an international band of style and substance.
A second ancient rock classic turns up on Daddy Has a Tail!, only the Cows' version of Johnny Kidd's "Shakin' All Over" has different lyrics: "Yo girl, I love it when you make my asshole bleed...I'm shakin' in my colon." Ha ha ha. Overall, this horrible exercise in juvenile dementia makes the Cows' first record sound like Dark Side of the Moon. With production that couldn't be worse if the studio had been underwater, the murky rumble of Thor Eisenstrager's overdriven guitar is an all-consuming swamp that muffles the entire effort.
http://www.mediafire.com/download.php?ocydkzlmzgjGo Sailor compiles three 7" releases and two compilation tracks by Rose Melberg's post-Tiger Trap (and post-Softies) project, Go Sailor. The band's sound is pretty much as one would expect from Melberg, taking the speedy jangle of Tiger Trap and lightening its sound with a more sweet, direct feel (in line with the Softies) -- the band and Melberg's songwriting are as keen as ever, and Go Sailor does nothing but deliver on the jangling four-chord structures and indie pop hooks her fans have come to expect
http://www.mediafire.com/download.php?nyblmznndzuhttp://www.mediaf!re.com/?djmwkgzinhihttp://www.mediaf!re.com/download.php?zgdy2mgnmml http://www.mediaf!re.com/?ozdmjhuymzxAt the heart of every great rock and roll band lie four essential elements: bass, drums, guitars and vocals. That, in its purest essence, is JET. And JET, in their purest essence, have again captured those elements with their third album, Shaka Rock
Cobra Starship-Hot Mess(2009)
http://www.mediafire.com/?ml1fkzzzj2w
Cobra Starship-Hot Mess(2009)
Track 12 won't extract.
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Young Widows Old Wounds
Cobra Starship-Hot Mess(2009)
Track 12 won't extract.
/gaspCode: [Select]http://www.mediaf!re.com/?muogzmznmzd
MATISYAHU - LIGHT (2009)
http://www.mediaf!re.com/?wmycojrnogm
jet is faggot.Homophobia is neither appreciated nor accepted here. Honestly, I'm surprised nobody said anything yet. If you enjoy saying things like that, it would be best if you did it while playing halo or something. Y'know, "owning noobs" or some shit, with all the thirteen year olds and frat boys.
http://www.mediafire.com/download.php?1mguyzhn2mmhttp://en.wikipedia.org/wiki/Slow_ClubSometimes sleepy, sometimes loud, the English duo Slow Club brings charm and wit, complemented by a pots-and-pans approach to instrumentation, using chairs and other household objects to add a unique texture to their music. The music is bouncy, layered, and upbeat.
http://www.mediafire.com/download.php?yom2zyymk0whttp://www.mediaf!re.com/?wgwwammw1mnjet is faggot.Homophobia is neither appreciated nor accepted here. Honestly, I'm surprised nobody said anything yet. If you enjoy saying things like that, it would be best if you did it while playing halo or something. Y'know, "owning noobs" or some shit, with all the thirteen year olds and frat boys.
Jet is a pretty stupid band, but that has nothing to do with their sexual orientation.
The female is attractive!
Nick and Celli used to DJ together at the many outdoor free parties on Ibiza, often playing ping-pong sets as a duo. They decided to try and make some music together, and from these early laptop sessions came the tracks that would eventually lead to the formation of the Vatos Locos project with Mexican DJ and good friend Xavier Fux.
When Nick moved from London to Ibiza he and Celli set up a studio together in the house they shared. In between working on dance tracks for Vatos Locos they started producing downtempo and chill-out tracks which eventually became the basis for the Third Ear Audio project. Covering a range of musical influences from trance, chill-out electronica thru dub to big-beat and rock, and incorporating live instruments including sessions with Mexican percussionist and tabla-wizard Rupesh and flautist Nidra Sofia, the Third Ear album pretty much covers the spectrum of deep-chillage, reflecting Celli and Nick's varied musical tastes.
http://www.mediaf!re.com/?tuod2mkmmgihttp://www.mediafire.com/?zow4qommimn
http://www.mediafire.com/?zndz51tlintLeave it to Björk to make a concert release that can be treated as part of her regular body of work rather than a side note. While Björk fans have occasionally complained about the amount of repackaging of her albums, Voltaic reaffirms just how important the live aspect is to her music, and provides a couple of different perspectives on it as well. Volta sparked a particularly inspired and lavish tour that, arguably, ended up being bigger than the actual album was, but tapped into the most dramatic, primal, and elegant aspects of Björk's art overall. It's fitting, then, that the chronicles of the Volta tour are just as thoughtfully crafted as the shows were (and since Voltaic comes in several different releases ranging from a single live disc to a CD, DVD, and vinyl extravaganza, fans can pick the size that suits them best). The basic version of Voltaic offers a live CD recorded in one take at London's Olympic Studio, just hours before Björk and her band -- which included Volta collaborators Mark Bell and Chris Corsano as well as the ten-piece all-female Icelandic brass section/choir she put together for the album -- played 2007's Glastonbury Festival. Given that the live CD was recorded in better conditions than many studio albums are, it's no surprise that the sound quality is excellent -- almost too excellent. This is not a warts-and-all concert recording with the occasional muddy audio and lots of crowd interaction; instead, it feels like the listener is hiding in a studio booth as Björk and her band perform a flawless rehearsal. While this approach is a little removed, the results are impressive: the Volta tracks ("Earth Intruders," "Wanderlust," "Vertebrae by Vertebrae," and "Declare Independence") actually have more impact here than they did on the original album, while the classic songs ("Pagan Poetry," "All Is Full of Love," "Hunter," "I Miss You") adapt to the percussion-heavy Volta approach well. While the versions of Voltaic that include a DVD capture even more of the concert experience, this release still offers fans a taste of the power and precision of the Volta live shows.
http://www.mediafire.com/?0emtxmi3ofm
Dude, just accept that it's not cool around here. You can call us petty and uptight if you think we're petty and uptight, and I'll see where you're coming from, but I won't think you're cool, because using a term like "faggot" just ... isn't. We don't like it. It's pretty easy to look at what you're typing and think to yourself "you know, on second thought, that's kinda unnecessary, I should just not post that." I promise, you'll get really good at it if you try and it won't be any less fun.
tl;dr stop.
http://www.mediaf!re.com/?zitmzfvnmfzhttp://www.mediaf!re.com/?xtm2ynnqimm http://www.mediafire.com/?hmndz31ziln
http://www.mediafire.com/?ykyn4k0mnmvIn 2006, critically acclaimed singer/songwriter Pete Yorn contacted actress and Atco recording artist Scarlett Johansson with the idea to record a duets album in the spirit of Serge Gainsbourg’s 1960s recordings with Brigitte Bardot. “I was having a strange week of insomnia and when I finally passed out, it came to me in a dream,” says Yorn. “I woke up and the whole thing was in my head, fully formed.” Johansson was intrigued by Yorn’s out-of-the-blue invitation. “It sounded like an interesting little adventure,” she explains. “The idea of two people vocalizing their relationship through duets.”
On September 8, Atco Records, an imprint of Rhino Entertainment, presents the resulting work, Pete Yorn & Scarlett Johansson BREAK UP, a deeply emotive yet hook-filled song cycle about a tempestuous relationship. The collection will be available at all retail outlets, including www.rhino.com, for $13.98 (CD), $7.99 (digital) and $13.98 (vinyl). Prior to the release of BREAK UP, Yorn will release his fourth studio album, Back and Fourth, on Columbia Records June 23.
BREAK UP includes eight original compositions by Yorn, ranging in tone from the lilting opener “Relator” to the disarming, retro/futuristic “I Don’t Know What to Do” to the climactic “Someday.” Completing the collection is a powerful interpretation of the art-rock classic “I Am The Cosmos” by the late Chris Bell, co-founder of quintessential cult band Big Star. Produced by Sunny Levine, with Yorn and Max Goldblatt as executive producers, the album features contributions from guitarist Robert Francis; bassist Giuseppe Patane; and violinist Amir Yaghmai, with Goldblatt on banjo, synth bass and backing vocals, and Levine handling programming and mixing.
Predating Johansson’s debut album, Anywhere I Lay My Head, by nearly two years; BREAK UP was conceived and recorded in 2006, in Levine’s garage studio. “I always thought of it as just a small project between friends,” explains Johansson. “I’ve loved the album ever since I heard it completed. It perfectly captured where I was in my life at the time.” Yorn was as protective of BREAK UP as a father of his daughter, playing it for no one until last year. When those close to him finally heard BREAK UP, the overwhelming response convinced Yorn that it was simply too strong a work to remain under lock and key.
http://www.mediafire.com/?ndxta1nnoqqSlow Club - Yeah So [2009]
http://www.mediaf!re.com/download.php?0ujzvohfit5Slow Club - Yeah So [2009]
ofuck, this is adorable. I fell in love about 15 seconds in.
http://www.med!afire.com/download.php?2bnwd04jywmen.wikipedia.org/wiki/The_MekonsBoris!!? As in, BORIS boris?!? DOWNLOADING IMMEDIATELY
http://www.mediafire.com/?fqhiijvtm5n http://www.mediafire.com/?iiirkjozmih Damien Dempsey is from Donaghmede on Dublin's Northside. His earliest musical influences were the post-pub singsongs that his parents used to have at their home when he was a toddler. Good, bad or indifferent, everyone had to sing. Today his unique sound reflects the influence of traditional Sean-Nós as well as his musical heroes: Bob Marley and Elvis Presley. After completing his secondary education Damien went on to the Ballyfermot "Rock School" for 2 years where he studied musical performance as well as the practical side of the music industry. The school had its own small record label and star students were awarded a release on the label. Damien was chosen for that honour and the EP, "The Contender", was released in 1995. In 1997 "Dublin Town", Damien's first commercial single, reached No. 18 in the Irish charts. Ireland's HOT PRESS remarked that it was "..an underground anthem for disaffected youth and closet balladeer alike". A re-recorded version of the song appeared on Damien's first album; "They Don't Teach This Shit In School" released in 2000.
His next release, the "Negative Vibes EP", (2002) featured Sinéad O'Connor on the title track and led to an invitation to support Sinéad on her 2002/2003 Irish, UK and European tour. Damien's second album, "Seize the Day", was released May 2003 in Ireland on Clear Records via Sony and entered the charts first week of release at No. 5. It has since achieved double-platinum sales. Released in May 2004 in the UK on IRL, the album was awarded "CD of the Week" in the Sunday Times and received enthusiastic reviews in the National and music press. Nominated in 4 categories in the 2004 Irish Meteor Awards, Damien walked away with two, the only 2004 double winner. A documentary, "It's All Good: The Damien Dempsey Story" by independent filmmaker Dara McCluskey, that followed Damien's career progression up to the release of "Seize the Day", was broadcast on Ireland's national TV station RTE and shown at film festivals in Ireland and New York.
During 2004 Damien toured extensively headlining his own shows as well as supporting Bob Dylan during the Irish leg of his European tour and making his debut appearances at The Fleadh and Womad. Damien has earned the passionate support of his peers, one of whom is Morrissey who invited Damien to support him on various UK and Irish dates as well as his autumn 2004 US tour. Morrissey went on to sign Damien to his Attack label, and "Seize the Day" had its U.S. release in October 2004. His third album, "Shots", simultaneously released in Ireland and the UK in March 2005, entered the Irish album charts at Number 1 and achieved platinum status in December 2005. The album was also released in the U.S. on United for Opportunity Records in June 2006 and Damien undertook a coast to coast tour. In February 2006 Damien increased his Meteor Awards by winning in The Best Irish Male category.
Recorded in December 2005 at Dublin's Olympia Theatre and released in June 2006 in both Ireland and the UK, Damien's first live album, "Live at The Olympia", entered the Irish album chart at Number 10. For the second year in a row Damien won Best Irish Male at the 2007 Meteor Awards. His fourth studio album, "To Hell or Barbados",released world-wide in June 2007 entered the Irish album chart at Number 2. Once again, Damien was nominated in two categories of the Irish Meteor Awards 2008 and walked away as the winner of Best Folk/Traditional. In June 2008 Damien released "The Rocky Road" a collection of traditional Irish songs which featured contributions from Barney McKenna and John Sheahan of the Dubliners.
Part 1 - http://www.mediaf!re.com/?njzn4yy2whz
Part 2 - http://www.mediaf!re.com/?wtmxyuqjyimThis album doesn’t claim its space on NZ record shop shelves until September 14, but I couldn’t resist blogging my enthusiasm for it.
Here’s the thing: there’s a pop/rock renaissance occurring, and while old farts are claiming (as always) that all the good music happened back in the ’60s or ’70s, there’s just too much cool stuff coming out right now in 2009 to deny.
Here’s some evidence; some bloody great evidence, at that.
The Big Pink are a duo from England. They took their name from an album by American roots-rock band, The Band, who used to back Bob Dylan, but there the connection ends. Turns out ‘The Big Pink’ just happened to be in one of the duo’s parents’ record collection, but it certainly didn’t influence their sound.
And thank goodness for that; The Band are one of the least interesting, most overrated rock groups of all time.
No, The Big Pink have signed to the 4AD label for good reason (it’s a slightly arty label that has housed groups like the Cocteau Twins and Dead Can Dance over the years). Not that they sound like those groups, but they do have a “wall of sound” approach that is reminiscent of the Cocteau Twins, and especially similar to a band that took the Cocteaus sonics to a new level, the legendary My Bloody Valentine.
The Big Pink do two things that generally are mutually exclusive: they write memorable, hummable pop songs/melodies, yet behind those songs is a surging wall of electricity. And like sweet and sour, the two mix together amazingly well.
When the platter starts spinning, it sounds harmless enough, but soon enough it kicks in. It’s one of those albums you really do feel like turning up as loud as you can, and the dissonant noise is a fantastic release and mood-enhancer.
There is a lineage here: from the “shoegazing” bands of the ’80s like the aforementioned Cocteaus and groups like Ride to feedback-drenched outfits like The Jesus & Mary Chain. Even though there’s a Velvet Underground influence in there somewhere, you could claim this style to be specifically English.
‘Crystal Visions’ is a good opener, and is drenched in crackling, kinetic electricity, but it’s the second song, ‘Too Young To Love’, that sees things really kick in. Often with this style of music, producers/engineers compress the sound to get all the intensity in the mids, but this is full-spectrum, with plenty of low end, and the sound effects are so woozy that you may want to bring a sick bag if you suffer motion sickness. It’s an amazing piece of noise.
The pure pop of ‘Dominos’ follows, giving us a false sense of security, because it’s the kind of tune you’re singing along with after one listen. This could be a huge hit, but it’s not just standard pop fodder; if you listen, there’s plenty of interesting sonic detritus floating around, a great chug-a-lug beat that’s clean as a whistle, and some wickedly deep electronic bass arpeggiations.
Ballad ‘Love In Vain’ reinforces the pop angle, as it’s pure Spector; ironically the ’60s girl group producer is showing a huge influence on a range of contemporary bands now that he’s languishing in prison.
‘At War With The Sun’ could easily be transposed into a horrible ’80s synth-pop song, such is its dalliance with cliche, but it’s saved by the group’s determination to play with the sonic soundstage, and ends with a Hendrix-style guitar meltdown.
It’s only with the sixth track, ‘Velvet’, that you realise The Big Pink could easily degenerate to cliche if they’re not careful. Not that it’s bad, just that more so than the other tracks, the listener can predict where the surging power-chord section begins and ends (ie, between verses and choruses), and the melody is strangely absent.
‘Golden Pendulum’ sounds like one of the lesser Beach Boys tracks from after Brian Wilson went to live in his sand pit, with post-production power electronics added to the mix. Once again, the boys show their intrinsic understanding of NOISE, and use a welter of dissonant sound shards to build up a powerful sound collage.
Ditto ‘Frisk’, where freakout synth and guitar float around a power pop song that has an angry, apocalyptic feel to match its lyrics about love-confusion.
The title track, meanwhile, is another big Spectoresque ballad with guest female singer that in a better world, could be a hit single. I could imagine the MTV video, if MTV still existed, that is.
‘Tonight’ is almost a bouncy pop song with dancing synth sounds, and it’s also almost night-club friendly. Probably my least favourite.
And finally, ‘Countbackwards From Ten’, a slow, lumbering, tired-sounding song that suits the end but hardly furthers the cause, and is again rather shorn of the elements that make the group so great.
If The Big Pink ends up toning down its sonic experimentation to improve their commercial prospects, they’ll become just another boring band of English shoegazers, but A Brief History Of Love is a bold, exciting album that will appease both pop fans and those who like exciting sonic adventurism.
http://www.mediaf!re.com/?kymwdezdznjMatisyahu had been working on his third album for nearly two years, making it the longest time he has ever spent making a record. The follow-up to Youth had been delayed several times before its release. First scheduled for early 2008, Light was pushed back numerous times because Matisyahu continued to tour off and on since the release of Youth. The new album's release date was set for April 21, 2009, but on March 3, the release date was pushed back to May 12, 2009. Then, once again, he pushed the release back, this time to Summer 2009, ostensibly because Matisyahu decided to record more new songs. That date had already passed, and in a message from Matisyahu on Twitter the album is due to release on August 25th. On May 27th, Matisyahu's FaceBook page stated that the album was going to come out on August 25th. On June 23rd Light was made available for preorder on iTunes, with the single "One Day" available for download at the same time. Eventually, the official release date of August 25 was settled on, and stands, pending unforeseen setbacks.
http://www.mediaf!re.com/?tztkntoznzjThis is a four piece band from Nebraska with a snazzy name. It’s their first album and they have been in existence for just two years.
They sound rather jagged.The female vocalist (her name is Teal) is experimental/avant garde with her vocal style. The album consists of nine tracks, somewhat similar in tone. Berry Can has a rocking style,with Teal’s vocals worming their waythrough the song. I did rather like Castle and Neolano, both of which had a touch of Florence Welch’s vocals in Teal’s delivery.
However the tracks didn’t really hold my interest for long. I have to say that’s just my personal opinion as, albeit contrived,this debut CD is a decent offering from an embryonic band and its worth a listen.
http://www.mediaf!re.com/?zllqtm1d0wnA really strong (and rather long) single from the hard-to-google Girls, 'Hellhole Ratrace' isn't entirely unrelated to the Jesus & Mary Chain plundering that's gone on in recent times, albeit with an Americanised spin, but it's already found some notable success by hitting the Pitchfork Top 100 prior to this release. If you like the idea of a San Franciscan Glasvegas, you're in luck with this one. After all that towering fizz comes B-side 'Solitude', which airs a more sentimentalised side to the band's work, coming across as surprisingly old-fashioned - even a bit '50s.-boomkat.
http://www.mediaf!re.com/?jhwjjnw4jmuArctic Monkeys grew their hair and enlisted the ear (and heavier bass lines and guitar squeals) of Josh Homme for their third album 'Humbug'. In interviews, they've mentioned the influence of Black Sabbath on the collection and said they listened to Hendrix and Cream while they recorded it. The brooding, sexy, minor-key "My Propeller" offered a darker, more mature sound and first single "Crying Lightning" teased with sludgy psychedelia. Those are also literally the first two tracks out of the collection's ten, so the big question is whether or not the Monkeys maintain that incense-burning/black-arts digging vibe all the way through.
It surely seems like it when listening to track three, "Dangerous Animals," a bottled-up and then mildly explosive burner that gives us crunchy fuzz guitar, a repeating underwater gong sound, and a bona fide S&M storyline: "Sharpen the heel of your boot / And you press it to my chest and you make me wheeze / And to my knees you do promote me." 'The record's 39 minutes are filled with plenty of this sort of come on. We're not necessarily talking Velvet Underground bleakness, but Alex Turner is clearly pushing his pen deeper into his notepad. One of his best lines shows up in the almost balladic "Cornerstone": "I thought I saw you in the battleship / but it was only a lookalike... / ... She was close, close enough to be your ghost / But my chances turned to toast when I asked her if I could call her your name." By the song's end, because this is the world of 'Humbug', he's being told "yes, you can call my anything you want" by his ex's (or whomever's) sister.
The 'Humbug' atmosphere's made up of broken arms, sweaty walls, scratched varnish, irritating embraces, snake pit shadows, wolves, obsession, seat belts that smell like your lady, distracting mirrors. There are questions: "What came first the chicken or the dickhead?" But mostly there are declarations about dirt, danger, lust. A song like "Secret Door" opens with a pastoral feel until Turner starts singing about "fools on parade" and we realize it's not going to be so feel-good. (Nothing here is feelgood.) A few moments later the track opens to a mid-tempo rocker depicting a phantasmagorical dance. Many of the songs feature this carnival-esque feel via murky, somber under-layers.
'Humbug' sticks doggedly to a tense but seductive pace. It can feel sludgy, though the intricate details are usually pristine. "Dance Little Liar" opens with an echoing phase before a few rolling beats from the drum introduce a gothy (or at least Victorian) late-night vibe. The biggest rocker, "Pretty Visitors," opens with spooky organs and then kicks into high-gear -- great drum rolls and herky jerky dynamics -- before slowing into a creepy, droning chant. Before the track's close (head to about the 2-minute mark) the guitars are upped and you finally hear a moment that wouldn't blush from a Sabbath comparison.
The layered production keeps you listening closely all the way through to the elegantly dark and almost Doors-like closer, "The Jeweller's Hands."
Arctic Monkeys are maturing, exploring different textures and emotions, and the result is an album that requires close and careful listening. It's an enjoyable attitude adjustment that we've only just started digging into, but judging from the nuances we find on second and third and fourth listens, like the band, it should keep on growing.
http://www.mediaf!re.com/?m2dw0ggo2lyTransparence is a limited edition four-song 10″ featuring two unreleased songs from the same Gigantic Studios sessions during which Asobi Seksu recorded its 2009 Polyvinyl debut LP, Hush. The lead track “Transparence” is taken from this release, but appears here with a new introduction. The 10″ also features a remix of “Transparence” by the hypnotic percussive group Aa.
Thankfully Friendly Fires haven’t been too tarnished by the endless glow stick paradigms associated with the now dreaded nu-rave tag, and their laboriously recorded, self-titled debut only serves to confirm the burgeoning distance from a world of garish neon and questionable colour combinations.
Eschewing the acid revivalism of Klaxons, Friendly Fires are the laidback older sibling to their snotty, demanding, attention-deficit little brother. They make music with dancing in mind, and while they’re more than happy to expose an electronic underbelly, disco sirens are replaced with pernickety percussion. Falsettos serve more than a novelty purpose and the end result is a lean, trim ten track hit of blessed-out halcyon pop and shifting shoegaze.
You might be surprised to know they used play in a hardcore band. You probably already know that the purveyors of 2008’s slickest, disco punk filth don’t hail from New York, but St Albans. Despite the lack of cultural kudos, Friendly Fires don’t just pull it off, they revel in it. It’s a debut that bubbles with elements of DFA’s cooler-than-thou production and the house party inclinations of The Rapture, riotously polished off with Ed McFarlane’s vocal.
Now ten tracks might initially represent a measly return for two years of toil, but apart from a brief Epworth dabble on album opener ‘Jump in the Pool’, it’s a self-produced, heartfelt debut that’s been tinkered and trimmed to dizzying effect.
Last year’s single ‘Strobe’ fleetingly slows the album tempo to a glistening electro lullaby, ‘Lovesick’’s bass slide and incessantly catchy chorus screams single potential and ‘Photobooth’ runs with the angular, self assured attitude that might see it grace a Kitsune compilation.
An album brimming with stand alone tracks; it’s as comfortable and capable of gracing dance floors as it is commandeering mainstream radio playlists. Swathes of rapturous synth and punchy, rhythmic basslines are twisted into an immediate melange of daytime friendly anthems and itchy indie disco floor fillers designed to get your feet moving independently of your body.
Porn star guitar skitters over bongo snaps and pan pipe blasts in the thoroughly restless ‘In the Hospital’, ‘Paris’ briefly takes up the itchy rhythm challenge before enveloping itself in colossal washes of synth, before the epic, choral stomp of ‘White Diamonds’ slow burns itself to a thunderclap close.
Assured, short and ultimately sweet, Friendly Fires is a glib reminder that you don’t need an M6 underpass, New York penthouse or guestlist to have an all night disco party, and remind us there’s no shame in getting your groove on.
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International 11-track CD album. The Maccabees' 2nd album, 'Wall Of Arms', retains all the energy and passion that made The Maccabees fan favourites first time round but is a huge leap forward creatively. Paired with the Arcade Fire producer Markus Dravs the album introduces horns and keys to their signature staccato guitar attack. The tonality of emotions explored and broad expanse of space the songs inhabit is breathtaking. Includes the single 'Love You Better' and the previously downloadable 'No Kind Words'. Universal. 2009.
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On Mouthfuls, the Fruit Bats tone down the twang of their debut, Echolocation, and offer something closer to a mix of late-'60s/early-'70s folk and bubblegum shot through with unpredictable electronic elements that, paradoxically, make the group's music seem even more homemade and organic. Most of the songs have sunny, winding melodies and arrangements that twist and turn until they end up in a completely different place than where they began; "A Bit of Wind" starts out as a simple, jangly singalong and gradually adds a brass band, strings, and flutes until it becomes a sweeping pop symphony. The lilting vocals and bittersweet harmonies on "Rainbow Sign" and "Magic Hour" call to mind the Fruit Bats' labelmates, the Shins, although the Fruit Bats' brand of summery, psych-tinged pop is much mellower. From beginning to end, Mouthfuls radiates laid-back contentment, but it's to the band's credit that this vibe rarely dips into laziness or complacency, even on relatively simple pastoral interludes like "Track Rabbits."
Actually, there's a lot going on within the album's serenity, especially on tracks like "Union Blankets," which features an intricate mix of programmed and live percussion underneath its strummy acoustic guitars and close harmonies, and on "The Little Acorn," which begins as a drifting, Radar Brothers-esque ballad before adding sparkling synths and soft rock-inspired backing vocals. Toward the end of Mouthfuls, the Fruit Bats return to the country-folk fusions of Echolocation, and while they're still very pretty, they don't quite capture the imagination the way the album's earlier, more experimental tracks do. Still, when an album is as effortlessly warm and pretty as this one is, it's hard to begrudge the band a return to more familiar sonic pastures, and even more so when Mouthfuls suggests that the Fruit Bats' next album will be even more winning.
http://www.mediaf!re.com/?uz1jk2k0m2hhttp://www.mediaf!re.com/?nhtfzjmmnlfIf you have never heard the name of this 28-year-old London composer before, prepare to see Jon Hopkins popping up everywhere you turn from this point on. Brian Eno caught wind of him some time ago; he was so impressed that he brought Hopkins along to co-produce Coldplay’s Viva La Vida. In turn, Coldplay was moved to the point of reinterpreting an Insides track called "Light Through Veins" for said record, and went one further by inviting him along to be a pre-show deejay and opening act for their 2008 world tour. Outside of that, Hopkins has worked with the likes of Massive Attack, Herbie Hancock, David Holmes, Chris Coco, King Creosote, Imogen Heap, and many others.
With his third full-length and first for Domino, the evidence of his talent is on full display. It strikes me as his single most aggressive release yet. This is mostly due to my personal observation that the most penetrating songs on the album — all of the dense, brooding atmosphere, moody synths, and gnarly bass — chronologically follow a line of lighthearted downtempo and sparse ambient efforts. EP1 collected three sprawling chill tracks, and The Fourth State EP consisted entirely of a single 32-minute fluffy soundscape. He typically comes off as an easygoing dude, and while some moments on his newest album are downright horrifying, they are in the best ways possible.
Insides starts off slowly. "The Wider Sun" gives the impression of a mixed classical/electronic ensemble warming up, with a sorrowful violin and a faintly echoing pad. The track blends seamlessly into one of the record’s best, "Vessel," which traces an elegant, ethereal piano progression through a massive bass growl and hints of strings and a field recording. The tweaking of brutally guttural bass exhibited there becomes a recurring theme in several tracks, such as "Colour Eye," "Drifting Up," and the title cut. These four tracks make up the core of the album, and there was little in Hopkins’ previous output to foreshadow them.
Of course, there is a lot more to this record than disgruntled bass. The lead single "Wire" would fit in perfectly on the new Gui Boratto, with its rolling melodic progression, fuzzy synth lead, and happy-go-lucky accents. It still has a kick-ass beat, but the mood is a lot lighter than the tracks leading up to it. The closing "Autumn Hill" is also much more reserved, consisting only of an ethereal piano melody, chirping birds, and a subtle hint of guitar.
On the whole, Hopkins has an incredible knack for creating tension with his moments of glitch at key melodic intervals. Unlike the Justices and Fatboy Slims of the world, he doesn’t merely mess with sounds to fuck with high people and grandstand live. His sense of timing, the clarity of his production, and the variety of effects he employs draw you into the story that each instrumental tells. Jon Hopkins is not a button-pushing man of presets; he is a bona fide composer and a trained pianist. Craftsmanship sets him apart, and allows Insides to be as incredibly moving as it is and always will be. It will easily be one of the best electronic albums of 2009.
Times New Viking- Born Again Revisited (2009)Code: [Select]http://www.mediaf!re.com/download.php?jjwuzwnjmgz
An oldie but a goodie.
http://www.mediaf!re.com/?jzjztnjmmmr PART TWOhttp://www.mediaf!re.com/?a1zgdmhgaty Metropolis Pt. 2: Scenes from a Memory is the fifth studio album by American progressive metal band Dream Theater, released in 1999. It is a concept album that deals with the story of a man named Nicholas and the discovery of his past life, which involves love, murder, and infidelity as Victoria Page. It was recorded at BearTracks Studios in New York, where the band had previously recorded their second album Images and Words and the EP A Change Of Seasons.
The album is the sequel to "Metropolis Pt. 1: The Miracle and the Sleeper", a song previously featured on Images and Words. Critical reaction to the album was extremely favorable, and it is widely considered Dream Theater's greatest achievement, showcasing their complexity in musical structure and lyricism, and the ability to write aggressive and melodic songs, similar to their third studio album Awake. It reached #73 on the Billboard 200 album chart. It was also the first album to feature Jordan Rudess on keyboards, and is currently the last album for which John Myung has written lyrics for a song. The album was ranked number 95 on the October 2006 issue of Guitar World magazine's list of the greatest 100 guitar albums of all time. - Wiki Article
Snakeosaurus Rex may attend some of the best universities in the country, but these minds aren't just made for dealing with school work. The band's members have been involved in musical groups since grade school. Balancing thought-provoking guitar work with supportive bass lines, the group weaves a melodic story with every song. Focused on writing quality songs and pumping through 8 hour practice sessions, the band has proven their strength and unity during the most stressful of times. Influenced by past failures and driven to write unique music, Snakeosaurus Rex is a breath of fresh air in a world of industry-designed, corporate controlled nonsense. Don't let their busy college schedules fool you...Snakeosaurus Rex is here to stay.
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"Sam Goodwill's aptly titled release Stampede was recently made available to eager ears and it does not disappoint. Their lyrics are well crafted and soulful, their melodies a tapestry in a house built out of rhythm. With a sound like Minus The Bear, the rhythms akin to the Dismemberment Plan and fired in the furnace of mid-'90s rock, Sam Goodwill have trampled my heart. They are the band that I want to be in."
-Alternative Press Magazine
http://www.mediaf!re.com/?0vddtmhuki5 orhttp://www.mediafire.com/download.php?0vddtmhuki5On a Clear Night debuted at the top of the Australian charts in May 2007, knocking Silverchair's Young Modern down to the number two spot and solidifying Missy Higgins' status as an Aussie A-lister. Combining sass with sweet sentiment, the album marks a progression for the young songwriter, who was introduced in 2004 as the Melbourne equivalent of Vanessa Carlton. There's more in Higgins' cannon than piano-heavy ballads, though, and her sophomore disc relies heavily on the acoustic guitar, which lends a saucy swagger to songs like "100 Round the Bends" and "Secret." Higgins' lyrics aren't overtly erotic, but there's more than a hint of sex in the way she sings those two tracks, punctuating her endearingly accented vocals with moments of brazen, full-throated belting. She's part Sarah McLachlan and part Amy Winehouse, a family friendly singer with hipster appeal and, perhaps, a hint of diva potential. And lest this combination seem a bit too calculated, Higgins is still capable of crafting songs like "Sugarcane," a lilting piece of pastoral pop that builds on the template of 2004's Sound of White. "Angela," "I'm Going North," and "Forgive Me" all continue that thread -- but here, Higgins' piano remains de-emphasized in favor of an earthy, folksy instrumental blend. Guitar, banjo, mandolin, and acoustic bass are tastefully swirled together by former Crowded House producer Mitchell Froom, who knows when to adorn the songs with layers of sound and when to sharpen the focus on Higgins' ever-improving voice. Like her fellow countrymen in Silverchair, Missy Higgins' hometown popularity doesn't fully translate overseas, where American audiences have yet to replace those vague Vanessa Carlton comparisons with a proper understanding of her folksy, feisty, and altogether fun music. Nevertheless, On a Clear Night makes a very solid argument for reevaluation, and there's certainly no sophomore slump here.
http://www.mediafire.com/?qqmldzyty1jhttp://www.mediafire.com/?nntkyamyjjmAfter emo music received its first whiff of cultural significance, the genre was blacklisted by music purists. Pioneers like Sunny Day Real Estate opened the door for pop-emo acts that brought a new brand of angst rock on to the mainstream stage. Hundreds of DIY bands came after, following a cookie cutter sound that traded the original intentions of emotional expression for a fashion statement. Since then, aside from those holding Hot Topic frequent buyer cards, any “emo” has been dismissed by underground audiences. At first listen, Pompeii sounds like just another product of the post-mainstream emo movement. This band, however, deserves a closer look. Pompeii’s solid debut, Assembly, gained them critical acclaim, and left the doors open for judgment on their next move. And their sophomore LP, Nothing Happens for a Reason, does not disappoint. Pompeii channels Sunny Day Real Estate, combining it with just the right amount of indie rock to draw in emo skeptics. While the songs are often long winded and predictable, the smart warmth of a cellist pulls this band ahead of the pack.
Opening track “Where We’re Going We Don’t Need Roads” is the perfect beginning. Comparable to the rest of the songs, the track is short, and eases in the listener rather than immediately blasting them with the four to five minute songs that comprise the rest of the album. The overbearing, pushy sound of the next few tracks after the opener threaten to spoil its success, but Pompeii regains composure with the simple but effective “Pillars.” Just when it seems the music is overzealous, Pompeii strips off the superfluous fluff to make a raw, emotionally moving composition. The lyrics may err on the cheesy side, but lead singer Dean Stafford sings them with such conviction that they can be forgiven.
Pompeii has the tendency to rely too much on the brilliant cello work of Caitlin Bailey. When the cello is first introduced, it is a fresh and intriguing release, but after a few songs, the band falls into their own formula, deviating only slightly from their comfort zone. When the pattern is interrupted, however, as with the synth introduction on “Ready/Not Ready,” it is the kind of small change that helps keep the album together. Instrumental breaks and endings like the glockenspiel at the end of “False Alarm” or the distorted guitar in “Knots” break up what could be monotonous tracks. Pompeii is at their best with down-tempo songs, allowing time to absorb what can be overwhelming sound layers.
Overall, Nothing Happens for a Reason puts a fresh spin on the exhausted emo genre. Their solid melodies are tied together with the delicate, drifting lines of the cello. Although the collection is not largely dynamic, Pompeii knows their niche and execute it well. While the album has lackluster moments, its high points affirm that Pompeii will avoid falling into insignificance, especially if they can push beyond formula with their more unique elements.
Missy Higgins
http://www.mediafire.com/?zaz1yw2dygw Quentin Tarantino is truly a soundtrack alchemist. He blends together seemingly disparate artists and genres of music and creates pure aural gold for his films. Each one of his soundtracks not only helps bring the stories to life, but they also become classic albums in their own right. How can you forget the Pulp Fiction soundtrack's pairing of Dick Dale and Al Green? "Stuck In the Middle With You" was NEVER the same after Reservoir Dogs either. Inglourious Basterds continues that tradition.
The film stands out as Tarantino's most simultaneously epic and personal work, and the soundtrack remains the perfect complement to the director's WWII masterpiece. Nick Perdito's "The Green Leaves of Summer" sets the mood with its lush accordion and slowly strummed strings in the backdrop. The track functions as this fantasy's gateway and sets the tone. Ennio Morricone's "The Verdict" blends a classical piano line with Spanish guitar licks for pure Spaghetti Western bombast. The shock-n-awe distortion at the beginning of Billy Preston's funk-I-fied "Slaughter" feels ominous, but then the song explodes into a downright danceable hook. Morricone's "The Surrender" is equally badass, but in a completely different way. Lillian Harvey and Willy Fritsch's "Ich Wollt Ich Waer Ein Huhn" bubbles with whimsy, breaking up the tension and adding levity to this pastiche.
The centerpiece of this collection is David Bowie's "Cat People (Putting Out the Fire)." In the movie, it serves as sonic backdrop to a ritualistic preparation for one of the main character's most pivotal moments. During the flow of the record, the song exerts the same effect that it does in the movie—bleeding raw, unbridled emotion. Regardless of the era it was recorded in, each song feels meant for the film because Tarantino covers such a wide range of emotions in the narrative. There's joy, pain, anger, ecstasy and fear in Basterds. Isn't that what all classic records are supposed to have too? - ArtistDirect Review
Hey, that is pretty cool of you! Downloading the album now, will have a listen. You might want to pay attention to the general post layout, though - if you've got an album cover and a title, it would be sweet if you could post that as well, maybe tell us a little bit about the music, and finally, put the link in code brackets. Like this:
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<short description of the album/music>Code: [Select]http://www.mediaf!re.com/?eimftnn2wfzother than that, it's awesome that you want to share your stuff here. Thanks!
It’s not without some irony that the new album from Norwegian duo Susanna & The Magical Orchestra shares its name with Nouvelle Vague’s most recent release. With their fastidiously conceived 2006 covers album Melody Mountain, Susanna Wallumrød and Morten Qvenild positioned themselves as the bedsit hipster equivalent to Marc Collin and Olivier Libaux’s amorphous creation, swapping out the Gallic-by-way-of-the-Caribbean sultriness for a precise yet languorous gloom that confirmed Wallumrød as an interpretive vocalist of considerable skill. Three years and two Wallumrød solo albums on, the similarities to Nouvelle Vague begin and end with the title of this latest effort, a mostly original collection that pulses with ambient sorrow and techno-dystopian tension.
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Often cited as one of the best hip-hop albums of the '90s, Illmatic is the undisputed classic upon which Nas' reputation rests. It helped spearhead the artistic renaissance of New York hip-hop in the post-Chronic era, leading a return to street aesthetics. Yet even if Illmatic marks the beginning of a shift away from Native Tongues-inspired alternative rap, it's strongly rooted in that sensibility. For one, Nas employs some of the most sophisticated jazz-rap producers around: Q-Tip, Pete Rock, DJ Premier, and Large Professor, who underpin their intricate loops with appropriately tough beats. But more importantly, Nas takes his place as one of hip-hop's greatest street poets — his rhymes are highly literate, his raps superbly fluid regardless of the size of his vocabulary.- AMG
http://www.mediafire.com/?dotizim2ndvWent to a show yesterday and these guys were the opening band. Never heard of them at eight last night, bought their EP by eight this morning. Here's some shameless review I've stolen off the web:QuoteBrother duo Caleb and Ashton Bird, better known as Tweak Bird, team up for their sophomore album, Reservations. A unique sound and funky style makes them a force to reckon with. Their first album offered an amazing voice and some very interesting sounds that were hard and grungy. Add some dark sounds to some mesmerizing drum solos and you get Tweak Bird at its finest. The two-man team has a knack for new sound and innovative lyrics. These are two guys that are musically inclined to tell a story, with a lot of drum and some hearty guitar.
Reservations is a reminder that Tweak Bird is doing something very unique. The combo of their high-pitched voices (which sometimes sound like they are even mocking themselves) makes for a great song. In “Spaceships,” the Bird brothers link dazzling sounds together to make a story- one that sounds like it is being told around an Indian drum circle. “Spaceships” has a different sound from their first album, a delightful change with a slower tempo and sense of longevity in their music. “Whorses” gets your heart pumping with the fast guitar and heavy sounds. Not so surprising the song is about aliens and Indians; the guys are able to create an eerie sound with some sometimes-creepy lyrics. A dreadful delight made from two hairy guys with a talent for moving music ahead…pretty dreamy. This is a band that can surely be a live show favorite.
Tweak Bird Reservations
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The second album from London s new school, no-wave naughties PRE. Recorded in Chicago with Steve Albini at Electrical Audio and mastered by Weasel Walter in San Francisco, Hope Freaks is a powervault up from the acclaimed newborn gnarl of their debut, Epic Fits. Hope Freaks weighs in at a lean 20 minutes but every punch is packed, and with a master at the faders, you will feel the devil in all its detail. Each unhinged swing never fails to connect.
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Snakeosaurus Rex – Rhino [2009]
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http://www.mediaf!re.com/?4moymillzggMajor new LP from Ducktails and easily one of Matt Mondanile’s most beautiful, out of time creations. A perfect visioning of Hypnagogic Pop’s retro-futurist appeal, with instrumentals that are as naïve and as wide-eyed teenage perfect as anything on the Department Store Santas LP and an approach to the jam that is primitive in its execution but maximalist in its ambition and its time-phasing potential. Although the arrangements are fairly simple, they have all of the utopian neverland appeal of the lesser known ends of the Beach Boys catalogue. Landscapes includes some re-mastered tracks that originally appeared on the Parasails cassette. Genius liner notes by Skaters road-mangler Charles Berlitz which are worth quoting in full: “Dear Matt, It’s confetti for memories! your buddy Charles and the Sunday afternoon gripfest staring, check this out: “Little Man Tate” and “Little Big Man”, super funny, as well as a dusty tough to read flick called, you know i got carrots for brains, “Pipeline”! So, you know every trilogy needs the curveball, and well, “Pipeline” has got to be uncle charlie. I found these videos in the basement of chateau terrace antwerp, but it’s super gritty kitty down there and i just grabbed three quickies. So I just put on your jams, and i am gunna watch Pipeline’s surf visions and scope your memories and sunbake. but man, Pipeline’s front flap video tape protection is busted, so i am gunna trade it with “You Got Mail’s” front flap, at this point i have to duck into my roomates zone and grip his RCA to Mini jack, but he has a sign posted that reads “STAY OUT OF MY ROOM”. super funny, but later I am gunna take the sign, cross out “ROOM” and insert “DREAMS”, put the sign on my wall, let somebody specials red orange lipstick make out with it, so that the guy knows he’s a cutie and chazzi’s touched by freak. But so check it, i had to grip this RCA to Mini jack so that i can grip your memories and watch Pipeline. Hey man, for real though, member when we were on the beach in barcelona, before our car got towed, and we were cruising to beverly hills cop soundtrack, The Master and Carmen San Diego were in the back, we got to the beach jumped in the water drank beer ate coconuts and got massages while staring at boob people. at that moment, like when we snuck into the berlin film festival and danced Ocean’s 11, wow, my roomate just came home, he’s wearing a long party wig and telling chazzi that he shagged all night long in a squat called “Duel 3″, no joke; but yeah, I cannot, for the parrot in me, forget those times, to each his own future, So wait, back to Pipeline,, no wait, i got to tell you about this party last full moon, my roomate throws one every month when the moon’s light eclipses that of the rational minds hesitations, and well i had to dj, i wanted to, but i brought the parrot along, you met him right? he is always there when chazzy does the radio show or when monopoly needs vocals on a bamboo track, but neither of us invite this guy to the parties where those other dreams come true. its not cool, so i brought him along, you know his name right? Belafonte, so belafonte and i start dj-ing, you know that song from Police Academy called “I got to be somebody” by Jack Mack and a Hearttack? stars and ecstasy, for real, and jel doctor was getting me buckets of beer, cuz it was so hot and the air is full of short stuff, so i flip the records and repeatedly fend off requests for beat it and dirty diana, and all of a sudden Belafonte has drank all my beer and is smoking cigarettes, there are no tickets for free coldies, and i get pretty pissed, i kinda let Belafonte have it, you know, telling him that I cant take him anywhere, gnorm the gnome style, and he’s like “alright, you go get some more beers”, wow, your mirror jam just cruised in – memories… so, yeah, Belafonte is like “go, get some more beers and let me talk some of these girls into dancing with us and you will be calling me Most Valuable Vertabrae, birdtalk magazine style, so i get a bunch of coldies cuz tod god just came through with some bready poo, i come back to the dance floor, and well, i guess Belafonte burnt his head on his own cigarette, and this girl named Manon, but he understood as Emanuelle, like schnikies!! well his head is burnt and this black paint starts rubbing off his head, and i notice that there is paint on my neck, my face, and on her face, and her neck, and so on and so forth CSI style, and everybody kind of understands, the girls have taken this black paint and are marking it on their bodies like war paint initiation style, and they are petting Belafonte like he’s the unattainable, i had no idea that this parrot was a model for Birdtalk Magazine back in its hey day, group therapy is affective… later i asked Manon for some affection, and she said “no, your feet are too dirty”, on account of me wearing flippers to a dance party, and was like cool, its not even july 4th yet, but then, as i walked away she was like “Three O Clock, meet me at the Zoo!” no joke, Belafonte and me were like ah kuku ah kaka bamboo-for-two style… Stories are forever and i got to get back to PIPELINE, which is hitting the screen right now, and its definitely not about surfing and reminds charles of when Ebay and you stayed at the new york dante’s microchip apartment and it was so hot and you guys passed out next to each other in your undies exclusively like siamese pipeline limbo style, if i had hoagie it would have been chazzi to chucky in like 4 doners and sixty seckies… Thanks for the memories Matt, i miss you man, i think Belafonte and I will get deported soon and i will meet you in Cali. Love, Charles Berlitz
http://www.mediaf!re.com/?zgwcynkz0z5Sparks announce exciting new project – “The Seduction Of Ingmar Bergman”
Sparks’ Ron and Russell Mael have been commissioned by the Swedish National Public radio Sveriges Radio to write and produce an original radio musical. Sparks’ creation, “The Seduction of Ingmar Bergman,” is a musical fantasy based on the internationally acclaimed film director Ingmar Bergman.
The radio musical will be broadcast in Sweden in August 2009. An album with the original Swedish version will be released as a limited edition in Sweden. An English version will subsequently be released internationally.
“As Americans we have almost abandoned radio drama and it was truly exhilarating for us to work in a medium where the imagination of the listener is so integral a part of the work. Aside from our love of Bergman, we have a love of Orson Welles and his use of the medium of radio was something that inspired us in this work.” – Ron Mael
Though his films’ themes have traditionally centred on matters of death, faith, God’s existence, and the struggle to find love and meaning in our lives, Bergman is confronted in the musical by the lure of a mythological Hollywood seemingly at odds with all he stands for—a Hollywood that tempts him and ultimately tries to control him. What starts as an exploration by Bergman of the possible mutual benefits of his working in Hollywood turns into a Kafkaesque nightmare, a nightmare ended with the aid of a most unlikely saviour.
“When Sveriges Radio approached us with the idea of creating our own musical for the radio, we were excited about the prospect yet hesitant at trying to figure a way to successfully fulfil their only restrictions with the project: that it incorporates the Swedish language in some manner. Once we came up with the idea of placing one of the ultimate Swedish icons and one of our favourite film directors, Ingmar Bergman, in a fantasy setting we became extremely excited about this musical and knew we were on to something special.” – Russell Mael
International broadcasts of the musical are being sourced and Sparks are planning to present the musical in a live format as well hoping to see the project be made into a motion picture.
“Although The Seduction Of Ingmar Bergman was commissioned as a radio musical, we always saw it in cinematic terms. We hope that the listeners will be able, in their own minds, to see the same movie that we wrote on hearing it on the radio and that at some point an actual film can be made of this piece. We would also like to present The Seduction Of Ingmar Bergman as a theatre piece and perhaps this will be the next stage show for Sparks.”
http://www.mediaf!re.com/?0mzgu5mzmiiLeftRightLeftRightLeft is a live album by Coldplay, released at 9:00 am GMT on 15 May 2009. The album will be given away for free at all remaining concerts on the Viva la Vida Tour and is available as a free download on the band's official website.
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Part 2 - http://www.mediaf!re.com/?ymn1mtkotmaColdplay
http://www.mediaf!re.com/?ngnothnwwiuhttp://www.mediaf!re.com/?mnznth2hkz4http://www.mediaf!re.com/?ut5mzl0mdkuhere's some amazing music that just about anyone can appreciate...Chavela Vargas! Welcome to my childhood summers:
Chavela Vargas - 30 Grandes Canciones
(http://img.photobucket.com/albums/v180/Punk930/vargas30.jpg)Code: [Select]http://www.mediaf!re.com/?ngnothnwwiu
Chavela Vargas - La Llorona
(http://img.photobucket.com/albums/v180/Punk930/vargasllorona.jpg)Code: [Select]http://www.mediaf!re.com/?mnznth2hkz4
Chavela Vargas - Somos
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The Twilight Sad announce the details of their hugely anticipated sophomore ‘Forget The Night Ahead’ album. Already trailed by opener ‘Reflections Of The Television’ - which dropped on Pitchfork during May, and single ‘I Became A Prostitute’ on August 3rd, the new album will be released in the UK on 5th October.
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http://www.mediaf!re.com/?xxq1iywmkmzTraditional Spanish music from Spain (also known as Canción Española) The songs on this album are covers of Joaquin Sabina (one of Spain's most popular and famous singer/songwriters). Overall, I love this stuff. It reminds me of my childhood. The songs are upbeat and have a little bit of a a flamenco flair to them. Probably the best track (which consequently has the best video. check it on youtube) is Con Dos Camas Vacias.
http://www.mediaf!re.com/?gmmmd11umqiDisc 2: http://www.mediaf!re.com/?0mhmtwjmnl0Another Spanish Classic. Montiel was huge in Spain. She's a singer, dancer and actress from the forever ago. (She's like 82 years old now) This album is a 2 disc retrospective and includes her biggest songs and some unique covers (including a Spanish version of La Vie en Rose, and a Spanish version of When Smoke Gets In Your Eyes). The album also showcases some of her biggest songs (she was a big success in the 40s, 50s, 60s, 70s and even briefly in the 80s) like: Quizas, Quizas Quizas (another video you should check out on youtube).
Amy Millan (also of Stars and Broken Social Scene fame) returns with Masters of The Burial, a wistful yet warm collection of songs and the follow up to her 2006 solo debut, Honey From The Tombs. Masters of The Burial includes interpretations of Death Cab for Cutie’s “I Will Follow You Into The Dark” and “Old Perfume” by Sarah Harmer. Recorded at The Well and produced by Martin Davis Kinack (Broken Social Scene), the album features guest performances from Evan Cranley (Stars), Dan and Jenny Whiteley, Feist, Liam O’Neil (The Stills), and many more.
Bruised Ghosts
Low Sail
Old Perfume
Towers
Day To Day
Bury This
Finish Line
Run For Me
I Will Follow You Into The Dark
Lost Compass Bound
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The link is downre-up
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"Is this something that Darryl really wants to hear?"
This means I shouldn't upload that American Idol album?
Rules:
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Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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Also people need to stop being dicks
The xx are four 20-year-olds from South London who make predominantly slow, furtive pop music, mostly about sex. They are also one of the stranger recipients of UK hype in recent memory. They have no calling-card song; members of the Pitchfork staff have ID'd no fewer than four songs ("Basic Space", "Crystalised", "Islands", "Infinity") as "the one." They are not fashion plates, nor likely to be. Their list of influences is potent but imperfect: Young Marble Giants (too shaggy and heavy-lidded); Japan (too robust and theatric); Glass Candy (too quick and glammy). Without one gimmick song they'll never be able to reproduce, without an alternate agenda, without a set-in-stone hip influence, the xx start to sound like a real actual band, even if, after dozens of listens, it's nearly incomprehensible to think that a group so fresh-faced produced xx.
Singer-guitarist Romy Madley Croft in particular seems all but incapable of uttering a line that isn't a come-on, a post-coital musing, or a longing apology for a lack of one of the former. During "Islands" or "Basic Space", her voice takes on a pleasant soft-pop vibe, like Stevie Nicks'. When Madley Croft sings, during "Shelter", "Maybe I had said/ Something that was wrong/ Can I make it better/ With the lights turned on," it's unclear whether lights-turned-on activity is sex or... something besides sex. She's not some purring kitten, though, merely reflective about a subject we don't often associate with teenagers and self-awareness.
Croft's sparring partner, bassist Oliver Sim, usually fills in the other spaces via either his responsive vocals or ever-present bass. (His best trick: momentarily interrupting the divine verses of "Islands" with four short thumbings). Sim's voice, papery and affectless, is a sticking point for some, but pop music has plenty of room for ugly male voices, especially those with such pleasant friends. Importantly, both Croft and Sim seem like they're singing not because they have the best voices but because they have the most to say (and, purely speculatively, possibly to one another), something that would align them with an indie rock tradition as long as the genre is old, (and folk and blues long before that).
Their voices provide plenty of friction, however, in the context of the xx's slight, expert compositions. Working without a live drummer, the xx manipulate airy, lingering negative space as well as any band going. Initially hospital-tile sterile, xx rewards volume and repetition like few other albums this year. Nudge the knob clockwise to hear sparse guitars decay, bass notes wobble. Amid these delicate environs, Croft and Sim can seem like they're working on different agendas, but the cagey back-and-forth on "Basic Space" is exquisitely timed, and the lovers' mumbles of "Heart Skipped a Beat", over a clacking drum machine, acquire their own weird logic. Jamie Smith (he of the "Basic Space" remix) and Baria Qureshi are responsible for most of the drums/loops/keyboards (and some of the guitars), and they're adept at knowing when to jump in, picking up "Stars" just as Sim seems to get bored with it, spicing "VCR", the band's quaintest, simplest pop song ("You/ You just know/ You just do"), with small xylophone melodies.
That all said, the record is not a complete break with recent sounds: tune in during certain moments of "Crystalised", and you'll hear the flecked, staccato guitars of Interpol. "Infinity"'s slow-strummed electric chords feel like late-period Radiohead. But xx is nervy and self-contained, the product of a new band thinking a lot harder about topics-- sex, composition, volume-- than we are accustomed to new bands thinking. It is so fully formed and thoughtful that it feels like three or four lesser, noisier records should have preceded it. The xx didn't need a gestation period, though xx is nuanced, quiet, and surprising enough that you might.
http://www.mediaf!re.com/?jm5iq5lndzqhttp://www.mediafire.com/?awu9zmilwxm"Girl singer needed for autumnal recording project," the ad in the paper said. "Autumnal," of course, being the Queen's-- and the critics'-- preferred English for, uh, "fall-like." You know that song where, when people talk about the fall, Jens Lekman thinks they're talking about Mark E. Smith? Stuart Murdoch probably thinks they're talking about the Garden of Eden.
After all, the main character in God Help the Girl-- a new album of songs from the Belle and Sebastian singer/songwriter's planned musical-film project-- is called Eve. She's voiced angelically by Catherine Ireton, cover girl for the Scottish septet's "White Collar Boy" single and one half of a sleepy acoustic pop duo called the Go Away Birds. Ireton is one of nine singers (incuding the Divine Comedy's Neil Hannon) joining members of Belle and Sebastian for the recording, and her Irish-Zooey-Deschanel-next-door vocals have ended up gracing 10 of the set's 14 songs. But not until after an internet-wide sing-off. "The competition was me showing a startling lack of faith in what was right in front of me, but I had to see what was out there," Murdoch recently told London's Guardian.
From the humble school project that became 1996 debut Tigermilk to the professional pop majesty of The Life Pursuit a decade later, the Scottish pop savant's work has been almost one leap of faith after another. Murdoch lands on solid ground again with God Help the Girl, which has catchy, jangling girl-group ditties aplenty, a little theatrical flourish thanks to Belle and Sebastian trumpeter Mick Cooke's orchestral arrangements, and at least one typically Murdoch-esque character, Eve. The imagery is always vivid, even when the plot isn't. From what I can tell, Ireton's bookish ingenue gives herself to the Holy Trinity: sex, drugs, and rock'n'roll. God love 'er.
Always one for evocative character sketches, Murdoch clearly relishes his role as demiurge of God Help the Girl's self-contained universe. First single "Come Monday Night" is a good preview, with the wispy lilt of early Camera Obscura and a way of lingering on "the gray of ordinariness" long enough to show how it's lined with silvery subtleties. Like, that restless first evening between a disappointing weekend and another drab workday. The way sleep leaves a face "crumpled and creased." And the full rundown of Eve obsessing over some guy she likes ("Please stop me, I'm even boring myself!"). At times, Murdoch's realistically elaborate fiction points to its own phoniness. "Life could be musical comedy," suggests "Hiding Neath My Umbrella", a bittersweet Murdoch-Ireton duet over waltzing piano and swelling strings.
God Help the Girl opens with a delicate new version of The Life Pursuit centerpiece "Act of the Apostle II". Switched from "senior year" to "senior ward," and re-titled simply "Act of the Apostle", the song also drops its last verse-- making the whole thing more prologue-like-- and gains a bit of Andrews Sisters swing. For all the specifics about a sick narrator and fighting parents, "Act of the Apostle" is still essentially a pop kid's update of the Velvet Underground's "Rock and Roll": "My Damascan road's my transistor radio." Her life was saved by girl groups.
Or was it? The nuance-rich Murdoch is characteristically coy when it comes to certain details. He's mentioned musicals such as Jesus Christ Superstar or the original Willy Wonka & the Chocolate Factory film as inspirations; my fellow 1980s babies may remember Whoopi Goldberg in Sister Act, where all those awesome Motown songs turned out to make real nice hymns if you did the ol' Christian rock trick and replaced "him" with "Him". So The Life Pursuit's "Funny Little Frog", sung here by Internet contest winner Brittany Stallings, might not work as a soul song, but just think: a soul song. About someone who is everywhere, but you don't think of in a physical way. Someone you might go and visit on rainy Sundays.
"She was into S&M and Bible studies," Murdoch once sang. Eve's first romantic experience is creepy, Murdoch offering to rub and scrub her during the ironically formal strings and piano of "Pretty Eve in the Tub". No wonder she winds up in the arms of Hannon's hammy rake on "Perfection as a Hipster", asking for haircare tips even as she wastes away from lack of nutrition. Asya, of Seattle teen keyboard-drums trio Smoosh, may have an even more girlish voice than Ireton's, but on "I Just Want Your Jeans", she's looking for boys to make her "go, 'Ouch!'"-- heck, she's "open to dark surprises." And somewhere in there I just skipped a couple of totally skippable instrumentals.
The last two songs are among the album's most inspired. "I'll Have to Dance With Cassie" suggests Eve has returned to the church of rock'n'roll; now that she knows her "dream boy" doesn't exist, she's shimmying with a girl friend like they're a pair of boxing kangaroos. On closing number "A Down and Dusky Blonde", having "fried" her head-- another double entendre?-- Eve joins an entire sisterhood of female singers. She hasn't been getting her apple a day, so a doctor counsels, "A woman does not live by the printed word/ Forgive yourself, and eat." How about it, Eve?
"I need a friend and I choose you," the final song continues, with a vow to "forget the kiss and feel." Hmm. God Help the Girl is a spirited expansion of some of Murdoch's best ideas, but until the film finishes shooting-- set to start next year-- we'll probably just have wild-ass guesses like mine as to the real story. "I feel like I have God for a pal because no one else would have me," Murdoch writes in an online journal entry. "Maybe that's the basis for a lot of religion. He's the invisible friend that it's OK to have as an adult." Tell you this much, He's in the details.
http://www.mediafire.com/?lnitzzzddijhttp://www.mediafire.com/download.php?j4zmyi5yxtv
Moniker-crazed one-man-band Dayve Hawk splits the difference between his Weird Tapes project (dancey, electro) and his Memory Cassette project (hazy, wistful) with Memory Tapes (dancey, yet wistful!). After the incredible single "Bicycle", we now get news of the debut Memory Tapes LP, dubbed Seek Magic and out in a very limited edition September 29 via Acephale.
To start, the record is primarily being released on vinyl-- first run records will be light blue with some special "white/blue haze" LPs thrown in just in case you didn't get the idea that this shit is fucking hazy.
If you're still into CDs, you'll have to travel to London's Rough Trade shop to pick up Seek Magic because that's the only place on earth selling it on compact disc. UPDATE: The Rough Trade version is out this coming Monday, August 24, and it comes with a bonus disc featuring a 30-minute instrumental.
http://www.mediaf!re.com/?djnnjnzmtjz
The fact that Crunt's drummer and occasional vocalist is Russel Simins from the Jon Spencer Blues Explosion is enough to raise eyebrows. The all-star line up continues with Kat Bjelland from Babes in Toyland on bass and her then-husband Stuart Gray [Lubricated Goat] on guitar and vocals. In short, this band produces quick, raunchy and nasty sounding rock 'n roll songs which immediately captivate the listener with their style, sexiness and immediacy. With their choppy, distorted guitars and frantic drums, Gray and Simins groan and yell about sweat, vengeance, pigs and sex, while Bjelland pounds away at her bass and even lends her trademark screeching yell to "Unglued". Both the music and lyrics are raw, blunt and unforgiving, with no pretense or ornamentation. Guaranteed to make your body move and highly recommended to anyone into JSBX or Boss Hog.
http://www.mediafire.com/download.php?noqgjqnymmyHere's another one from the interwebs, specifically beck.com. As he relates there, a bunch of friends and him got together in the studio for a day to record a "classic" album in it's entirety. The choice was this or "Sex Packets". I think you will agree they made the right choice even before you've heard it. They dubbed themselves Record Club (I have listed them as "Beck & Record Club" - a: to keep this organized with Beck in my iTunes and b: cos it sounds nice with the "Velvet Underground & Nico").
The songs were posted as videos, one a week over an eleven week period. You can go there and watch them all now.
These were posted as Vimeo videos. And even though the videos themselves were charmingly old school, with cheesy pixelation effects, etc. we can be glad they were not on Youtube with their horrendous audio quality. These sound great. Captured them with Audacity at 192kbps.
http://www.mediafire.com/download.php?yyjlvot4lz5 ORhttp://www.mediafire.com/download.php?mmrrdmx2jrm
Blue Scholars post
Jason Webley is a Seattle-born singer-songwriter known for playing a mix of gypsy, folk, and punk. He has released five albums on his own label, Eleven Records. These feature Webley on the piano, guitar, accordion, and a number of other instruments, though when touring he only brings his guitar, accordion, and a vodka bottle containing coins from around the world, which he uses for percussion. In addition, he has released five collaborative albums, one with Seattle poet Jay Thompson, another with Michigan singer-songwriter Andru Bemis, the third with Reverend Peyton of The Reverend Peyton’s Big Damn Band, and the fourth with Sxip Shirey.Jason Webley - Only Just Beginning
folk, singer-songwriter, accordion, gypsy, indie
http://www.mediafire.com/?nzkntnintkeJason Webley - Against the Nighthttp://www.mediafire.com/?m5zve0jt1tzhttp://www.mediafire.com/?dtdnfabljy2The Darklings' neo-folk/dark cabaret/melancholic music is strangely alluring. This is probably the closest to pirate music I can listen to without being tongue-in-cheek/ironic. I feel the sudden urge to sail the seven seas in order to explore for adventure. http://www.mediafire.com/?jii2tyzhgytDespite employing little more than accordion, strings, banjo, and voice, The Snow Magic still manages to swell with dramatic tension, its streamlined sound marching confidently forward. Oh and what the hell, a little drumming here and there from local superstar Martin Dosh certainly won't hurt any album.
Even as the rollicking saloon jam “Ashes” launches the listener into the record, Dosh keeps his presence graceful with just a dash of frenzy, always ceding the spotlight to the band's rustic interweaving melodies. The ghostly harmonizing groans on “A Cloud Story” provide just one example of Dark Dark Dark’s unique blend of old world suspense and intricate aural trickery, and surely due credit goes to their producer – Minneapolis music scene veteran Rob Skoro, whose own records have always sparkled among the crowded local singer-songwriter field. Skoro’s mixing board prowess is readily evident when the vocalists burst out in front of the music with the memorable line, “there's no ocean in Minneapolis!” on the rousing “Colors” and when the accordion keys can be heard ever so slightly tapping along with the exhaled not. more... (http://reveillemag.com/reviews/album-reviews/dark-dark-dark-the-snow-magic)
http://www.mediafire.com/?2iton2mjytwJeffrey 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-fi
"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)
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http://www.mediaf!re.com/?zznoxzl0jytAlt-country rockers Lucero have returned for their first album in three years, 1372 Overton Park, and not only is the upcoming release the band’s sixth record overall, but it will also be its major label debut. The album will be out in stores on October 6th via Universal/Republic Records.
According to a press release, 1372 Overton Park moves further towards the Memphis soul that has slightly influenced the group’s records up to this point. Produced by Ted Hutt of The Gaslight Anthem, the title works as a dedication to the loft in Memphis where all the band members lived at one time It was also the home to some of the recording sessions for 2003’s That Much Further West.
The soul music of Memphis heavily influenced this album, making the record almost a tribute to the city. Lead singer and guitarist Ben Nichols said, “When [saxophonist] Jim Spake put that first horn track down, we began thinking of the record as having a certain sound. We heard pieces of Memphis history being played over our songs and it floored us and we just went with it.”
Lucero will hit the road in the U.S. this fall in support of 1372 Overton Park.
http://www.mediaf!re.com/?tcyyehjjyynLegendary singer Willie Nelson American Classic is his first album of standards since his landmark 1978 masterpiece Stardust, and his solo debut for Blue Note Records. Produced by Tommy LiPuma, American Classic features special guest appearances by Norah Jones and Diana Krall, string arrangements by Johnny Mandel, and a top shelf backing band that includes Nelson’s longtime sidekick Mickey Raphael on harmonica, and such notable jazzmen as pianist Joe Sample, bassist Christian McBride, and drummer Lewis Nash. While it’s common now for mature pop artists to attempt to put their own stamp on the American Songbook, Nelson practically invented the approach. He set the standard for playing the standards with Stardust, perhaps this “outlaw” entertainer’s most daring move. The album went on to become the most successful album of his career thus far. It reached #1 on the Billboard’s Country Albums chart; racked up more than five million in sales; earned Nelson a Country Male Vocal Performance Grammy; and, most significantly, helped to transform a colourful, middle-aged cult figure into a mainstream star.
http://www.mediaf!re.com/?gunw4zhm0hg11:11 is the third studio album by Mexican guitar duo Rodrigo y Gabriela. It will be released on independent label Rubyworks on September 7, 2009. It will guest star Strunz & Farah on the song "Master Maqui" and guest star Alex Skolnick on the song "Atman."
http://www.mediaf!re.com/?zkz5iy1m20mThis previously unreleased recording was captured by folk impresario Izzy Young at his famed Folklore Center located at 321 Sixth Avenue, which served as a nexus for up-and-coming singer-songwriters during the folk boom of the late '60s. The entire night's concert, performed in front of about 35 people, is presented in its original running order of 16 songs, six of which are Tim Buckley compositions that have never appeared on any studio or live album. The CD package includes an unpublished interview with Buckley conducted by Izzy Young on March 17th & 18th, 1967, along with new notes from Young. The album was produced for release by Tompkins Square label's Josh Rosenthal in cooperation with Buckley's Estate, and mastered from the original tapes by Grammy-winning engineers Steve Rosenthal, Warren Russell-Smith and Jamie Howarth.
Tim Buckley (1947-1975) was among the most adventurous and influential singer-songwriters of the `60's and `70's, releasing nine studio albums in his career. Buckley's music continues to deeply inspire new fans and artists with each passing year. 'Live at the Folklore Center', the earliest live recording among several others commercially available, showcases Buckley in an intimate, solo acoustic setting, highlighting his magical guitar playing and soaring vocal style.
http://www.mediaf!re.com/?0mzyijwrznzEdition of 500 copies - Packaged in a heavy book bound LP sleeve on 180 gram vinyl. Warning: not recommended for listening in buildings without earthquake retrofitting: Nadja’s doom-fuzz may crack foundations and/or reduce nearby objects to jelly. However, Nadja, here performing a quartet of solo Aidan
Baker covers, maintains a certain melodic balance within the throat-clearing guitar lurches which levitates the heavy, like the most graceful pterodactyl-flying-off-with-a-dead-baby-Icthyasaur you have ever seen. Especially when his voice cuts in, the low-end maraud transforms into a sweet continuo that seems like stoner-metal chewing on 4AD’s ear. A grinding thump into the clouds which proves there ARE beautiful uglies.
http://www.mediaf!re.com/?zzaqhwtjziqhttp://www.mediaf!re.com/?n4ijloyzgwnTHE BLACK CROWES will release their new studio CD, Before the Frost... on September 1, 2009 in the US and August 31st in the UK.
A second album, titled …Until The Freeze, will be given away for free exclusively through a unique download code which is included in Before The Frost… as a “thank you” to their fans for two decades of continued support.
Before the Frost..., and its corresponding free album …Until The Freeze, were recorded over a series of five nights at Levon Helm Studios in Woodstock, NY. Although both are studio albums, all the new material was performed and recorded in front of an intimate audience of the band’s fans, making them a part of The Black Crowes musical history.
The innovative technique of inviting fans into the studio as part of the process during recording is a rare experience.
Before the Frost... features eleven new and previously unreleased Black Crowes songs including Good Morning Captain, I Ain’t Hiding, Been a Long Time (Waiting on Love), and other original songs that will serve to spotlight the bands ability to make emotional connections through their music. The free album …Until The Freeze is a nine-song collection featuring eight new original Black Crowes songs plus a cover version of the Stephen Stills classic So Many Times.
A limited edition vinyl release of Before The Frost…Until The Freeze, featuring all 20 tracks, will also be available on September 1, 2009.
Chris Robinson conceived the concept of Before the Frost...Until The Freeze.
“I think we fulfilled a musical commitment to continue on the golden road of artistic independence. Approaching 20 years into our careers, we still are ambitious enough to push ourselves to create something unique that we have never done before.”
As The Black Crowes approach the upcoming 20th anniversary of their release of one of rock’s most influential records, Shake Your Money Maker, which produced such hits as Jealous Again, She Talks To Angels and Hard to Handle, they are time and again hailed as one of Rock and Roll’s best live acts.
http://www.mediaf!re.com/?xyinmwxjt3nNorwegian rock duo Kings Of Convenience will break a five-year silence this fall with its third studio album, "Declaration of Dependence," due Oct. 20 from Virgin. The 13-track set is led by the single "Mrs. Cold," which has been making the rounds on blogs in the past week.
"Declaration of Dependence" is the follow-up to KOC's 2004 album "Riot on an Empty Street," which has sold a career-best 78,000 copies in the United States, according to Nielsen SoundScan.
Recorded in Bergen, Norway, and Italy, the new album is more stripped-down than either of its predecessors, with a host of the tracks consisting of nothing more than voice and acoustic guitar.
http://www.mediaf!re.com/?xgj4jcmxmbzhttp://www.mediaf!re.com/?cmmnm0qyqjgThe reason that people are enamored with the singer-songwriter concept is that we all love the idea of conveying our innermost thoughts, hopes, dreams, ruminations, and beliefs through music. Yet, despite such desires, most of us don’t possess the talents necessary to shape words and melodies into the proper form, or at least not a form that will have people singing along at a show, fashioning a mixtape, or spend hours upon hours teaching themselves how to play guitar—all because of one single, memorable, unforgettable song. While the likes of Bob Dylan, Joni Mitchell, and others sing about feelings and situations shared by many members of the music-loving public most of us can’t craft the thoughts and chords into a coherent whole that others will appreciate.
What makes A.A. Bondy stand out from his fellow guitar-strumming contemporaries is his ability to pair his beleaguered voice with a brand of road-weary folk rock that’s intimately accessible, without sounding stale or hackneyed. Opposed to indulging in the sort of overtly passionate melodrama that passes for emotional transparency these days, When The Devil’s Loose finds Bondy singing song after gut-wrenching song, yet doing so with a strength that gives his pathos that much more depth. He doesn’t have to belt out his lyrics at full volume, wailing on his guitar with tears in his eyes and a bleeding heart on his sleeve, for listeners to connect with his songs, to believe that what he’s singing is oh-so-true.
Moreover, what advances Bondy’s cause is that he’s able to sing songs packed with political, spiritual, and romantic imagery without sounding like an overzealous, strident demagogue. When he pleads to Delia in the record’s title track, “What does the mirror show you? Can you see the grave? Your sadness, it is quite lovely, but it’s the sadness of the slave,” he doesn’t shriek, moan, or howl to get across exactly what he’s feeling and thinking. If Damien Rice grew a pair of balls, absorbed some of David Bazan’s somber sorrows, and actually knew how to affect some of Nick Cave’s melancholy delivery, you might have an idea of the power of Bondy’s style.
Sure, it’s folk music—we’ve all heard these familiar cadences and chord progressions before—but we listen because we want to listen to songs that give voice to our problems in ways we cannot. Bondy, thankfully, has no need for theatrics as a songwriter: he can deliver the punch of the story without resorting to a tawdry, over-the-top anthem, but he also knows when to step back from the mic and give the music space to breathe on its own. Songs like “A Slow Parade,” the title cut (one of my favorites so far from 2009), and “The Coal Hits The Fire” possess a strong, steady pacing complete with electric guitars laden with washes of reverb and delay, giving this record a finely honed mournful tone with undeniable appeal. Not only is there “No hiding from the mightiest of guns” (as the album’s opening track declares), but there’s no hiding from the solid songwriting found on When The Devil’s Loose.
Tim Buckley
http://www.mediaf!re.com/?zzitiovhvyzDrawing from the band's early 7"s, unreleased material, and compilation appearances, My Morning Jacket's two reissues from Darla show that the band already had a large back catalog before its first full-length. And with 28 tracks between the two "chapters," this is a wonderful gift to the fans and shows a more personal and simplistic side of MMJ. Even without a full band and less reverb for most of these tracks, the sound from Jim James and the rest of the group (guitarist Johnny Quaid, bassist Two Tone Tommy and drummer J. Glenn) is rich with emotion and imagery. The covers of Jefferson Airplane's "White Rabbit" and Elton John's "Rocket Man" fit neatly beside originals such as "I Just Wanted to Be Your Friend" and "Evelyn Is Not Real." Along with other such gorgeous moments as "Weeks Go by Like Days," it's easy to hear how the talent was already in place so early in MMJ's career.
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Part 2 - http://www.mediaf!re.com/?khmy2tcetimConsidering that its later albums contributed some of the finest country-rock in the early '00s, it seems out of character for My Morning Jacket to be covering a new wave ballad such as Berlin's "Take My Breath Away." With Jim James' pretty vocals, however, anything is possible, and he turns a lovely song into a beautiful one. So is the case with much of Early Recordings, Chapter 2: Learning. The band's collection of early work is mainly My Morning Jacket in name only, as James played most of the instruments and, other than the covers (there's also a version of the Pet Shop Boy's "West End Girls" and Hank Williams' "Why Don't You Love Me?"), takes full credit for songwriting. Much of this is lo-fi, allowing a more intimate feel to James' performances, some of which are live. Whether that includes the captivating "Just One Thing" or "I Will Be There When You Die," he hints at what was to come on At Dawn and It Still Moves.
http://www.megaup1oad.com/?d=QQY398YIMuch worse has been uploaded (http://forums.questionablecontent.net/index.php/topic,19792.msg807073/topicseen.html#msg807073)
yeah, I think I win that. easily.
The Darklings - Desert Ship
Blue Scholars post
As a Seattlite myself I feel obligated to give these guys a shout-out. They played in my high school gymnasium for chrissakes. Represent!
Memory Tapes – Seek Magic [August 2009]
The xx - xx [2009]
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Brand New - Daisy (2009)
Brand New - Daisy (2009)Been waiting for this. Here's hoping it's better than their last album.
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Part 2 - http://www.mediaf!re.com/?jdydn2zmw2y The Blueprint 3 is the upcoming eleventh studio album by American rapper Jay-Z, set to be released in the US on September 11, 2009 (UK released September 14), which is 8 years after the release of the first Blueprint. It will be the final installment in The Blueprint trilogy, preceded by the critically acclaimed The Blueprint (2001) and the commercially successful The Blueprint²: The Gift & The Curse (2002). On May 20, 2009 Jay-Z confirmed that he bought out the remainder of his contract from Def Jam Records in order to start his contract with Live Nation, and therefore The Blueprint 3 will be released under Roc Nation and distributed by Atlantic Records.
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Part 2 - http://www.mediaf!re.com/?mnfizdjweqt There is no harmony like brotherly harmony. Something indelible in the weave of voices and play of sensibilities is stamped into the fraternal DNA and also stems from a lifetime of shared experiences. You can hear it in classic brother acts across the musical spectrum, from the Louvin Brothers to the Everly Brothers and on down the decades through the Wilson brothers (Beach Boys), the Davies brothers (Kinks), the Allman Brothers and even the Brothers Gibb (a.k.a., the Bee Gees). You can clearly hear fraternal magic at work in the songs of Scott and Seth Avett, better known as The Avett Brothers, as well.
That magic is abundantly evident on I and Love and You, The Avett Brothers’ big-label debut. Its 13 songs are delivered in a style that defies pigeonholing but might be described as a rootsy amalgam of folk, country, bluegrass, rock and pop – even a jab of punk-style dynamics here and there. Drawn by the naked honesty of their songs and the rousing intensity of their live shows, legendary producer and talent scout Rick Rubin signed The Avett Brothers – consisting of siblings Scott and Seth, plus bassist Bob Crawford – and produced the album for his American Recordings label.
http://www.mediaf!re.com/?mkwtmhwjnl1“My last album was a bedroom laptop type thing. Very introverted. Logos is an album that was recorded all over the world. It’s not about me. There are collaborations with other musicians. The lyrics are not autobiographical. The view is a lot more panoramic and less close-up. I became bored with introspection. This was also the case with Deerhunter’s Microcastle LP, which was written during the same period.
I started recording December of 2007. I recorded the first version of the album, which was not intended for release. Due to some unfortunate mistakes on my part, this ’sketch’ of the album was leaked. Many of the songs where simply ‘placeholders,’ songs I created quickly to help design the ‘arc’ of the album.
I did not react well to the leak, in retrospect. It became the kind of internet-fueled drama that I was quickly learning to despise. I had always desired to speak through music, not blog posts and interviews, etc. I considered abandoning the project.
I toured for a period in Europe with Animal Collective, whose band dynamic was very inspirational to be around. On the bus, we often played improvised iPod games. We would take turns formulating a theme or unifying concept and then play three songs. The goal would be for everyone to try and figure out the theme. During one of these games, someone played ‘What Am I Going to Do’ by the Dovers. I was amazed at the hook– a weird organ thing with drums and electric bass. I mentioned to Noah [Lennox] that someone should really sample that riff. He agreed and he taught me a little about sampling and matching up beats. This ended up as the collaborative effort ‘Walkabout’.
Each song on the album has a similar story. That might be my favorite thing about the album. It’s a collection of songs. There is no ‘filler.’ There are little scrapbook details everywhere. Sasha Vine [of Sian Alice Group] provided a double-tracked improvised violin part to ‘Attic Lights’ which was recorded backstage at a Deerhunter/Sian Alice Group show in Brighton. It might be my favorite moment of the album. I played it for some younger friends of mine. They cringed. They wanted more songs like ‘Walkabout’. Something with a big beat. I told them when they get older they will appreciate things like harmonicas and violins more.
Laetitia from Stereolab, who I idolized as a teenager and would later befriend on tour, contributed words and vocals to ‘Quick Canal.’ The song was originally about 15 minutes long. I had zero ideas for vocals and asked if she could give it a shot. Andy Ramsay [drummer for Stereolab ] took a dub of the original and recorded Laetitia’s vocals at his Press Play studio in London. It was quite a treat to hear the finished product, now at an economical nine minutes.
Almost everything you hear on the album is a first take. This makes it almost like a ‘live album’ where a band sets up in a studio and just rolls tape. There are songs on here I don’t even remember recording.”
http://www.mediaf!re.com/?obiw5nkdrqtI have watched the changing entity of “Castanets music” happen for a while now. There were the noise-scorchin’ feedback sessions and there was corpse-y folk and sweaty blues rock. There were big bands and smaller bands and no band, but throughout it was always Castanets music, always ol’ Ray Raposa and the various tricks in his magic bag. So when I tell you Texas Rose, The Thaw, and The Beasts is the most important thing the dude’s recorded I want you to take that as a sworn affidavit from someone who’s done a lot of watching and a lot of listening and a lot of thinking about what makes this music tick. I also want to say that this is the most accessible Castanets has gone – but also the most “out.” In my fantasy mind’s eye inner-brain-sitcom-thing I see people discovering Texas Rose for the first time and saying, like, “Yeah, totally. This.” with a happy nod of their head and possibly a triumphant much-love double-fist thump to the chest. I say that as a proud cousin or a friendly, stoked neighbor and I say that with the utmost respect and assuredness. Yeah, totally. This.
http://www.mediaf!re.com/?mjzi0t5tmjtJust like 2 years ago “A sunny day in Glasgow” produces an experimental kind of pop music. As I said at that time they produce “Dreamed pop, enchanting ambient, experimental shoegaze, an alternative noise electronic music. Each one track is so much different from all the others”. I think they still confuse me, they mix pop, rock and techno, they produce something different, but something really atmospheric and groovy or pleasing. This album is the sun in a mood day, and it is a fully summer time disk! Ben Daniels and his twin sisters blend a melodic sound collage with ethereal vocals and experimental glances. The album is promotes happy feelings and the sound is truly dreamy. Fantastic waves and a little boat floating down the seaside… More than one hour of music that push you to close your eyes and dream… don’t miss this album, it is sweet and excellent.
Opening with a ten second homage to Estonian composer Arvo Part, it s immediately apparent that A Sunny Day in Glasgow s new album, Ashes Grammar, is going to be a much more visceral outing than their 2007 album debut, Scribble Mural Comic Journal. It takes a few minutes for the record to even begin to reveal itself, as a swarm of 1950s acapella ( Secrets at the prom ) gives way to resonant drones, room noise, and sub bass ( Slaughter killing carnage ). It s here that Failure unexpectedly kicks in with a tribal stomp and a fluttering guitar acting as a pair of wings, lifting the circular chants of the song s melody off the ground. It s all at once joyous, insecure, and blissed-out and sounds nothing like we ve heard from A Sunny Day in Glasgow before. Ashes Grammar is far more nuanced than Scribble, but there s still a cellular logic at play throughout. The brief, shimmering loop that is Lights turns out to be the very pulse behind the sun-kissed, ambient pop of Passionate Introverts, a feel-good song perfectly suited to accompany daydreams or dancing by yourself in your bedroom. However, even at their most accessible there s always an indescribable otherworldliness flowing through the band s music, one that is fully revealed during Blood White. Like famed composer/sound experimentalist Alvin Lucier s groundbreaking piece, I Am Sitting in a Room, during this track you can practically hear the shape of the room resonating in the frequencies of voices and synths that had been amplified, recorded, replayed and recorded again and again, the undulating tones slowly drifting into a cosmic wash of bubbling electronics and guitar. Yes, in many ways this is a different group than the one we first heard back in 2007, but with Ben continuing his role as the principal songwriter, there s no doubt this Ashes Grammar could be from any other band than A Sunny Day in Glasgow. And once again, dream pop has been re-imagined.
http://www.mediaf!re.com/?t2v2novzijnWith years of working along side some of the most influential figures in the recording industry to date, Raekwon is ready to reemerge his urban flair with the sequel to Only Built 4 Cuban Linx. Only Built 4 Cuban Linx II features cameos from many industry heavyweights such as the Wu-Tang Clan, Jadakiss Styles P, and many others. It also features blazing tracks from the who's who of extraordinary Hip-Hop producers such as the RZA, Eric Sermon, Dr Dre, Scram Jones, Pete Rock, Marley Marl, Allah Mathematics and J-Dilla. Then, it's layered with Raekwon's melodic flows and street oriented delivery. Only Built 4 Cuban Linx II will produce the dish that true Hip Hop Fans have been salivating for many years.
Atlas Sound - Logos (2009) ~ Mp3 192
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Awesome Music
I think that's Brandon Cox. Dogg has Marfan syndrome (http://en.wikipedia.org/wiki/Marfan_syndrome).Pretty sure the name is Bradford Cox.
Care for an insanely catchy, hook-driven, genre-blending mini-album? Mixing equal parts of Postal Service, Bright Eyes, and MGMT, you know what you're getting into from the start: hummable, sweet, and superbly produced indie electro-folk/pop. The brainchild of musical multi-tasker Seamus Tomkins, this EP takes what could have been good singer/songwriter acoustic fare and takes it up several notches by adding layers of production. Elements like technicolor synths, clever drum programming that would make Bjork smile, warm beds of acoustic rhythm guitar, and finally Tomkins' own distinctive, emotive vocals all come together in a sparkling, radio ready mix of catchy, inventive pop songs.
http://www.mediaf!re.com/?igd2ojzotetCould this be the most extended, confusing and silly band name ever? Probably, but its on Static Caravan, so that is no deterrent for me. It’s a mouthful, so for the purposes of this review they’ll be referred to as Tim & Sam… This is the second release from the Manchester based post-folk four piece act, perfectly suited for the Static Caravan label, after the debut EP on Full Of Joy Records.
Tim & Sam ooze enchanted melodies, rustic tones, sweet strings and pulsating drums portray a vibrancy yet pastoral simplicity, with influences from James Yorkston, Shady Bard and Sufjan Stevens. Their psych-folk flourishes and slow burning pastoral sounds have been championed by Elbow’s Guy Garvey, and the final track on this EP is actually an Elbow cover version, aptly.
A great EP from one of my favourite labels.
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http://www.mediaf!re.com/?twlmj3jywqnWith Revolver, the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt. Pepper, in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art-song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced — the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita." There's no discounting the individual contributions of each member or their producer, George Martin, but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band. He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements. In comparison, Lennon's contributions seem fewer, and a couple of them are a little slight but his major statements are stunning. "With a Little Help From My Friends" is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, à la "Help!"; "Lucy in the Sky With Diamonds" remains one of the touchstones of British psychedelia; and he's the mastermind behind the bulk of "A Day in the Life," a haunting number that skillfully blends Lennon's verse and chorus with McCartney's bridge. It's possible to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper, there were no rules to follow — rock and pop bands could try anything, for better or worse. Ironically, few tried to achieve the sweeping, all-encompassing embrace of music as the Beatles did here.
http://www.mediaf!re.com/?m4h0wmh4mqnAll the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either — Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops. McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve. Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release.
http://www.mediaf!re.com/?mrxzwdlmucmThe last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Road was a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work. The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed.
http://www.mediaf!re.com/?ddm2xuzlq2nIt was inevitable that the constant grind of touring, writing, promoting, and recording would grate on the Beatles, but the weariness of Beatles for Sale comes as something of a shock. Only five months before, the group released the joyous A Hard Day's Night. Now, they sound beaten, worn, and, in Lennon's case, bitter and self-loathing. His opening trilogy ("No Reply," "I'm a Loser," "Baby's in Black") is the darkest sequence on any Beatles record, setting the tone for the album. Moments of joy pop up now and again, mainly in the forms of covers and the dynamic "Eight Days a Week," but the very presence of six covers after the triumphant all-original A Hard Day's Night feels like an admission of defeat or at least a regression. (It doesn't help that Lennon's cover of his beloved obscurity "Mr. Moonlight" winds up as arguably the worst thing the group ever recorded.) Beneath those surface suspicions, however, there are some important changes on Beatles for Sale, most notably Lennon's discovery of Bob Dylan and folk-rock. The opening three songs, along with "I Don't Want to Spoil the Party," are implicitly confessional and all quite bleak, which is a new development. This spirit winds up overshadowing McCartney's cheery "I'll Follow the Sun" or the thundering covers of "Rock & Roll Music," "Honey Don't," and "Kansas City/Hey-Hey-Hey-Hey!," and the weariness creeps up in unexpected places — "Every Little Thing," "What You're Doing," even George's cover of Carl Perkins' "Everybody's Trying to Be My Baby" — leaving the impression that Beatlemania may have been fun but now the group is exhausted. That exhaustion results in the group's most uneven album, but its best moments find them moving from Merseybeat to the sophisticated pop/rock they developed in mid-career.
http://www.mediaf!re.com/?rmiejoezzqzIt all kinda started at Christmas when my sons and I were hanging ornaments on the tree. We have an ornament that is a little electric guitar and my six-year-old son was looking at it and asked, "What's this Dad?" I said, "What??? It's an electric guitar." To which he replied, "What's that?" Well, I was kinda horrified so I ran downstairs and pulled out an old hollowbody electric (that is my wife's), an amp and I came upstairs, plugged it in and ripped into "My Generation" by The Who. Well, my one son actually climbed me in point 2 seconds and leaped off my shoulders while the other one looked like I had plugged the lights on the tree into him. They flew around the room dancing for two straight wonderful hours. I got the point. I grew up playing only electric and it was like remembering how to be free. For many reasons, it was so needed. So I got free. The next week I headed into my studio and recorded "City Of Ghosts" and away I went. I wrote about the war and being a parent in "The Field", two topics close to my heart. I wrote about being a teenager and how heavy that time can feel and how it can shape the path you take. So, gratitude is in there somewhere. I wrote about doubts and fear, about God and Spirit, and about hope and possibility and things that are elusive and hard to name. I wrote mostly about them, and they came into the room like angels and beasts. This whole time I knew the record would be called Blood Of Man. I also kept hearing two phrases in my head during recording. Maybe you can decipher them, for I know not where they come from or what they mean exactly: "Do you remember when the world was young?" and "In the beginning there was blood on the lamb." Whew. I wrote about how hard it is to be 34 and be a parent and sane and married and true and positive and yourself and a man and funny and a decent person and a not decent person and human and in love. I turned the music up so loud so often that my ears rang every night. I wrote about death, of course. I wrote about life. I wrote about pain and addiction. And I let it flow and left it raw. I worked fast and I let my heart lead. I guess I have come to the point in my life and my art where I just want to make music that I love and not mess with it. If people dig it: cool. If not: cool. I will be making it anyway. I have to. I realized that too. By the grace of god: I have to make music. More importantly: I get to. Also, before anything, I am a music listener. So, this record has not been messed with in any way. What you have is exactly the music I listen to in my van and the way I have given it to my friends on CD-Rs. My hope is that it can help where help is needed. Music saved my life and I am so grateful for it.
http://www.mediafire.com/?meumtmweggj
I wouldn't
any chance of a re-up on Tim and Sam's first album? i just realized that i must have accidentally deleted it for some reason and the old link is dead.
http://www.mediafire.com/download.php?djnjztmwdtn
Hey bedhead, where did you get these?
http://www.mediaf!re.com/?4idyixjmm3kYou can read about it on cokemachineglow here...http://www.cokemachineglow.com/record_review/4613/shogunkunitoki-vinonaamaksio-2009
http://www.mediaf!re.com/?20kmkehihw1 Taking its name from novelist Jack London’s 1904 seafaring adventure, Sea Wolf has evolved organically from its hermetic origins in Alex Brown Church’s living room into a muscular, full-bodied musical entity with passion to burn. After adopting the sobriquet, Church burst onto the music scene in two-fisted fashion with the EP, Get to the River Before It Runs Too Low, and the subsequent full-length debut album, Leaves in the River, about which Interview magazine observed, “His music is both erudite and unvarnished, a blend of swirling melodies, literary balladry and damaged art-rock composition.” And now, Church’s singular vision has led to the creation of the eloquent and expansive new album White Water, White Bloom, which not only fulfills the immense promise of the initial musical diptych but conjures up its own cosmology. This is one of those rare and mysterious records wherein, the first time you hear it, you can’t shake the feeling that it’s always been part of the soundtrack of your life. You intimately know its ups and downs, its melodies and cadences, its settings and characters.
A song cycle set against the changing of seasons, this timeless work unfolds like an epic poem, yet resonates with thematic elements that speak, elliptically yet unmistakably, to the world we live in. Pulsing with evocations of nature at its most elemental, Church’s songs are flooded with vivid imagery, carried along on torrents of sounds as majestic as a mountain stream swollen with the bracing, crystalline runoff of spring’s first warming breath. What’s more, he sings these songs with newfound power, the result of extensive roadwork behind Leaves in the River, while deepening the mesmerizing expressiveness with which he made his initial mark. Church’s verbal acuity is mated with bold, vibrant soundscapes set off with thundering drums, stabbing, reverb-soaked electric guitars and ghostly keyboards, resulting in such memorable pieces as the mythological tale “Orion & Dog,” ornamented with strings right out of a John Ford western; the folk-noir fable “O Maria!”; the surging title song, burning with Byronic heat; the fever-dreamscape “Spirit”; the muted, idyllic, “The Orchard”; the Dylanesque roundelay “The Traitor”; and the closing “Winter’s Heir,” with its life-embracing denouement.
White Water, White Bloom was recorded at the Omaha studio of Mike Mogis (Bright Eyes, M. Ward, Monsters of Folk), with Church handling vocals, acoustic and electric guitars, as well as some of the air organ and pump organ sounds that were such a big part of the sonic signature of the earlier records. Joining him were the three core members of the six-piece Sea Wolf touring lineup: keyboardist Lisa Fendelander, bassist Ted Liscinski and drummer Joey Ficken. The remaining slots were filled by Mogis on lead guitar and an assortment of other instruments, with his Bright Eyes cohort Nate Walcott filling the role of the cellist, arranging strings for a quartet, sometimes working from cello parts originally created by Catherine Odell, who’d been part of the initial Sea Wolf touring lineup, with Church’s input.
They arrived with a full set of song demos, providing a detailed blueprint for their subsequent expansion into widescreen anthems that reshape the classic aspects of traditional folk, folk rock and chamber pop—but these bucolic elements are intercut with aggressive bursts of raw emotion sharpened to a serrated edge—making for a rich, vibrant sound that is virtually unprecedented. Church is working in the most personal of mediums, and that results in constant self-questioning. “Every time you make a record,” he says, “you invariably think, ‘Oh, I wish I’d done this differently,’ or ‘Next time I want to do this.’ But if you get to the point where you don’t think that, then it’s time to quit. In terms of aspirations, as long as I’m constantly having new ideas and finding new places to explore with the music, I’ll be satisfied.”
Disc 1 - http://www.mediaf!re.com/?3ihdltum2bt
Disc 2 - http://www.mediaf!re.com/?z5tt2ylxut2 Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess. Never before had a rock record been so self-reflective, or so ironic; the Beach Boys send-up "Back in the U.S.S.R." and the British blooze parody "Yer Blues" are delivered straight-faced, so it's never clear if these are affectionate tributes or wicked satires. Lennon turns in two of his best ballads with "Dear Prudence" and "Julia"; scours the Abbey Road vaults for the musique concrète collage "Revolution 9"; pours on the schmaltz for Ringo's closing number, "Good Night"; celebrates the Beatles cult with "Glass Onion"; and, with "Cry Baby Cry," rivals Syd Barrett. McCartney doesn't reach quite as far, yet his songs are stunning — the music hall romp "Honey Pie," the mock country of "Rocky Raccoon," the ska-inflected "Ob-La-Di, Ob-La-Da," and the proto-metal roar of "Helter Skelter." Clearly, the Beatles' two main songwriting forces were no longer on the same page, but neither were George and Ringo. Harrison still had just two songs per LP, but it's clear from "While My Guitar Gently Weeps," the canned soul of "Savoy Truffle," the haunting "Long, Long, Long," and even the silly "Piggies" that he had developed into a songwriter who deserved wider exposure. And Ringo turns in a delight with his first original, the lumbering country-carnival stomp "Don't Pass Me By." None of it sounds like it was meant to share album space together, but somehow The Beatles creates its own style and sound through its mess.
http://www.mediafire.com/?njhbyjmmrwn
2nd album from New Zealand's 3rd greatest comedy folk duo
Boris & 9dw - Golden Dance Classics (split)
<RE-UP>Tim and Sam's Tim and the Sam Band with Tim and Sam - Put Your Slippers On - EP
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http://www.mediafire.com/?ozkne3n2jemI hate the English major Pitchfork reviews so I'll just tell you what this sounds like instead of trying to create Wes Anderson imagery. These guys are like Tom Waits, Ravi Shankar, Nick Cave and The Replacements all rolled into one. Really weird mix I know, but as as awesome as can be. Eclectic post rock n roll.http://rapidshare.com/files/275119425/Abandon_-_The_Dead_End_2009.rarAn angry band that is actually impressive. Go figure.http://www.mediaf!re.com/?nn0wm2emm3zDear fellow frustrated Boris fans: EXALT YOUR NEW GOD. Seriously though... you should know who these dudes are already and not even think twice without DLing.LIGHTNING BOLT - EARTHLY DELIGHTS (2009)
LIGHTNING BOLT - EARTHLY DELIGHTS (2009)
YES
http://www.mediafire.com/?myinj4i4dikAs the title suggests, Mike Kinsella's newest contribution under the Owen moniker is a bit of a departure both musically and thematically. Recorded over the course of two years, New Leaves, which is being released September 22 on Polyvinyl Records, enlists the expertise of multiple engineers such as Tim Iseler (Wilco), Brian Deck (Iron & Wine), and Graeme Gibson (Califone), whereas previous releases were primarily recorded in a makeshift studio in the home of Kinsella's mother. Musically, the arrangements on New Leaves are more elaborate. Kinsella's finger-picked riffs are as pretty as ever, and new layers of sounds add further nuance to the tracks. While New Leaves still exhibits Kinsella's penchant for self-deprecation, there's a newfound focus on clean slates and new beginnings. The now-married Kinsella has veered away from his previous preoccupation with failed relationships. On "Never Been Born," Kinsella sings "These old bones don't feel so old when I'm home with you." "Amnesia And Me" finds Kinsella further musing on his recent domestication: "Now I know who I am, a housebroken one-woman man." It's surely unfamiliar territory for Kinsella, but that's not to say there's a shortage of sardonic wit and self-examination on New Leaves. Kinsella sounds fed up on "Curtain Call." He confesses: "People used to pay to watch me sing and play/ But it seems more and more they come to spit in my face/ I'm tired of speaking up and speaking clearly so the idiots in the back can hear me." While Kinsella seems burdened by the rigors of touring, he finally seems content with his personal life. Past releases felt like a glimpse into the dark rooms of Kinsella's psyche, where New Leaves finds those same rooms a little brighter, as if someone tied back the curtains and cracked the windows, making way for some fresh air and sunlight.
http://www.mediafire.com/?4tgqzqndryy On October 6, The Clientele will release their 5th album, Bonfires on the Heath on CD, LP and digital download. The Clientele formed a long time ago in the backwoods of suburban Hampshire, playing together as kids at school, rehearsing in a thatched cottage remote from any kind of music scene, but hypnotized by the magical strangeness of Galaxie 500 and Felt and the psych pop of Love and the Zombies. Bonfires on the Heath is in a sense a return to the Clientele’s roots; the dreamlike suburban landscapes first encountered in the early singles, their trippy sense of menace stronger now. Now in London, they’ve drawn on older traditions of English folk, which exist here side by side with the band’s more familiar bossa and pop elements. Mel Draisey’s contributions on piano and violin add beautifully to MacLean’s timeless, eerie songs.
Oh man. Oh man. Thank you pulpfiction21! Downloading it right now.
What's the bitrate?
Downloading it. Though the last time someone told me to listen to a band because I like Boris, I was severely underwhelmed (I'm looking at you here, Kylesa).
Okay, that is GOOD. Very good.
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http://www.mediaf!re.com/download.php?mtmymczomui
http://www.mediafire.com/?mdtvznmjdmzI assume, in this metaphor, the roses are dead.I figured if Willie Nelson was appreciated, than this would not offend. My apologizes if it does.
Kieran Kane, member of short-lived country duo The O’Kanes, begins his ninth solo album with Way Down Below, a brooding drone based around a mandolin riff and tremolo guitar. His opening lyrics condemn unrepented sinners who will pay for their misspent days with their souls. In case you were wondering, this is not country music of the yeehaw variety. Kane’s are the type of morbid and broody songs that go a long way to explaining the high suicide rates in rural areas. There doesn’t seem to be much sunshine where Mr Kane lives, if even the song titles are anything to go by. It’s a land of cynicism and betrayal (Marriage Of Convenience), of futility (Don’t Try To Fight It) and betrayal (Unfaithful Heart). Surprisingly, the latter of these tracks may almost sound the happiest, his comforting baritone supported by a delicate banjo and an occasional slide guitar. Too bad the song is about getting crushed by infidelity. Kane sticks closely to a core selection of instruments, with the aforementioned handful accompanied by sparse percussion which is primarily to keep the beat and tenor saxophone. Somehow, he even manages to make this warm and cheery member of the woodwind family sound demonic and depressing at a whim. But murder ballads can only take a man so far, while the configuration of instruments and chord structures offer little in the way of variation. Wait, final song Tell Me Mama sounds upbeat and promising, what’s it about? Oh, your cheating old lady and your intentions to kill the man seen fleeing the scene. Of course.
Compiled here are two separate EPs, the first being "Have A Nice Life's" extremely rare second demo "Powers Of Ten" and the second being "What Happened Next Was Worse", a collection of tracks written around the same time as Deathconsciousness- mucis that didn't make it into the main album. Together these two EPs make up Voids, a sort of footnote detailing a little more of what was going on during the five year period leading up to 2008's Deathconsciousness.
VOIDS is a fan-compiled collection of "Have a Nice Life" demos and b-sides. It’s pretty awesome that someone went to all the trouble of doing this.
Influences: My Bloody Valentine, Joy Division, New Order, Earth, Sunn, Xasthur, Lurker of Chalice, Nine Inch Nails, the periodic "starving times" of native Alaskans dependent on herds of migrant caribou, Swans, Sisters of Mercy, Kraftwerk, Nietzsche.
http://www.mediafire.com/?yjkmwiynyg4
http://www.mediafire.com/?1czgyeztmz2Om - God is Good (2009) - 320 kbps
| CD 1 The Teen Idles - Get Up and Go The Untouchables - Nic Fit State of Alert - Public Defender Minor Threat - Screaming at a Wall Void - Dehumanized Youth Brigade - Barbed Wire Government Issue - Rock 'n' Roll Bullshit Scream - Fight/American Justice Iron Cross - Live for Now Red C - Pressure's On Deadline - Stolen Youth Artificial Peace - Suburban Wasteland Faith - Subject to Change Skewbald - Sorry/Change for the Same Marginal Man - Missing Rungs Gray Matter - Oscar's Eye Rites of Spring - Drink Deep Beefeater - Just Things The Snakes - Snake Rap Dag Nasty - Circles Embrace - Money Soulside - Punch the Geek Egg Hunt - We All Fall Down One Last Wish - This Time Fire Party - Cake Ignition - Rebuilding 3 - Domino Days Shudder to Think - Red House Happy Go Licky - Twist and Shout | CD 2 Fugazi - Blueprint Lungfish - Friend to Friend in Endtime Fidelity Jones - Destructor Nation of Ulysses - Spectra Sonic Sound Holy Rollers - Perfect Sleeper Jawbox - Motorist Severin - People are Wrong The High-Back Chairs - Summer Autoclave - I'll Take You Down Circus Lupus - Pop Man Branch Manager - Mr. Weekend Slant 6 - What Kind of Monster Are You? Hoover - Cable Trusty - Goodbye, Dr. Fate Smart Went Crazy - A Good Day The Crownhate Ruin - Piss Alley The Warmers - Poked it With a Stick The Make-Up - They Live By Night Bluetip - Castanet Faraquet - Cut Self Not Q and Not U - Hooray for Humans | CD 3 The Teen Idles - Get Up and Go The Teen Idles - Deadhead The Untouchables- Stepping Stone State of Alert - Draw Blank Minor Threat - Straight Edge (live) Minor Threat - Understand Government Issue - Snubbing Government Issue - Asshole (with Ian) Minor Threat - Asshole Dub Youth Brigade - I Object Rozzlyn Rangers - Rozzlyn Rangers Void - Black, Jewish and Poor Void - Authority (take 1 and 2) Scream - Search for Employment Deadline - No Revolution Faith - No Choice Marginal Man - Manipulator Dag Nasty - All Ages Show Fugazi - The Word Fugazi - Burning (live) Shudder to Think - Drop Dead Don't Blink Circus Lupus - We Are The One (Rare) Slant 6 - Are You Human? Interview |
http://www.mediafire.com/download.php?tzmintdxznmCD 2http://www.mediafire.com/download.php?i3yjdzj4djkCD 3http://www.mediafire.com/download.php?jnzoh2j3jrnDitto, I thought the new Kylesa was excellent, and I too love Lightning Bolt.
Katya Chilly? I just spent way to much damn time renaming the files I got in English. so If I can get it to Zip, and get it onto Mediaf!reIts Ya Molodaya
http://www.mediafire.com/download.php?omweytmjk1n
Peel Session 1989
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Argument 2001
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Furniture 2001
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Instrumental Soundtrack 1998
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End Hits 1998
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In on the kill taker 1993
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Steady Diet of Nothing 1991
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Repeater plus 3 songs- 1990
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Fugazi- 13 songs 1998
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http://www.mediafire.com/?ty2ntdm4yygThe review is a bit overwrought, but all I would have to say in contrast would be "it's good."Having been around for ten years, Animal Collective are now at the stage where the fruits of their neighbours, literally in Baltimore’s Le Loup’s case, are really beginning to ripen. Having released the impressive The Throne of the Third Heaven of the Nations' Millennium General Assembly in 2007, Le Loup have thankfully followed it up with both a shorter titled and even more impressive album in Family; a perfect blend of AC’s Sung Tongs and Panda Bear’s Person Pitch. That Le Loup have taken inspiration from Baltimore’s finest is unquestionable, but what they have also done is taken that influence and inspiration and created something that warrant’s its place alongside its stimulus.
If you take the term folk music and the German expression ‘Volk’ (“the people as a whole”) from which it is derived then it is more likely in this day and age that you would be describing the kind of dreadful pop music that pollutes the charts of most nations that record them. However if you use the expression as it is classically applied, then it is still a genre in which Family rather snugly fits. It uses simple ingredients to create something honest and memorable. There is no pretention, no agenda other than to communicate thoughts or feelings through music. From the cheering tones of one of the world’s most underrated instruments, the banjo, to the warming monk choir-like vocals that permeate throughout, Family is the sound of pure contentment and is almost impossible not to fall in love with.
Opening with the medieval bard rhapsody of “Saddle Mountain” Family is as loving and attentive throughout, never once straying into self indulgence as is sometimes the want of their Baltimore brethren. “Grow”, “Morning Song” and the title track are all meditative campfire songs, until just over the half way point, “Family” kicks in to become a more rousing affair for a fleeting moment, before the even more fantastic “Forgive Me” takes that mantle and really marches with it; only a fool wouldn’t follow. It would be a downhill march from here for most bands, but such is the consistency of Family and its constant generosity, Le Loup still offer up the splendour of tracks such as “Sherpa” and “Naehkahnie”.
In the age of the iPod, it’s encouraging to know that there are still bands producing albums that work as a whole document, not just a collection of discordant singles and obligatory filler. Each and every track on Family ties together beautifully, justifying their place without question or doubt and creating a whole that leaves no need to be filled. If Animal Collective go on to stand a true test of time then there is every promise that with them will be preserved a band of equal majesty in Le Loup; and even if not...you’ll always be able to rely on Family.[
http://www.mediafire.com/download.php?zzmmdllegn3http://www.mediafire.com/download.php?nqyznzwzezz
Tim and Sam's Tim and the Sam Band with Tim and Sam - Summer Solstice [2009]Code: [Select]http://www.mediaf!re.com/?iciwadzngwz
http://www.mediaf!re.com/download.php?uzzwdkzokyyhttp://www.mediaf!re.com/download.php?mmtoramjzyzhttp://www.mediaf!re.com/download.php?tjz44hyw1tqHi guys first time post so apologies for any errors in advance. I have been collecting music for 25 years but am relatively new to downloading and its only recently i stumbled across this thread and just wanna say thanks for swtching me on to loads of new stuff and heres my 1st attempt to repay you.
I intend to post all kinds of stuff on here but i'm starting with some psychedelic wonderment from down the years.
All Night Radio - All Night Radio (2004)
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Beautiful dreamy album by short lived project featuring X members of Beachwood Sparks, The most underrated album of this decade in my opinion.Code: [Select]http://www.mediaf!re.com/download.php?uzzwdkzokyy
Opal - Happy Nightmare Baby (1987)
(http://img3.imageshack.us/img3/73/opalv.jpg)
Great album by Opal led by one of the main figures of the paisley underground scene David Roback who previously played in Rain Parade and went on to join Mazzy Star.Code: [Select]http://www.mediaf!re.com/download.php?mmtoramjzyz
Magic Carpet - Magic Carpet (1968)
(http://img190.imageshack.us/img190/6708/magicarpet.jpg)
Little known but excellent sitar filled psychedelia from the 60's. Perfect for falling asleep to.Code: [Select]http://www.mediaf!re.com/download.php?tjz44hyw1tq
I will try and post other stuff on here i think most of you will like over the coming weeks
Peace Out
Art Blakey and the Jazz Messengers - Moanin'
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No review, this just came out todayNo one was left who could remember how it had happened,how the world had fallen under darkness.
No one who would oppose the robots..
or so Dr. Wily believed...
Yes, that Dr. Wily.
The Protomen is, in its truest sense, a rock opera. But not only is it a rock opera, it is a rock opera based on the beloved video game character Mega Man.
And it’s freaking incredible.
It’s so incredible, in fact, you’re going to feel almost guilty for loving it. ‘Cause, I mean, c’mon, how can someone go around singing the praises of, not only a rock opera, but a video game based rock opera?
But you’ll do it. Even though you don’t believe me now, even though you’re thinking, “Really, how great can this be? It’s probably way amateurish, immature, and the production probably sucks”, you’re wrong. The production doesn’t suck, it’s actually incredibly impressive for a group of guys with no label backing. Immature, I guess that’s subjective, but amateurish? Negative. The Protomen are very capable musicians/composers and it shows, not only in their instrumentation, but in their use of music as a whole. Choirs lift the cowardly cries of humanity amidst the electric narration and rhythmic orchestration. The story builds from start to an amazing crescendo and, through every action sequence and dramatic dialogue interaction; you’re run through the story in just the right musical accompaniment.
The Protomen is much more than an album, it’s a production.
And with just as much of the story being told to you lyrically, there’s a cybernetic boatload of narration that’s not and has to be read within the lyrics sheet. These supplemental words are just as important as the spoken ones too, filling in all the gaps and proving that The Protomen have some serious writing chops as well. There are some powerful and, at times, inspirational lyrics buried beneath the guise of a playful video game anthem:
Even here it is not safe
Even this grave has been defaced
Someone has written on this stone
In some angry hand
Hope rides alone.
Appease both the child and honorable patriot within you.
Join the fight.
“We are the dead.”
http://www.mediaf!re.com/?uuiznjijnjt
Fantastic album. "We're On Our Wave" is the jam!
http://www.mediaf!re.com/?32zgtm3mgamhttp://www.mediaf!re.com/?yyzbzajyinnhttp://www.mediaf!re.com/?ownimbngntohttp://pitchfork.com/tv/#/episode/2029-camera-obscura/1
Following seven years of near solid touring, Muse escalated from being the biggest band in Teignmouth in 1997 to one of the biggest bands in Europe by 2004. With each successive album, they pushed the musical envelope with a fusion of progressive rock, electronica, and Radiohead-influenced experimentation, creating an emotive, passionate sound. Muse's reputation as one of the best live rock bands in the world is well deserved with their exhilirating live performances drewing critical acclaim, industry buzz, and a loyal and rabid fan base.
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The Beatles – Help! [1965] 74MB
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The Beatles – Rubber Soul [1966] 78MB
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The Beatles – Yellow Submarine [1969] 87MB
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The Beatles – Please Please Me [1963] 71MB
http://www.mediaf!re.com/?jnndxywd22y
The Beatles – With The Beatles [1963]
http://www.mediaf!re.com/?koydo0hmezm
The Beatles – A Hard Day's Night [1964]
http://www.mediaf!re.com/?towz2zigj3y
QuoteFantastic album. "We're On Our Wave" is the jam!
Yeah it really should be more well known. I have never met anyone who has heard of it over here (In the UK) apart from people ive turned on to it. Not sure how well it is known in the US?
PS THANKYOU VERY MUCH FOR WHOEVER POSTED THE NEW LE LOUP & THE "MIGHTY" CLIENTELE LP'S
Pains of Being Pure at Heart - Higher Than the Stars (2009)
The Protomen-The Protomen[2006]
that fugazi john peel session would be fucking EPIC, but there's no link!!!
WHY MUST YOU TAUNT ME WITH THE NO LINKAGE!?!?!
http://www.mediafire.com/download.php?omweytmjk1nSuburban Light (November 2000) http://www.mediafire.com/?5i1gg1u1yz1
The Violet Hour (July 2003) http://www.mediafire.com/?cocz5vbk2bi
Strange Geometry (August 2005) http://www.mediafire.com/?3gvy9wuazmc
It's Art, Dad (recordings from 1991-1996) (Oct 2005) http://www.mediafire.com/?2nxdj50yy1y
God Save The Clientele (May 2007) http://www.mediafire.com/?0jm5ekngvxc
EPs
A Fading Summer EP (June 2000) http://www.mediafire.com/?1ad1md9c3gm
Lost Weekend EP (March 2002) http://www.mediafire.com/?yyxz4nemvwz
Ariadne EP (March 2004) http://www.mediafire.com/?zczbkin5x2s
That night a forest grew- http://www.mediafire.com/?wnromkt1z21
http://www.mediafire.com/download.php?rw2zxn2tzxo
Well, seeing as how I've already gone an done what I said I wouldn't, which was post in the mediaf!re thread; anyone have a source on the lyrics for that new protomen? I can only find lyrics for the few that were on the single.
http://www.mediaf!re.com/?6zbogdu4btghttp://www.mediafire.com/?qiqazddy5zzThe Beatles - Mono Remaster Box Set
http://www.megaupload.com/?d=BTKNFG7TRules:
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/?txghyfwmd2qhttp://www.mediaf!re.com/?yyzzljzyydd(http://www.beatles-unlimited.com/wp-content/uploads/2009/06/beatles-mono-boxset300.jpg)
Attention QC music board: Prepare to shit yourself.
(http://abstainabstain.com/wp-content/uploads/2009/08/om-god-is-good3.jpg)
Om - God is Good (2009) - 320 kbpsCode: [Select]http://www.mediaf!re.com/download.php?mtmymczomui
Massive Attack is back with an EP containing four new songs, two of which are remixed. If you notice on the track list, all the songs feature a guest vocalist, such as TV on the Radio’s Tunde Adebimpe. Horce Andy guest-vocals on “Splitting The Atom,” a chilly, yet intriguing track that premiered on BCC Radio 1 August 25. The track sounds like a play on the virtual band Gorillaz, a tad creepy, but not completely outlandish.
http://www.mediaf!re.com/?qyymagnmx44
http://www.mediafire.com/?mdkkmyym0zq
Sunny Day Real Estate is a band from Seattle, Washington. While not the first band to be classified as emo, they were instrumental in establishing the genre. In 1994, the band released their debut album Diary on Sub Pop Records to critical acclaim. However, shortly after releasing their second album LP2, the band broke up with members Nate Mendel and William Goldsmith joining the Foo Fighters and Jeremy Enigk embarking on a solo career. In 1997, they regrouped long enough to record two more studio albums and a live album, but ultimately disbanded once again in 2001. The band has reunited once again in 2009. Bassist Nate Mendel, who chose to remain with the Foo Fighters during the previous reunion in 1997, is now taking part in this reunion.
http://www.mediaf!re.com/?0mjymmmwwco
Califone - All My Friends Are Funeral Singers (2009)
Califone - All My Friends Are Funeral Singers (2009)
Califone - All My Friends Are Funeral Singers (2009)
http://www.myspace.com/califonemusic
(http://www.americansongwriter.com/wp-content/uploads/2009/07/doc028-300x300.jpg)Code: [Select]http://www.mediaf!re.com/?mdkkmyym0zq
http://www.mediafire.com/?xk0zwjoekmnCalifone - All My Friends Are Funeral Singers (2009)Link is fried already
http://www.mediafire.com/?yd3nflfjmnw
Massive Attack – Splitting The Atom EP (2009)
(http://www.theinsoundfromwayout.com/wp-content/uploads/mass_att.jpg)QuoteMassive Attack is back with an EP containing four new songs, two of which are remixed. If you notice on the track list, all the songs feature a guest vocalist, such as TV on the Radio’s Tunde Adebimpe. Horce Andy guest-vocals on “Splitting The Atom,” a chilly, yet intriguing track that premiered on BCC Radio 1 August 25. The track sounds like a play on the virtual band Gorillaz, a tad creepy, but not completely outlandish.Code: [Select]http://www.mediaf!re.com/?qyymagnmx44
Monsters of Folk
Quality: 256kbps
Format: m4a
http://www.mediaf!re.com/?t5nmn02d5mn
He must want some Édith Piaf.
http://www.mediaf!re.com/download.php?yjdy4omqnmoAny chance of seeing music on this thread that probably wouldn't be perfectly in-character for the cast of the comic?
I'm pretty sure the reason we all read this comic and visit this forum is because it started out as an "indie rock" comic and we're all mostly into that sort of thing. I mean obviously it's branched out since then, but I'm almost positive we're not going to see Lady GaGa uploaded any time soon.
http://www.mediafire.com/download.php?z1zz5zmnalw
Thank you so much for this! O My Gawd.I'm pretty sure the reason we all read this comic and visit this forum is because it started out as an "indie rock" comic and we're all mostly into that sort of thing. I mean obviously it's branched out since then, but I'm almost positive we're not going to see Lady GaGa uploaded any time soon.
o hai
(http://img183.imageshack.us/img183/1060/albumcoverthefame413081.jpg)Code: [Select]http://www.mediaf!re.com/download.php?z1zz5zmnalw
He must want some Édith Piaf.
He's outta luck there. But I do have some hot Enrico Caruso tracks.
Hot as Lady Gaga?
Lady GaGa Post
Best Fwends’ music is a big attention-deficit-disordered smash-up of punk, early Beastie Boys and unrefined 8-bit sounds. It's a kindred sound to those of British bands like Gay Against You and Applicants: frantic, but rooted in pop and/or rock. It’s trashy, cheap, headachy noise, but noise that a lot of love has clearly been put into. What at first seems to be simply brash and unpleasant does reveal itself to have a certain degree of subtlety and sophistication - 'Adultnap', for example, is a punk-pop classic of sorts, albeit one viewed in the lowest possible resolution, pixelated to fuckery.
Alphabetically Arranged is supposed to act a bit like The Hive's Your New Favourite Band - a best-of-so-far aimed to launch the band in the UK market. In fittingly don’t-give-a-fuck/post-modernly-self-aware (you decide) style, they've just chosen a bunch of "the best and worst songs [they've] made over the past four years" and whacked them on the CD - you guessed it - alphabetically arranged, from 'Aaww Some' to 'ZWZZT'. This makes the record pretty much impossible to approach as a whole, to really take it in. Is it a cop out of actually putting some effort into the track listing and the complete product, or a statement about the transience of digital media? ("It's just going to end up on iPods anyway, so here you go.") Either way, the barrage of 29 short tracks tends to lean towards a tiring indistinguishability.
That said, there are certainly highlights: ‘Bump in the Night’ is almost Hot Chip-esque pop geek'n'b, whilst ‘Days Seem Shorter’ seems to evoke the purest, most un-ironic love of the group sing-along power ballad at the same time as a certain unsettling attention seeking brattishness. Tellinglly, ‘Get Cleen’ launches into a Bonde Do Role-shaming battle-hop groove before being slowed down and stopped after 35 seconds. Frustrating.
It's the type of music that journalists feel compelled to hyperbolise about, and it’s certainly hyperbolic music, but at the centre of things it’s a bunch of pretty good pop songs with a wide-eyed, excitable sense of optimism in the freedom of its production.
* Best Fwends 7 / 10
http://www.mediafire.com/?2jnnymiozlthttp://www.mediafire.com/?gtdjzmxvmzz As we approach the end of the decade, expect an avalanche of lists, including those for its bestselling albums. Dido and Robbie Williams will dominate, in the UK at least, suggesting a divided nation oscillating between sedation and light entertainment. Tucked in behind should be an interloper with an acoustic guitar, David Gray, who began his career back when it was all Britpop and no one cared for earnest singer-songwriters. So Gray didn't hit pay dirt until his fourth album, 2000's multi-platinum White Ladder. After that, singer-songwriters were everywhere, although the man himself has never repeated the trick, settling down for two more albums of still lucrative MOR. Although looser, Draw the Line doesn't reinvent the Gray wheel. He can still write a melody and there's a pleasing bite to the lyrics, which allude to the state of the world post-Iraq, with Fugitive's "crouched in a hole like a mud-streaked fugitive" inspired by Saddam himself. - Some guy on The Guardian
It's a boorish, reprehensible thing to do.
http://www.mediafire.com/?ngutymbwztz /\ updated /\
http://www.mediafire.com/?2m4laqzym2o
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.
o hai
(http://asset1.pnn.com/graphics/show/1879/600/image.jpg)
It might not be just you, because I can't extract the files past the first song.I checked the download of my upload, but I'll re-up it.
http://www.mediaf!re.com/?immthzqwnrjI don't know what you're using, but I used winrar on it and it worked fine except for the second track.
And here's the second track:Code: [Select]http://www.mediaf!re.com/?immthzqwnrj
Sweet upload by the way, I had no idea this was even out.
It might not be just you, because I can't extract the files past the first song.I checked the download of my upload, but I'll re-up it.
http://www.mediafire.com/?ngutymbwztzhttp://www.mediaf!re.com/download.php?klwd4ztz5qz
35th re-up of Islands
http://www.mediaf!re.com/?mtxzyttkz0osex for the ears
http://www.mediafire.com/download.php?zdnzthdmh4d
http://www.mediafire.com/download.php?o0zmfdoizndQuote from: epochsex for the ears
Fuck me sideways, I forgot they had a new album coming out. Can't wait to listen!
Edit: Listened several times now. Gooooood stuff.
Edit again: Holy scrotum, "Bonnie the Cat" is an awesome song.
Given that Jeff McIlwain aka Lusine has studied sound design for music and film it’s no surprise his productions are filled with a deeper than usual sense of atmosphere. Counting film scores among his recent projects also explains why we haven’t heard much from the Texan for the past few years. “Two Dots” is, in fact, his first proper release since 2006’s “Emerald EP,” and it finds McIlwain refreshed from his film score sabbatical. A significantly more pop-based affair than the majority of his previous output, “Two Dots” is released ahead of the forthcoming A Certain Distance album, and features the sprightly, lilting vocals of Finnish songstress Vilja Larjosto. The original mix brings forth a flood of memories centered around the organic/digital house sound of early Perlon releases; melancholic tones underpinned by an impossibly feel-good, slightly nonsensical vocal with smart, well placed melodies.
http://www.mediaf!re.com/download.php?jharzklion2Oh yeah, and the music: it delivers, and it delivers hard. The catch-up drums and charging four-chord riff of “False Jesii Part 2” make for an album opener so potent you wonder why the band even bothered recording any other songs — and when the strangled guitar stabs of “Half Idiot” stumble in right afterwards, you’ll know why. Aural references to The Jesus Lizard and McLusky abound (the almost-sorta-hip-shakes of “R-Rated Movie” and “Lip Ring”), but Korvette’s rubbery vocals and the band’s working-man-competent musicianship keep the whole affair original and out of 90s revivalism territory.
Simply put and strongly stated, King of Jeans goes beyond charting Pissed Jeans’ position as the Deans of Denim — it places them front and center as one of the best and most ferocious guitar bands out there.
http://www.mediafire.com/?wi0zk1cy40k
http://www.mediaf!re.com/?it1td4ngzyj"Your Ex-Lover Is Dead" (Final Fantasy) 4:50
"Set Yourself on Fire" (Montag) 3:17
"Ageless Beauty" (The Most Serene Republic) 4:04
"Reunion" (Jason Collett) 3:55
"The Big Fight" (Minotaur Shock) 4:50
"What I'm Trying to Say Pt. 1" (The Dears) 3:03
"What I'm Trying to Say Pt. 2" (The Dears) 2:59
"One More Night" (Apostle of Hustle) 5:42
"Sleep Tonight" (Junior Boys) 4:22
"The First Five Times" (The Russian Futurists) 3:19
"He Lied About Death" (Metric) 3:58
"Celebration Guns" (Camouflage Nights with Kevin Drew) 3:28
"Soft Revolution" (The Stills) 4:22
"Calendar Girl" (Young Galaxy) 3:35
Pissed Jeans - King of JeansCode: [Select]http://www.mediaf!re.com/?wi0zk1cy40k
ROCKNFUCKINGROLL
Vol1, CD1: http://www.mediaf!re.com/?gymdhnyez0g
Vol1, CD2: http://www.mediaf!re.com/?3z1zmlgyzi2
Vol2, CD1: http://www.mediaf!re.com/?nzjzaoymnho
Vol2, CD2: http://www.mediaf!re.com/?ejujmxmyz4w
Vol3, CD1: http://www.mediafire.com/?myh2jywqjna
Vol3, CD2: http://www.mediaf!re.com/?nyhggtnmhjjPissed Jeans - King of JeansCode: [Select]http://www.mediaf!re.com/?wi0zk1cy40k
http://www.mediafire.com/download.php?zn0jntxt3jj
http://www.mediafire.com/download.php?oenwynogo0lLusine Two dots e.p 2009
Code: [Select]http://www.mediaf!re.com/download.php?zn0jntxt3jj
http://www.mediafire.com/?nomgyh1m2ty
http://www.mediaf!re.com/?mxkzuyjmdy1http://www.mediaf!re.com/?nqmjuqmjidfhttp://www.media!ire.com/?mjz2jzzrzuzhttp://www.mediafire.com/?mmww5zmwmi2
http://www.mediafire.com/download.php?z1lud01ty3qIn 2008, First Aid Kit released the album Plaits. Singing again in English, the Querol & Aran bring more of the same. And, no, it isn’t something that would make listeners fret for feeling that they’ve already heard the music before. Why? Because it takes you back to the same wonderland that you went to when you heard their first work. Their lead single from this album is “Truth Can Hurt.” The video for the song features three children just being children. Having fun and showing no care for the troubles of the world at large. Wasn’t the world a majestic place when such was the case? The actual first song of this album “Fake/Real” actually has children singing on the song, followed by Carles and Agnès singing together using the same lyrics the children sang before them. It lets you know what you’re in store for the rest of the album. And, frankly, it should never be a problem to enjoy such delightful melodies and the joyous memories/feelings that they bring. If you can find their music, I strongly urgingly demand that you acquire it immediately. Yes, it can change your life . . . yes, it can.
(http://cassland.org/images/covers/Anthology.jpg)
http://www.mediaf!re.com/download.php?mjkotndiggl164th note bass drum rolls on the channel in the title track Somnambulist? How about my new favorite tune Illumination? Oxygen anyone? Sicmonic once again jumps into the chaos, and finds comfort in textural and sonic areas most musicians would crumble in. What that does is allows us to explore the music. Literally pieces of music within pieces of music, Sommnambulist offers a kaleidescopic window into a world of music torn open for all to see with an artistic flair that separates sicmonic from every other "hardcore" band out there. This time tearing off into some deep waters, this record could easily have been categorized as avant garde jazz in the vien of some of John Zorns work, as metal or hardcore. Songs such as such as Acidic Epiphanies, All Things Considered (a bonus track) are so far out there you wonder how sicmonic managed to conceive of a way to bring us all back! If you think this is merely a continuation of "Look to The Skies" you have a sweet surprise coming to you. This record is Heavy, Heady, Heavenly, and some times plain un-categorical. Incredible.
Can't get that First Aid Kit code to work =( Which is a shame, because that video is lovely and I would like to hear more.
(http://img17.imageshack.us/img17/8724/b9f485fbb302.jpg)
cant get track 4 to work!
sounds like really good Nu-Metal, but wait... thats not hip. lets call it something else...
:-P
http://www.mediaf!re.com/?zdixzbnmj0uSounds like really good crap?
http://www.mediaf!re.com/download.php?yqmzqnz4nyd
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.[/size]
http://www.mediaf!re.com/download.php?hazxzzymhchSounds like really good crap?
Sounds like you're close minded and obsessed with being perceived as cool?
Meh, I say to you! Meh!
Part 1:
http://www.mediaf!re.com/?mtltnmjhynt
Part 2:
http://www.mediafire.com/?htwnm3ywzvq
http://www.mediafire.com/?gmj4nfkwqamSome records are made to be listened to in certain situations, sometimes regardless of their aim or conception but often because of it. Kraftwerk's Autobahn is an obvious example, and one which clicks, strangely enough, on almost deserted, dim-lamp lined motorways, deep into darkest night. Best of the recent examples of this would be Zombie Zombie's A Land For Renegades, which falls firmly into the mentioned aesthetic. Worriedaboutsatan's Arrivals should be filed here, too. Though a record which is lighter – less garish synth work, more delicate intricacies – than the aforementioned two, it's still one whose true character can only be shown when digesting at the right time, in the right place. It would be nearly a travesty and betrayal to absorb the minutiae of the Leeds electronica duo's début LP in anything close to daylight. At a watery dusk it still seems like an injustice is being done to a body of work which so clearly and ably soundtracks the nocturnal as much as it does the subconscious.
Throughout history, music – songs, albums, operas, concertos and every form otherwise – has mostly been about things that have happened. Arrivals is about things that don't happen, haven't happened and the anticipation of such – this is the crux. Elements of the post-rock ethos are present but don't fully infiltrate the sound. The art of tension building is one such element which does. The usual process which follows mounting tension is to then release the slack, cut back, do the staggeringly predictable – the quiet,quiet,quiet to LOUD ambience – but the experience of exaltation here is never anything but incremental.
'Pissing About' sees a Morse-code loop repeated to near-death with only the vaguest, slightest manipulations and additions to the surrounding sound. It's an incessant, almost musical metaphor for insomnia, as for six-and-a-half minutes the world seems to stop and allows you to refocus. Arrivals is not a confusing record but one which lets you to gather your thoughts rather than lose them.
Unlike close musical relatives and fellow eschewers of spacing, 65daysofstatic, nuances are what worriedaboutsatan rely upon. No such supersonic supernovae of crashing audio as a cloak against quality or variation of ideas. Nothing much happens on Arrivals, yet it is an album which is undoubtedly whole; more complete with each and every disconcerting listen. Drifting in and out of tension-inducing metallic sounding tracks is not novel but keeping a sustainable interest for an hour is done without ease. One thing which does fit to form of genre is the use of disembodied, distant voices which are horrifyingly clichéd wherever used, in any situation.
For reasons dipped into above, 'History Is Made At Night' is a fitting title. Elements of scatterbrain randomness a la Four Tet creep in before melding into 'You're In My Thoughts' elevating worriedaboutsatan to true purveyors of pulsating post-rock. The two genres remain well married throughout and are as much worriedaboutsatan's "sound" as anything.
The whole “post-rock without guitars” (yes, worriedaboutsatan do have guitars...) thing can be like saying “post-rock without the rock” but it sums up significant portions – if not most – of Arrivals. Yet there are always exceptions to boundaries which seem cut and dry but are knocked and chipped at by pioneers. It would smack more than faintly on hyperbole to say that this is a pioneering album, regardless of its qualities. I shan't waste any more words on what genre the sea of sound that is Arrivals fits into. Let's just call it an hour's worth of creepy, organic, nearly always-tension-building electronic ambience which certainly owes as much, if not more, to the hidden influences as the obvious ones.
http://www.mediafire.com/?jjlimhwjmmy
http://www.mediafire.com/?ywz5ndmm2wdNugazi.
This is the new Fuck Buttons album. It's called Tarot Sport and it's amazing.
Do you guys like Stars?(http://img17.imageshack.us/img17/5512/aaaagh.jpg)
http://www.mediafire.com/?znkmmzkdgmnhttp://www.mediafire.com/?mmxv2lnllgzOrenda Fink – half of the acclaimed duo Azure Ray – has stayed busy sculpting a diverse and heralded career on her own since Azure Ray released their last album in 2003. She has remained a consistently creative and inventive force, whether through the eclectic, spiritual and cultural examination of her solo debut, Invisible Ones (2005); the lush pop of Art In Manila’s Set The Woods On Fire(2007); or O+S’s art project-turned-album self-titled debut (2009). Orenda now returns with Ask The Night, her second solo album and second project of 2009, to be released October 6th on Saddle Creek.
Orenda was born and raised in Birmingham, AL, and lived in Athens, GA, for years before transplanting to Omaha, NE, and now Los Angeles, CA. Ask The Night is very much a reflection of and homage to her Southern roots–the cultural and familial upbringing that helped to shape her aesthetic. Inspired by traditional American folk music and Southern Gothic literature, the album is a mix of both her personal experiences and stories (often parables) told in character.
Orenda’s music always arises from a feeling and place at a particular moment or time. She had spent the past few years first releasing and touring around Invisible Ones and then with her bands Art In Manila and O+S, the latter of which sprung out of an art residency at Omaha’s Bemis Center of Contemporary Arts and was as much an experiment in technology as in art. Upon finishing the O+S album, Orenda was ready to venture out again under her own name and craved an altogether different kind of project. She sought to create something very personal, simpler in style but no less intricate in craft, and something that required no computers or electronics of any kind.
It’s fitting, then, that Ask The Night was primarily recorded live to 8-track by Stephen Bartolomei (Mal Madrigal) in Orenda’s former Omaha basement as well as by Andy LeMaster (Now It’s Overhead; production on Bright Eyes, Conor Oberst and the Mystic Valley Band, Azure Ray) in his Athens, GA living room.
The songs on Ask The Night vary in tone and style, often defying simple categorization. Subtle genre hints emerge such as old-time waltz (”Sister”), country (”Alabama”), folk (”The Garden”) and haunting bluegrass (”High Ground”), while the instrumentation includes acoustic and slide guitar, mandolin, banjo, accordion, violin, upright bass, pump organ… even saw. From the plaintive, melancholy opener “Why Is The Night Sad” to the evocative “That Certain-Something Spring” to the sweetly doleful closer “The Moon Knows”, Ask The Night is a true collection of folk music, translated through Orenda’s unique perspective, woven and intertwined by her distinctive, heart-rending vocals.
The album features a wide variety of players and singers, including producers Stephen Bartolomei and Andy LeMaster, Isaac Brock (Modest Mouse), Dan McCarthy (McCarthy Trenching), and Adrianne Verhoeven (Dri, The Anniversary, Art In Manila), among others.
Four songs on Ask The Night are collaborations with Birmingham, AL-based artist and poet Chris Lawson, who provided creative inspiration during the writing process as well as album artwork.
“Ask the Night” is a narrative journey that is rooted in memories (both personal and collective) and charts geographies (literal and metaphorical).
Orenda’s stories are woven across gothic southern landscapes where shadows from the past intercept with living voices and emotions.
Fink’s new songs are unique in their ability to distill moments of heartfelt loss and pain transcended through observation, knowing, even joy.
These are songs created from an unusual and deeply satisfying merging of real and dream worlds.
http://www.mediafire.com/?wymjw4whmwnA lot of weight seems to have been put on the shoulders of these already established young gentlemen. Five of the twelve songs on ‘Sigh No More’ have already had their little rhythmic sounds pressed on three limited releases by the Londoners, and with the recent shows they’ve played and radio airings they’ve had, the expections are somewhat high.
We already know the heartbreaking sound of ‘White Blank Page’ and the soon to be released lead single ‘Little Lion Man’, a song that has been played at their shows and been in rotation with fans for quite a while now, and who could blame them for putting them on their debut? But we’re not here to go over what we’ve already spoken about before.
Beginning the album are the incredibly uplifting vocal harmonies that we have all grown to love since the ‘Mumford & Sons’ EP. ‘Awake My Soul’ is along the same lines, whilst ‘Sigh No More’ creates a different take on an already proven formula and ‘I Gave You All’ resembles the sound Marcus created with Laura Marling on her debut, which continues into ‘Dust Bowl Dance’. On this last song Mumford create a Nick Cave-esq aggressive tone over the bluegrass folk that gives them their charm, ensuring it all finishes with a roar. A perfect album for the Autumn months.
SQUEEEEEEEEEEEEEEE!Indeed.
http://www.mediaf!re.com/?2yhqmoijzmmDelusions of Adequacy:
"With extraordinarily varied instrumentation that includes violin, vibraphone, banjo, mandolin, as well as the omnipresent guitars and drums, Grand Hallway specializes in fragile and achingly gorgeous chamber pop that is just as transcendent as anything the Arcade Fire can pull off. But unlike Win Butler’s crew, the music of Grand Hallway is rarely, if ever, theatrical; never has vulnerability seem so coolly assured..."
A Slice of Fried Gold:
"While frequently associated with other baroque pop stalwarts such as Sufjan Stevens, (Grand Hallway) create a sound that is really and truly their own..."
http://www.mediaf!re.com/?zgmvtu5mtmwIf the sound of blistering guitars on the opening track, "Boys at the Metro," doesn't get a listener's attention, the "hey!" shouts will make it clearly known that Seattle's Tea Cozies are not willing to go unnoticed. Following a 5-song EP, which received airplay on Seattle's KEXP and numerous Internet radio stations, Tea Cozies continue to deliver an enticing mix of '60s girl pop and swirling garage rock on their full-length debut, Hot Probs.
With sweet harmonies and 3/4ths of the band being female, Tea Cozies possess the raw sound similar to that of bands like Vivian Girls, but the energy is at a much higher level and more likely to provoke people to dancing. While there are plenty of angelic seesaw rhythms and cute lyrics, such as, "I had a boy and he had a bike and we got along real nice," vocalists Jessi Reed and Brady Harvey are also witty and sharp-tongued. Pop culture icons Steven Spielberg, Oscar Wilde, Fred Astaire and Mary Shelley find their way into songs among words of wisdom, which reveal, "Even pretty pages crack in old books/ You can't rely on your good looks."
The music arrangements are just as interesting to listen to as the lyrics. Tea Cozies have a standard rock set-up -- with two guitars, bass, drums, and the occasional organ -- but they manage to incorporate unexpected twists and turns into songs. "Like Luca Brasi" switches back and forth from an upbeat pace to a dreamy stride, which happens a bit sudden but still sounds seamless. The song, which is about a girl who is hesitant to go swimming while on a trip with friends, but is convinced to do so and ends up drowning, summarizes the band pretty well. However, unlike the girl in the story who did not listen to her instincts, Tea Cozies are very instinctive. The band members are loud and forceful when they feel the need and slow it down if they get the urge, which adds a lot of diversity to the album.
For every straightforward pop track on Hot Probs, there is one rocking garage or soothing psychedelic track to counteract the sugary goodness. "Corner Store Girls" can be best described as bibbity bop as images of bunnies hopping in meadows, bees buzzing in gardens, and couples rollerskating at the boardwalk come to mind. The song is followed by "The South Turned Him Sour," which contains rich and gritty sounds of roller derbies and hot rod racing.
Toward the end of the album, the music loses a bit of momentum as songs become slower and more psychedelic. There are some instances where the vocalists sound bored, but that could be mistaken with bravado. Even as the songs slow down, there is a strong aura of confidence, but it is never pretentious.
NEW Russian Circles!?!?!? YAAAAAAAAAAAAAAWNfixed :D
http://www.mediafire.com/?2nyx2utwjzo
NEW Russian Circles!?!?!? YAAAAAAAAAAAAAAWNfixed :D
Grand Hallway - Yes is the Answer [2007]
http://www.mediafire.com/?nxodzz2w2zn
track 12 is corrupt
http://www.mediaf!re.com/?gyndg2w0ytm
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Matt and Brad Shultz, the brothers behind this Kentucky-bred garage-punk quintet, grew up in cramped confines with a pious dad who didn't like secular music — a good recipe for acting out later. Despite callow lyrics and what sounds like an unfortunate Nineties rock-rap influence — "In One Ear" sports G. Love and Special Sauce-style rhyming — Cage the Elephant make a fine mess on their debut: Singer Matt Shultz, a vocal dead ringer for the Arctic Monkeys' Alex Turner, conjures white-blues forebears and barks with abandon on songs like "Free Love," a skronk-y cut about a lady who "like(s) it rough" that rocks so enthusiastically you wonder if the band thinks it's breaking new ground.
Who the hell are these people? tell us
http://www.mediafire.com/?nl4mja2whydUnicorn Kid is Oliver Sabin, a 17 year old artist from Leith, Scotland. He makes chiptune-influenced, electro-pop songs with discarded childrens toys, keyboards and FL Studio.
His first release, the five-track ‘Sugarfest! EP’ came out on April 20th, 2008 and is available to purchase digitally from his MySpace page.
His EP ‘Lion Hat’ was released in January, 2009 on Euphonios Records.
http://www.mediaf!re.com/?mamuawmnnm5hipster tits.
http://www.mediaf!re.com/?nxyimmmddjzthat kid cudi album up there is great! just saying. it may not be as great as the new Jay-Z, but it's really fucking good.
Sexy Sushi - Tu l'as bien mérité [2009]
http://www.mediafire.com/?mrzgt5udmz4Which one should I start with?I'd say Venus On Earth, it's probably their most accessible. The track "Tiger Phone Card" in particular is amazing.
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el olio
TWO links:
http://www.mediaf!re.com/download.php?kgzodmzojmk
http://www.mediaf!re.com/download.php?bfmjxyqz4ol
http://www.mediafire.com/?oinyl4gzymw
Dengue Fever Presents: Sleepwalking Through The Mekong (2009)
Dengue Fever Presents: Sleepwalking Through The Mekong (2009)Oh hey, I didn't even know that existed! I mean, I've seen the documentary, I just wasn't aware of a soundtrack. Thanks a bunch!
http://www.mediaf!re.com/?zjnmy2ydmem
http://www.med!afire.com/?nzm3mzzjzntI didn't have a problem with the above link, but some people weren't able to get track nine. Here it is:http://www.mediaf!re.com/?nxynxtlazzlLast track is corrupt, but thanks anyway, I really liked her first one.Hmm, that seems to be the case with every link out there I've found. Guess we'll have to wait for that one. Rest of the album sounds really nice though.
http://www.mediafire.com/?nxynxtlazzl
http://rapidshare.com/files/283014885/Tim_Buckley_-_Live_At_The_Folklore_Center_NYC_6-3-67.rarhttp://www.mediafire.com/?tmedzymyyd2
Aim and Ignite
fun
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Man of all the people I would've imagined it would be cool for them to make a soundtrack for Where the Wild Things Are, Karen O is not one.I think Karen O and Spike Jonze are the married. Perhaps they were at some point but aren't anymore.
http://www.mediafire.com/?rl2mkwnmtwm
http://www.mediaf!re.com/?1yxuftzzoa9http://www.mediafire.com/?bjtjj1nyuwmSilver Starling’s debut album is a tribute to life; bringing its’ listener through the bumps and smooth’s in the indie music scene. Yet another Montreal band on the verge of something big, have concocted a complete indie album that brings forth pieces of shoegazing, indie-folk, straight up rock, and delicate pop colorings that will have you foot-tapping away upon first listening. Every track offers up a different emotional feeling, from reflectiveness to anger. It makes sense once you learn lead man Marcus Paquin wrote this album as a tribute to a longtime friend, who was stricken with pancreatic cancer and passed away in September of 2008. “He’s the glue that holds all of this material together,” says Paquin. “He is one of my oldest friends, and his sickness sparked a lot of emotions in me.” You can get this from tracks like “Ghosts” and “Love and a Broken Heart,” in which Paquin questions our existence and purpose in the human soul; his meditations are right on, and the music that accompanies the words could not live without the experience Paquin went through. Inspired to the max! Silver Starling never wallow in self pity, rather they have transformed the experience into a sleek, lustrous album that ripples the listener through indie pop, done with pure Montreal sensibility.
Similar to many albums from the area, the collaboration continues, with essences of Arcade Fire speckled throughout (Paquin’s wife plays viola with AF’s touring group). They have been compared to The Beatles and Jeff Buckley; thus clearly having a reputation to uphold and standards to set, which looks good after recently signing with Toronto’s Last Gang Records (New Pornographers, Metric and MSTRKRFT). The album was mixed by Peter Katis (Interpol, The National) and Paquin.
Most of the songs follow a similar sensual structure, starting with subtle instrumentation and vocals, then climax into a full blown surges of melodic sound, as it heads into choral refrain “Oh No! I don’t believe in ghosts.” The vocals are comparable to Win Butler, they can be hush and soothing, to full-on assault, but it all fits so ‘Popping’ nicely. The songs are often a sexual experience, paced and deliberate, ever so slowly building into a climax of ultimate satisfaction, and just when you think your mind might blow again, they bottom out! Ahhh…… Me like! Another good Montreal album that will win over many a fan.
I'll upload fun in a secondBeat me to it.
Ta daCode: [Select]http://www.mediaf!re.com/?rl2mkwnmtwm
Kris Kristofferson "Closer To The Bone" [2009]
(http://img121.imageshack.us/img121/6299/cttb.th.jpg)
Worked on a film project earlier this year with Kris. For a living legend, he's as down-to-earth as they come. This album comes out tomorrow, but hell if I know where you'll hear it. C&W radio quit playing music like this years ago. Following in the vein of 2006's "This Old Road," it's basically Kris and his guitar, with occasional sparse accompaniment, including guitar and backing vocals from the late Stephen Bruton, Kristofferson's friend and bandmate for 40 years. Enjoy.Code: [Select]http://www.mediaf!re.com/?1yxuftzzoa9
i read somewhere that there's a punk tribute to this guy called Piss Pissedofferson. there's no way that can't be fucking awesome.
Kris Kristofferson "Closer To The Bone" [2009]i read somewhere that there's a punk tribute to this guy called Piss Pissedofferson. there's no way that can't be fucking awesome.
(http://img121.imageshack.us/img121/6299/cttb.th.jpg)
Worked on a film project earlier this year with Kris. For a living legend, he's as down-to-earth as they come. This album comes out tomorrow, but hell if I know where you'll hear it. C&W radio quit playing music like this years ago. Following in the vein of 2006's "This Old Road," it's basically Kris and his guitar, with occasional sparse accompaniment, including guitar and backing vocals from the late Stephen Bruton, Kristofferson's friend and bandmate for 40 years. Enjoy.Code: [Select]http://www.mediaf!re.com/?1yxuftzzoa9
http://www.mediafire.com/download.php?iltdztgdmnd
http://rapidshare.com/files/286243908/Dead_Man_s_Bones.rar.htmlDead Man's Bones began recording, and quickly decided that the songs needed the special creepiness and longing of massed children s voices to complete the sound L.A.'s Silverlake Conservatory Children's Choir was brought in to the studio, and Dead Man's Bones, the album, was born. Some of their songs reflect the music they listened to a little bit of doo-wop, and artists such as the Shangri-Las, The Shags, Company Flow, Sam Cooke, James Brown, Bobby Vinton, Joy Division, The Andrew Sisters and Daniel Johnston, to name a few. In addition, the artistic aesthetic of old Universal horror films, vaudeville music-hall numbers, and silent-screen melodramas infest the music.
http://www.mediafire.com/?zhjyjdyjzyv
http://www.mediaf!re.com/?hdzgzymmmmdIs this really a new American Analog Set release? Yes! Sort of.
In 2001 we released a cd compilation of rare, vinyl only, and unreleased material called Through the 90's. Today, the companion release, Hard To Find is available electronically from your favorite mp3 source including iTunes, Amazon, eMusic, Rhapsody and so forth. It is meant to represent the Tigerstyle and Arts + Crafts era material in the same way that Through the 90's represented the Emperor Jones era releases.
Many of our favorite moments were only available on limited-edition vinyl or were given to magazine compilations or were saved for 7-inches that were never released. They're all available here on Hard To Find. The cornerstone of the compilation is a tour-only 4-song 12" that sold out along our last tour in 2005. The EP featured 4 longer and more "classically AmAnSet" versions of Set Free standouts Cool Kids Keep, First Of Four, Green Green Grass and Everything Ends. The singles compilation also features guest artists and long time AmAnSet boosters Matt Pond and Ben Gibbard who lend their lovely voices to Sharp Briar and All I Want For Christmas respectively.
Enjoy!!
Track Listing:
01. Stoney Chariots
02. New Equation
03. Make It Take It
04. Sharp Briar (feat. Matt Pond)
05. Choir Vandals (demo)
06. Cool Kids Keep (12" version)
07. First Of Four (12" version)
08. The Only Living Boy Around (Know By Heart version)
09. Hard To Find (original)
10. Hard To Find (reprise)
11. All I Want For Christmas
12. Green Green Grass (12" version)
13. Everything Ends In Spring (12" version)
http://www.mediafire.com/download.php?kl0wvkimzzzhttp://www.mediafire.com/download.php?2dnyzwgyimmhttp://www.mediafire.com/download.php?yn4lmnjzyhtOh fuck yes.
The American Analog Set - Hard To Find: Singles and Unreleased 2000 - 2005 [2009]
http://www.mediafire.com/?zzxzhgjmzdh
Black Cobra - Chronomega
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A very welcome contribution to Hefty's catalogue from this Australian duo, Fyris Swan is a distinctly cinematic affair. The pair conjure the most delicate and wistful of acoustic-electronic landscapes. At times there's only the most spartan of sonic elements at work and the whole album seems to be held together by the slightest of gestures and the lightest of touches, but all this understatement makes for an incredibly atmospheric, memorable album. 'Coastal Road Thoughts' is an especially blissful drift through gentle drones, incidental chimes and buried voices, whilst 'A Ballet Of Hands' is reminiscent in feel to the unearthly haze of Arve Henriksen's Chiaroscuro album. Recommended.
http://www.mediaf!re.com/?ewmtjmgadll
Black Cobra - Chronomega
This blog has been disappointing me until just now. THANK YOU!
http://www.mediaf!re.com/download.php?jmatm0mgitghttp://www.mediaf!re.com/download.php?mymemmgz3zcThese guys are nothing like Chris Potter, but they're still fantastic. I feel that this, more than what Chris Potter is doing, is the future of jazz as a genre (that does not detract from Chris Potter doing something that is in the now of jazz as a genre). I also think that people in this forum will probably enjoy this album the most of the three I put up, just judging from some of the other music that I've heard here.Air - Love 2 (2009)Code: [Select]http://www.mediaf!re.com/?ym1kt2mnw2w
The Almighty Defenders (2009)Code: [Select]http://www.mediaf!re.com/download.php?q3w4vmmzoqg
The Dutchess and the Duke - Sunset-Sunrise (2009)Code: [Select]http://www.mediafire.com/?vymjekd2kiz
and
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The Ravonettes-In and Out of Control (2009)Code: [Select]http://www.mediaf!re.com/?0lgngdzwrmm
Broadcast & The Focus Group Investigate Witch Cults Of The Radio Age (2009)Code: [Select]p.s. this link won't last long.......
http://rapidshare.com/files/286899813/b_fg-wcra.rar
Black Cobra - Chronomega
This blog has been disappointing me until just now. THANK YOU!
Air - Love 2 (2009)Code: [Select]http://www.mediaf!re.com/?ym1kt2mnw2w
The first 7", Volume One, "8", features two newly recorded tracks. On Side A, the title track "8" continues the spacey hard-rock sound established on their classic albums Pink and Smile, building from a mono, lo-fi wall of feedback into a ripping, slab of lush vocals, crunchy guitar and thunderous drums. Things get switched up on Side B with "ねえエヴリワン/Hey Everyone", a chewy bit of power-pop bubblegum that sees the band mining a much lighter source for their sound. It's a reminder that the most daring thing this band can do is record something so straight-forward it could easily be misconstrued as "alt-pop". Dont fret it's still got a dark core and is unmistakably Boris!
http://www.mediafire.com/?qydzjwlgjnx
http://www.mediaf!re.com/download.php?n03ktnemjc3Tracklist:
1. Caravan Palace - Jolie Coquine
2. Mr Scruff - Get A Move On
3. Chinese Man - Artichaut
4. Belleruche - Minor Swing
5. Nicolas Repac - Revue Noire
6. Parov Stelar - Libella Swing
7. Mestizo & Mike Gao - Pick Up 52's
8. Kormac - Scratch Marchin'
9. Club Des Belugas - Hip Hip Chin Chin (Maxim Illion Mix)
10. Lena Horne - I Want A Little Doggie (Remix)
11. Free The Robots - Jazzhole
12. G-Swing Feat. Le Major Melon - La Voix Humaine
13. [Dunkelbunt] Feat. Boban I Marko Markovic Orkestar - Cinnamon Girl
14. De-Phazz - The Mambo Craze
15. Vono Box - Hello Joe
16. Waldeck - Memories
17. Lyre Le Temps - Hold The Night
18. Fred Astaire - Puttin' On The Ritz (Club Des Belugas Remix)
19. Kenneth Bager Feat. The Hellerup Cool School Choir - Fragment Eight... The Sound Of Swing
20. M - Belleville Rendez-Vous
this is just one of my favorite garage bands from the 60s.. solid, raw sounding rock.. heres the stolen bio from somewhere else : From Minnesota, the Electras put out about half a dozen singles from 1965-67 that were admirably ferocious slabs of garage punk, with generous shades of both pop and psychedelia. The group were heavily indebted to the British Invasion sound of the Yardbirds, Zombies, and others, though on several of their tracks they in fact sounded like a slightly rawer version of Paul Revere & the Raiders. That was never more true than on their regional hit "Dirty Old Man," with its menacing unison fuzz guitar and organ lines. A hit in Minneapolis, "Dirty Old Man" was, like most of the Electras' material, written by their producer, Warren Kendrick. The best of their other singles were "You Love," which had something of a garage Zombies feel, and the riff-driven "Soul Searchin'."
For legal reasons, the group changed their name from the Electras to 'Twas Brillig for a few singles in 1966, including one that was licensed to the CBS subsidiary Date (although the A-side, "Dirty Ol' Man," had already come out under the Electras name for Kendrick's label, Scotty). Certainly a better name than 'Twas Brillig could have been chosen; indeed, it's hard to imagine that a worse one could have been chosen. Moreover, the confusion surrounding the name change, which saw "Dirty Ol' Man" reissued under the 'Twas Brillig billing not once but three times, probably hurt the band in the long run.
There has long been some confusion as to whether the Electras were an early version of the Litter, or at least shared some members with the Litter. This probably came about because both groups were produced by Kendrick, and both issued the Litter's most famous song, "Action Woman" (again written by Kendrick), as a single in 1967; also, the Litter did "Soul Searchin'" on their first LP. Furthermore, a Litter compilation on Eva, Rare Tracks, included four tracks by the Electras, with a sleeve note that erroneously claimed that Kendrick "used the Litter musicians to record also some obscure singles under the name of 'Twas Brilling [sic], Electras...Thus 'Dirty Old Man' or 'Soul Searchin'" were played identically by Litter under several names of groups." In fact there was no connection between the Electras and the Litter, other than that they shared the same producer and record label. The damage has already been done, however, and dozens if not hundreds of collectors are probably still under the misguided illusion that the Electras were the same or almost the same as the Litter. Most of the tracks from the Electras' singles, as well as a few unreleased tracks, are on the Arf! Arf! compilation The Scotty Story, which assembles 30 tracks that Warren Kendrick produced for his labels.
http://www.mediafire.com/?zrzwhmhcod0The Wipers were a punk rock group formed in Portland, Oregon in 1977 by guitarist Greg Sage, drummer Sam Henry and bassist Dave Koupal. Wipers were one of the earliest American purveyors of the genre, and the group's tight song structure and use of heavy distortion has been hailed as extremely influential by numerous critics and musicians, including Nirvana, who covered several of their songs. The idea behind the Wipers started off as only a recording project. The plan was to record 15 LPs in 10 years without touring or promotion of any type. Sage's thoughts were that the mystique built from the lack of playing the traditional rock & roll promotion game would make people listen to their recordings much deeper with only their imagination to go by. He thought it would be easy to avoid press, shows, pictures, interviews. He looked at music as art rather than entertainment; with that concept in mind he thought music was personal to the listener rather than a commodity.
http://www.mediafire.com/?nyjfjntyd2lOh, to labor in obscurity! Two years after Nevermind transformed them into the gods of grunge, the members of Nirvana find themselves fighting for their status as an alternative band and denying allegations that they knuckled under to pressure from their label and managers to put a commercial finish on their follow-up album.
The storm over the as-yet-untitled album began in April when alternative-hardcore producer Steve Albini -- who has worked with the Pixies, Helmet, Superchunk and PJ Harvey -- told the Chicago Tribune he doubted Nirvana's label, the Geffen-owned DGC, would release an album he had cut with the band the previous month. "Geffen and the band's management hate the record," Albini said, adding that he had "no faith this record will be released."
Although Albini's remarks drew no immediate response from the group or its label, a subsequent and similar story in Newsweek did. "There has been no pressure from our record label to change the tracks we did with Albini," Nirvana's Kurt Cobain said in a prepared statement. "We have 100-percent control of our music."
Producers Scott Litt, best known for his work with R.E.M., and Andy Wallace, who remixed Nevermind, have been called in to work on the tapes. But the band, its label and its management say no attempt has been made to quash the recordings. "It's a bunch of horseshit," says Geffen A&R executive Gary Gersh, who signed the band to DGC. "The band felt they should be doing some more work, and I agreed with them. I did think that the sound of the record needed some work. We asked Steve to do the work; he refused. The picture Steve paints -- that some big corporate conglomerate has glopped onto Nirvana's legs -- is just not true. Kurt Cobain is like my son."
Albini now sounds conciliatory. "I enjoyed working on the record and admire the band," he says. "I've thought from the beginning that the band should just make their feelings known, and I'm glad that they have."
Although the members of Nirvana wouldn't speak directly with the press -- an employee of their management company, Gold Mountain Entertainment, said the band wanted to concentrate on finishing the album -- they seem to be extraordinarily concerned about the coverage Albini's remarks have generated. A copy of a letter to the editor of Newsweek signed by Cobain and band mates Dave Grohl and Chris Novoselic repudiating the magazine's story was also circulated to the press and, in an unusual move, placed as an advertisement in the music-business trade journal Billboard.
Why all the concern? In portraying the recording he cut with the band as too uncompromising to suit the tastes of Geffen or Gold Mountain, Albini appears to have put Nirvana on the spot. Despite the huge commercial success of Nevermind, which sold more than 4 million copies, the band remains a credible alternative-music act. But Nirvana's next album is sure to be closely scrutinized for any signs of commercial compromise, and Albini's remarks seemed to suggest that any changes the band makes in those recordings will be a result of caving in to commercial pressures from the band's label and management.
Danny Goldberg, the founder of Gold Mountain and now a senior vice-president of Atlantic Records, was blistering in his response to Albini's remarks. "Steve Albini takes the position that anything he thinks is good is good, that he's David Koresh," says Goldberg, who remains a management consultant for Nirvana. "He is God, and he knows what's good. And if the artist doesn't like it, then the artist is somehow selling out because they don't agree with his personal vision."
Goldberg, however, declines to say what he thought of the recordings when he first heard them or what opinions he or anyone else at Gold Mountain may have offered to the band.
"You're asking [me] to go on the record about intimate private conversations," Goldberg says. "I don't convey my conversations with the artists I work with to anybody. But the band can get advice from anyone they want. I've never been involved with an album by any artist where the artist and their friends and the people who work with them did not discuss it openly and play devil's advocate and go back and forth on the pluses and minuses of the album. That is a healthy process. Who Nirvana chooses to talk to is up to them. What kind of conversations they want to have is up to them."
Says Albini: "I'm happy to let the band speak for themselves. What I or Danny Goldberg have to say doesn't matter."
http://www.mediafire.com/?2cz32nznwnyThe obscurely titled Eccsame the Photon Band is the Lilys' detour into spartan dream-pop, a guise they wear quite well. Kurt Heasley's soft, distanced voice is ideally suited to the coldly atmospheric textures of tracks like the langorous opener "High Writer at Home" and the narcotically catchy "The Hermit Crab," and while not everything works -- too many of the ideas here are simply not realized to their fullest extent -- the record is still one of the Lilys' best. It's a shame they shed this particular skin so quickly.
http://www.med!afire.com/download.php?eydqnmdikmiSince the end of the legendary Spacemen 3, my money has been on Jason Pierce and Spiritualized. But Pierce's old partner Peter "Sonic Boom" Kember has finally made an album that matches the accomplishments of the duo's first band. Kember has put down his Vox guitar and turned to vintage analog synthesizers, theremin, and vocoder, and he's made some of his trippiest music ever. (And that's saying something for a guy who once titled an album Taking Drugs to Make Music to Take Drugs To.) High on the hit parade: the opening track, "Feels Like I'm Slipping Away," and "Owsley," a tribute to the infamous acid chemist. Turn off your mind, relax, float downstream.
http://www.mediaf!re.com/download.php?nyqzowzg5zvEngineers are back. Four years after the release of their landmark debut, the band return with their epic second album, Three Fact Fader. The 13-track album was produced by the band along with Ken Thomas (Sigur Rós, M83, Maps) over a period of two years, with the final tracks being completed earlier this year. It comes packaged in stunning artwork by legendary music photographer Tom Sheehan. Engineers are not like any other band. Onstage Simon Phipps is the singer, Dan Macbean is the guitarist, Mark Peters is the bassist and Sweeney is the drummer, but the real clue is in their name: they approach their music like engineers, carefully constructing wonderful walls of sound. Following the rapturous reception that greeted their mini-album Folly in 2004 and debut Engineers the following year, it's taken them a long time to build their epic second album, Three Fact Fader. After initial recording sessions, Engineers became unwitting victims of record company restructuring and the album was left in limbo, unfinished until the band reconvened earlier this year, largely motivated by public support.
http://www.mediaf!re.com/download.php?tjerxmyzzvuThe Longcut were once tipped to be the next darlings of Manchester. Formed in 2002, the trio leaked a slow trickle of records beginning with Transitions in 2004, which led to significant column inches in the musical press, critical acclaim and enough hype to put them at the top table with big up and coming indie names like the Killers, Kasabian and Kaiser Chiefs who all released debuts that year.
Although the band’s follow up EP, A Quiet Life was released in June 2005, there was never enough of the Longcut’s material consistently around at the time to break down the door of the busy music scene. Thus, their brooding tunes never quite reached boiling point in the eyes of the public, nor did they cement any kind of commercial success. And when the debut album A Call And Response eventually landed in June 2006, by then, as good as it was, the wave of widespread recognition they were set to ride on had subsided.
Now, three years on that perhaps wasn’t a bad thing, as Open Hearts serves as an emphatic reminder of just how good the Longcut are. I mean, this is seriously good music. True to form, messers Stuart Ogilvie, Lee Gale and Jon Fearon took their time with the record and have pulled a rabbit out of the hat with one of the most exciting albums of 2009.
Out At The Roots is a heavy bass guitar laden opener cautioning “you cannot say we didn’t warn you / you should have listened when you could”. With shades of UNKLE, it builds into a moody track with measured beats which underline the whole album, setting the scene for this musical diary which documents just what the Longcut have been up to.
There are echoes of the Rapture on Something Inside and Ogilvie’s detached, disinterested sounding vocals fit perfectly, as do the minor notes of the piano. Tell You So is delivered with an equal measure of brilliance and raw edged guitars.
Evil Dance is a menacing, sublime track starting with Muse sounding beats and guitars, but with a depth and quality they could only dream of. The shouted lyrics, “I thought that I was lost and I was scared as hell / I’m happy I was wrong” together with that same mesmerising pulse and scratch make it a highlight.
To be truthful there is not a low point amongst the eleven. You Can Always Have More, Mary Bloody Sunshine and Boom are soaring melodic post-rock sounding offerings, whilst Open Hearts has more than a hint of Stone Roses vocals combined with a soft drum machine. Another gem is Repeated, with its layer upon layer of beats, instruments and guitars which build to a spine tingling crescendo woven with the lyrics “I’ll be by your side”, vouching for the band’s softer side.
The Last Ones Here is the sign off – a track not dissimilar in formula to a Chemical Brothers’ closing offering, starting with soft lyrics and building before the final curtain call.
Open Hearts can best be described as a soundtrack to a drive through pelting rain and wind across the Pennines on the M62 towards Manchester – it is awe inspiring, beautiful and bewildering all at the same time. After all, the album is an atmospheric homecoming of sorts for the Northern trio. And importantly, it is definitive justification for the early prophetics of future brilliance the band received at their outset.
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Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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Making an album even more vibrant than Life in Cartoon Motion would have been difficult for Mika. On The Boy Who Knew Too Much, he doesn't try to top himself; instead, he reins in just enough of his debut's indulgent tendencies to let his gift for great melodies and hooks be the focus. His multifaceted pop sounds a little calmer and a lot more confident here -- rather than cramming songs with moments intended to impress that end up being overwhelming, "Dr. John"'s finger-popping minor fall and major lift and the calypso-tinged "Blue Eyes" actually are impressive because they're so direct. While Life in Cartoon Motion was remarkably engaging, occasionally it felt like Mika was more skilled at pastiche than presenting his own sound. Here, Mika and producer Greg Wells fashion songs that sound truly distinctive; though touches of inspirations and peers like Elton John, the Bee Gees, and the Scissor Sisters still pop up, the musician Mika borrows from most on The Boy Who Knew Too Much is himself. The album's opening trio of tracks nods to his debut's most vivid moments without copying them: "We Are Golden" is every bit as sunshiny as "Love Today"; "Blame It on the Girls" builds on "Grace Kelly"'s sleek style; and "Rain" is a kissing cousin to "Relax"'s pulsing, melancholy disco-pop. Mika tries a few different sounds on for size, most notably on "Toy Boy," a subversively sweet singsong that lies somewhere between Elvis Presley's "Wooden Heart" and the Dresden Dolls' "Coin Operated Boy," and the torchy finale, "Pick Up Off the Floor." While ballads still aren't his forte, slower tracks like the Imogen Heap collaboration "By the Time" offer welcome breathing room from "One Foot Boy" and the album's other almost ridiculously catchy tracks. Anyone who liked Life in Cartoon Motion's bright, brash approach won't be disappointed by The Boy Who Knew Too Much -- it's clear Mika knows exactly what he's doing.
http://www.mediafire.com/?iz4mttrdz5mhttp://www.mediafire.com/?iz4mttrdz5m*SHIPS FOR RELEASE ON MONDAY SEPTEMBER 28TH* Wanna hear Rustie covering Elektroids? Autechre covering LFO? Leila covering Aphex Twin? or Hudson Mohawke re-working Jimi Tenor? Look no further cos as part of their 20 years celebrations, Warp have hatched the brilliant concept of inviting their current roster to revisit classic tracks from the back catalogue with their own interpretations. It's a mixed bag for sure, with a few real curveballs and unexpected delights to be found spread over the two discs. Jimi Tenor's tropical jazz-funk version of the Elektroids' 'Japanese Electronics' sets the agenda brilliantly, and even Maximo Park sound great covering Vincent Gallo's 'When'. Rustie must have relished the opportunity to redo Elektroids 'Midnight Drive', as evidenced by his gorgeously nuanced aquafunk scramble, and Autechre's mix of 'What Is House' defines that title with a spooky synthline rework before Russell Haswell decimates Wild Planet's 'Cabasa Cabasa' with advanced processing techniques to turn it into a mulch of electronic noise freakily retaining some semblance of rhythm. Mark Pritchard provides a tender mix of of BDP's '3/4 Heart', Mira Calix and Oliver Coates remake BoC's 'In A Beautiful Place Out In The Country' as a neo-classical composition with lush strings and field recordings, and Leila imagines AFX's sublime 'Vordhosbn' as a creaky cinematic score for an unmade seafaring epic. If you've got a spare evening, you could set up your own listening party with some mates and a few bottles of pop and try to figure out who did which tracks without looking at the tracklisting, then again... Excellent stuff!So yeah, a covers album. Mostly covers classic 90's stuff like Boards of Canada and Aphex Twin but there are a couple of (pretty good!) Grizzly Bear covers and the like.
http://www.mediafire.com/?rwkyyomwnkk(part 2)http://www.mediafire.com/?h4lomo2odgzI feel a palpable sense of disappointment at the output of the stars of electronica as they were (in what I will refer to as simpler times for no apparent reason) in their post-Warp-heyday era, but perhaps this is just because LFO, Aphex Twin, Squarepusher, Autechre et al propelled themselves so far ahead of everything else surrounding them, sonically as well as simply in terms of concept and enterprise, that there was nowhere left to go. For a brief moment, electronica seemed so futuristic, so innovative and at times plain mind blowing (a much overused term I know, but really, think about the first time you heard Aphex/Autechre/Squarepusher) that it never really occurred to me that those same artists would, well, plateau (to be polite), satisfied to fall back into the cult they loved and receive a little less exposure delivering acid sets and producing music for their friends alone. All have maintained a consistency, a continuation of ideas, but really never moved into the places we dreamt they might push us.
Richard James may have been the poster boy, but Luke Vibert was as much part of this scene as anyone, perhaps suffering only from not having an identity quite as distinct as the members of the Warp stable; his forays into the Ninja Tune/Mo Wax brand of dance and hip hop, his love of all things acid, making him a jack of all trades rather than a master of anything specific. Through his various projects (Wagon Christ, Plug etc) he has undoubtedly produced a few classic tunes (‘Receiver’ from his Ninja Tune days and ‘I Love Acid’ come straight to mind as particularly memorable singles), but also suffers from an inconsistency that has left him without the recognition he perhaps deserves as a producer (and he is, incidentally, as good a DJ as I have seen; there‘s something immensely satisfying about dancing to quelching, bastardised electro for 30 minutes until ‘Take On Me’ emerges for a brief moment of clarity before the musical perversion recommences).
With this in mind his new record for Planet mu, We Hear You, fails to dispel the doubts, instead simultaneously enforcing the view of an artist too eclectic and inconsistent to produce an album that will become as memorable as Richard D James (or one of the ‘trip hop’ classics), and one that is criminally underappreciated, with more vitality and spark than many of his contemporaries. We Hear You also serves as a reminder that Vibert was as influenced by hip hop as anything else, and perhaps this is what sets him apart, and gives him an outlook of his own.
The album opens with cut up spoken word and hip hop samples reminiscent of Coldcut’s Journey by DJ mixtape, pre-aged to ’96, before the low-pass bass fills in the sound and spaced out keys usher in thoughts of simpler times in dance music, moving it beyond mere homage. This heavy hip hop influence is further evident on the title track, with its Q-Tip vocal sample, loops of ‘Now hear this’ and ‘the sounds you are about to hear can be devastating to your ear’ (reminding you of the early 90s hip hop golden days), and a soulful cut up chorus. Really it follows the classic hip hop cut and paste technique, the funky string loop, city call outs, handclaps, ‘instructional’ samples in the vein of Steinski, and general dependence on funk and soul samples. Indeed, ‘Batting for England’ sounds like misshapen brother of (again) Q-Tip’s ‘Manwomanboogie‘(employing the same break and similar slices of 70s guitar).
The albums standouts do go some way to restating Vibert’s case for reconsideration as true pioneer and innovator. ‘De-pimp Act’ is almost entirely constructed out of a bugged out, off-kilter horn sample, warped and spiralling over a 303 beat, complete with bleeps, lasers, whirrs and the sounds of pure electronica. Somewhere in their there is the perfectly captured sound of the Bomb Squad (also sampled) off their tits. ‘Dive and Lie Wrecked’ similarly stands above the rest of the album, with an intro leading you into the false belief that you are in usual Vibert acid territory before it really kicks off with the heavy lo-end warped fuzz, claps, leaning towards being full blown dubstep, but dubstep where something is not quite right. This is Vibert at his best, wonky to the point of beings sideways, coaxing out thick processed sounds with force and elegance, the melodic highs still in place. Elsewhere, ‘Hot Sick’ finds him in classic I Love Acid territory, with that irresistible squelching bass, and ‘Pretty Old Acid Music’ is like Ronseal; it does what it says on the tin.
Its not all as successful though. The vocoder led ‘Square Footage’ fails to carry its momentum anywhere of interest, and ‘Computer Complex’ with its cartoon/comic sampling intro and disconcerting out of synch keys comes across as a MF Doom instrumental fucked so far out of its brain on acid that its leading 70s guitar line is just a synth, which is interesting, but not one for repeat. The back-to-back of ‘Porn Shirtwee’, a twee rave song(?) with some of that trade mark warped synth and a 70s flute sample, and ‘House Stabs’ (house homage with casio), leaves you feeling Vibert might have gone a little to kitsch with his playful homage, which is far from the subversion you may expect.
In the end there is no major stylistic shift, just more of Luke Vibert’s distinct brand of contorted electronica, the hip hop/funk influence prevalent, blithe as ever (also strangely timeless – or not of a particular time – his records always leaving you unable to really pinpoint their release date – always some vague time in the past), but suffering the same inconsistencies as before. I guess I could wait forever and never see an album delivered where every track is as engrossing as ‘De-pimp Act’ or ‘Dive and Lie Wrecked’, but then that’s sort of the point of Luke Vibert, he’s too busy pissing about and enjoying himself to worry about any sort of legacy, and it wouldn’t be a Vibert album if it took itself too seriously. Autechre he is not, but if you like Vibert this will most definitely keep you satisfied, and perhaps convince you of his consistency (in inconsistency) at the very least.
http://www.sendspace.com/file/j5msbd(Too big for mediafire)It's impossible to pin down Luke Vibert. Just as he mastered the disco thing (Kerrier District), he delivered Moog Acid, a collaboration with Jean-Jacques Perrey... I would have bet the house that he'd be floating into space now right now working with fractals and worm holes. Instead, he's popped on the Japanese label Soundofspeed with a throwback, feelgood downtempo release that harks back to his Mo Wax releases (Big Soup etc). Checkout: "Wow! It's Now(1), Registrarse(2), Eleventy One(3), Rhythm(4), James Bond In A Jimmy Hat(5)," and "Harmonica Sellers(6)." 11 tracks in all.Unmistakably drawn from the same headspace as Chicago Detroit Redruth and We Hear You. Some of the sounds from those albums make cameos here. Pretty catchy. Unavailable outside of Japan and Europe.
http://www.mediafire.com/?ymyzqzmjmkiWhile most record labels are getting hesitant when it comes to releasing CDs, Planet Mu are currently dishing them out at light speed, with old and new acts sharing this bolt of energy. Enters Linas Strockis, a musician hailing from the Lithuanian capital, Vilnius, who, until last year, had only released a handful of tracks on Lithuanian imprint Partyzanai. In 2008, Strockis, who records under the dyslexic-tinged moniker of Few Nodler, released an EP on Mike Paradinas’s Planet Mu, and it is now time for him to dispatch his debut album.Sort of sounds like a cross between Trentemoller and Flying Lotus, I don't know.
A somehow rather ambitious and thoroughly eclectic collection, New Folder (get it?) brings together elements of minimal techno, fluid house and lush electro and combines them into very effective compositions. Strockis keeps things simple here, with straightforward linear beats, crisp synths and warm round bass lines, all geared up to carry clever melodies, without falling into clichés and gimmicks. Finding his roots in various eras of the last twenty years and building up from there to develop something fresh and imaginative, Strockis caters for the dance floor, with storming stompers such as the minimal No Mo, El Snig, which features a vocal contribution from local songstress Rut, or Chika, or with the rather more upfront electro Malyska, with its eighties-style synth riff, or the euphoric Top, which builds and builds before finally releasing the tension just before the five minute mark and give it up to the groove. Elsewhere though, he his caught in more meditative mood, as on Pillow, propelled by a hypnotic bass, dreamy synth waves and percussive slabs of electronics, or on the surprisingly soulful Fluttery, which kicks off with vocal flourishes before slipping into a pretty slick groove and gently evolve into a wonderfully sun-drenched tune over its course.
New Folder can initially seem to lack focus and consistence, so different are its various components, but repeat listens highlight the impeccable outlook of this record and its undeniable party tone. Indeed, this album is eclectic, but Linas Strockis juxtaposes genres and moods very cleverly, making this one of the most thoroughly enjoyable electronic records released this year.
http://www.mediafire.com/?hjtozgewztf
http://www.mediaf!re.com/?tdmtk0zmmzjhttp://www.mediaf!re.com/?m3nnlozjxmnhttp://www.mediaf!re.com/?zzwuzfnimmvhttp://www.mediafire.com/?dzmvvzv5w0mhttp://www.mediafire.com/?dzmr3k54ywzhttp://www.mediafire.com/?zymt3imdilv
Dude, Joy Division, The Fall, the Buzzcocks, the Smiths, the Stones Roses and A Guy Called Gerald are all from Greater Manchester.
The Avalanches - A Different Feeling (Paperclip People remix - The Avalanches Edit)
i can't stop listening to that Dead Man's Bones from the last page, it is so good.
i had to GIS Ryan Gosling to put a face to that familiar name though. anybody have any idea which voice is his? i'd be very interested to know.
http://www.youtube.com/watch?v=aGakxDyjwzcbolachas links are littering this forum.
dumble dorp.
also...if you can't appreciate the awesome that is the gin blossoms, you probably deserve herpes.
I believe he meant Manchester, UK. I actually used to live in Concord, NH though. Well, Bow to be specific.
bolachas links are littering this forum.
dumble dorp.
what does that even mean?
Engineers - Three Fact Fader (2009)
http://www.mediaf!re.com/?qmknqyjwzzm
rapidshare.com/files/287603555/Built_To_Spill-There_Is_No_Enemy-2009.zipYessir. Not originally from there, but I lived in Bow awhile with my then girlfriend. What high school did/do you go to?I believe he meant Manchester, UK. I actually used to live in Concord, NH though. Well, Bow to be specific.
woo someone else from c-town new hampshire
Emilio do you suck at this thread on purpose?
(serious question)
1 Baby
2 16th & Valencia Roxy Music
3 Goin Back
http://www.mediafire.com/download.php?qy0yjy5gd1l
Luke Vibert - We Hear You
Its my last year at chs which is an awful, terrible place.Oh yes, that's what I've heard. Though BHS isn't much better, believe me. Either way, I'm sorry you still have to live in a place where there's fuck-nothing to do, haha.
http://www.mediafire.com/download.php?3lfnimz3lzyWe chose these three rare tracks just for you, our loyal fans. They include, "Anything You Say Now, I Believe You," "UFOs Over Baghdad" and "What Does It Mean?" We also added in a bonus song from our tour partners, Stardeath and White Dwarfs, called "Age of the Freak".
http://www.mediafire.com/?zjomownmyjz
http://www.mediaf!re.com/?xn0vidmymcyhttp://www.mediafire.com/?xownyu1qdhohttp://www.mediafire.com/download.php?rcioionfhk0Emilio do you suck at this thread on purpose?
(serious question)
http://www.mediaf!re.com/?qmknqyjwzzmhttp://www.med!afire.com/download.php?wy2t2mf4lutThe deranged debut album by Gablé, 7 Guitars With A Cloud Of Milk, won the band a 'Best New Act' award in French indie bible Les Inrocks. By any conventional standards the album was a whirl of sonic creativity and hair-raising, half-formed ideas - fragmented and unpolished to the core, but an awful lot of fun nonetheless. With I'm OK the group retain their surrealist electro-collaging form, slamming together all manner of different incidental sounds, samples and even the odd passage of brass and cello. The production is well finished, blurring the joins between the various digressions and detours that riddle the album, and the versatility of its assemblage greatly assists the songwriting style - which is all over the place. The album's title track presents a great little pop standout, though halfway through the whole thing breaks down leaving some strange woodpecker noises to soundtrack the singer listing assorted items you might find in a garden shed or something. "I'm really fine, I'm well balanced; I'm OK." the band sing during the chorus. You probably won't believe them.
http://www.med!afire.com/download.php?x2ozmiztmkwRules:
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Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.
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Repost the rules at the top of each new page.
MATISYAHU - LIGHT (2009)
(http://www.farfromneutral.com/exodus/wp-content/uploads/2007/03/o_rly.jpg)
Edit: Oh good fucking lord, this puts "Youth" to shame, and I'm very close to preferring it over "Live at Stubbs" as well.
http://www.mediafire.com/?0vzydgymag3
http://www.mediafire.com/?n1eiwjzqqmt
http://www.mediaf!re.com/download.php?3dzxkmgwyd0http://www.mediafire.com/download.php?4kqmwrcczno
It took just over six months for La Roux to go from issuing their first single on Kitsune to topping the U.K. charts. That's a swift rise -- one that was years in the making, of course -- but after hearing their self-titled debut, it's easy to understand their sudden fame: La Roux's take on '80s synth pop is as unique as it is familiar. La Roux's inspirations, which include Blancmange and the Eurythmics, might be decades old and well-known, but their spare coldness can still sound weird, and La Roux shows just how committed they are to that chilly oddness and catchiness. They use only the brittlest drums and tinniest synths on these songs -- if anything, it feels like La Roux's gear is more limited than the original group's were. They even have the proper synth pop lineup: La Roux is a duo (though singer Elly Jackson gets most of the limelight). However, their devotion transcends kitsch, even if Jackson's asymmetrical copper wedge of a hairdo suggests otherwise. It also sounds remarkably relevant. Robyn and the Knife are kindred spirits, and in a sea of hyper-feminized pop singers, Jackson's androgyny is as arresting as Annie Lennox's was a quarter-century earlier. Yet La Roux aren't purists. "Tigerlily"'s tough-girl stance mixes 8-bit arpeggios with a creepy, "Thriller"-style spoken word bridge, and "Reflections Are Protection"'s bass and synths nod to electro. While style is a large part of La Roux's substance, it never feels slick, and that's due to Jackson's voice as much as it is the group's intentionally stiff sounds -- in fact, it's the way that her vocals interact with those sounds that makes these songs so dynamic. Jackson can be shrill and almost synthetic-sounding when she hits high notes, especially on the breakout hit "In for the Kill," but her lower register -- which she uses beautifully on "Colourless Colour" -- is throaty and very human. Her characters are either running toward or away from desperate love affairs, but like other skilled popsmiths, La Roux know how to give pain a sweet and shiny veneer. Nowhere is this clearer than on "Quicksand," which uses a relentlessly tight arrangement and Jackson's frosty soulfulness to give the song's obsession a shot of excitement. And though the chart-topping "Bulletproof" is feisty and "As If by Magic" is wistful, both songs use wishes and daydreams as armor against further heartache. La Roux's dedication to their aesthetic makes this an album where the songs are variations on a theme, and on the rare occasion where the songwriting isn't razor-sharp, the style threatens to overtake the substance. However, that devotion also makes La Roux a standout, not just among the many other '80s revivalists, but the entire late-2000s pop landscape.
http://www.mediafire.com/?mlzf0dmn2zrShe also snagged a 7 from P4K, if that means anything to you.
Does anybody know the easiest way to bypass the rapidshare download-limit? Google gives me tons of options, and I want to know what other people use most.
Code: [Select]http://www.mediaf!re.com/?n1eiwjzqqmt
http://www.mediafire.com/?hixn5kkgmgc
I absolutely loathe that La Roux album. I judged it by the cover (thinking I would like it) and was disappointed with my findings. It seriously made me consider the medieval ideology that people with red hair were conceived during menstrual periods thus making them crazy spawn of the devil.
It made me sad.
Now I need something amazingly awesome to make me happy again.
DL the Duke Spirit, geek
Bsides/rarities
http://www.mediaf!re.com/?wltmiyekzzihttp://www.mediaf!re.com/?mm5zungnfewOne of my best friends owns a bar in Michigan. One night, there was a movie being shot in the bar. I just happened to be at the bar while they were filiming and thought it was kind of amusing. after the scenes had been shot I got to hang out with the cast and sing karaoke at the bar. Highlights included Jimmy Fallon buying the entire bar pizza, Ellen Page buying me a beer and signing "Hit Me Baby One More Time" with Eve and some of the roller derby girls. Three days later I recieved a call from one of the casting directors asking if I would be available to be in a few more scenes of the movie and that I would be getting paid. I really didn't know what the movie was about, but since I was getting paid I really didn't care. Here's the soundtrack to the film that I'm in. It opened last weekend, I haven't seen it yet -- it remains a mystery as to whether my 2 speaking lines actually made it into the film. Either way, the soundtrack is pretty rad. It features music by Tilly & The Wall, Har Mar Superstar, The Breeders, Jens Lekman and Dolly Parton.
Except that's an unofficial compilation, so they have nothing to do with it. Thanks for playing, though.
(http://img22.imageshack.us/img22/1273/btsci.jpg)Code: [Select]rapidshare.com/files/287603555/Built_To_Spill-There_Is_No_Enemy-2009.zip
http://www.zshare.net/download/664193314be49f90/
http://www.mediaf!re.com/?mlcmdjdn3h2DL the Duke Spirit, geek
But also:Bsides/rarities
That's code to me for "We spent all the money to record this stuff. Unfortunately, it wasn't good enough to go on an album. How can we get our money's worth?"
http://prettylightsmusic.com.s3.amazonaws.com/PrettyLights-PassingByBehindYourEyes.zipPretty Lights is the musical vision of the ultra-versatile Colorado based producer Derek Vincent Smith, accompanied in the live setting by drummer, Cory Eberhard. Together these two achieve a raw energy rarely reached in the realm of electronic music. At a time when music lovers from almost all subcultures, and genres are finding common ground in the basic form of bangin' beats, Pretty Lights is giving the people what they want; electro organic cutting-edge party rocking beats that fill venues with energy and emotion, and send dance floors into frenzies.
DL the Duke Spirit, geek
But also:Bsides/rarities
That's code to me for "We spent all the money to record this stuff. Unfortunately, it wasn't good enough to go on an album. How can we get our money's worth?"
No an official Bsides rarities album. I just compiled some extras from their other albums and some live BBC sessions. You're loose bromosexual.
pretty lights : passing behind your eyes
(http://img15.imageshack.us/img15/5300/plpbbyecover.th.jpg) (http://img15.imageshack.us/i/plpbbyecover.jpg/)
http://www.prettylightsmusic.com/ (http://www.prettylightsmusic.com/)
sorry not mediaf!re, their album is freeCode: [Select]http://prettylightsmusic.com.s3.amazonaws.com/PrettyLights-PassingByBehindYourEyes.zip
some wordsQuotePretty Lights is the musical vision of the ultra-versatile Colorado based producer Derek Vincent Smith, accompanied in the live setting by drummer, Cory Eberhard. Together these two achieve a raw energy rarely reached in the realm of electronic music. At a time when music lovers from almost all subcultures, and genres are finding common ground in the basic form of bangin' beats, Pretty Lights is giving the people what they want; electro organic cutting-edge party rocking beats that fill venues with energy and emotion, and send dance floors into frenzies.
preview the single Sunday School : http://music-addiction.com/2009/09/pretty-lights-passing-behind-your-eyes/ (http://music-addiction.com/2009/09/pretty-lights-passing-behind-your-eyes/)
Nick Cave & Warren Ellis - White LunarCode: [Select]http://www.mediaf!re.com/?mlcmdjdn3h2
Sorry, couldn't find album art for this...but, you know, it's kicking some serious ass. Some people didn't realize they did the "...Jesse James" OST, which is incredible. This slays.
If it's ok to post other than mediaf!re links then this place will explode with great
music and leaks. I always have a hard time tracking down specific links. Notice
a new trend and LOVE it.
Also, the point is that you're supposed to upload the album yourself, and then post it here, instead of just grabbing the link from somewhere else. This doesn't need to become a hot bed of leaks and stuff, all people want here is music that YOU the uploader enjoyed so much you went through the effort of uploading it to recommend it to us.
This isn't just a blog that posts music links.
http://www.mediaf!re.com/?qehqdxthm12
Also, the point is that you're supposed to upload the album yourself, and then post it here, instead of just grabbing the link from somewhere else. This doesn't need to become a hot bed of leaks and stuff, all people want here is music that YOU the uploader enjoyed so much you went through the effort of uploading it to recommend it to us.
This isn't just a blog that posts music links.
anyone have any interest in the new Lights album "The Listening"????
http://www.mediafire.com/?mwqkm2yqryyhttp://www.mediafire.com/?z4zzhjtnzqwhttp://www.mediaf!re.com/?w3nmamynvy1
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.
Lights - The Listening
Lights performed at a concert I was at once last year. I knew I shouldn't like what I was hearing but she is just so god damn cute that I enjoyed her entire set immensely.yes, she is so cute that i listen and enjoy knowing that it's her singing.
http://www.mediafire.com/?jr5zyjmjmnyAlready have them, but you should upload them anyway! Remember: If you think it's good enough to upload, people are probably going to download them.
i've been listening to this quite a bit for the past week or so... immortal always does it right when it comes to metal..
Immortal :: All Shall Fall :: 2009
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man i haven't even listened to that 10" they put out earlier this year yet. damn.
http://www.mediaf!re.com/?jjzcbmzdxmeEmo pop/rock act This Providence came together in the summer of 2003 in Seattle, WA, recording and self-releasing their first EP soon after their formation. Comprised of vocalist/guitarist Dan Young, guitarist Gavin Phillips, bassist/vocalist Phil Cobrea, and drummer Ryan Tapert, the group began gathering a decent local following while still in high school, playing in the same regional scene that spawned peers Gatsbys American Dream and Forgive Durden. The guys concurrently hooked up with Seattle-based Rocketstar Recordings, and following graduation, their full-length debut, Our Worlds Divorce, was released in late 2004. They toured around the country in support of the album with acts like Daphne Loves Derby, Sherwood, and Jenoah before eventually signing with Fueled by Ramen in early 2006. Teaming up again with producer Casey Bates (who'd also worked on their first album), This Providence's self-titled FBR debut appeared in September, as the band carried on with gigs opening for labelmates Paramore. Cobrea announced his resignation from the band that November, and he was soon replaced by Phoenix native David Blaise.
http://www.mediafire.com/?ztydz3dm5ynhttp://www.mediafire.com/?zzojgmtcn1e[...]What makes Losing Feeling so solid is how it begins and ends. The opening title track simultaneously floats in place and hurtles forward, recalling the pulsing drift of Nouns' "Sleeper Hold". But now the band stretches a bit more, injecting the breaks with a little more tension, a little more bite. And a final rave-up shifts into high gear, turning a nice crescendo into a tidal wave. That infectious wash is matched on the opposite end of the EP by "You're a Target". Here the hectic rush of the opener gets drenched in a layer of shimmering guitar tones-- imagine Nouns' "Brain Burner" covered by the Pains of Being Pure at Heart.
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Already have them, but you should upload them anyway! Remember: If you think it's good enough to upload, people are probably going to download them.
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Gustavo Dudamel is one of those extremely rare conductors to draw international attention while still in his twenties. For a musician who only began studying conducting in 1995 and made his professional debut in 2005, he has ascended the steep ladder to podium renown in almost unprecedented fashion.
He was born on January 26, 1981, in Barquisimeto, Venezuela. His father was a trombone player who performed in local bands. Gustavo began lessons on the violin at 10, having previously studied in a government-sponsored music program in grade school. Later on at the Jacinto Lara Conservatory, he studied violin with José Luis Jiménez and at the Latin American Violin Academy with José Francisco del Castillo. In 1995 he began conducting studies with Rodolfo Saglimbeni, but the most important teaching influence was conductor José Antonio Abreu, who served as young Gustavo's mentor. Dudamel's 1999 appointment as music director of the Orquesta Sinfónica Simón Bolívar allowed him to conduct regular concerts and make concert tours abroad.
Dudamel has arguably been the most sought-after conductor under the age of 30 and is the first in a long time to be appointed music director of a major orchestra -- in this case, the Los Angeles Philharmonic beginning in 2009-2010. And Dudamel will not step onto that podium as anything approaching a novice, since he already began duties as principal conductor of the Gothenburg Symphony Orchestra in 2007. Moreover, since 1999 he has served as music director of the Venezuelan national youth orchestra (known as the Orquesta Sinfónica Simón Bolívar). Along with the Los Angeles Philharmonic, he has led the Chicago Symphony, New York Philharmonic, Philharmonia, Royal Liverpool Philharmonic, City of Birmingham Symphony, Israel Philharmonic, and Dresden State Orchestra. Dudamel signed a recording contract with Deutsche Grammophon in 2005.
Dudamel has won a number of conducting competitions, the most important of which was the 2004 Gustav Mahler Conducting Competition held in Bamberg, Germany. Following that triumph, Dudamel began receiving a flood of invitations to conduct the world's major orchestras. Dudamel's first recording with Deutsche Grammophon was the 2006 CD of the Beethoven Symphonies No. 5 and No. 7, with the Orquesta Sinfónica Simón Bolívar. In April 2007, Dudamel led the Stuttgart Radio Symphony Orchestra in a concert given at the Vatican before Pope Benedict XVI on the occasion of his 80th birthday. This concert was taped by DG and subsequently issued on a DVD in August 2007.
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Attn everyone: go read this post and download this band - http://itsachugknocklife.blogspot.com/2009/10/my-winter-nerve.html
They play a mix between american football syle emo and post rock. Everything you need to know is in this blog post. Just... trust me, if you like post rock or american football, dont skip this over.
http://www.mediaf!re.com/?djjzq2zzjz1http://www.mediaf!re.com/?tvgzmy5dzmzhttp://www.mediaf!re.com/?lozgmojn2tzSarah Shannon's voice is a gem. One should never try to hide it. But wash it with mud, Velocity Girl did. At least, with their first LP. Copacetic is defined by massive guitars, obviously aspiring for a shoegaze sound. It results in teenage noise pop. It's beautiful and sweet. The melodies are so bubbly, one has to get a nervous breakdown to erase them. (blair23, RYM)
http://www.mediafire.com/download.php?tztgi1jzhw4some lost 90s classics...
Archers of Loaf - Archers of Loaf vs. The Greatest of All Time EP (Alias, 1994)
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As good as their almost perfect debut Icky Mettle (it was posted here before).
Versus - Let's Electrify! EP (Remora, 1993)
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One of the most overlooked bands of its time. This is their debut EP and it sounds like the compilation of the greatest espects of the early 90s alt. rock music - sonic youth-esque guitar play, boy/girl vocal harmonies, 25 amazing minutes (and very ugly cover=).
Velocity Girl - Copacetic (Sub Pop, 1993)
(http://1.bp.blogspot.com/_JGUURbcqjsM/SecSEXpWxmI/AAAAAAAAFD8/Cf0lz10xSIg/s320/VELOCITY+GIRL+-+COPACETIC+F.jpg)Code: [Select]http://www.mediaf!re.com/?lozgmojn2tzQuoteSarah Shannon's voice is a gem. One should never try to hide it. But wash it with mud, Velocity Girl did. At least, with their first LP. Copacetic is defined by massive guitars, obviously aspiring for a shoegaze sound. It results in teenage noise pop. It's beautiful and sweet. The melodies are so bubbly, one has to get a nervous breakdown to erase them. (blair23, RYM)
http://www.mediaf!re.com/download.php?mbx4hzjbmxnPrinceton - Cocoon Of LoveI just got around to listening to this, and man is it ever great. I don't get the Vampire Weekend comparison at all, though...this seems much more in-line with Voxtrot or The Smiths. Regardless, everyone should grab this one.
Pelican - What We All Come To Need (2009)Vocals?!Code: [Select]http://www.mediaf!re.com/download.php?iwi1jzdyymi
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Vocals?!
In my Pelican?!
http://www.mediaf!re.com/?wozomzhtglohttp://www.mediaf!re.com/?zzjydtmk34ghttp://www.mediaf!re.com/?yojzyfg5fjmPelican - What We All Come To Need (2009)Vocals?!Code: [Select]http://www.mediaf!re.com/download.php?iwi1jzdyymi
In my Pelican?!
some lost 90s classics II.
Guided by Voices - Vampire On Titus (Scat, 1993)
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GBV is my favourite band ever and this is probably their most overlooked masterpiece. They were almost unbeatable in writing a short catchy tune in the mid-90s and Vampire On Titus is a great proof of this statement. it is also their most lo-fi album
Unrest - Perfect Teeth (Teenbeat, 1993)
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Imperial f.f.r.r. (posted before) might be a better (and also more forward-thinking) album but Perfect Teeth is amazing record as well. Mark Robinson is the master of indie-pop songwriting and you simply cannot mistaken his guitar playing style with anyone else.
The Wrens - Secaucus (Grass, 1996)
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everyone should know The Meadowlands (their amazing album from 2003) but Secaucus is worth it as well. guitars are louder, songs are shorter, their songwriting is way more straightforward here... and they hate Creed which is always a good thing
Dude I don't mean to ride your nuts so hard, but if you live in SoCal we need to start a band pronto. Again, great post and I too adore GBV. I listen to Alien Lanes, Bee Thousand, Under the Bushes Under the Stars and Forever Since Breakfast religiously. Because of this, whatever you post, I will DL. Thanks.
http://www.mediafire.com/download.php?nzfx0ym1dygContinuing up the mountain of awesome, I give you the new Hunches album. Fuzzed out, feedback soaked, noise punk n roll from Oregon of all places. Like I've said before, these guys (and girl) record in the red. Their relentlessly screaming guitar tones and crashing drums make me wonder how my speakers aren't totally nuked 3 tracks in (just listen to the outro on "Ate My Teeth"). I think parts of the song "Street Sweeper" would make even Thurston Moore wince.Wait where? I listened to this whole album and don't remember any vocals.
On Final Breath, bro. Pay attention while you listen.Pelican - What We All Come To Need (2009)Vocals?!Code: [Select]http://www.mediaf!re.com/download.php?iwi1jzdyymi
In my Pelican?!
Wait where? I listened to this whole album and don't remember any vocals.
It would be lazy to dub New York state pair Sarah Barthel and Josh Carter 2009’s Chairlift, but the similarities are there for all to hear. Both groups have a neat line in minimal beats, occasionally psychedelic electro-indie art strangeness, lush beds of synthesizer and enticing female vocals.
But Phantogram’s greater willingness to embrace the experimental and a few different influences mark the newer band out as being an odder but equally exciting proposition. Keyboardist Carter has said Serge Gainsbourg and hip hop inspire the duo’s sound and these can both be heard on this potent debut.
Single "Running from the Cops" trips along like Portishead and DJ Shadow sparring over dark static and Carter’s bizarre, mistreated mumble, and "Let Me Go" is a wanton blend of ardour and machinery which sounds like drunken robots walking arm in arm down the Champs-Élysées.
Eyelid Movies’ finest moments are when Barthel is allowed to fully utilise her voice. "As Far As I Can See," the album’s standout track, is an incredible electro-soul slacker anthem which expertly blends cut-up brassy samples, thudding loops and exquisite, honeyed singing. Final track 10,000 Claps is as good, if completely different, and brilliantly incongruous – maudlin piano and a timbre more at home on a Sparklehorse record combine effectively with Barthel now affecting an alt-folk lilt.
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Wait, we can't request re-ups anymore? When did that happen?
hey oh yeah rules dont be dicks guys use your own links and pictures and shit like that. also use the cool code tags function and dont request shit!
http://www.mediafire.com/download.php?tm1m2mjtdgmhttp://www.mediaf!re.com/?qndwmmnxjzxWith 2007's Riot!, Paramore proved that pop hooks and a killer set of pipes can still vault a band to platinum status, economic downturn be damned. Success comes with a price, though, and Paramore struggled as media outlets reserved most of their coverage for Hayley Williams, deemed by many to be the group's leader. Rather than calling it quits, the musicians sought therapy in the studio, where tales of self-doubt and frustration were captured on tape by mega-producer Rob Cavallo. The anthemic, celebratory songs that made Riot! so appealing were largely absent, but the band found a new way to rock during those sessions, prizing catharsis and nuanced arrangements above the hooks of albums past. Released in late 2009, Brand New Eyes presents Paramore as a stronger, leaner, and altogether more consistent band. "Careful" and "Ignorance" are two of the group's most aggressive tunes to date, and the rest of the disc follows suit, with the guitar interplay of Josh Farro and Taylor York (who makes his studio debut here, having joined the lineup after Riot! was recorded) receiving much of the spotlight. Drummer Zac Farro anchors the band with a flurry of snare hits and cymbal crashes, but the true MVP is none other than Ms. Williams, who sings with all the gusto of an angsty, 21st century Ann Wilson. She's fun, fiery, and altogether fantastic, a pint-sized powerhouse who attacks everyone from holier-than-thou naysayers ("Playing God") to egocentric space cadets ("Brick by Boring Brick"). Williams also tones down the sonic assault whenever it's appropriate, offering a beautifully understated vocal during the album's centerpiece ballad, "The Only Exception," and championing the band's longevity during songs like "Where the Lines Overlap" and "Looking Up." "God knows the world doesn't need another band," she sings during the latter track, "but what a waste it would have been...I can't believe we almost hung it up. We're just getting started." Riot! explored similar thoughts with its closing track, "Born for This," but "Looking Up" is made all the more convincing by the band's recent turmoil. Accordingly, Brand New Eyes is the band's most credible album to date, a blend of melody and muscle that packs a punch in spite of its tumultuous origin.
http://www.mediaf!re.com/?zwjgxlgmz1gWaiter: "You Vultures!" is an album decidedly of its time. Its pretentious title, punctuated as if ripped from a screenplay, should give most listeners an idea of what to expect. The album sees Portugal. The Man suffering or benefiting from an identity crisis. They seem unable to determine if they want to be a fractured art rock ensemble à la Blonde Redhead and Shudder to Think, a dance-oriented electro-indie act like Tahiti 80 and Phoenix, or a progressive-minded mood merchant like the Notwist. Along the way, piano ballads and screaming rants intersect, as the band rocks and stumbles like an uneasy mix of the aforementioned bands, crafting frequently catchy songs that rarely manage to satisfy. John Baldwin Gourley offers mostly pleasant 1970s dance vocals, but he constantly undercuts himself by affecting an ineffective falsetto. The falsetto combines with murky song structures and unconvincing dynamics to make for what some may find a terminally unhip listen. When Portugal. The Man stick to mellow post-rock, it's somewhat smooth if bland sailing, but they unfailingly take themselves too seriously. "Chicago," for instance, attempts aggression and features a cringe-worthy chorus of "Burn this motherfucker down" that alternates with passages of near balladry. Mingling in genres that are past their prime and not adding anything original or distinctive to the mix, Portugal. The Man try too hard and mimic too many better bands on Waiter: "You Vultures!" — and the result is merely mediocre.
http://www.mediaf!re.com/?cym12g4lzmiRelient K's sixth studio album (and first with Mono Vs Stereo and Jive Records) represents the veteran alternative CCM outfit's official entry in the insufferable/cathartic (depending on where the listener is in his/her lives) "breakup album" category. Unsurprisingly, lead singer and songwriter Matt Thiessen's take on heartbreak is a genuinely hopeful one, a stance achieved by submitting to complete isolation in a remote Tennessee lake house during Forget and Not Slow Down's creation. Thiessen's penchant for machine-gun-fired torrents of both secular and non-secular self-discovery on top of impossibly catchy melodies makes for a remarkably upbeat listen, and the band's efficient, late-'90s alternative rock delivery feels far less stale than bands with a similar feel. That's not to say that its' all Matchbox 20 and Foo Fighters, as Relient K can deal out a jangle pop ("Candlelight") or adult alternative pop/rock ("Over It") gem when called for, but there's a certain fireplace familiarity to the whole affair (think Ben Folds without the snarky bits) that makes it all go down easy, despite the obvious emotional turmoil that spawned it.
http://www.mediafire.com/?nymktmemm0mIt should be no surprise that shortly after releasing the fantastic To Be Still Alela Diane already has an EP in the pipeline, after all, her debut record was recorded at least three years before it was picked up by Rough Trade for official release this year. Now she and California singer Alina Hardin (whom I believe was the waif with the golden voice who was on tour with Diane earlier this year) are releasing Alela & Alina, a stripped down collection of new and old folk songs. The big surprise isn’t that it is good, it’s that it is actually good enough to rival the strongest work on To Be Still. All three of the EP’s original tracks, “I Have Returned,” “Amidst the Movement,” and “Crying Wolf” are pure loveliness, shrugging off the fuller instrumentation of To Be Still and leaving only raw emotion over an acoustic guitar. “Returned” is particularly spellbinding, with Hardin and Diane’s ethereal voices intertwining magically over the chorus, “You never know how the wind will blow/and you never know whose going with it when it goes.” It’s all yearning and melancholy, made convincing by the earnestness and purity of the young ladies’ voices. The EP also features three excellent covers. “Bowling Green” was originally made famous by folk legends the Weavers, and takes on an extra mournful edge in Diane and Hardin’s treatment. “Matty Groves,” is a 17th Century standard—a woeful tale of adultery straight out of the Highlands. Lastly the ladies round out the EP with a heartbreaking rendition of Townes Van Zandt’s “The Rake.” Diane and Hardin will likely be performing many of these tunes (as well as material from Diane’s first two solo records) on November 18th at the 7th St. Entry when their National tour stops there his fall. The excellent Marissa Nadler will be playing as well, making this a must-not-miss event
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Alela Diane's new record may come as a pleasant surprise to those who haven't checked in on the Portland-based singer-songwriter since 2006's The Pirate's Gospel. On that charming but demo-ish jumble sale of an album Diane sorted through familiar folk forms (sea shanty, blues lament, narrative ballad) with a couple of chords and some sleepy arpeggios. If neither her vision nor her musicianship changed the conversation about the then-full-flowering new folk scene, Diane's arresting voice-- simultaneously vehement and serene-- put plenty of people on notice, including, apparently, a sizeable chunk of France. (Her Blogotheque Take-Away Show illustrates why big in France isn't necessarily aspersive: With her mass of dark hair and chic short boots, the girl was born to busk Paris' boulevards.)
Still, Diane thus far has played in the shadow of better-known Nevada City, Calif., product (and childhood friend) Joanna Newsom. As inevitable the comparison, it's not a very sensitive tool for evaluating either artists' work. Newsom, after all, pens wildly idiosyncratic songs for the harp and sings them in... a voice that takes some getting used to. On the aesthetically focused, meticulously arranged To Be Still, Diane is a traditionalist, partial to broad, universal themes-- nature, childhood, family, friends-- and gentle, lilting melodies that recall traditional ballads. She's also ditched many of the vocal tics and lower-pitch ranges that lent Pirate's Gospel a haunting melancholy and drew adjectives like "eccentric" but, in retrospect, better suit someone like Jolie Holland.
Diane demonstrated her broad range and flexibility, interpreting songs by artists as disparate as Vashti Bunyan, Jesus and Mary Chain, and Daniel Johnston on 2008's The Silence of Love, which she recorded with some musician friends as Headless Heroes. To Be Still will never fire up any parties, but its emotional range is as wide as that covers project's-- from "Age Old Blue", a wistful duet with craggy-voiced troubadour Michael Hurley about Diane's sharecropping Scottish ancestors, to the flushed-cheek, string-surging "My Brambles". Lead track "Dry Grass and Shadows" sets a playful tone, the sigh of steel pedal underlining her languid, country-twangy come-on: "I like to look at your teeth lined up in perfect rows... Where the flatlands stretch inside your mouth/ And when you laugh all the star thistles tumble out." A little hippie-dippy, but also utterly enchanting.
The album's first single, "White as Diamonds", best showcases her expanded musical ambitions and the record's pristine sound (coproduced with her bluegrass musician father in his studio). Two years ago, accompanied by acoustic guitar, Diane previewed the newly hatched song for Daytrotter (second station of the cross for up-and-comers after Blogotheque) and claimed "Diamonds" is about silence and uh, snow. Disingenuous-sounding, for sure, but it's not like she's the first artist who'd prefer not to parse lyrics. She's also absolutely right: Simplicity is key to the song's stark power, and its uncluttered vocabulary of fiddle, cello, guitar and drawn-out, warbled "wooooahs" are as head-clearing as a cold February morning. Fill its white spaces with what you will.
When people speak of Diane's voice Sandy Denny's name comes up with increasing frequency, and the young American certainly shares her British predecessor's grace and gusto. But To Be Still is rooted in a different geography-- jagged California hills and faded towns that might be populated by doomed Steinbeck characters. In "The Ocean", the thick thump of bongos and a nervous flutter of mandolin sketch the numbing existence of a mountain woman who, landlocked by "dirt ditch paths and pine cones... old hubcaps on the picket fence," dreams of the sea. It's a hybridized folk idiom and undeniably American.
Working with material hog-tied to the past and performed with traditional trappings puts Diane at some risk for creative stagnation and worse-- the kind of anonymity and irrelevance enjoyed by vast swathes of the contemporary folk universe. To Be Still avoids these traps thanks to Diane's spectacular voice and, well, the little, mostly indescribable things. The record's best moment comes somewhere in the center of the cautiously joyful "The Alder Trees". As Diane, easy-swaying sings "girls clapping," a ragged clap-- hollow and a touch behind the beat-- emits from the back of the room. It's the kind of perfect little flaw that makes a record almost perfect, almost flawless.
http://www.mediafire.com/?tkmjhmqj4m2When it comes to Lacrosse's second full-length, 2009's Bandages for the Heart, any worries about the potential for sophomore blahs are blasted away with the opening strains of "We Are Kids." Between Nina Waha's pixie-like vocals and the sparkling synth and guitar work that just smacks of the Cure, it's the kind of tune that wedges itself into that weird border territory of adolescence, capturing that heady feeling of anxiousness ("We are kids and we can't decide") bound up with the thrill of discovery. Similar to fellow Scandinavians I'm from Barcelona, Lacrosse appear to be equipped with a magical, rainbow-tinted force field that gives them license to sound completely childlike and zany and to sound completely believable while they do it. Because honestly, it's just plain weird when "All the Little Things That You Do" suddenly dives into a caveman-style chant (yes, this really happens) -- but for some reason it works. Maybe it's just that Lacrosse seem so genuinely sunny, naïve, and sweet-hearted. They're pretty much irresistible even when they're at their most sappy and heartsick ("I See a Brightness") or painfully earnest ("Bandages for the Heart") -- heck, they even manage to pull off a love song about unicorns and robots ("It's Always Sunday Around Here"). If you're in the mood for some handclappy, glockenspiel-embroidered, bubblegum and synth pop-infused tunes reminiscent of the Shout Out Louds and the Golden Dogs, Bandages for the Heart might be just what you're looking for.
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Think of Elvis Perkins' music as a feat of structural engineering: Despite the massive weight of its cargo, it still manages to float, even cruise. His grief-drenched 2007 debut, Ash Wednesday, explicitly and covertly referenced the death of his photographer mother in the 9/11 attacks and his actor father's from AIDS complications a decade earlier. Yet the record wasn't really depressing. It was melancholy, ruminative, allusive, and droll perhaps but also amazingly light on its feet, thanks to the tasteful brass, strings, and percussion that skirted Perkins' reedy tenor and acoustic guitar. Lyrics are the sine qua non of the troubadour game, and Perkins has shown he has a skillful way with words. "I waited for the riddled sky to be solved again by the sunrise/ I've made a death suit for life for my father's ill widowed wife" he sang in "While You Were Sleeping," the exquisitely moving Ash Wednesday opener that earned him the "next Dylan" albatross for his troubles.
Track one is again the standout on second LP, Elvis Perkins in Dearland, an album that formally incorporates Perkins' three-piece touring band (among them, the trio play an impressive 10 instruments, including saxophone, harmonium, and clarinet). And if it wasn't already clear that the Dylan comparison is a nonstarter, Perkins proves an able bandleader, both charismatic and comfortable ceding the stage to his mates. Like a florescent bulb gradually growing to full vibrancy, "Shampoo" fades in on a dense swarm of whistles, strummed guitar and damp organ before a crisp, snapped snare kicks off the terrific folk-rocker proper. It's unambiguously a band, not a singer-songwriter, performance.
The lyrics' opacity make it hard to say for sure, but I like to think "Shampoo" cites director Hal Ashby's 1975 comic yet caustic referendum on 60s counterculture (set on the cusp of Richard Nixon's 1968 election win), a film that begins as a sexual morality tale and ends as a mortality one. "I don't want to die/ However dark tomorrow may be," Perkins sing-slurs from our own anxious political/cultural crossroads. Given his personal history, it's easy to imagine him, at that moment, as a sort of sacrificial lamb/prophet.
As "Shampoo" hints ("Black is the color of my true love's arrow/ Black is the color of my blood" inverts an amorous blues convention) Perkins has sloughed many of his earlier folk influences for the R&B base of nascent rock. On "Hey", the bopping upright bass, shadowy female harmonies (courtesy of Lavender Diamond's Becky Stark), and Perkins' strangulated basso profundo growl transport the song back half a century, or at least as far as the Fat Elvis era. "Hours Last Stand" is a straight-up Mississippi river-dredger (even if Perkins' voice will always sound more like Woody Guthrie's than Robert Johnson's); the bright and brassy "Doomsday" shoots for a New Orleans funeral vibe; and "I Heard Your Voice in Dresden" could be one of Buddy Holly's, replete with Lone Star hiccupped hollers.
Decent as these tracks are, the rest of the album never quite lives up to "Shampoo"'s potential. And songs like "I'll Be Arriving" and closer "How's Forever Been Baby", whose harmonica whine is more giggle-inducing than profound, are lead anchors. Fortunately, such maudlin moves are rare and Perkins' ability to air out material that continues to brood on death, abandonment and ordinary ol' breakups is a credit to his good songwriting and arranging. The guy's probably got a superb album in him; Dearland, however, isn't it.
http://www.mediafire.com/?an2etnmhyrd[quoe=allmusic]At the risk of further belaboring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in less than a year, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning -- rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 13-odd tracks supposedly recorded on a single July day at a cost of just $17.36; while it lacks the blistering immediacy of their previous material, the album swaggers and struts with all of the group's usual attitude intact, coming complete with a loose, offhanded feel perfectly accenting the overall atmosphere of debauchery -- "Too Crazy to Care," "Sound of Confusion" and "Talk Minus Action Equals Shit" aren't just song titles, they're words the band lives by.[/quote]
http://www.mediafire.com/?jfzzmjzmmxzvery limited edition numbered tour 7 inch. Fever Ray with Van Rivers and The Subliminal Kid. Contains two cover versions that Fever Ray perform on tour and new artwork by Mattias Nilsson.Paramore Reliant KI hope this was a joke.
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Where The Wild Things Are (re-up)
Gospel's uploads are awesome though
http://www.mediaf!re.com/?mlkvxyfmvg1http://www.mediafire.com/?onglj3nmzmwI freely admit that this is not my mediafire link but it seems pretty stable. pm me if you need a reup.Paramore Reliant KI hope this was a joke.
CanCon favorite Joel Plaskett must have a pair the size of honeydew melons. Two years removed from wading into the piranha-infested waters of the concept album with Ashtray Rock (my fave recording of 2007), Nova Scotia’s preeminent pop balladeer chooses to proceed from that ambitious work with not a double but a triple album. Not only does Plaskett wallop his fanbase with three discs of songs, he further plies them with titular trifectas: 14 of Three‘s 27 tracks have titles that consist of a word thrice repeated. Upon first glance, the effect of all of these threes is a little exhausting, a bit too cute, and not entirely lucky.Disc 1
Plaskett, late of the cult Maritime indie-rock band Thrush Hermit, has developed into an interesting but variable sort of songwriting marksman in his decade as a solo artist. He vacillates between peppier party-rock with his band the Emergency, and rootsier, more introspective singer-songwriter material on albums that bear his name only (Three is really a follow-up to the folk-rock of 2005’s La De Da from this perspective). He’s well-steeped in most major genres of American pop music and draws from them liberally. His lyrics, which are stubborn in their insistence on rhyming, either hit their target dead on or wobble and miss from the unbalancing weight of their own (sometimes excessive) cleverness.
All of these elements, positive and negative, bump against each other on the first disc. “Through & Through & Through” is buttressed by shuffling rhythm, enthusiastic backing vocals from Rose Cousins and Ana Egge, and Motown horns. Plaskett himself is nimble and likable as a self-effacing mensch who is helpless in the face of “A wrecking ball / In a summer dress”. But the lyric trips over wink-and-nudge cultural references and a cowardly self-censored f-bomb, to say nothing of “You be Israel / I’ll be Palestine”. Plaskett compares himself to the Berlin Wall here, as well; it’s a good thing that nothing rhymes with “Buchenwald”, or we might have been subjected to even more serious historical happenings as analogies for frivolous pop-song heartbreak.
Elsewhere, Plaskett gives us an over-the-top country vocal on “Pine, Pine, Pine”, a rather terrible cover of Halifax indie hero Matthew Grimson’s “Drifter’s Raus”, and the interminable “Wishful Thinking”. The latter boasts a promising lite-blues bass riff and infectious chorus, and was perfectly fun in pre-recorded live versions (such as the one embedded below). But here it careens off the road shortly after a laugher of a line about moose in New Brunswick, before further devolving into a completely random litany of disconnected melodic cues. Even when the first disc’s songs are solid, they feel more conventional than usual. It’s not an auspicious start to a record that demands some major commitment from its listeners.
Fortunately, Three gets clear of the rocks early on the second disc with haunted Celtic-derived folk shanties like “Shine On, Shine On, Shine On” and “Sailor’s Eyes”. Plaskett keeps things acoustic and whispery and does much better, ringing truer with considered minstrel wisdom than he does with tossed-off parlor wit. “Heartless, Heartless, Heartless” (co-written by his musician dad Bill) approximates Harvest-era Neil Young with eerie ease, and “Down, Down, Down”, “Beyond, Beyond, Beyond”, and “New Scotland Blues” are the sort of hesitant recollections of his Nova Scotian youth that serve Plaskett so well.
The final disc synthesizes the first two’s best qualities in a mostly successful way. The bossa nova beat on opener “Rewind, Rewind, Rewind” is a bit too precious, though the brief country-pop grenade “Precious, Precious, Precious” ironically isn’t. “Deny, Deny, Deny” saws its fiddle irresistibly, “Rollin’, Rollin’, Rollin’” is an impeccable bluegrass hoedown, “Lazy Bones” is beautifully lackadaisical, and “All the Way Down the Line” is just beautiful. Even the endless album-closer “On & On & On” works; Plaskett’s abiding faith in rhyming is redeemed with a road-weary melody worthy of similarly lengthy Young classics like “Thrasher” or “Ambulance Blues”, and leaves our ears ringing with a ditty about his “little white fang”.
Though Plaskett weaves in repeating lyrical references throughout Three‘s songs, the record is too rambling and inconsistent in quality to match the thematic heft of Ashtray Rock. Still, it’s as focused and as coherent as a triple-album is likely to get. Plaskett’s underappreciated gifts continue to impress, even when his more irritating habits undermine them. To paraphrase the proverb Plaskett himself employs early on: decent to above-average things come in threes.
http://www.mediafire.com/?zcr33nyezqbDisc 2http://www.mediafire.com/?jzjez3idytoDisc 3http://www.mediafire.com/?1nzmmylnlyz
http://www.mediaf!re.com/?avqt5yifacuhttp://www.mediaf!re.com/?ioduczj09p0
[img ] silly white boy [/img ]
One of my favorites of the year. I shoudn't have posted the album art, because when you're listening to him there's no way you'd expect him to be a young white dude as opposed to an awesome black soul singer from the 60's/70's. Really awesome soul with a little bit of funk, tongue planted firmly in cheek, but not so much that it stops being awesome. Really, if you can listen to "Just Ain't Gonna Work Out", and "Your Easy Lovin" and not think this is awesome music you're doing something wrong. Get psyched on this record dudes.
hxxp://www.mediaf!re.com/download.php?nmgykyqym3d
Paramore Reliant KI hope this was a joke.
I hope this was a joke.
There's nothing worse than an elitist.
Paramore Reliant KI hope this was a joke.
I hope this was a joke.
There's nothing worse than an elitist.
Fun fact: When I posted Lady Gaga as a joke it got about 50 downloads.
http://www.mediaf!re.com/download.php?elttwhmyd1w(Only review not in French)http://www.mediafire.com/download.php?knydmjzjhtmhttp://www.mediafire.com/?nkmzt4imfnjAfter suffering one of the earliest cases of bloglash after the release of their so-so sophomore album, Some Loud Thunder, Clap Your Hands Say Yeah have gone on something of a hiatus. That hiatus has allowed lead singer Alec Ounsworth to record his solo debut, Mo’ Beauty, a 10 track album he recorded in New Orleans with a bevy of New Orleans session veterans like George Porter Jr. of the Meters, Stanton Moore of Galactic and Al “Carnival Time” Johnson. I suppose the backing musicians indicate that you should expect a jazzy album, capitalizing more on the Tom Waits influence that has long been simmering within CYHSY’s sonic soup.
http://www.mediafire.com/?ijfzm2jyt2uRidiculously upbeat, cheery music. Sorry about the broken track (can't seem to find a copy with it). http://www.mediafire.com/?yrz4ylzdxanBetween the mournful voice singer Anna Roxenholt and and Karl Krook’s gently strummed guitar, occasionally the Spartan melancholy tilts towards painfully beautiful–as with album highlight, “By Your Side”–which plays like a paean to the ghosts of relationships past, or like the perfect Once b-side.
Simple, but never boring New Found Land also shows the sort of musical variety that makes waiting and wondering about their sophomore album a interesting exercise. “By Your Side” may show the sort of direct sadness and delicate finger-picking that could make Jose Gonzales green with envy, but “Leave it All Behind” find them rocking like a two-person I’m From Barcelona. Meanwhile, album opener “It Would Mean the World to Me” finds Roxenholt tapping into her inner El Perro del Mar, coupled with an almost Concretes-like breezy musicality.
Of course, comparing them to fellow Swedish acts is only a start. With their natural charm, sweet chemistry, and musical grace, New Found Land can move in any direction–musical or geographical–they might choose…and probably capture a few hearts along the way.
http://www.mediafire.com/?zelihzzyzajThe Fugitives are the combined talents of Vancouver artists Adrian Glynn, Barbara Adler, Brendan McLeod, and Steve Charles. A group of multi-instrumentalists, songwriters, poets and novelists, each with their own burgeoning solo career, they’ve won individual accolades as diverse as the Canadian SLAM poetry championship, CBC poet laureate, and a place in the Peak performance songwriting series. But their primary focus lies in banding together to integrate their sensibilities into a dynamic mix of modern folk.
Formed four years ago on Vancouver’s East Side, The Fugitives have trod their instruments and words numerous times through Canada and Europe. Performances that began in abandoned bank vaults and small vegetarian restaurants in England have turned into mainstage appearances on the Canadian folk festival circuit and sold out headlining shows at venues as diverse as the Vienna Literary Festival, the Winnipeg Fringe Festival, the Vancouver Jazz Festival, and the Chutzpah Dance Festival. Like most young bands The Fugitives have weathered poverty, missed trains, and a few line up changes (parting amicably with upcoming folk talents Mark Berube and CR Avery), while honing their live act into a versatile mix of story and song. As the CBC has it, “whether you go for the poetry, the music, or both, this show is simply brilliant.” The Fugitives last release, In Streetlight Communion, was nominated for a 2007 Canadian Folk Music Award for pushing the boundaries of contemporary folk music. They’ve returned with a five song EP, ‘Find Me’, to be followed by a full length release in March of 2010. Featuring orchestration by Veda Hille and production by Matthew Rogers, ‘Find Me’ will be supported this October by a tour across the country. Check for them in your town; their live act keeps on improving, and they’ve gotten much better at catching
http://www.mediafire.com/?dyzzimnmhtvA very strange album from Christian Naujoks, flipping from modern composition influenced by the likes of Steve Reich and Terry Riley (perhaps filtered through Hauschka) to strange cover versions – New Order’s ‘Leave Me Alone’ is serviceably re-imagined as ‘Off The Rose’, while Bob Dylan’s sublime ‘It’s All Over Now, Baby Blue’ is degraded by what might be the worst cover in the history of musical reinterpretation. This is a grand claim without doubt, but seriously take a listen; it’s transcendentally awful, providing a comprehensive scourging of the ears. The album can be salvaged If you miss this final track off and simply pretend it never happened, but even so this genre-hopping home listening album is still fairly strange and brandishes its influences boldly throughout.
bluejuice is a rock band based in Sydney, Australia. The group consists of Jake Stone, Stavros Yiannoukas, Jamie Cibej, Jerry Craib and new drummer James Hauptmann. Original drummer Ned Molesworth left in December 2008 to move to New York.
The musical style of bluejuice has variously been described as "punk-hop", "downtempo hip hop, ska-tinged pop and pounding disco" and "too straight for funk, too groovy for indie rock and too sweaty for pop".
http://www.mediaf!re.com/?cn0jjeo2tjnhttp://www.mediafire.com/?12z4dtuemjh
Sometimes this thread moves way too fast. I blame gospel. Quick, everybody start uploading metal so I can ignore this thread for a few pages and catch up!
Sometimes this thread moves way too fast. I blame gospel. Quick, everybody start uploading metal so I can ignore this thread for a few pages and catch up!
http://www.mediaf!re.com/download.php?qtdkinwtiji(http://img386.imageshack.us/img386/4684/pestenoireballade.jpg)http://www.mediaf!re.com/?nxeyvu1my03(http://img205.imageshack.us/img205/3733/pestenoielasanie.jpg)Thao with the Get Down Stay Down - Know Better Learn Faster - 2009
http://www.mediaf!re.com/?zgyymmzwtikCaravan Palace - S/tOh hell yes. They had my favorite song on that Electro Swing album I posted. Never thought to check for a full-length. Great post
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"Suzy" on youtube (http://www.youtube.com/watch?v=j95HbhTl60k&feature=channel)Code: [Select]http://www.mediaf!re.com/download.php?elttwhmyd1w(Only review not in French)
Not only do Caravan Palace combine classic electro with swing perfectly, but the catchy We Can Dance, Bambous and Je m'amuse will have you dancing for days. There are no weak songs on this album. Each song is able to stand alone, whilst still blending immaculately as a whole collection of music. The mix of bass, percussions and violin is so unique and so fresh, I doubt anybody besides a collaboration of "Zazou" inspired musicians could pull it off. Caravan Palace serve up festive, frantic music, an improbable futuristic and melodious Charleston fit for the dance floor.
The Fugitives - Find Me
...Grace is a mature, euphoric, exciting and sprawling record, in part documenting their last year of being together in a band, on the road and away from loved ones. From recording and gigging in New York: 'we're back seat taxi traffic taking over Times Square' (Custom Scenes...) to festival experiences across the world 'we drink for free in cold marquees (Ghost the Festivals)', front man Alexei recounts tales of ambition and failure, love and loss, as well as including all the amazing/awful/annoying/necessary/unnecessary/regretful/unforgettable things that happen around it all...
http://www.mediafire.com/?u5d2lezwnmn
Downloading this now..I came across a TwtGDSD/Thermals split 7" a few months back, but still haven't listened to it. Damnable lack of turntable.
No. 9 Orchestra - http://9-9-9-9-9.com
The Fugitives - Find Me
http://dl.getdropbox.com/u/1258905/Hymie%27s%20Basement.rar
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There's a raw directness to Embryonic that's been largely absent from Lips records since the mid-90s. For the first time in years, they've made an album that actually sounds like a band playing live together in a small room. In light of Mystics' overly processed, grab-bag quality, the holistic, audio-vérité approach on display here is remarkable-- the record is extremely dense, initially overwhelming, but unusually rewarding upon repeat listens. Like the double-disc, high-concept rock epics of yore (think Physical Graffiti or Bitches Brew), it captures them at their most sprawling and ambitious, boldly pushing themselves towards more adventurous horizons.
Musically, too, Embryonic leans heavily on the Lips' formative 60s/70s psych-rock influence (like In a Priest Driven Ambulance's "Take Meta Mars" before it, Embryonic's formidable opener "Convinced of the Hex" grooves heavily on Can's "Mushroom"), but never before has the band recorded an album so unwaveringly sinister, or so devoid of pop-song levity. (Hell, even Zaireeka had "The Big Ol' Bug Is the New Baby Now".) Wayne Coyne no longer assumes the role of the endearingly creaky, puppet-toting crooner. Instead, he's a world-weary fatalist describing scenes of environmental holocaust in a chillingly unaffected monotone on the rampaging "See the Leaves". Or he's a cult leader deviously summoning his minions on "Sagittarius Silver Announcement", before leading them to a fiery demise on the monstrous, stoner-metal onslaught of "Worm Mountain" (featuring fuzzbox-stomping assistance from MGMT). The atmosphere of dread reaches its fever pitch in the album's spellbinding seven-minute centerpiece "Powerless", where, over top a coolly ominous bass riff, Coyne's nervous verses yield to a Syd Barrett-on-Mandrax guitar freak out.
There are brief respites amid Embryonic's thundering eruptions, but even these carry a calm-before-the-storm unease: On paper, "I Can Be a Frog" reads like another of Coyne's animal-populated nursery rhymes, but the foreboding orchestration and giggly background squawks (courtesy of Karen O) render it too creepy for kindergarten. And the vocoderized lullaby "The Impulse" serves only to make the screaming intro to strobe-lit freakout "Silver Trembling Hands" all the more startling. True to an album named Embryonic, there are tracks that aren't fully formed (namely, the drunken Bonham stumble of "Your Bats" or the free-psych splatter of "Scorpio Swords"), but even in its slighter moments, Embryonic exhibits a renewed sense of fearless freakery for a band who so recently threatened to lapse into stagy routine.
"I wish I could go back, go back in time," Coyne sings on "Evil", Embryonic's most conventionally Lips-ian ballad, but the nostalgic impulse is immediately undercut by the admission that "no one really ever can." Perhaps Coyne is anticipating the confused reactions of recent Lips converts expecting more life-affirming anthems along the lines of "Do You Realize??" or "Race for the Prize". But given the band's history, Embryonic's sea change arrives right on time to herald a new Flaming Lips for a new decade. Back in 1990, In a Priest Driven Ambulance signaled the Lips' transformation from garage-punk misfits into a splendorous, kaleidoscopic rock outfit; 1999's The Soft Bulletin reconfigured them once again into a sophisticated, sincere symphonic-pop troupe bestowed with increasing commercial acclaim and street-naming ceremonies in their honor. We can only hope that, as we enter the 2010s, Embryonic portends yet another new phase for the Flaming Lips-- one that's equally as improbable and rewarding as the ones that have preceded it.
http://www.mediaf!re.com/?jdy3ymmmrht
Well, I did notice no one posted the new Peste Noire....
http://www.mediafire.com/download.php?dtoov1zugizHymie's Basement
Pretty much the most perfect album I've ever heard.Code: [Select]http://www.mediaf!re.com/download.php?j0m0v5zkhti
empire! empire! (i was a lonely estate) - What It Takes To Move Forward (2009)
RIYL: 90's Emo, especially bands like Mineral and The Get Up Kids
I posted their EP a while ago and it got less than 50 downloads, which is really sad cause these guys are awesome. I highly recommend this album. Not a bad song on the entire thing. Easily top five favorite album of the year.Code: [Select]http://www.mediaf!re.com/?zgyymmzwtik
Check out their http://www.myspace.com/empireempireiwasalonelyestate (http://www.myspace.com/empireempireiwasalonelyestate)
http://dl.getdropbox.com/u/1258905/Hymie%27s%20Basement.rar
The Flaming Lips - Embryonic [Bonus Track Version] [2009]
A fusion of neoclassical music and electronic noise by Joshua Neil Geissler.Unreleased material made between 2002-2007 and AotY, scourging the internet for a cover but no luck so far :|
Over the last five years Worrytrain, living outside of Chicago, has quietly surfaced. From tapping cinematic and experimental fields, to blending genres such as modern classical and noise. The instruments most often heard are mandolin, piano and cello making melodies that are often gentle yet violent.
http://www.mediaf!re.com/download.php?htxd0nn3yvyI tell you guys... This is the most brilliant combination of Classical music and Black Metal I've heard in my life... No band has even been close to this elegance imo. And everything is made by just ONE person... I think that is incredible because everything is so well done.
There seems to be a problem with track 2 (disk 1) :oops:
http://www.mediaf!re.com/?ujzymtdfedz
Quote from: Mr.ProfessorI tell you guys... This is the most brilliant combination of Classical music and Black Metal I've heard in my life... No band has even been close to this elegance imo. And everything is made by just ONE person... I think that is incredible because everything is so well done.
That is impressive
http://www.mediaf!re.com/?hyvjczgymothttp://www.mediaf!re.com/?nujmiohmcdmhttp://www.mediaf!re.com/?mvzojujznq2This LP is so f****** good, so unsettling and dangerous, yet beautiful and moving, that Whipping Boy should be headlining Lollapalooza instead of the weak, pathetic pretenders with all their hollow gestures we get every year. But maybe we can't handle the real thing. (allmusic)
http://www.mediaf!re.com/?ujjzzoti1mihttp://www.mediaf!re.com/?mqd52iymwd1
two songs in and this destroys the last one, dudes
hxxp://www.mediaf!re.com/download.php?nmgykyqym3d
Nah that isn't real
http://www.mediafire.com/download.php?11onu1nokywNot the real album
A band from northern Spain (Gijón, Asturias). “Post-pop” or “post-punk” would have been easy labels to define Manta Ray’s sound, or to compare them with bands like Sonic Youth, Tortoise or The Ex. But their sound was (and still is when they play) personal, challenging, experimental, accesible to the average indie-pop listener and necessary to understand pop today.
http://www.mediafire.com/?xgdwzuulmnz
The "something sad" is Tomaszewska's ghostly singing. Her organ lines fill out the sound impressively, sometimes adding a kitschy goth element to the songs, but her clear, slightly melancholy voice is what holds the music together. Even more so than the up-tempo songs on their MySpace page, much of the duo's new material is furiously fast--without Tomaszewska's ear for dramatic melodies, it'd probably end up sounding like a weird take on artsy, hypertechnical thrash, a la Hella, if it weren't completely unlistenable. Instead what you get is a band that seems like the product of a Craigslist miscommunication that just happened to work out perfectly. It sounds bizarre when all you can do is read about it, but when you use your ears, it's enchantingly gorgeous.
Full Review here (http://www.chicagoreader.com/chicago/two-the-hard-way/Content?oid=924143)
http://www.mediafire.com/?my0djye1nzl
Green Milk From the Planet Orange - City Calls Revolution
prog rock
(http://img25.imageshack.us/img25/9812/citycallsrevolutiongree.gif)Code: [Select]http://www.mediaf!re.com/download.php?11onu1nokyw
Think mars volta without congas and horns and less pretentious.
Manta Ray - EsperanzaTrack 10 is corrupt
http://www.mediafire.com/?mzz2mjw1znlNamed after a lyric from "The Trapeze Swinger," Around the Well collects two discs' worth of B-sides, rarities, soundtrack inclusions, and discarded tracks from the Iron & Wine catalog. Such compilations can be tricky to assemble, but Around the Well is both comprehensive and conveniently presented, with each disc representing the two amorphous halves of Iron & Wine's career. Disc one is limited to the group's early days, featuring the soft bedroom whispers, homespun acoustics, and resolutely lo-fi production that fueled Sam Beam's home recording sessions. Material from those same sessions would later pepper the set list of The Creek Drank the Cradle, but Around the Well pays attention to the songs that were cut from the album, offering several gems amidst a constant dream of pleasing, stay-in-bed songcraft. Meanwhile, the second disc highlights Iron & Wine's shift from intimate solo project to collaborative indie folk affair, beginning with the Our Endless Numbered Days sessions and culminating in the pastoral psychedelia of The Shepherd's Dog. Some of these selections are already familiar to Iron & Wine's most fervent fans, including Beam's cover of "Such Great Heights" (heard on the Garden State soundtrack, as well as an oddly kaleidoscopic M&Ms commercial) and the gorgeous concert staple "The Trapeze Swinger." Nevertheless, the compilation does offer some surprising inclusions -- just listen to the piano-fueled barroom strut of "Kingdom of the Animals," or the vaguely Middle Eastern experimentation of "Arms of a Thief" -- and Around the Well serves as a helpful reminder that a discarded Iron & Wine song is still better than many fine-tuned cuts from similar bands.
http://www.mediafire.com/?uqyxlddzmhyRay LaMontagne's third album, Gossip in the Grain is as different from 2007's Till the Sun Turns Black as that album was from 2006's Trouble. The deep, heart-of-night atmospherics of the preceding disc have been jettisoned in favor of a brightly lit palette of textures and instruments that legendary producer and multi-instrumentalist Ethan Johns uses to illustrate LaMontagne's considerable ambitions as a writer. The set opens with the singer channeling his inner Memphis soul man on "You Are the Best Thing." Horns, strings, and a female backing chorus underscore LaMontagne's heartfelt uptempo rasp that touches on Sam Cooke as much as it does Tim Buckley with a hook worthy of Stax/Volt. In terms of sequencing, it certainly grabs the listener, but it is also arguably the best track here. "Let It Be Me" follows with a folksier, looser soul groove, where acoustic guitars, a Telecaster, piano, and strings underscore the hypnotic lilt in the verse. But LaMontagne can write a coda and a bridge and he gets his voice right into the meat of the lyric. We may have heard lyrics of this type a thousand times before, as they evoke loneliness and longing, but rarely have they been expressed this authentically and this dramatically. Echoes of Van Morrison's Astral Weeks are apparent in the gorgeous chamber jazz of "Sarah," and eerie, psychedelic British Isles folk -- complete with an otherworldly pedal steel -- haunts the grooves on "I Still Care for You." LaMontagne and Johns are able to create varying yet webbed atmospheres in these songs. Ray can find a style and write in it as if he'd created it. Johns adds so much depth and dimension in the mix that it feels as if both singer and songwriter will never be able to extricate themselves either from the emotional intentions expressed in his lyrics, or from the sound itself. The most notorious track on this set is the humorous yet tender "Meg White," for the White Stripes' drummer. With its imaginative use of an Ennio Morricone-esque spaghetti western intro, Johns playing Wurlitzer and Mellotron, a Pink Floyd cadenza, and drumming of the sort White trademarked, it's no throwaway; add to this a seemingly sincere offer of friendship and empathy and there is an undeniable emotional appeal. "Hey Me, Hey Mama," has a back porch singalong feel, and features a banjo, trombone, and trumpet. The rambling free-form blues of "Henry Nearly Killed Me, (It's a Shame)" touches on Canned Heat, John Lee Hooker, and the Rolling Stones; it's another high point here.
Gossip in the Grain is LaMontagne's most adventurous recording, yet in many ways it's also the most focused and well executed. The partnership with Johns has become almost symbiotic at this point; his songwriting has become so confident, sure, and expressive -- despite the ready intimacy in its subject matter -- that he's become a kind of force majeure. One thing is certain, that given the consistency and vision LaMontagne has shown on all three albums, punters are certain to follow him wherever he goes next.
http://www.mediafire.com/?j1nzznt3y3zPort O'Brien's 2007 debut helped established the nomadic collective in the upper tier of the wind-swept, Pacific Northwest folk scene. Like Fleet Foxes or Blitzen Trapper, the band's penchant for dreamy, reverb-heavy forays into the wilds of the rainy Northern California coastlines elicited numerous comparisons to indie folk demigods like Will Oldham and Jason Molina, and their blue collar day jobs (crabbers, bakers, and canners) brought an authenticity to the songs that most landlocked bands looking for the ocean in a cornfield with a conch shell lack. 2009's Threadbare follows in its predecessor's wet footsteps, and the death of a bandmember's sibling casts a long shadow over the project that sadly meshes beautifully with the outfit's sparsely delivered, yet emotionally rich sound. Bookended by a pair of oddly infectious laments called "High Without the Hope 3" and "High Without the Hope 72," Threadbare is most compelling when it's operating at half speed. Stand-out cuts like the aforementioned "High Without Hope 3," "Next Season," and the brooding title cut feel distinctly of the moment, and while the more upbeat tracks on Threadbare are competent and downright catchy, they're ultimately engulfed by the fog from which they were born.
Due to her youth (16 when she first hit Myspace, 17 when signed to an imprint of EMI, and 18 when her debut album came out), perky-cute looks and extremely British diction, singer/songwriter Laura Marling got a lot of comparisons to Lily Allen in her early buzz, but the quietly compelling Alas I Cannot Swim is not at all a frothy pop confection. A folk-tinged AAA pop record based on Marling's alluringly husky voice and graceful acoustic guitar, Alas I Cannot Swim would be more aptly compared to the likes of Feist, Keren Ann, or Regina Spektor. (In the album's press kit, Marling reveals her primary influence to be Bonnie "Prince" Billy, which also seems appropriate.) Although not to draw too forbidding a comparison, opening track and first single "Ghosts" is most strongly reminiscent of Joni Mitchell circa For the Roses, both in Marling's expressive vocal phrasing and the expert shifts in the arrangement between solo acoustic passages and full-band sections, not to mention an excellently deployed string section. That old-school '70s singer/songwriter vibe predominates throughout the album, in fact. There's one straight-up pop song here, the deceptively chipper-sounding "Cross Your Fingers" ("...hold your toes/We're all gonna die when the building blows" continues the sweetly sung chorus), but aside from that, Alas I Cannot Swim is the kind of album that takes a couple of listens for its charms to completely sink in. Rather than swath every track in prominent, ear-grabbing hooks, Marling and producer Charlie Fink choose to keep the decorations off in the distance on songs like "The Captain and Hourglass," where swells of pedal steel stay buried deep in the mix under Marling's hypnotic guitar line and quietly insistent vocals. There's every chance that Laura Marling will get lost in the shuffle as the unexpected commercial success of Feist's The Reminder leads major labels to unleash hordes of similarly talented female singer/songwriters, but Alas I Cannot Swim is far better than the average coffee house-endorsed girly pop.
http://www.mediafire.com/?nkzc2y5uzn1Between this and Alela Diane, I seem to be on a bit of a folk bingeNothing wrong with that!
http://www.mediafire.com/?zgvmmkxtg0n
Shame, delusion, and resignation are everywhere on Winners Never Quit. David Bazan's grim songs come off like allegories without the comfort of clearly stated life lessons. The listener is left to sort out the meaning or moral of gloom-ridden scenarios featuring troubled characters who live in America, the land of the winner. "To Protect the Family Name" is a painfully poignant depiction of a vulnerable drunk who's fallen off the wagon and is begging for another chance. Bazan's slow, almost slurred singing deftly places the listener in close proximity to the drunken protagonist. The drums have a murky sound quality that nicely reflects the song's theme and mood. Similarly, the title tune's enervated drumming matches the sentiment at hand. It closes out the album with just a glimmer of--for lack of a better word--hope, as Bazan sings, "Count it a blessing/that you're such a failure / your second chance might / never have come." --Fred Cisterna
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Hymie's Basement
Pretty much the most perfect album I've ever heard.
Studio mainstays for well over a decade, Zero 7's Henry Binns and Sam Hardaker can wring an expert production from nearly any song, whether it's synth-based or band-based, instrumental or vocal, unadulterated pop or colored with some other genre shade thereof. Their fourth album as Zero 7 includes all of those approaches, so file it as another in a career of ever-evolving records that have moved them from chilled downbeat into dynamic alternative pop. A dedicated rhythm section appears on half the record, accentuating the feel that this is a band record -- albeit impeccably produced -- with an array of guests taking vocal turns. As before, the songs are written well and the guest vocalists are selected with care, but they're usually overwhelmed by the numerous production touches. Each song is a variation on the pop form, whether it's straight commercial pop on "Mr McGee," neo-soul on "Medicine Man," folkie introspection on "Swing," or starburst electronica on "Pop Art Blue." The best and most natural blend occurs on "Everything Up (Zizou)," which has a bit of indie guitar over its sheen of electronic pop, with vocals from Binns himself and the most impressive of the guests, Eska (who sings over five tracks total). Though Zero 7 are still not in the same class as Air (or even Phoenix), Yeah Ghost is an enjoyable record that shows them apparently on the way to something more unique.(This record is way better than Air's latest)
http://www.mediafire.com/?vmjiqdmtn22Lackthereof , the nom de solo project of Danny Seim, came into existence in 1997, several years before Seim became part of the eclectic, Portland-based indie trio Menomena. Initially, the project embraced a spirit of electronica-tinged experimentalism, sounding something akin to the eccentric work of John Maus; Lackthereof's later work became more spare and folky, nodding to artists like Bon Iver and Bonnie "Prince" Billy. In the early days of the project, Lackthereof's recordings were relegated to CD-Rs; six of these discs were recorded from the project's birth up until Seim became engrossed with his work in Menomena. A few years down the road, Seim was picked up by FILMguerrero for his seventh Lackthereof release, Christian the Christian, which was released on that label in 2005. Lackthereof's second full-length on FILMguerrero, My Haunted, was released in the spring of 2008. It was followed a few months later by another full-length, Your Anchor, which was released on Barsuk Records.(For people who like Atlas Sound, or DIY Radiohead-y music)
http://www.mediafire.com/?nvew0cnomzxhttp://www.mediafire.com/?jamotmqytei
Can you make a mature album with a band called the Hidden Cameras? It's been an appropriate stage name over the past decade for Canada's Joel Gibb, describing aptly the explicit sexuality of his lyrics and the dark undertone hiding beneath his baroque orchestrations and genteel vocals. But most of all, the name telegraphs the band's distinctive playfulness (if we're thinking hidden cameras more in the "Candid Camera" sense than the Erin Andrews sense), a joyful glee that turns their concerts into pep rallies and makes Gibb's songs humorous without being novelty.
But the inevitable trajectory of any band, any life really, is to evolve from goofy prankster fun to rote adult seriousness. That's not always a bad thing, musically, but can the foundations of a concept like the Hidden Cameras-- with its Oscar Wilde wryness-- withstand the thematic shift? When asked about the old "jubilant" material, Gibb told a hometown website, "that naivety is kind of worn, I would say." Depressing words from the man who titled his last record with perhaps the most economical description of the band's sound and message to date (Awoo) and who bookended his best album with two songs about watersports-- and I don't mean synchronized swimming.
Like a pitcher tipping his curveball, Origin: Orphan signals this increased gravity in familiar fashion: two minutes of thick drone to introduce the dreary "Ratify the New". Wide-screen ambitious, the crescendos are both too bleak to be inspirational and too mannered to be cathartic. The album's other landmarks are equally drenched in gloom: with its chattering preset drums and air-raid guitars, the self-loathing title track is easily the dreariest thing Gibb's ever set to tape, and closer "Silence Can Be a Headline" is a sludge through last-dance arpeggios and maudlin strings. Only "Walk On" stands out among the new-direction material, retaining the boisterous chamber pop the Hidden Cameras are known for, but cranking the tempo down to a New Orleans funeral crawl with Gibb's searching tenor fitfully peeking through.
But as depressing as these hit-or-mostly-miss attempts to slow down and get serious may be, it's even more deflating to hear the songs that approach the Hidden Cameras' old team spirit but fall short. "He Falls to Me" and "Colour of a Man" both contain disappointingly monotone vocal lines rather than Gibb's typically ornate vocal runs, and show glimpses of hitting the raucous folk-punk strides off earlier material before slipping out of gear.
Only in a couple of places does the band's old giddiness shine through. "Underage" is a brief reprise of Gibb's sauciness, with a risqué refrain-- "let's do it like we're underage"-- made taboo when Gibb asks his partner, "I'll pretend you're seven, you'll pretend I'm eight." The song's Graceland-ish afro/electro-pop vibe is also very in tune with indie trends, a timeliness the Hidden Cameras come by honestly after peppering their songs with Ladysmith-lite backing chants. And Gibb adds a synth-pop edge-- flirting dangerously with the band's Magnetic Fields resemblance-- on the 8-bit beat of "Do I Belong?" and by borrowing Pete Townshend's old keyboard for the contagious "In the NA".
But when Gibb blandly promises there to "marry one day in the NA," it's hard not to recall his impish proposal to "Ban Marriage" three albums ago, just as the gay marriage movement began to catch fire. That mischief is largely missing from Origin: Orphan, and the lack of lyrical cleverness seems to have infected the music as well, making for a mostly cloudy listen from a formerly sunny-day band. You can't blame Joel Gibb for wanting to grow up, but nobody wants to watch a hidden camera unless it's focused on something fun and forbidden.
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One of my favorites of the year. I shoudn't have posted the album art, because when you're listening to him there's no way you'd expect him to be a young white dude as opposed to an awesome black soul singer from the 60's/70's. Really awesome soul with a little bit of funk, tongue planted firmly in cheek, but not so much that it stops being awesome. Really, if you can listen to "Just Ain't Gonna Work Out", and "Your Easy Lovin" and not think this is awesome music you're doing something wrong. Get psyched on this record dudes.Code: [Select]http://www.mediaf!re.com/download.php?nmgykyqym3d
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Age Sixteen - Summer 09 Demo
If the latest Detritus album, Things Gone Wrong, "accidentally" appeared here--well--I wouldn't complain. /awkward cough
Detritus's fourth full length album is both a general update of what could be hinted at with the previous three and this act's opening to new territory. Very detailed, and combining both ferocious drum'n'bass moments with delicate and touching melodies, "Things Gone Wrong" caresses, kicks and impresses as Detritus's most crafted. A treat for the fan, and an excellent snapshot of what this act is about for the newcomers.
http://www.mediaf!re.com/?wdnz2emx0ti
http://iconoclastsband.com/Iconoclasts are a Portuguese six-piece from Lisbon with Diogo and Pipa singing and screaming (not at the same time), Pedro doing freaky dances while playing bass, Ricardo hammering away on the drums like his life depended on it, Vitor playing guitar (he's not allowed to play the harmonica, though he'll often try to sneak it in while no one's paying attention) while pounding on every effects pedal imaginable, and Sérgio doing the same with every annoying thing he lays his hands on. They play shouty, noisy music their mothers would not be proud of and allow themselves to enjoy the sweet, sophisticated pleasure of caustic feedback afterwards.
wrong link
http://www.mediafire.com/?my0djye1nzl
According to their website, the full name of Malmø, Sweden's the LK is The Love of Kevin, Colour, Chaos and the Sound of K (no word on how to say that in Swedish). This ungainly phrase, wisely abbreviated for general use, seems like an oblique reference to member Lindefelt's synaesthesia, which causes him to mentally associate colors with timbres. Synaesthesia's one of those weird brain glitches that seems like it could actually be cool to have, though I imagine that for those afflicted, the novelty value of being able to see sounds isn't quite as apparent. Lindefelt's partner in the LK, Fredrik, can't see sounds, but is apparently a good chef.
Both men have their own projects-- Fredrik's is a band called Fredrik, and Lindefelt performs solo electroacoustic shows with his cello-- but together they make some pretty awesome synth-pop. The music has a spiky immediacy, with Lindefelt's vocals way up front, backed by sharp beats and electronic collages. Fredrik's guitar and Fender Rhodes provides the harmonic structure, but the timbres of the instruments are rounded off and subsumed into the overall texture. It's a sound superficially similar to the Cansecos and Russian Futurists.
The key to the album's infectiousness, though, lies not so much in the vocals as in the bouncy basslines that percolate at the bottom of the songs. "Tamagotchi Freestyle" rides one of these , a disco-worthy descending phrase that perfectly backs up the instrumental hook, which Fredrik swaps between guitar and cornet. The lyrics mercifully skip any references to the once-ubiquitous digi-pets of the title in favor of calls to burn Elvis alive, and the immolation of a pop icon has never sounded quite this appealing.
I would've called "Tamagotchi Freestyle" a standout, but frankly by that standard half the album would be standouts. In addition to being a good pop record, it's a good details record-- dig the echoing pings and odd, watery guitar tone on closer "Yellow Ribbons", for instance. "Stop Being Perfect" has a great verse melody to set up the chorus, but the bed of electronic tones that worms its way through the beat is just as interesting. Then there are the staccato blasts the underpin the beginning of "Private Life of a Cat"-- what are they made of? It sounds like guitar and trumpet and white noise all smashed together to make one sound.
And speaking of cats, one of mine was completely freaked out by the way the backing vocals on "Eurovision" are injected into the song. He was convinced the sound was coming from someone in the room. The album hits a bit of a lull toward the end, with a few slow tracks that don't grab with nearly the force of their neighbors, but overall The LK Vs. the Snow is a sharp collection of songs that keeps pulling me back for more.
http://www.mediafire.com/?yqm4tm52idiAnorak and other complicated words beginning with an A (http://www.youtube.com/watch?v=IzqHiZ1eYS8&feature=PlayList&p=3A1C89EF182C08A4&index=1)
http://www.mediaf!re.com/download.php?hyymxnczjmg(http://img200.imageshack.us/img200/9278/alackthereofretrospecti.jpg)
Lackthereof - Retrospective 1998-2008Quote from: Allmusic's about sectionLackthereof , the nom de solo project of Danny Seim, came into existence in 1997, several years before Seim became part of the eclectic, Portland-based indie trio Menomena. Initially, the project embraced a spirit of electronica-tinged experimentalism, sounding something akin to the eccentric work of John Maus; Lackthereof's later work became more spare and folky, nodding to artists like Bon Iver and Bonnie "Prince" Billy. In the early days of the project, Lackthereof's recordings were relegated to CD-Rs; six of these discs were recorded from the project's birth up until Seim became engrossed with his work in Menomena. A few years down the road, Seim was picked up by FILMguerrero for his seventh Lackthereof release, Christian the Christian, which was released on that label in 2005. Lackthereof's second full-length on FILMguerrero, My Haunted, was released in the spring of 2008. It was followed a few months later by another full-length, Your Anchor, which was released on Barsuk Records.(For people who like Atlas Sound, or DIY Radiohead-y music)Code: [Select]http://www.mediaf!re.com/?nvew0cnomzx
http://www.mediaf!re.com/?wjh2mmnnwbbThe first thing that a casual listener will notice about Rubycone’s debut album is its rather original title and the matching, Fifties-style cover artwork. Then, even a cursory look at the track list will reveal titles reminiscent of a Frank Zappa or Canterbury album. Rubycone displays a sense of humor that, by and large, seems to be sadly lacking in the world of prog (with very few notable exceptions), and not extremely frequent in that of so-called ‘alternative’ rock either. The actual listening experience, though, may turn out to be a disappointment for those expecting some sort of quirky, avant-garde storytelling. In fact, “Pictures of Susceptible Housewives” is a wholly instrumental album, and the only vocals heard come in the shape of voice-overs. This is not incidental: when the band finally found a stable lineup, they decided to eliminate vocals, which had caused numerous problems in its previous incarnations. The album was conceived as a series of sonic vignettes strung together by a common theme – loosely based on the effect of consumerism on ordinary people. However, its instrumental nature makes it difficult to see the connection between the concept and the music, unless the listener has a very fertile imagination. Unlike some works of ‘impressionistic’ classical music, the various tracks are not really descriptive of the various situations suggested by the titles. Anyway, in spite of these misgivings, it was a bold move on the part of the band, and one that can lead to interesting developments if pursued further. Musically speaking, Rubycone occupies that grey area between classic/traditional prog-metal and hard-edged, eclectic prog a la King Crimson. The prog-metal inspiration shines clearly through in the second half of the album: in the slashing, crushingly heavy riffs and machine-gun drumming of the likes of Cry Baby You Are a Machine and Don’t Stop Michael. Echoes of King Crimson are instead evident in Children & Funny Earthquake, especially in the guitar tone. Most of the tracks have a rather complex structure, alternating slower, mid-tempo sections with hectic riffing and spiky, shred-like lead work – perfect examples of this are, besides the ones already mentioned, Vikings Love Horses, featuring some tasteful, Spanish-flavored guitar licks alongside the riffing madness, and the drum-powered Fisherman’s Story. As the whole album runs at 41 minutes, the tracks are short and to the point – the longest, album closer When the Rain Is Over, I’ll Say to You Hasta la Vista, is for more than half made up of sound effects (rain, thunder and lightning), plus a snippet of dialogue from the “Terminator 2” movie, before launching in a full-throttle metal cavalcade. Given the nature of the music, the short running time definitely works to the album’s advantage. There are also a couple of mainly acoustic tracks barely over 1 minute, Midnight Broken Heart and the funnily-named Porcupine Tree Alone (which, incidentally, does not really sound like the titular band), both functioning as a sort of interlude. As can be expected from such an ambitious album, the musicianship is excellent throughout, though the individual tracks can be surprisingly accessible. Unlike other bands playing a similar strain of music, Rubycone avoids clubbing the listener over the head with their technical wizardry, and the outstanding production values make it possible for each musician to be heard and appreciated in his own right. It remains to be seen if the band will choose to pursue the path of instrumental music or will instead decide to throw some vocals into the equation – which might drastically alter their sound and general impact.
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http://www.mediaf!re.com/download.php?mjmndhjk4zjMan do I ever love Robbie Fulks. He continues to be criminally overlooked in his own country. Fulks is a real performer in a manner you scarcely see any more. So much of what is called "Indie Rock" is made by melodramatic, somewhat juvenile people who seem to be utterly unaware of the sheer distastefulness of entitlement. The limited amount of time I have spent around Robbie Fulks suggested to me that he treats music as something which you never really turn off and should always be happy to be doing. His shows are ridiculously entertaining, punctuated by streams of jokes and near constant re-arrangement and spontaneity. When I saw him play at a music festival in the UK years ago, he was clearly delighted to be received warmly by an audience which was there primarily to see noisy punk rock bands. Facing a potentially disinterested or hostile crowd, he killed it. It was like someone walked in and shot up the place. Later on he played again on his own just for the fuck of it.
Four great things about Robbie Fulks.
1) Robbie Fulks wrote the song 'Anything for Love' which is a fucking ace tune by absolutely anyone's standards.
2) Robbie Fulks is the best guitarist I have seen with my own eyes. I've seen Sir Richard Bishop and Andy Cohen too.
3) He wrote, recorded and released a song called 'God Isn't Real' (http://robbiefulks.com/music/songs/520-God-Isn-t-Real) for his major label debut. Needless to say he was dropped soon after.
4) His website (http://robbiefulks.com/) contains his frank and often hilarious blog on the home page.
Salut, Robbie Fulks!
http://www.mediafire.com/?tadinzmmqwzhttp://www.mediaf!re.com/?htm4tdjzzydSeven years into Enon's career, fans should know to expect the unexpected-- which is, in this case, the completely expectable. Let me rephrase: While they've never shied from frothy pop or big guitars-- and done pretty well with both as of High Society and onward-- Enon have come at it from their own direction, trailing their samplers and Moogs in an unbalanced camper just behind the hooks. There's plenty of unexpected and strange sounds on Grass Geysers... Carbon Clouds, but they're far less obvious or apparent, tucked away behind big-rock choruses and spotlight-ready vocal turns. After a four-year gap between records, there's no "alternate-universe" wishing about the songs on Grass Geysers...; they seem radio- and arena-ready, and that's probably where they'd sound best.
By now, Enon deserve any larger audience they get. But the career yardstick becomes harder to avoid when Touch and Go reissues their first album, Believo!, the same day this comes out. While still pretty indebted to the mechanical grind and falsetto of grind and falsetto of Schmersal's former band Brainiac, Believo! boasts gloriously weird and unexpectedly pop moments such as "Come Into" and "Conjugate the Verbs". More than that, though, it felt more inward and somehow private. Hearing songs like the genre- and gender-bending "Cruel" was like peeking into a someone's bedroom keyhole and seeing something you shouldn't have.
Grass Geysers... Carbon Clouds is just the opposite. If the new record has an antecedent, it's High Society, though it's without that record's huge hits or peaks and valleys; this one's more the steady simmering aftermath of High Society's initial blast. Grass Geysers is still full of sleek pop, but with more concentration on textures or accents: The pervasive handclaps of "Mirror on You", the interlude of chirping birds on the otherwise lean "Colette". They've done a such a fine job streamlining, you might not even notice the low electric gurgle of bass on "Dr. Freeze" or the woozy robot growl of "Law of Johnny Dolittle" beneath the song's slinky backbeat and descending vocal line.
The album's centerpieces, and most straightforward rockers, are "Pigeneration" and "Mr. Ratatatatat". The former opens with a drumbeat reminiscent of "Sunday Bloody Sunday" before Yasuda coos a few words over Schmersal's glistening, echoing chords and Yasuda's roof-reaching vocal, while the latter is a tag-team between Yasuda and Schmersal that moves from dissonant guitar crunch to big-rock bluster.
Still, it might be the record's final third that's the most rewarding-- even if it doesn't contain any out-and-out crowd-pleasers. "Paperweights" marries stormy percussion to B-movie keyboards that never repeat the same tone twice. The scratchy drum loop that opens "Labyrinth" grabs just as much attention as the jagged scrape of guitar strings, and "Ashish" has Yasuda pleading over a dub-like throb and minimal atmosphere of early Cure records. Even with the more straightforward tracks before it, it says something that Grass Geysers... still seems like a seamless record throughout.
Leaner and more direct than its predecessor, Hocus Pocus, few fans will be disappointed with Grass Geysers... Carbon Clouds. Four years between records is a relatively long time, however, and to return to business as usual seems, somehow, unusual for a band who have never done things in a very orthodox manner. A little less quirky and little more eager to please than they once were, Enon are looking beyond being a small cult's favorite band; instead, they've simply made a damn solid rock record.
— Jason Crock, October 15, 2007
http://www.mediaf!re.com/?tkm4eh2mwzmWith a track listing that spans six years and several different band lineups, Enon's singles, B-sides, and rare tracks collection Lost Marbles and Exploded Evidence could have been too scattered for its own good, but it's actually one of the band's most enjoyable releases. There's something endearing about the twists and turns the band take as their music evolves from Believo!'s post-Brainiac spazz pop into the more stylish (but just as quirky) sounds of High Society and Hocus Pocus (the comp's liner notes give a playful nod to this evolution, marking the earliest tracks with eggs and tadpoles and the later songs with full-grown frogs). The try-anything approach on the whole collection -- even the tracks that don't entirely work -- holds it together and keeps it from sounding too exploded, despite the fact that the album gathers songs as disparate as "Marbles Explode," a skronky, Believo!-era artifact, and "Raisin Heart," a delicate, almost loungey track from a 2001 7". Some of the best tracks were "Songs of the Month" on the band's website: "Knock That Door" is quasi-Shibuya-kei that's as charming as anything by Takako Minekawa or Kahimi Karie, while "Adalania (Not So Fair)" is a piece of chamber synth pop that's kissing cousins with High Society's title track. These songs, along with the space invaders duet "The Nightmare of Atomic Men," "Tilt You Up!," and the gorgeous, bittersweet "Kanon," are as good as Enon's proper album tracks. Short bursts of sonic mischief like "Below Infinite Ways" and "Making Merry! Merry!" fill out the album, adding to its sugar-buzz-like rush. Given that it's an odds-n-sods collection, there are a few "off" tracks and a slightly random feel overall, but Lost Marbles and Exploded Evidence revels in its eclectic eccentricities and ends up being all the better for it. The first edition of the comp comes with a bonus DVD that includes the most complete collection of Enon's videos to date, as well as live performances from the Believo! and Hocus Pocus tours and candid footage of the band. The videos are the real draw, celebrating the band's eye-popping visual flair with clips like "Daughter in the House of Fools," which looks like illustrations come to life, and the live-action anime of "In This City." The "Mikazuki" and "Murder Sounds" clips suggest that Enon could very easily do a video album -- especially since this collection and its bonus material make such a fun, creative package.
http://www.mediaf!re.com/?zjyzyya1nt3After Brainiac's untimely demise, few in the indie realm were expecting much of a comeback from any of its members-- particularly a latecomer like replacement guitarist John Schmersal. And initially, suspicions seemed confirmed by a record he issued on the short-lived SeeThru Broadcasting label under the alias John Stuart Mill, an uneven folk record that couldn't decide whether it wanted to win over the masses or languish forever in used-bin obscurity. But as most music fans agree, it takes more than one talent to make a truly transcendent band, and with the release of Enon's 2000 debut, Believo!, John Schmersal proved himself that missing link.
Believo! proved an incredibly solid, diverse, and most notably, original offering, with its punchdrunk serpentine melodies and Skeleton Key percussionists Steve Calhoon and Rick Lee's junkyard assemblage providing the record's sturdy core. With critical acclaim and moderate indie sales on their side, things were looking up for Enon. That's when Schmersal hit another unexpected roadblock: his entire rhythmic section returned to their former band to record a second full-length-- no less than five years after their first tanked for Capitol Records. Worst decision they ever made? Probably, because John Schmersal was determined. After having death come between him and success, it had to seem like only a minor setback.
Enon quickly bounced back. Picking up singer/bassist/keyboardist Toko Yasuda (late of Blonde Redhead and The Lapse) and drummer Matt Schulz, the band re-emerged fully formed as an outfit more interested in bumping nasties than creeping out audiences with cyborg-rock dirges. Amidst fan concerns that losing half its members would irrevocably derail Enon's plotted course, High Society again surprised everyone. Here, they patented-- and maybe perfected-- their beat-happy dance-pop/rock hybrid, and immediately took their rightful seats at the head table of the rocker class of 2002. How do you follow that up?
No, seriously, Schmersal needs an answer, like, now.
Too late: he decided without you. The choice? An odd one: milking the stylistically varied but thematically consistent formula of High Society, quite possibly on autopilot. Bafflingly sequenced, Hocus Pocus opens rather flatly with the downtempo trip-pop of the Toko-led "Shave", but then revs up with "The Power of Yawning", a Kinksian guitar-pop romp which collapses into a bizarro, almost Bowie-esque bridge spotlighting a stately Schmersal warble. What's more, the record confounds like this all the way through, with many of its most compelling tracks dumped off near the end. A shame, since several of these-- including the moody desperation of the serrated art-punk number "Starcastic" (also the record's first single) and the supremely rarefied strut of "Monsoon"-- would stand out beautifully even amongst High Society's strongest tracks, but may never be discovered by some impatient listeners.
Credit is due for the album's centerpiece and most innovative cut, "Daughter in the House of Fools". A stutter-step Jeep anthem blasting Toko's sing-songy vox and bass-quaking beats, the track belches forth an array of blurts, beeps, and bells, with rhythmic bobs and weaves that indicate that Rick Lee's junkyard percussion-- recreated here via MIDI triggering-- remains at least a psychic influence. The album's most immediate highlights, though, are those that feature Schmersal and Yasuda's dueling male/female vocals ("Starcastic", "Murder Sounds", and the surprisingly sweet lilt of "Candy"), an underused technique in any genre, let alone Enon's budget-futurist danceclub pop.
If you can make it past the album's frustrating layout (I've found liberal use of the 'skip' button to come in handy for this), Hocus Pocus proves a fine collection of songs by pretty much anyone's standards. Not so much a step backwards as a failure to leap fully ahead, this may not be exactly what fans were expecting, but if we're going by Schmersal's track record, it's not nearly the last straw.
http://www.mediaf!re.com/?mjdzlgvdmzihttp://www.mediafire.com/?jkwjgmnmtdhHello Mom! might not be a dance-music crossover on the level of, say, Röyksopp albums; it might not even be a crossover on the level of Mylo's or Vitalic's, but it's still impressive enough to entertain folks well outside its core audience-- German electro-tech geekery not entirely required. "Impressive" isn't even the word: There's hardly a minute on this record that doesn't keep turning out to be way more fun than the last time you heard it.
The album comes from Ellen Allien's Bpitch Control, a label whose artists tend to skirt the lines between dancefloor function and home-listening quirk: Even when they aspire to get you deep and sweaty on your nights out, there's something grainy and queasy about it, a kind of twitchy brutalism that reminds you of the person behind the machines. The sounds here that really hit the body-- say, the face-punching blurts on "Kill Bill Vol. 4"-- stay just as tweaked-out lovable at home. And for every one of them, there's a dozen that are just squishy and colorful and even more fun: Check the back-flipping bass lines on "Die Clubnummer", which sound more like dorky robots acting out Three Stooges routines. "Dancingbox" cuts up French rhyming into a granular stutter over tweaks that are active and constant without ever crossing over to hyperactive or gratuitous. "Silicon" does the same with Sasha Perera's vocals, for one of the best results here-- it's almost as if it were made as a demonstration of How to Improve M.I.A.
The front and back ends of this album are full of treats like that-- circus-trick edits, ultra-modern production, and pure sonic candy. What really makes the record worth it, though, is the way it holds up through its more atmospheric center. This stuff slows down nicely, coasting through a few soft electro grooves, pulling off "thoughtful" tones like Orbital, and even sliding into some clattery dub. The constant hi-fi tweaks and switchbacks might tread close to distraction-- or just empty calories-- but there's an ear for melody and movement that seems to keep them from ever drifting too far off.
So what's scaling back on its crossover potential? Well, the fact remains that it's a technical record. There's emotion (see "I Love You"), but it's not an emotional package; there's pop, but it's not a human pop album. You get what you'd expect from tracks with names like "Tetrispack"-- tweaky computer-age fun, thrilling sound, jittery details, robotic rhythmic switchbacks. Albums like this don't hit so many people with deep bonding experiences; they don't wind up on desert island lists. The good news is that we don't live on a desert island, and this album stands a great chance of enlivening a lot of your days here in the non-hypothetical world. At its best, strangely enough, it's a dance imperative free of those deep, dark depths-- and packed with a shiny, geeked-out joy that keeps you cartoon-dancing beside the speaker.
http://www.mediaf!re.com/?ynmaodiznwzBetter on paper than in practice, glitch-hop was semi-hot around the turn of the decade, when hordes of electronic music listeners realized that IDM probably couldn't survive on sonic sculptury and naval-gazing alone. Musical Darwinism eventually won out, though, and after a few years' worth of dud records and even dudder MCing, glitch-hop eventually went the way of your garden variety Scott Herren pseudonym, never to be awkwardly nodded along to again.
If you remember any of that, or worse yet, happened to be one of those gullible enough to part with your hard-earned money in exchange for some of those records (I'm fairly certain nobody more did than yours truly), the standard logline on Berlin's Modeselektor ("electronic + hip-hop fusion") might be enough to give you the involuntary shivers. Truth is, though, these guys have moments where they're so good at what they do that they practically redeem the concept altogether.
Modeselektor are Gernot Bronsert and Sebastian Szary. Although Happy Birthday! is only their second full-length, they've been recording together in various capacities for almost 15 years, a period during which they've taken a number of different detours ranging from acid to glitch-hop to IDM to offbeat electro. In Modeselektor, all of those influences have come to rest and congeal into a well-articulated and slightly sinister-sounding whole. But what's interesting about Happy Birthday! isn't just that it fuses together the most unfashionable or discarded elements of electronic music's recent history, but that it manages to sound so fresh in doing so.
Longer and less twitchy than its superb 2005 predecessor Hello Mom!, Happy Birthday! finds the duo stretching out its legs a little more. Where that fidgety debut was a minor triumph of ADD-addled production, the songs on Happy Birthday! are allowed to breathe and settle into a groove. The unrushed tone means that some of them end up working as mini-genre exercises. Tracks like "BMI" and "Edgar", for example, bear all of IDM's finely articulated sonic details. Elsewhere, hip-hop tracks like the TTC-aided "200000" and the Puppetmastaz-aided "The Dark Side of the Sun" throw back to glitch's digitally blenderized vocals.
Ultimately, it's Modeselektor's fidelity to the low end that ties this record together. Where a lot of that old school glitch and IDM stuff was traditionally terrible with unimportant things like, you know, basslines and rhythms, Happy Birthday! pretty much bangs. From the stuttering almost-booty beat of "Hyper Hyper" to "Godspeed"s grinding synths to the fluttering ragga of resurrected oldie "Let Your Love Grow", this is a record made with the dancefloor as much in mind as the bedroom. (And, speaking of the bedroom, it's also worth mentioning that vociferous Modeselektor fan Thom Yorke turns up to calmly and casually outdo at least half of The Eraser with the lovely penultimate ballad "The White Light".)
If there's one criticism to be made of Happy Birthday!, it's to do with its length. 70+ minute records are increasingly difficult to justify in the mp3 age, and, of course, this one isn't without its lulls either. You also have to wonder how such a heroic show of ranginess will position Modeselektor in techno's increasingly specialized and splintered landscape. (One local London zine recently described them as "bassbin-blowing techno hop dubstep core" which is scenester for "fine, you file this" if I've ever heard it.) Ultimately, though, I guess those concerns are for Bpitch's marketing department. So much of this record sounds utterly thrilling coming out of the speakers that it seems silly to quibble over something as boring as taxonomy.
http://www.mediaf!re.com/?mhbnvl2znnyAt Bleep's behest, Planet Mu owner Mike Paradinas has specially curated this remastered collection of new wave beat-smiths, the Mu-comers, as an exclusive bundle including an unreleased Falty DL track. What's better than all of that? These fourteen tracks are yours for just £5.99.
Since 1995 Mu has been at the forefront of electronic music innovation, in the last year we have witnessed them beating down a fiery new path, releasing wave after wave of twelves from the hottest new producers on the globe: Floating Points, Raffertie, Starkey, Brackles, Few Nolder, Falty DL. This is your chance to capture all this thrilling Mu talent in the one release.
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Take a close look at your record collection. Like me, you probably own dozens of albums with only one or two good songs, mediocre discs you can't bear to sell because of a catchy college radio hit, or that earnest curiosity your friend played you one night during that perfect two-beer haze before a party, full of excitement. Maybe it's even something you came across in your file-sharing exploits. You're probably afraid you'll never find these records again, and as I approach thirty, that's been the rationale for a lot of questionable hoarding on my part. In short, I will not be selling A Strangely Isolated Place.
Ulrich Schnauss isn't a revolutionary artist. Like Guitar's Peter Grove, he's operating in a software-driven world of loops, and not the least bit concerned about hiding his influences. Though he dotes on everyone from Orbital (unintentional "Belfast" bells rise from the multi-track din that closes "Gone Forever") to OMD ("In All the Wrong Place" begins as a sort of minimalist tribute to "Enola Gay"), he is most obviously obsessed with Slowdive. Listening to his second album, A Strangely Isolated Place, I can only assume Morr's Blue Skied An' Clear tribute to those shoegazers was his idea.
Slowdive's Neil Halstead was a similarly indebted artist. A protégé of the Cocteau Twins' Robin Guthrie, Halstead stretched his predecessor's glistening, reverbed delay to such ephemeral lengths that many early Slowdive songs bordered on precious goth (as did many of their fans). As the band disintegrated, dismissed in the press as students, chaos fueled a masterstroke: 1995's airy, weightless Pygmalion is one of the best of the decade, predicting the ambience that's dominated the independent landscape ever since. Ulrich Schnauss takes cues from "Crazy for You", but more specifically builds from the cathedral electronic tracks appended to the U.S. issue of 1993's Souvlaki (in an odd, backwards moment, this widely available American disc is something of a collector's item abroad-- check out the fold-out poster!).
"A Letter from Home" runs in the fields of Halstead's delay, playing like a ferris wheel ride over teenage abandon abandoned, a slow-motion replay of all the moments you'll never get back. But its aching nostalgia is still too mid-90s danceable-- imagine a hollowed-out taken on Chapterhouse's "Pearl"-- to become oppressively morbid or referential. Schnauss loves the melancholy sound of echoing guitar, but he can't find anything to bleat about, resolutely celebrating the simple joys of life, like faraway trains passing by.
Though "Gone Forever" and "Monday Paracetamol" are made up of instantly recognizable sounds, on closer listen, there's a uniqueness to the way Schnauss brings them together. Where Guitar melded Curve and My Bloody Valentine, so Schnauss plays with Orbital, Slowdive and pre-trip-hop dance beats, popularly abused by the likes of Jesus Jones. Distant vocal moans perfectly drift in and out of his punchy tracks, but his keyboards could use a few new tones. Most of the plastic keys produce sci-fi waves comparable to Vangelis, or the 90s technophilia of B-12's Trans Tourist. By the time of "Clear Day", it seems Schnauss is operating on a premium of equipment and ideas, as most of these tracks are interchangeably paced and compositionally slight.
As if to answer for this borderline monotony, Schnauss closes A Strangely Isolated Place with three wildly different pieces. The almost Spiritualized lament "Blumenthal" drips from plucked nylon strings and xylophone hammers, a proper trip-hop daydream that swells to a glorious walk in the clouds in its most coherent moments. "In All the Wrong Place" is even more daring, a \xB5-Ziq tribute that pays off, properly seating Mike Paradinas' dinky keyboards in a distorted drum-machine bed; I won't go as far as to say it's on par with "Roy Castle", but this is definitely a worthy inheritor to the \xB5-Ziq's electronica masterpiece In Pine Effect.
The title track closer isn't the best send-off-- Schnauss should definitely have closed the record with "In All the Wrong Place"-- but the title track does continue with the reverential Rephlex sounds that work best on this record. When the Halsteadian guitar comes in, it's almost a reminder of what Schnauss has already left behind, a sound with too few options, one he more than explores on the first half of this wonderfully breezy but repetitive full-length.
http://www.mediaf!re.com/?i2g2ln5jzxm>Date: Wed, 29 Sep 1999 17:55:41 -0400
>From: Snake [[email protected]]
>X-Mailer: Mozilla 4.06 [en] (Win98; I)
>To: Tony Blair [[email protected]]
>Subject: X-Plaid922-1; Request for Government Assistance
Dear Mr. Blair:
My position is as an undercover agent in London's secret police mafia. I have been hired to investigate allegations that two former members of Black Dog Productions, Ed Handley and Andy Turner, have illegally obtained official documents pertaining to the creation of a highly addictive, mind- altering chemical agent (referred to in goverment documents as X-Plaid922-1) which affects its victims via audio transmissions rather than means of physical intake.
I am concerned that Handley and Turner may have, under the alias of Plaid, not only unlocked previously unrealized secrets about the production of this chemical agent, but also discovered a way to digitally reproduce it onto compact discs, cassettes, and even vinyl records. As you know, it is the reproduction of the X-Plaid agent to compact disc that is of the utmost concern. In this technologically- advanced society, nearly every home has a compact disc unit. Handley and Turner must be stopped before every person on this Earth becomes an X-Plaid junkie.
The first piece of evidence I have obtained is their 1998 release Not for Threes. The music on this record is so painfully wonderful that even I, Snake "Nerves of Steel" Snakeman, was almost drawn into its tangled web of madness. The album is an excellent indication that Handley and Turner are not working alone. Not for Threes features guest appearances by a number of female vocalists, among them Talkin' Loud Records diva Nicolette and even Icelandic sensation Bjork. When tested for levels of the addictive X-Plaid agent, Not for Threes registered a 7.5 out of 10 on Pitchfork- funded equipment. Luckily, the album did not gain widespread mainstream acceptance, though the minds of a number of club- hopping e-consuming electronic music fans were utterly destroyed.
The greatest shock to me is how an album containing the X-Plaid agent, let alone such excessive amounts, was able to garner enough of a following for the band to appear on our own BBC- operated John Peel show! Thankfully, Plaid had apparently not yet perfected their aural narcotic, as Pitchfork equipment registered X-Plaid levels for the band's subsequent Peel Session EP at a slightly less potent 6.8.
Plaid's latest album, Rest Proof Clockwork, is another story entirely. Here, they seem to have enhanced and mutated the X-Plaid agent dramatically through more varied instrumentation and exploration of what is commonly referred to as melodic "ambient" music. This allows the listener to lose themselves completely in a world of X-Plaid- induced bliss, whether they're paying attention to the music or not. A key demonstration of this is the album's closing track, "Air Locked." The music begins with a series of percussive shuffles and squeaks before beautiful, highly melodic chimes and digital effects enter the mix. The sound is almost spiritual, invoking cinematic rainforest imagery.
The X-Plaid agent is planted throughout this entire record, making it difficult or impossible to resist addiction. For instance, the orchestral "Dead Sea" is an irresistable symphony of pure evil, recalling Jerry Goldsmith's timeless score to "Poltergeist." "Little People" is a blend of \xB5-Ziq's spacy melodic attack, and pummelling, cut-up hip-hop grooves. "Pino Pomo" combines backwards effects with the feel of a futuristic spaghetti western. Even the absurdly titled "New Bass Hippo" pulls through, incorporating shuffling percussion and a Stereolab- influenced piano line.
With every passing second I work on this case, I find myself becoming more and more attached to the sound of the music, but I must venture on... to justice. I will require government assistance-- backup, arms, further documentation from the X-Plaid922-1 file, and a free lunch at the Denny's in Golden Valley, Minnesota, USA-- in apprehending these two zany, madcap individuals. Please respond ASAP.
----
Snake Snakeman,
Secret Police Mafia
Check out my Simpsons website:
http://www.simpsons.secretpolice.co.uk
— Ryan Schreiber, June 21, 1999
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If there's one emotion that most defines FaltyDL's debut record, it's curiosity: Love Is A Liability the sound of Andrew Lustman's brain unravelling in tapers of warm rave memory, reaching backwards to touch lightly upon that period in the mid-to-late Nineties where jungle was stolen away from the headz and fucked around with by Aphex Twin, Squarepusher, Luke Vibert. For all its awe at those experimenters, the album never feels anything like contrived or unnatural though, possessing a gallant 2-step bounce exemplified best, perhaps, in the questing 'NYG' of 'To New York'.
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http://www.mediafire.com/?sharekey=023e7c771b210e3b0dec85adfe0a530a0c9a5ee814faa0fc4ad239450a8c1cf1How has On The Might Of Princes stayed off my radar until now? This is the big question that I keep posing to myself after each subsequent listen of Sirens, OTMOP's third LP and first on Revelation Records. The music this New York quartet brings to the table is wholly fresh and original, but still in touch with it's roots. And I'm digging it, big time.from punknews.org
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The band's sound is an obvious post-hardcore one, but with more twists and turns than your typical group. The band seems to have two personalities musically, each representing one of their singers. One singer spends most of his songs screaming and/or muttering ala Conor Oberst, and there's a big Gainesville sound influence on these tracks - maybe not as spastic as Twelve Hour Turn or I Hate Myself, but not as melodic as Hot Water Music. OTMOP treads that middle ground with pride, and it definitely keeps my ears open.
The other singer takes a more melodic route, especially in songs like "The Swell And The Breaking" and "They Have Teeth," both of which have a much more midwestern mid-nineties post-hardcore sound, ala that of early Braid [with vocals somwhere in between Ted and Tim of Cursive]. If one were to make a comparison to posthumous labelmates Texas Is The Reason, one wouldn't be too far off track, although TITR's songs seemed more focused on straightforward arrangements, whereas OTMOP's songs seem to shoot off into left field at random points, going into dancy drumbreaks and gutteral breakdowns galore.
The production on the record is just lo-fi enough, with a real raw quality making most of the songs shine. I can really get a feel for this band's live show off this recording, and I believe that's a good sign. The lyrics are as obtuse as you'd expect a band like this to be, but not to the point of pretentiousness. I find myself turning to the lyric sheet numerous times to check my lyric memorization, as this stuff does get stuck in your head.
All in all, Revelation has a solid winner on their hands, better than anything else they've put out this year. Recommended
http://www.mediafire.com/?zg4mtjgwn2kFor Bryan, and anyone else who likes sounds.
ON THE MIGHT OF PRINCES - sirens (2003)
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This is actually pretty interesting.
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http://www.mediafire.com/?mzlngeimtdmJack Kerouac's 1962 novel Big Sur.
gibbardfarrar main
Autumn de Wilde/Shore Fire Media
Benjamin Gibbard and Jay Farrar's collaboration is based on Jack Kerouac's 1962 novel Big Sur.
October 13, 2009 - They'd never met until they discovered their mutual admiration for writer Jack Kerouac. Jay Farrar of Son Volt and Benjamin Gibbard of Death Cab for Cutie were both at a San Francisco recording session in 2007, working on music for a Jim Sampas documentary about Jack Kerouac. After completing that project, Farrar and Gibbard decided to work on some music based on words by Kerouac. They would choose Big Sur, Kerouac's 1962 novel, and write 12 songs. Together, they comprise One Fast Move or I'm Gone: Kerouac's Big Sur, available here in its entirety for the week leading up to its Oct. 20 release.
The bulk of the songwriting took place during a five-day burst by Farrar. Though Farrar has a library of Kerouac books, he'd never read Big Sur — a novel about an alcoholic who retreats to a cabin in Big Sur to dry out, only to find that he drinks because he has to.
After hearing the demos Farrar had written, Sampas looked for others to work on the musical project. Gibbard heard what Farrar was doing — taking Kerouac's words and putting them to song — and found himself more involved. Over the course of the next year or so, he'd contribute his voice to nearly half the songs on One Fast Move.
The sessions would take place at four different studios, including ones in San Francisco, St. Louis and Los Angeles. The result is a dark, slow-burning record — but, true to the spirit of the novel, bits of light shine through.
Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in his life than other musicians. A storytelling singer reviving traditional country-blues, Wold spent his childhood in California but left home at 14. As a hobo, he traveled for several years, jumping trains and working odd jobs. After drifting around the U.S. and Europe, he finally ended up in Norway. Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he finally released some official material. His first solo album was Doghouse Music, out in late 2006, which was performed almost entirely by Wold. Another record, Cheap, was recorded with the Swedish rhythm section the Level Devils.
http://www.mediaf!re.com/?vzzmgtgztxdProduced, written, recorded and engineered by Seasick Steve (with the assistance of engineer Roy Williams), ‘Man From Another Time’ is a resolutely organic album that eschews modern studio trickery in favour of the warm style of ‘live’ analogue recording. Everything on the album was performed by Seasick Steve, aside from drums which are credited to his longstanding Swedish sticksman Dan Magnusson.
Seasick Steve utilised a variety of favourite guitars on the album including a one-string Didley-bo (a 2×4 with a string nailed to it), a guitar made out of an old cigar box (with four strings), his famous 3-string Trance Wonder guitar and an old beat-up acoustic guitar. His array of guitars were complimented by a tattered Fifties Fender Tweed Deluxe amp, old Forties ribbon mics and other weird and wonderful vintage microphones. The natural sounds and echoes of the recording rooms were used for reverb and any delays were done with tape.
http://www.mediaf!re.com/?ddydmlvidnnYes, they really do still make albums like this in the 21st century. Steve Wold, otherwise known as Seasick Steve, released his second album, Dog House Music in 2007, his first purely solo effort; he had previously released an album entitled Cheap several years earlier for which he shared the credit with Swedish band the Level Devils. Dog House Music is like a really old John Lee Hooker or Muddy Waters album, or maybe something even less commercial as Steve strums his guitar and sings along, his voice sounding drowned in bourbon, and occasionally a song such as "Fallen off a Rock" crashes to life, literally, with the guitar no longer picking out a sorrowful blues lick but strumming wildly and the drums smashing away in the foreground played by two members of his family, HJ Wold and PM Wold. Apart from that however, the entire album is played by Steve, recorded in what sounded like one take, when he might have been sitting in a leaky shack by the Mississippi, almost every track given a short introduction almost as if to explain to a personal audience what the forthcoming song is about and why it is important. The album begins with the very short (just over one minute) track, "Yellow Dog" which sounds like it was been recorded at the bottom of a well, the acoustics are so terrible. When the final track, "I'm Gone," finishes, there is a small gap which is followed by Steve reciting a real shaggy dog story, over five minutes long, no music, just Steve rambling about being arrested and after spending six months in jail, looking for his runaway dog; this eventually runs into another sad blues song (about a dog). Not sure why anybody would want to listen to this story more than once. Even the album cover looks like it was designed and drawn by a six-year-old, but that simply adds to the unpolished and underproduced nature of the work, which is a credit, not a fault.
http://www.mediaf!re.com/?jydzjkgtnmmChris Smither has spent the past four decades writing songs and crafting albums that, by all rights, should make him a household name. Instead, he continues to reside just below the public’s radar, garnering high praise from well-known contemporaries like Bonnie Raitt and Emmylou Harris, and earning flattering distinctions like "blues/folk master," "songwriter’s songwriter," and "musician’s musician." On his eleventh proper studio album, Time Stands Still, due out September 29 on the Signature Sounds/Mighty Albert label, Smither captures the immediacy and intimacy of his must-see live shows while reinforcing his stature as a songwriter and interpreter of the highest order.
Teaming with producer/guitarist David "Goody" Goodrich and drummer Zak Trojano, Smither recorded the eleven tracks for Time Stands Still in a marathon three day period. The sessions yielded stripped-down arrangements of eight originals and three well-chosen covers, including Bob Dylan’s "It Takes A lot to Laugh, It Takes a Train to Cry," Mark Knopfler’s "Madame Geneva’s," and early twentieth-century bluesman Frank Hutchison’s "Miner’s Blues."
At the heart of Time Stands Still lie Smither’s stylized finger-picked guitar lines and smoky vocal turns. He imbues each of his songs with a timeless quality that make an original track like "I Don’t Know," a contemporary look at parenthood, fit right at home beside Hutchison’s "Miner’s Blues," a song that dates back to the nineteen twenties.
Essential cuts include the bouncy title track, delivered with a soulful intensity befitting the subject matter of falling in love, and "Don’t Call Me Stranger," on which the song’s narrator slyly assumes the role of seducer. Smither’s rendition of Dylan’s "It Takes A lot to Laugh…" is a refreshing take on the oft-covered Highway 61 Revisited classic.
While Time Stands Still may not catapult Chris Smither into the mainstream, it should do just that. Time Stands Still emphasizes the best qualities of one of today’s most under-appreciated singer/songwriter/guitarists and stands as a worthy addition to a back catalog of topnotch albums. Listening to Time Stands Still may just encourage listeners to further explore the discography of Chris Smither, and KindWeb highly recommends this worthy endeavor.
http://www.mediaf!re.com/?my5xmnzwrudhe most engaging and fully realised album in the series.
Inspiration Information is an ongoing experimental project that mixes and matches artists from quite different backgrounds – but with certain things in common – for a limited amount of studio time to see what they can come up with. This fourth offering is perhaps the most unlikely pairing yet, but one of the most engaging and fully realised albums in the series so far.
Tony Allen is among the world’s most acclaimed kit drummers, famed for having co-created afrobeat with Nigerian bandleader Fela Kuti during the 1970s and currently enjoying a late-flowering renaissance in his seventh decade. Although he knew nothing of Jimi Tenor beforehand, Allen was one of five artists Tenor told Strut he would most like to work with when they approached him.
Tenor is best known for his 1994 electro hit Take Me Baby, but has lately been increasingly drawn to 60s and 70s jazz, psychedelic soul and African funk. So the idea of underpinning these styles with afrobeat (which recombines many of the same African-American sources with their African roots) makes sense.
Tenor plays most of the melodic instruments (including tenor sax, keyboards, bass, kalimba, zither, koto and marimba) and sings on Selfish Gene and Darker Side of Night in a strangulated falsetto, vaguely suggestive of Sly Stone. His Berlin-based band Kabu Kabu includes Cuban trumpeter Daniel Allen Ortiz and percussionists Ekow Alabi Savage and Akinola Famson, from Ghana and Nigeria respectively. Their broken English banter on Mama England satirises the problems non-EU musicians face when trying to get into the UK, drawing on their own bitter experience.
Path to Wisdom features MC Allonymous, whose coolly intoned performance poetry recalls Gil Scott-Heron at his least angry. Other highlights include the jazzy, dream-like instrumental Cella’s Walk, which hints at various TV theme tunes, and the epic Three Continents, a long humid jam that gets wiggier as it progresses.
Sinuhe and Got My Egusi are the most obviously afrobeat-based pieces, but Allen’s trademark double kick (‘B-boom’) on the bass drum is ubiquitous, as are his subtle interlocking polyrhythms – never obvious, but as indispensable as salt in cooking.
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http://www.mediaf!re.com/?ijmogy4n1doOh here is a picture I made for it too.Jean Michel Jarre - EquinoxeCode: [Select]http://www.mediaf!re.com/download.php?mxjozz0y5jy
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Jean Michel Jarre - EquinoxeCode: [Select]http://www.mediaf!re.com/download.php?mxjozz0y5jy
Parts 1 and 5 won't unzip.
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Hey gospel, cheers for the Seasick Steve!fixed.
btw, "One Fast Move Or I'm Gone" on the Ben Gibbard/Jay Farrar album is all kinds of fucked up in the middle.
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Tellison - Contact! Contact!
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http://www.mediaf!re.com/?nzteiywxiymNo review, but this gal is similar to Zero 7 and Imogen Heaphttp://vulpvibefree.bandcamp.com/album/kitsune-star-roadhttp://vulpvibefree.bandcamp.com/
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Tellison - Contact! Contact!
Contact! Contact!.zip: CRC failed in Contact! Contact!\12 Hospital.mp3. The file is corrupt
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Kate Havnevik-MelanktonCode: [Select]http://www.mediaf!re.com/?nzteiywxiymNo review, but this gal is similar to Zero 7 and Imogen Heap
(http://i.imagehost.org/0338/eggrrwr.jpg)The link to this one has gone dark... I love the Remy Shand LP, still makes the rotation every so often. Any chance of a fix/re-up?
One of my favorites of the year. I shoudn't have posted the album art, because when you're listening to him there's no way you'd expect him to be a young white dude as opposed to an awesome black soul singer from the 60's/70's. Really awesome soul with a little bit of funk, tongue planted firmly in cheek, but not so much that it stops being awesome. Really, if you can listen to "Just Ain't Gonna Work Out", and "Your Easy Lovin" and not think this is awesome music you're doing something wrong. Get psyched on this record dudes.
This is an interesting record, he reminds me of that Remy Shand bloke from a few years back. Guy made one reasonably solid blue-eyed soul record and promptly vanished into the outer realms of obscurity. I think the problem with both records is that they're a bit on the nose, though they're original compositions, the tracks sound more like tribute records to their idols. Still, even if they rely exclusively on their influences for inspiration, the music is undeniably catchy as hell.
http://www.mediaf!re.com/?zyomnzzyfwwAfter a widely acclaimed 2008 EP 'Cabin Ghosts,' relentless touring, and months spent in the studio, Cory Chisel is putting the finishing touches 'Death Won't Send A Letter,' his debut full-length for Black Seal Records, coming out September 29.
The album's first single, the haunting, defiant renegade's tale "Born Again," was co-written with Brendan Benson, and features backing from bassist "Little Jack" Lawrence (Raconteurs, The Dead Weather), and drummer Patrick Keeler (The Raconteurs, The Greenhornes). A behind the scenes look at the recording sessions for "Born Again" can be viewed now on Cory's website.
'Death Won't Send A Letter' was recorded primarily at Blackbird studios in Nashville, with Grammy-winning producer Joe Chiccarelli (The Shins, The White Stripes) at the helm. In addition to the aforementioned musicians others who contributed to the album include My Morning Jacket guitarist Carl Broemel, and Cory's longtime backing vocalist/keyboard player Adriel Harris.
The son of a Baptist minister, Cory Chisel hails from Appleton, WI, where his hometown shows have drawn crowds of over 2500 fans. Since releasing 'Cabin Ghosts' last year, Cory has toured with Rachel Yamagata, Meiko, The Low Anthem and others.
http://www.mediaf!re.com/?mgmhzozmgtr those of you that have heard of friska viljor before probably know the story of how daniel johansson and joakim sveningsson started the band after both their relationships had gone down the drain. those of you that haven't heard of the band still know this particular kind of story far too good. heartache has always been one of the prime catalysts for artistic work, and every artist sees their own suffering as something unique, and their thoughts and work about it as something the whole world should share, says daniel.
after four years using music as a cheap therapist both daniel and joakim have now come to the point in their lives when it's time for a fresh start. this clearly shows on the band's third album ”for new beginnings”. the lyrics no longer consists solely of broken hearts. instead there's stories of happiness, sorrow and hope. you'll get some soul searching in if i die now, a bit of nostalgia in the childhood portray manwhore, and some apathy in hibiskus park. there's also some changes in the music. you still get the drastic leaps between genres and the bands typical instrumentation with everything from mandolin, ukelele and glockenspiel to accordion, clarinet and saw. but you can clearly sense a new direction, away from euphoric choruses towards depth and seriousness. - Myspace Blurb
http://www.mediafire.com/?mztz5gtyyym
Like a lot of people, I find myself a bit irritated by the the idea of "wonky" as a genre, but unable to get away from increasingly using the term as more and more gloriously psychedelic and off-beam beat music appears around the world. Likewise, "future garage", though it does describe post-dubstep sounds that Martyn, Kode 9, Whistla, Brackles, Joy Orbison, Untold and co are all to some degree operating within, doesn't really feel satisfactory as a genre either. But maybe it might be possible to see these two terms not as fenced-off areas, but as poles or attractors within the much broader flux of current synth-funk? Certainly recent releases like Zomby's One Foot Ahead Of The Other, and this mini-album of new material from New Yorker Drew Lustman, suggest that there are plenty of artists able to traverse between both poles, and further abroad to boot, without losing their identity.
Bravery kicks off with the undeniably "wonky" technique of untethering the drums of 'Make Me Feel So Right' from quantised patterns, allowing them to slide out of kilter slightly differently in each bar. But this is not just IDM wanking: play this track as loudly as it deserves, and you realise that it is still a club track, its irregularity being a very purposeful and effective form of disorientation, and that the warm subs and diva vocal snippets that knit the whole thing together being far more than just signifiers of a rave/garage past (although they are that too), but are there for their instant and powerful effect on the listener's nervous system. The album ends with 'Discant', a lovely piece of analogue boogie not so very far from what DâM-FunK is doing at the moment, with the added crunch 909s that could come from an early 90s Eddie Fowlkes or Blake Baxter track.
In between, the tracks veer between hip hop swing and a zippier style that concertinas the whole history of disco through house into UK garage. Whatever the tempo though, the funk synth interjections and tricksy shuffle sound like what Luke Vibert might be capable of if he dropped his insistence on whimsical elements in favour of more of a city swagger. There's a rich soul gloss to the production, not quite the terrifying 80s cocaine-soul/Steely Dan sheen of Hudson Mohawke, but certainly in a way that shows no interest in the lo-fi = underground equation. Despite the tempo shifts, the record is extraordinarily coherent, and alongside DâM-FunK, Hud Mo, Dorian Concept and others suggests that maybe we need to start thinking more broadly for our genre terms: yes there are wonky and garage elements here but ultimately it's great 21st century computer funk, so who's got a catchy genre name for that?
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http://www.mediaf!re.com/?11nhzy1myqjTracklisting:
1. "Alternative Ulster" - Stiff Little Fingers
2. "Mind Your Own Business" - Delta 5
3. "Man Next Door" - The Slits
4. "Aerosol Burns" - Essential Logic
5. "Part Time Punks" - Television Personalities
6. "Read About Seymour" - Swell Maps
7. "We Are All Prostitutes" - The Pop Group
8. "Soldier Soldier" - Spizzenergi
9. "Ain't You" - Kleenex
10. "Nag Nag Nag" - Cabaret Voltaire
11. "In Love" - The Raincoats
12. "Final Day" - Young Marble Giants
13. "Skank Bloc Bologna" - Scritti Politti
14. "At Last I Am Free" - Robert Wyatt
Georgia-based psychedelic rock band (calling them a metal act seems very reductive, though there's some seriously headbangable material on this disc) Baroness has made a subtle but unmistakable evolutionary leap on this, their second full-length and a clear companion piece to 2007's Red Album. It's hard to say exactly what new guitarist Pete Adams has brought to the band after replacing drummer Allen Blickle's brother Brian, but the band's established blend of Southern sludge riffs, druggy instrumental journeys, and melodic interstitial interludes, all propelled by a particularly thudding drum sound and held together by John Baizley's hoarse but clean vocals and gorgeous cover art, are even stronger now than before. The transition from the almost Moody Blues-like "Steel That Sleeps the Eye" into the crunching hard rock epic "Swollen and Halo" is just one example of Baroness' seamless melding of moods through technique and compositional acumen. There are numerous interludes on the disc -- basically, any track shorter than four minutes is an exploration of a riff followed by a dissolve into sound effects or keyboard swooshes, slowly dissolving into the next actual song. "Ogeechee Hymnal," for example, offers one of the album's heaviest riffs, but it's a mere appetizer before "A Horse Called Golgotha," a suitably galloping prog-metal epic that effectively conquers Mastodon's territory, and includes some astonishing guitar leads. This is a ferocious album that's not afraid to be genuinely beautiful. One of the best hard rock releases of 2009.
http://www.mediaf!re.com/?dj3yzzwyanz
http://www.mediafire.com/?ynntnnjduo3
Would you care to tell us what that is?
I Have A Special Plan For This World" is a longform single by the English band Current 93. The lyrics are taken from a poem of the same name by the author Thomas Ligotti and spoken by David Tibet.Musically, I Have A Special Plan For This World was a temporary return of sorts by Current 93 to their experimental post-industrial roots, using various unconventional musical instruments and techniques (synthesised drones, found sound, a circuit-bent Speak & Spell) while dispensing almost entirely with the minimal acoustic guitar and piano melodies that characterised the group's sound at that point. There was, however, some continuity musically, as the single expanded upon both the nihilistic themes and experimental musical motives which appeared in the Inmost Light trilogy of albums which appeared five years prior.
http://www.mediaf!re.com/download.php?nmogwjy1zn2
True Story! My dumb computer didn't show me the image.
Edited post due to lack of image worky
Although recorded in the late '60s, the material included on Can's Delay...1968 did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can tunes ever recorded; while nowhere near as intricate or assured as the group's later work, the visceral energy of tracks like the deranged "Uphill" and "Butterfly" is undeniable. -AMG
http://www.mediaf!re.com/?zyzmzuozfzjWhat's always been remarkable about this band is its ability to be texturally rich yet atmospheric and spacious at the same time. One might think that having three guitarists would create a potential for excessive harmonic density and the occasional train wreck, but everyone's listening skills are so advanced that things never get cluttered, despite the number of players.
Garden of Eden also proves the malleability of Motian's writing. Motian's tunes range from the maelstrom-like temporal elasticity of "Mumbo Jumbo" to the dark and ethereal "Etude" and the lyrically folksy "Mesmer," where Motian's light but busy playing seems at odds with the more languid phrasing of the horns and guitars. They could easily be imagined played by his trio with Bill Frisell and Joe Lovano. There's inherently more activity here, but it shows just how far Motian has evolved as a writer with a distinctive voice that transcends context.
Motian may turn 75 this year, but on the strength of Garden of Eden it's clear that he's in the midst of a musical renaissance; advancing age needn't be synonymous with a dilution of the creative juices.
http://www.mediaf!re.com/download.php?zynea1t3enhhttp://www.mediaf!re.com/download.php?zznmiuqnthzTierney Sutton, is a jazz vocalist quite unlike any performing today; she has a genuine and unique approach to jazz resulting in a sound that is hers and hers alone. Tierney would say that the sound is not hers alone, she is a member of the band, and the sound is theirs alone. I believe both she and I would be right.
The Tierney Sutton Band is a philosophical anomaly in the music world. The band has no diva, no boss, no black sheep. What they have is a team that allows them to take big chances and pull off the extraordinary in creating music. It's a matter of trust, shared values, and listening very carefully to each other. Sutton's music is literary in being not just beautiful noise; it is also specific mind frames that can't be expressed otherwise. On the album insert that accompanies Telarc's recording of On the Other Side Tierney writes, "In the United States, our founding fathers guaranteed us among other things, "the pursuit of happiness." I always found it amusing that we aren't guaranteed the thing itself, but rather the right to chase after it. Mystics tell us it is the chase that causes our problems… Sometimes it seems to me what the Declaration of Independence really guarantees is a broken heart, but that's not the whole story… Music is about the search." - Tierney Sutton (from the Telarc Jazz Record On the Other Side)
The Band, consisting of Tierney, Christian Jacob on piano, Kevin Axt and Trey Henry, and Ray Brinker on drums, has been together for close to fifteen years. In the last two years, they have released two remarkable albums with Telarc: I'm With The Band and On The Other Side. Both of these compilations show how seamlessly these very talented musicians work together and demonstrate Tierney's mastery of vocal music. I'm With The Band was Tierney's first live album and On the Other Side is her most daring concept record to date. On the Other Side is now ten months old.
http://www.mediaf!re.com/download.php?mdvtwyyjrliIf they ever make a biopic about Madeliene Peyroux there'll be no shortage of key moments to for them to illustrate; busking around Europe as a teenager; 2004's Careless Love selling over a million; record company-hired private detectives trying to track her down after she goes AWOL.
It'll all make great Hollywood for sure. However, it's likely that the most important scene will be the making of this, her fourth album since 1996.
Despite occasionally tossing a tune of her own into an appealing though often undemanding best-selling blend of jazz and blues, for the bulk of her career she's been praised as an interpreter rather than a writer of songs.
Now collaborating with producer Larry Klein, Julian Coryell (son of jazz guitar legend Larry) and Steely Dan's Walter Becker amongst others, she's begun to delve deeper into her own experiences.
Damn The Circumstances and Love And Treachery capture the moment when anyone who's ever been in love, wakes up at 3 a.m. to be haunted or taunted by what's got them to that particular point in their life.
Klein's production tenderly embraces Peyroux's brooding muse, whilst pianist Jim Beard's understated eloquence is often the album's quiet star.
There was a time when if someone said that Ms.Peyroux had a great voice, the smart reply was ''yes, but it's a pity it belongs to Billie Holiday''. With Bare Bones she's finally finding her own. The really interesting part of the Madeleine Peyroux story starts here.
http://www.mediafire.com/download.php?5jyguwyzrtz
http://www.mediafire.com/?uklwkvdovtuEfterklang inhabit another world, a world which, if the earth contained no human life, Parades would be fit to soundtrack. Their sound is not post-apocalyptic; it’s more symbolic of what came before than what will come after. It's the sound of Mother Nature winding gradually along, where all is well in a land before civilisation, a time of passing serenity versus the bold and beautiful creation of life. All of the above was abundant in their magnum opus that is 2007’s Parades, a record which gained full marks on these very pages.
Performing Parades is not only the logical extension and conclusion of the original; it’s a step up from it. Yes. That original may not especially need bringing to life, already bristling and bustling with an array of organic creeping and crawling, but it has been brought to life, well and truly, with a more than fair-sized helping hand from The Danish National Chamber Orchestra.
There is a certain density that accompanies Efterklang. They are not a band who are more than a mouthful, or an acquired taste, but if you aren’t truly dialled-in to the extravagant orchestration and subtle changes in tone and texture, then proceedings can seem even impenetrable. This is nothing more than a minor flaw, and as was written by a far wiser man of an issue far more lofty than Danish symphonic musical experimentation: “the harder the struggle the more glorious the triumph” – and those are words which resonate for Efterklang. The pay-off comes from repeat listens when, importantly, context and understanding is gained – among the peripheral percussion, glitches, group chanting, and belting brass, each part, large or small, fits and blends to form what is a magnificent tapestry.
Those parts, though, are separate in name if not in concept and execution. The high point is steady, from the initial, twitching, tense, discordant strings of ‘Polygene’ through the heart of the album and out the other end. It is bottomless in its brilliance. So enchanting are vast swathes of this record – the spectral slowing 87 seconds of ‘Mimeo’ followed by the progression from carefree to burdened with a sack of sadness that is ‘Frida Found A Friend’ – it’s easy to forget the variety of the 11 tracks. ‘Caravan’ is the one which acts most like a traditional rock track, with its chiming guitar and dirty bassline but even this proves to be an imposter to convention and tradition, being outlasted by more choral exchanges and Nordic mastery of mystery.
The band’s approach to Parades and the process of Performing Parades cannot and should not be understated. Naturally, the DVD footage of the performance is a pretty neat addition, and one which certainly ties together the whole release and is arguably as much its reason for being as the audio. This is best appreciated and understood when seeing the Danish National Chamber Orchestra in fairy-tale garb. That said, so easy is it to get lost in the variation and stories in sound that the music alone will, ironically, always have just a little extra. The live show is not exactly bulging with rock‘n’roll hyperactivity, and the orchestral additions obviously move us further towards the grand, as is intention. Hearing the rapturous reception from the on looking Danes, you’re reminded that the film footage is only going to be an infinitesimal percentage of genuinely feeling the nuances and intricacies through the stomach, the neck hairs, and the spine, rather than just the ears.
It doesn’t really need to be said again, and although a 10/10 review for Parades the first time round may have seemed a little hyperbolic, it wasn't. It’s a record which is an unending masterpiece and, if at all possible, Performing Parades adds to it - not standalone, but complementing.
http://www.mediafire.com/?jj1nmznzjw4
y halo thar
Between the Buried & Me - The Great MisdirectCode: [Select]http://www.mediaf!re.com/?ynntnnjduo3
Efterklang & The Danish National Chamber Orchestra - Performing Parades
http://www.mediafire.com/download.php?yvyg2mognziThe Burning Hearts are Le Futur Pompiste's Jessika Rapo and Cats on Fire's Henry Ojala, and in a way the project can be seen as a mash-up of both bands. Like Le Futur Pompiste, the Burning Hearts sound a bit frosty and austere thanks to Rapo's ethereal, detached vocals and some new wave-y synth swooshes. And like Cats on Fire, the Burning Hearts' tunes are graced with a heavy dose of C-86-style jangliness and reverb. The whole thing comes off sounding a lot like the Radio Dept. and the Bridal Shop; but what sets the Burning Hearts apart is Rapo and Oljala's creative chemistry -- they've come up with a really solid album of synthy, jangly songs that, while they do sound familiar, have a wintry sheen that's all their own. "Sea Birds" offers a great example of everything the Burning Hearts are doing well on Aboa Sleeping: what with its knotty, dramatic basslines, irresistible hookiness, and shimmering vocals, it has the dense, humid feel of a fever dream. "I Walked Among the Trees" is another stand-out track -- opening with a tangle of spacy synth effects worthy of Gary Numan, the song develops into an icy-sweet mix of jangliness and synth pop that sounds something like a cross between a-ha and Altered Images. Aboa Sleeping is a subtle, moody little disc, and it's promising to boot.
http://www.mediaf!re.com/?zwugrzzzikzhttp://www.mediaf!re.com/download.php?fw3qyymngkwI've been giving No Salvation more attention but upon a recent listen I've realized this is their best album. These guys melt face live and in my option are one of the only "heavy" bands worth any attention from the states. Socially conscious crust sludge punk n roll. If you like bands like Black Flag, Redd Cross and the more recent Can-a-duh hardcore like Fucked Up and Cursed, you win.
Wanna Buy a Bridge?: A Rough Trade Compilation of Singles (Released 1980)http://www.mediafire.com/?wj2jm2quly0Dub Fx the street-loop-beatboxer grew up in St Kilda / Melbourne / Australia performing in various bands before hitting the world-wide road. Dub Fx uses Roland BOSS effect & loop pedals to create sounds which when layered creates a live musical construct. Predominantly Dub Fx can be found busking through Europe with his Girlfriend the ‘Flower Fairy’ who also performs along side.You can listen to the whole thing here (http://dubfx.bandcamp.com/)
http://www.last.fm/music/Sly+Roosevelt/Welcome+to+Prallace
Burning Hearts-Aboa Sleeping(2009)
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http://www.mediaf!re.com/?nyg0ytmmn2zSue Tompkins might be the most striking indie singer of the decade. She sounds like an internal monologue. She rattles out streams of words, repeating phrases and fragments like someone compulsively murmuring a list she's trying not to forget. She rolls and stretches words around in her mouth. She makes girlish exclamations and then whips around to chest-beating boasts, defiant dares, wounded questions. Her voice bounces and twirls acrobatically all around the music, then pulls itself up into passionate demands like lines ripped from an argument: "Look back and say that I didn't!" She does all this and yet sounds really normal and down-to-earth and awesome about it. Glasgow's Life Without Buildings backed up her gorgeous high-wire act with perfectly understated guitar work, and made just this one incredible, gem-like album-- lovable, beautiful, and moving, the kind of treasure with a mood and aesthetic entirely its own. Then they broke up. It's a good thing this one's so endlessly replayable, so worth poring over every tic, stutter, and syllable. (P4K)
http://www.mediaf!re.com/?2zyzhh4vgichttp://www.mediaf!re.com/?zmyjmi5dmi2http://www.mediaf!re.com/?nulgedecymn'Sleep' is perhaps the greatest song I've ever heard. Honestly, It's so amazingly majestic and glorious that every time I hear it I feel like I'm leaving the ground chest first; I don't know if that'll make sense to anybody.
The other two tracks don't manage to rise to the heights of the first, but they're still damn good efforts. 'White Rabbit' gets almost as beautiful once the drums kick in properly. Definitely worth the effort tracking down (probably on a p2p, as I imagine this has been out of print for years) for all the shoegazers, post-rockers and straight-up emotional music lovers out there. (rainshine87, RYM)
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http://www.mediafire.com/download.php?nmac3yddiz2The debut album from VV Brown comes with the kind of albatross-round-the-neck pressure normally attached to a high-expectation sophomore effort. Already the subject of relentless tutting and tweeting from hordes of backseat A&R men, and having already been crafted her own pedestal as a style deity by the fashion press before most of them have even heard her sing a note, means there's a sizeable, cynical gaze to contend with. It's somewhat fortunate, then, that Travelling Like The Light boasts a rare kind of head-turning indie-pop magnificence more than capable of both remunerating anxious fans and silencing – if not fully converting – detractors.
The chequered-floor locale of debut track Crying Blood provides a slightly more accurate indication of Travelling Like The Light than the darker, more contemporary riffage of big-money launch single Shark In The Water. That's not to say we're talking a solid album of potato-mashing doo-wop lunacy – rather, Brown's largely-50s influence permeates each track with different approaches and to varying extents, creating an eclectic yet uniform collection of songs.
The Wurlitzer wonderment of Quick Fix and L.O.V.E. impart a refreshing demonstration of a pop simplicity lost on any number of electro-heavy buzz artists, a sentiment further echoed on the endearingly unpretentious Crazy Amazing.
And still, the surprises come thick and fast. Tales of gut-wrenching misery are camouflaged as beaming, uptempo numbers; the titular ballad is stripped back to little more than a temperate heartbeat rhythm; and the aforementioned Crying Blood drops everything for a fleeting burst of 1-up bleepery.
And yet, there's no feeling of any kind of gimmickry in this. Travelling Like The Light, with all its quirks and foibles and cheeky winks, comes over as an honest representation of Brown's form and talent. More than anything else, Travelling Like The Light tears through any hastily-assigned pigeonholes or fashion-focused stigma, and validates the authentic musician behind the gloss.
The quartet's second and final album, Brass shows the band fully in thrall of the wound-up aggro/artpunk demons that made them create such thrilling music. 'Post-hardcore' was the term most often thrown around at them in print -- while an open-ended description, it does accurately imply the combination of sheer energy at play along with a desire to avoid the obvious strictures most hardcore and punk had long fallen into. Casebolt and Lorinczi make for a fine rhythm section, throwing in unexpected but sharp, brusque twists and turns throughout. They keep the beat going, but it's the addition of those quick changes that help make Circus Lupus really fun (inasmuch as said quartet were ever fun -- maybe 'gripping' is the better word). Casebolt in particular has some nice fills she tosses in from time to time -- not done to show off, but to increase the variety and texture. Meantime, Hamley's guitar runs from spindly, nervy feedback sheets to clench-yer-fists riffing -- the brilliantly titled "I Always Thought You Were an Asshole" captures both well. The musicians always sound like they're building up to one fierce climax after another, an approach that's less tiresome or rote than might be thought.
http://www.mediafire.com/download.php?ydtgmmw4mweSo let's lay the bare bones out: Dinosaur Pile-Up sound a lot like their forebears. Influences are sewn pretty firmly onto the sleeves of their plaid shirts an' all that. Lemonheads. Nirvana. Foo Fighters. Erm, Weezer, even. There's no running from it, there's no hiding from it, there's not really a lot of weight in discussing it (as we have spent a good couple of hundred words doing here).
So we'll talk about the fun stuff. Like the fact that the title of the tracks that show up in iTunes (hah! Didn't have that in the '90s, did we.?) are completely different to the ones on the sleeve of the promo disc (which actually seem to bear some resemblance to the song lyrics). Cheeky scamps or incompetent bastards? Oh, nevermind. So, the song that I will call 'Opposites Attract' is the kind of song that makes you fall in love with a guy when the sun's out - it's the soundtrack to a picnic when the picnic basket contains nothing but cheap beer and cheaper gin: mid-speed self deprecation, continual build-up and breakdown, screeching guitars and shuddering drums. And 'Melanin', presuming it wasn't stolen from Brody Dalle's own personal songbook, is a box of Thornton's finest confectionaries, in sonic form. I won't labour the comparison.
http://www.mediafire.com/download.php?ymjwlrzjwwz
http://rapidshare.com/files/297801639/Fever_Ray_-_Live_In_Lulea.zip
Coliseum - Goddamage (2005)
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Fever Ray live
Fever Ray live
Yeah it says I can't download this because I am not Premium
Coliseum - Goddamage (2005)
Rad, I've been meaning to get in to these guys. Thanks man.
zombiedude, i think YOU are corrupt.
it seems like you are the only person having problems with these files constantly. maybe try using PeaZip (http://download.cnet.com/PeaZip/3000-2250_4-10602256.html) or something else?
or maybe it's just that you are the only person who downloads every single album posted just to check for corruptions, in which case...keep up the good work?
Code: [Select]Wanna Buy a Bridge?: A Rough Trade Compilation of Singles (Released 1980)
Awesome...some classic rough trade artists on here...THANK YOU!
http://www.mediafire.com/?mmzwjzkztuz
http://www.mediaf!re.com/?zjymnd2gkznhttp://www.mediafire.com/?jytvzoktvuy
CFCF - Continent
Dez Mona starts as a duo between double bass player Nicolas Rombouts and vocalist Gregory Frateur. They find themselves in their mutual roots of jazz, drama, experimental and spirituals. The surprising unique experience of their first concert at Recyclart in 2003 convinces them to continue working together. Shortly after Gregory and Nicolas start writing their own songs. Dez Mona is born.
They choose a path of intense playing and create a strong live-reputation in the belgian underground. This results in three concerts at belgium’s most famous concerthall, Ancienne Belgique in Brussels. Dez Mona becomes the first band ever to do this without having published any album. Acclaimed by critics and fans, Dez Mona records its first album “Pursued Sinners” in a church. It is a live duo album with the occasional collaboration of trumpetplayer Sam Vloemans and accordionplayer Roel Van Camp. Nicolas and Gregory continue performing and writing new material where they choose for larger arrangments and more percussive power.
http://www.mediaf!re.com/download.php?y2zvbygnmio
Two dudes who love to get loud on the daily.
http://www.mediafire.com/?mywwgzumdjw
http://www.mediafire.com/?4it3wgvt1anhttp://www.mediafire.com/?2whnimgyymwMySpace: http://www.myspace.com/mumfordandsons
Last.fm: http://www.last.fm/music/Mumford%2B%2526%2BSons
Download: http://www.mediaf!re.com/?mgnzmloggdwhttp://www.mediaf!re.com/?xzljgyegnnz
Efterklang & The Danish National Chamber Orchestra - Performing Parades
I LOVE YOOOOOOOOOU
Tracy Jordan - Werewolf Bar Mitzvah
http://www.mediafire.com/?mjdzxy0dojn
Scottish songwriter Alasdair Roberts' career as a recording artist sprung into a critically lauded, cult-praised profession when a demo he made with his group Appendix Out found its way into the hands of intimate nouveau folkie Will Oldham. Oldham identified with Appendix Out's similarly calculated sound enough that he released their first recording, the 7" titled Ice Age/Pissed with You, on his own Palace Records label in 1996. The momentum from this release's affiliation with Oldham sparked not only a series of split 7" releases (with the likes of Songs: Ohia and Policecat), but also to a recording contract with credible Chicago indie label Drag City. After Appendix Out's third release for the label, released in February 2001, Roberts immediately recorded and released his first solo album, released on Secretly Canadian and titled The Crook of My Arm. While his output with Appendix Out always referenced the influences of folksingers such as Alex Campbell and Shirley Collins, The Crook of My Arm embraced them via sparse readings of 12 traditional numbers with Roberts only accompanied by his acoustic guitar. For his third release of 2001, Roberts teamed up with Oldham and songwriter Jason Molina of Songs: Ohia under the moniker Amalgamated Sons of Rest, and the three contributed and backed up each other's songs. In 2002, Roberts returned his attention to Appendix Out for the EP A Warm and Yeasty Corner, a handful of well-chosen covers that appear oddly side by side, including a tribute to British folk cult artist Vashti Bunyan with her tune "Window Over the Bay" and a tip of the hat to the Magnetic Fields by way of "Josephine." Roberts followed this a year later with his second solo release, Farewell Sorrow, which garnered more critical acclaim and showcased the development of his songwriting growing tendrils around the roots of the British and Scottish folk traditions. The stark and beautiful No Earthly Man arrived in 2005, followed by the more band-oriented Amber Gatherers in 2007.
http://www.mediafire.com/?nvwyhxnmwyqFrom the mid-'90s into the 2000s, the world of indie pop obsessed over the '60s pop production and arrangements pioneered by the Beach Boys and the Beatles, and for a decade it seemed that the culture at large was revisiting the '60s and '70s without much in the way of innovative updates. One can only assume that part of the reason for lack of noticeable advances is that 30 years isn't really enough time to have elapsed for these themes to be revisited from a truly different angle, which is what made Alasdair Roberts' take on indie pop so striking. Farewell Sorrow, Roberts' second solo departure from his band Appendix Out (which this album features members of), highlights his admiration of traditional Scottish folk music along with his involvement in the realm of indie pop, which served to transcend the '60s revival trend by pointing out the relevance and influence of traditional melodies within the annals of modern pop music. He's tracing the same steps that brought Fairport Convention and Steeleye Span into the history books as the innovators of the folk-rock movement of the late '60s, but instead Roberts is integrating those rich elements into the sparse world of indie pop subtly, instead of creating a wild juxtaposition of folk and rock in the way the aforementioned groups chose to do. Immediately, Farewell Sorrow shows its accessibility, its eccentricity, and its innovation with the title track, but it is on track two with Roberts' invitation to "Bring me the fine ale, the cider, and the wine/Link arms and join our lusty chorus!" that seals the necessity for undivided attention throughout the conclusion of the album. Farewell Sorrow is built on the art of restraint and elastic delicacy provided by Roberts' band to bring together the traditional institution of melody and the advance into unmarked territory, and they are wonderfully successful at transforming that steady artistic bridge into a refreshing package.
http://www.mediafire.com/?ynjoimgkj0jFor those still digesting Spoils, Alasdair Roberts’s oft-impenetrable album from earlier this year, the prospect of another Roberts release so soon is kind of intimidating. In my review, I pegged Spoils as “simply another engrossing chapter in an incredible story,” but after spending a few months with it, it’s lyrical tangles and structural shifts still haven’t settled. Unlike the comparatively breezy The Amber Gatherers and the straightforward, brilliant ballad collection No Earthly Man, Spoils remains stubbornly locked within itself, its moments of clarity and emotional connection lost in the storytelling fog. The joy in Roberts’s work is in struggling through the thicket and meeting him at the end of the road, but I have to admit that, with Spoils, I’m still not there, which either makes it his richest work or his first overstep. I’m of the sort that won’t tire of trying to crack the album, but I haven’t been able to think of it with the same fondness as I do the others.
I approached The Wyrd Meme with some trepidation, thinking that Roberts might attempt to further confound, but it’s actually a perfect complement to Spoils. It distills the album’s sprawl into four tales that offer footholds and entry points. Rather than lose himself, Roberts seems more willing to guide.
This isn’t to say that The Wyrd Meme is accessible. No Earthly Man remains the best entry point into Roberts’s world, for it offers both context and the thrill of pure narrative. His other works, The Wyrd Meme included, heavily subject those narratives to myth, dreams, modernity, metaphors, allegories and stark emotion, all with a lightly disorienting psychedelic touch. It’s difficult and tricky listening, but when the fog clears and a track hits, Roberts is untouchable.
more... (http://www.dustedmagazine.com/reviews/5308)
http://www.mediafire.com/?wdvgjzzmqme4/5
The problem with most contemporary folk artists performing in the British Isles tradition is that they often sound a little too, well, traditional, in the most literal sense of the word. If you’re someone who prefers your folk steeped in the no-frills approach of Appalachian roots or the canyon-crawling evocations of the West Coast, the whimsical imagery of this breed from the motherland can make you feel like dancing around a maypole at a renaissance fair — an uncomfortable and sometimes embarrassing sensation if jousting and chowing on legs of mutton are not among your favorite activities. Patriotic leanings aside, it’s refreshing to hear someone like Alasdair Roberts — who, on Spoils, his fifth solo offering — continues to deliver tokens of reverence for his Scottish predecessors while managing to reinterpret the genre into an accessible record that’s sure to please even the most fervent American folk enthusiasts.
The story goes that the omnipresent Will Oldham discovered Glasgow-based Roberts in the mid 90s, when the latter handed Oldham a demo of his then-band Appendix Out at a show. Oldham and Roberts soon became labelmates on Drag City, which issued three albums by Appendix Out (of which Roberts was the sole constant member) before eventually releasing music under his own name in 2001, starting with his debut, Crooks of My Arm. A year later, the two collaborated with Jason Molina to release a lone EP entitled Amalgamated Sons of Rest, and in the seven years since, he has presented the world with four additional albums, vacillating between original compositions and recitations of long-established ballads and shanties.
This time around, Roberts chose to pen his own words and music for Spoils, and the result is his finest album to date. It starts the journey with a seven-minute story song, “The Flyting of Grief and Joy (Eternal Return),” which describes the pilgrimage of the two personified emotions with “a ragged band of Crusaders” in tow, losing one to the Devil at the end of each verse. In “You Muses Assist,” the brogue-tongued singer engages us in a rousing work song where, in Roberts’ strange pasture, it is “sterile rams and simulacra” to which we are tending. “So Bored Was I (Dark Triad)” has Roberts encountering three incarnations of himself — infancy, young adulthood, and old age — one of which sees him masturbating in a beer vat: "Then coming from an old mash tun/ I heard the sound of a young man cum/ I paused awhile and gazed inside/ The cum was mine, the man was I." “Unyoked Oxen Turn” unravels a yarn about a cripple running around in search of his legs, only to be moralized by a mystical savant that he should be looking for his knees instead. (Here’s hoping that’s meant to be open to interpretation.)
more... (http://www.tinymixtapes.com/Alasdair-Roberts)
Bleach is the debut album by the American grunge band Nirvana. It was released on June 15, 1989 through the independent record label Sub Pop. Bleach originally sold a mere 30,000 copies, but following the enormous success of the band's second album, Nevermind (1991), fans discovered Nirvana's obscure debut. It has since been certified platinum by the Recording Industry Association of America, making it one of only two albums released on Sub Pop to have received platinum certification.
A twentieth anniversary edition of the album will be released on November 3, 2009 on Sub Pop. The release will be accompanied by a previously unreleased 1990 concert, recorded live in Portland, Oregon.[
01. Blew ( 2:54)
02. Floyd the Barber ( 2:18)
03. About a Girl ( 2:48)
04. School ( 2:42)
05. Love Buzz ( 3:35)
06. Paper Cuts ( 4:05)
07. Negative Creep ( 2:55)
08. Scoff ( 4:10)
09. Swap Meet ( 3:02)
10. Mr. Moustache ( 3:24)
11. Sifting ( 5:22)
12. Big Cheese ( 3:42)
13. Downer ( 1:43)
14. Intro (Live) ( 0:52)
15. School (Live) ( 2:36)
16. Floyd the Barber (Live) ( 2:16)
17. Dive (Live) ( 3:42)
18. Love Buzz (Live) ( 2:57)
19. Spank Thru (Live) ( 2:59)
20. Molly's Lips (Live) ( 2:15)
21. Sappy (Live) ( 3:19)
22. Scoff (Live) ( 3:52)
23. About a Girl (Live) ( 2:27)
24. Been a Son (Live) ( 2:00)
25. Blew (Live) ( 4:31)
http://www.mediafire.com/?3yiewwwwgbmpretty sure this band has members of GSYBE!... anyway, dig it.. heres a descrip :: set fire to flames are a collective of thirteen musicians from the musical community of Montreal. Brooding and beautiful, haunted and haunting, sings reign rebuilder is so stunningly / lovingly played and skillfully assembled, infused throughout with a massive sense of slow-burning tension and periods of weighty, rousing release.
Initially the idea was to gather a group of folks together in a members montreal apartment and record as much as they could over a five day period. As set fire to flames explains, “…[we wanted] to conduct the whole five day recording session like a series of experiments… to get lost in the sound as it was actually happening… to make the whole recording an exploded intense event… to push tolerance levels and limitations with a group of people sonically… to become shut-ins… to operate on no sleep/confinement/ intoxication… some of us were interested in seeing what would actually happen if we attempted to record improvised drones and textures under those conditions… and what impact that might have on yr. head… how individual/collective tension would play out… and what the end result would sound like… so a lot of experimentation with tolerance, repetition and duration… drones…”
“And so these set fire to flames recordings happened… we piled all of the gear into the first floor (kitchen/living room) of this old, falling down apartment in montreal (the place has a crazy history to it…built in 1878…used to be a 10¢ shoe shine parlour and a brothel in the forties)… the control/mixing room was in a bedroom on the second floor (up a rickety wooden staircase)… you can hear the house all over the recording… (the staircase/ groaning floorboards/creaking chairs/traffic and police cars outside/men coming out of the mosque downstairs)… all of these sounds became an important part of the final recording…”
“Five days of continuous recording netted us roughly twelve hours of raw sound… all of it was hacked apart and later rebuilt… and the final document of that five day period (which was magic and the fucking house was levitating…..) now makes up ‘sings reign rebuilder’… the record is about 60% improvised and 40% composed… the five-day recording stint turned into something more than originally intended… it wasn’t just thirteen people droning aimlessly to infinity… things worked out somehow and we got lucky…”
http://www.mediafire.com/?3m2nmoizyt2DUH... The Velvet Underground was an American art rock band formed in New York City, New York. First active from 1965 to 1973, their best-known members were Lou Reed and John Cale, who both went on to find success as solo artists. Although never commercially successful while together, the band is often cited by many critics as one of the most important and influential groups of their era and to many future musicians.
http://www.mediafire.com/?lm0dmymmmmvIn retrospect, the third and final full-length by defunct Portland, Oregon, band Heatmiser, 1996's Mic City Sons, is not just the sound of a band pulled in two directions and on the verge of breakup, it's a blueprint for the late-'90s Northwest "emo-core" sound. This pop-punk act always showed a love for refined-sugar-sweet pop music and Big Star-derived melodies, but it really comes to the fore here--both on renowned singer/songwriter Elliott Smith's songs and those of Neil Gust. (Sam Coomes of Quasi plays bass and sings on the record, as well.) This is a schizophrenic album. Songs veer from peppy anthems to total-downer white-guy angst; luckily, both are pulled off with finesse and real emotional investment. Fans of folkie Smith working backwards through his catalog will be surprised to hear Smith rock out so hard on tunes such as "Get Lucky"; other songs have since become staples of his solo sets. Mic City is among Smith's best records and functions as a swell swan song for this under-appreciated grou
http://www.mediafire.com/?ozvjhoigzzghttp://www.mediafire.com/download.php?y4dwtmg2qy1Excuse 17 made it perfectly clear that the band was inspired by the rabble rousers in Bikini Kill, Bratmobile, and Heavens to Betsy, and sure enough, those groups' influences show up all over the Olympia, WA, trio's first full-length. Which isn't to say that the album's 11 jagged 'n' ragged tracks are little but riot grrrl ripoffs. On the contrary, the defiantly unpolished Excuse 17 is an impressive debut, surging forward with a live-wire energy and stark honesty that helped make the riot grrrl scene so compelling in the first place. And though the album can sound tinny and dated at times, tracks like "Carson" and "Imaginary Friend" -- as well as the emotionally resonant "Hope You Feel Bad" and "Code Red" -- have wonderfully withstood the test of time.
http://www.mediafire.com/download.php?yjzimnejty2For its second and final full-length, Excuse 17 recorded a glorious punk rock racket far more polished and catchier than the band's promising, self-titled debut. Nearly every track here simmers with an overwhelming sense of urgency, and from the opening whiplash crash of "5 Acres" to the more subtly moving "She Wants 3-D," it's an album full of violently emotional catharsis (check out the startling centerpieces "This Is Not Your Wedding Song" and "The Drop Dead Look"). Often mesmerizing in the chaotic call and response between vocalists Carrie Brownstein and Becca Albee -- a rudimentary version of Brownstein's vocal interplay with Corin Tucker in Sleater-Kinney during the years to come -- Such Friends Are Dangerous is a swan song that only hints at what could've followed. Of course, as many fans of the Pacific Northwest scene know, what would follow for guitarist Brownstein is the wildly successful and talented Sleater-Kinney trio.
http://www.mediafire.com/download.php?jmxhlxvlzujBefore her days in Sleater-Kinney, Corin Tucker was belting out screams with her riot grrrl duo, Heavens to Betsy. Along with drummer and bassist Tracy Sawyer, Tucker crafted 12 songs of pissed-off, bitter confusion. As with much material in the genre, the lyrics focus on failed relationships and the hurt feelings having emerged as a result. However, one glaring exception is the song "White Girl," which is a rare introspective look by someone in the indie scene addressing the audience directly about the topic of racism. The rest of the album benefits from a guitar-driven garage music that is paired up with the riot grrrl sound of the Northwest from the early '90s. Intensely fierce, even when the tempo slows down, Sawyer keeps the beats tight and Tucker is always brimming over with passion and the kind of power of which many bands in the hardcore scene aren't even capable. Not so much in an overtly masculine manner, but through intelligently refined viciousness transmitted via the appropriate musical spectrum. While Heavens to Betsy wasn't as well known as Bikini Kill or Bratmobile (largely due to their short career), it hardly means they didn't have the potential to stack up. That being said, Calculated should be included as essential listening for all fans of riot grrrl.
http://www.mediafire.com/download.php?mcondmzyienpart2http://www.mediafire.com/download.php?eejdnu3juim
I stumbled upon an old vinyl version of this recently. Definitely worth a good high-volume play (especially "The Creeper"). And come on, why don't you have it already?
The Ventures - Walk, Don't Run Vol. 2Code: [Select]http://www.mediaf!re.com/?mztz5gtyyym
http://www.mediafire.com/?j1thzzd05rnRamona Falls is beautiful. Seriously, check it out on Google Earth some time. A multi-tiered waterfall in a dark glen on the slopes of Mount Hood in Oregon, it's one of those endlessly photographable landforms that makes you want to be there any time you see a shot of it. As a sort of shorthand for the natural majesty of the Pacific Northwest, the name works well for Portland's Ramona Falls, aka Brent Knopf of Menomena and a huge cast of his friends. In fact, of the various Menomena side projects, this is the one that most matches that band in terms of both sound and quality, paying meticulous attention to sonic and compositional details to emerge with a record full of memorable surprises.
Sometimes it's just an unexpected element that mails a song all the way home, like the impromptu choir that suddenly emerges from the acoustic guitar and spaciously recorded drums of "Bellyfulla" or the unbelievably gorgeous violin part that shines like a vibrant light from the center of "Russia". The violin melody interacts with the chord sequence to grow more aching by the second and turns a decent song into one you can't forget. Knopf is piano player and programmer for Menomena, and he comes up with some wild stuff here, especially on "Always Right", where he sticks you with these bizarre, stuttering phrases for the odd-metered verses. It's offset by big choruses and a strange Eastern European-ish bridge with a carnivalesque atmosphere. More simple is "Boy Ant", a short piano instrumental with a sense of melody derived more from traditional European songs like "Edelweiss" than anything in contemporary pop sphere.
Any Menomena fan will recognize Knopf's voice, which is a delicate instrument-- it's not rangy, but he knows his capabilities and uses them. He gives himself a bit of electronic assistance on "I Say Fever", falling down a processing rabbit hole on the title refrain, which precipitates a sudden downpour of heavy guitar. Sleater-Kinney's Janet Weiss provides the song's pounding rhythmic floor, but Knopf's own piano gives it its funky stride. Knopf's solo songs share with Menomena an ear for contrast--"Going Once, Going Twice" swings between easy-flowing passages and lurching sections that build tension for the next rhythmic release.
Intuit, a word that nicely serves as a homophone for "Into It", works as a title for the album because it so neatly seems to describe the writing process-- very few of the odd shifts and unexpected turns in the songs sound contrived or forced. Down to the cover art, it feels like a strong echo of everything great about Knopf's primary band. There are no cut-outs or flipbooks, but Theo Ellsworth's elaborate, grotesque illustrations are worth taking in-- they're like a combination of Where the Wild Things Are, a fever dream, a pagan woodland ceremony, and a notebook doodle. The music is worth taking in, too, over and over again.
When a European record shop asked Appleseed Cast to give an acoustic in-store performance, frontman Christopher Crisci wrote a series of new songs for the occasion. Such material formed the basis of Old Canes, a lo-fi project spearheaded by Crisci and performed by a loose group of backing musicians. The band's debut album, Early Morning Hymns, appeared in 2004, and Crisci issued two albums with Appleseed Cast (2006's Peregrine and 2009's Sagarmatha) before putting the finishing touches on Old Canes' second release, Feral Harmonic.
http://www.mediafire.com/?nkzeanmuztohttp://www.mediafire.com/?wn4qqtml5edIn Gowan Ring is the musical endeavour of American composer and multi-instrumentalist B’eirth. Started in the early 1990’s, In Gowan Ring plays acoustic songs with strong roots in folk, medieval, and psychedelic music.
http://www.youtube.com/watch?v=3F_xG9OjrD0
http://www.mediaf!re.com/download.php?jnhn4zw5dmdA split from the well known gy!be and the also Montreal based experimental rock project Fly Pan Am, only for fans of this kind of stuff
http://www.youtube.com/watch?v=ivXq2IWxRiU
http://www.mediaf!re.com/download.php?jnhn4zw5dmd
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Ramona Falls - Intuit (2009)
(http://imgur.com/Xecf5.jpg)
MySpace (http://www.myspace.com/ramonafalls)
"I Say Fever" (YouTube) (http://www.youtube.com/watch?v=6eqZHvpAbss)Code: [Select]http://www.mediaf!re.com/?j1thzzd05rnQuote from: PitchforkRamona Falls is beautiful. Seriously, check it out on Google Earth some time. A multi-tiered waterfall in a dark glen on the slopes of Mount Hood in Oregon, it's one of those endlessly photographable landforms that makes you want to be there any time you see a shot of it. As a sort of shorthand for the natural majesty of the Pacific Northwest, the name works well for Portland's Ramona Falls, aka Brent Knopf of Menomena and a huge cast of his friends. In fact, of the various Menomena side projects, this is the one that most matches that band in terms of both sound and quality, paying meticulous attention to sonic and compositional details to emerge with a record full of memorable surprises.
Sometimes it's just an unexpected element that mails a song all the way home, like the impromptu choir that suddenly emerges from the acoustic guitar and spaciously recorded drums of "Bellyfulla" or the unbelievably gorgeous violin part that shines like a vibrant light from the center of "Russia". The violin melody interacts with the chord sequence to grow more aching by the second and turns a decent song into one you can't forget. Knopf is piano player and programmer for Menomena, and he comes up with some wild stuff here, especially on "Always Right", where he sticks you with these bizarre, stuttering phrases for the odd-metered verses. It's offset by big choruses and a strange Eastern European-ish bridge with a carnivalesque atmosphere. More simple is "Boy Ant", a short piano instrumental with a sense of melody derived more from traditional European songs like "Edelweiss" than anything in contemporary pop sphere.
Any Menomena fan will recognize Knopf's voice, which is a delicate instrument-- it's not rangy, but he knows his capabilities and uses them. He gives himself a bit of electronic assistance on "I Say Fever", falling down a processing rabbit hole on the title refrain, which precipitates a sudden downpour of heavy guitar. Sleater-Kinney's Janet Weiss provides the song's pounding rhythmic floor, but Knopf's own piano gives it its funky stride. Knopf's solo songs share with Menomena an ear for contrast--"Going Once, Going Twice" swings between easy-flowing passages and lurching sections that build tension for the next rhythmic release.
Intuit, a word that nicely serves as a homophone for "Into It", works as a title for the album because it so neatly seems to describe the writing process-- very few of the odd shifts and unexpected turns in the songs sound contrived or forced. Down to the cover art, it feels like a strong echo of everything great about Knopf's primary band. There are no cut-outs or flipbooks, but Theo Ellsworth's elaborate, grotesque illustrations are worth taking in-- they're like a combination of Where the Wild Things Are, a fever dream, a pagan woodland ceremony, and a notebook doodle. The music is worth taking in, too, over and over again.
Punk rock is a genre that was largely formed on the mindset that anyone should be able to express themselves musically, regardless of talent. Hip-hop traditionally lives and dies by skills, and it widely rejects the idea that anyone can pick up a mic and rock a stage without putting in hard work and sweat and dedication to their craft. Any artist that tries to fuse those two worlds has to be more than aware of how tricky a dichotomy that has to be; Minneapolis punk-rap artist P.O.S. alludes to this by claiming that his performing name stands for both "Promise of Skill" and "Piece of Shit." If that's too confusing, "Pissed Off Stef" works fine; it's Stefon Alexander's biggest unifying factor.
It could also be the biggest barrier to enjoying his work, even though Never Better-- the third solo album from the member of the nine-person Doomtree collective-- is P.O.S.' tightest album yet. Everybody's supposed to be high on hope right now, however guarded and pragmatic a hope that it is. But with a lead-off track ("Let It Rattle") that scoffs via repurposed Nas lyrics that "They out for presidents to represent them/ You think a president could represent you?", Never Better sets a confrontational tone that makes the album a potentially rough listen. But that bristling anger is subtly infused with a smart-assed insight and a thing for folding pop culture touchstones into unrecognizable shapes.
P.O.S.' lyrics have more in common with allusive free-spitters like Aesop Rock and Rob Sonic than, say, Gym Class Heroes-- giving you the gist of an idea while leaving you to try and calculate the deeper meaning in all the supposedly disjointed phrases ricocheting off each other. Some of the more intense lyrical moments, like "Grave Shovel Let's Go" ("They turning in they grave/ We dig 'em up and rearrange, aim/ Take 'em out the way they came") and "The Brave and the Snake" ("Slip through the sidewalk/ Skip to the hard part/ Tip to the card shark/ Rip through the rampart"), seem to run almost entirely on the fumes of some random-thought anxiety, threatening to drown out any first-listen comprehension with a barrage of aggressive internal rhymes and his meter-defying flow.
But the further you sink into it, the more sense it makes, and you're able to more clearly pick out the themes-- the recession rhetoric of "Low Light Low Life"; the post-trauma love story of "Been Afraid"; the fuck-what-they-think defiance in "Purexed". Worn ground, maybe, but the language makes it spark. And all that abstraction makes the matter-of-fact details in the autobiographical "Out of Category"-- which takes its titular hook from Lil Wayne's verse on Birdman's "Neck of the Woods"-- stand out a lot more starkly. When P.O.S. reminisces over his coming of age as a black punk rock kid, he captures the identity crisis vividly: "Found his kin, brothers at school think he tryin' to rewrite skin/ Others are fools, never seen some shit like him."
As far as the aforementioned punk/rap contradictions, you might wind up forgetting that there are any in the first place. There's still some nods to punk rock, lyrically (a quote of Fugazi's "Five Corporations" in "Savion Glover") as well as in the guest personnel (None More Black's Jason Shevchuk shows up to yowl all over the end of "Terrorish"). And "Drumroll (We're All Thirsty)", the most immediate, throat-grabbing track on the album, is some straight-up hardcore get-in-the-pit business that lives up to its percussive title. But the majority of the album fits a wider array of rockish hip-hop beats and hip-hop-influenced rock rhythms: "Savion Glover" rides on an uptempo combination of minimalist electronic percussion, splintered guitar chords, and rapidfire scratching, and there's a slick, borderline-pop sound to lead single "Goodbye" and deep cut "Low Light Low Life"-- produced by Doomtree members Lazerbeak and Paper Tiger, respectively-- that pushes it to the level of college radio's most crowd-pleasing indie-rap offerings.
From front to back, the album's an acquired taste, and even if it's not the big paradox that an album mixing punk ethics with rap virtuosity might risk becoming, it doesn't have a universal appeal, especially for heads leery of anything that might approach the misnomer of "emo rap." But P.O.S. knows this, and he's apparently come to terms with it: "We make our own and if they don't feel it, then we are not for them," he sings in "Optimist (We Are Not For Them)". And then, almost as an aside, he adds: "And that's cool." He could be all things to all people, but he succeeds when he remembers who he is to himself.
http://www.mediafire.com/?evo3gno1igk
http://www.mediafire.com/?yzzvmy20rydOn his new album, DRACULA BOOTS, the legendary Kid Congo Powers returns to the psychedelic jungle with a stripped down, no frills set of volcanic songs. Kid, the premier voodoo guitarist for seminal sexy swampy bands like Gun Club. Nick Cave and The Bad Seeds and Cramps is a restless aesthete. He used his earlier solo efforts to explore vocals and mix genres but with DRACULA BOOTS, Kid comes back to his roots as a crackerjack guitarist playing the primitive music that inspired him; the raw sounds of garage and early Chicano rock.
It only made sense to record such glittering gems as Thee Midniters, I Found A Peanut, and Bo Diddley’s, Funky Fly in a high school gymnasium. He did this in a Midwest town called Harveyville with his nefarious Pink Monkey Birds. Bassist Kiki Solis from El Paso,TX. and Drummer Ron Miller from Macon,Ga. provided the southern soul sauce needed to fuel the engine of the rhythm train. Recording on a stage using the old PA system created a natural reverb, summoning the magic of a bygone prom interrupted by a juvenile delinquent rumble.
The original songs on DRACULA BOOTS go from loud, fuzzy biker rock of Hitchhiking to a greasy rump shaker groove of Bobo Boogie, from a scary movie soundtrack, La Llarona to The Meters having an acid flashback of Black Santa.
So sink your teeth into this hunk of wax and waste no time strapping on your DRACULA BOOTS. You will dance your way from the cradle to the grave, and beyond.
http://www.mediafire.com/?zm2reomogrcJon Snodgrass and Cory Branan are 2 of my favorite songwriters on this planet. Jon, is known best for his roles in Drag the River and Armchair Martian, but earlier this year Jon Snodgrass released his brilliant, first solo album, “Visitor’s Band”. Cory Branan released 2 fantastic albums on Madjack records, “The Hell You Say” and “12 Songs” and has been working on album number 3 on a label to be announced. Know that when Cory releases that new album and tours around, he will become a household name in Alt-Country/Americana.
Jon and Cory have been friends for ages and after playing a number of shows together decided to record a joint release. Cory came out to Colorado to play a number of shows and while in town, the guys recorded this 7 song LP. There are 2 originals by Jon, 3 originals by Cory, and 2 covers (Solo in Soho by Phil Lynott, Wild One by Thin LIzzy). This release will be put out on vinyl and cassette only (that’s right, no CD and the cassette will only be available through mailorder). The first pressing of this record will be pressed out of an edition of 1,000 copies (500 on Sun colored vinyl, 500 on Moon colored vinyl)
http://www.mediafire.com/?c2uoyoymuz0Three forces of nature meet in Bop Ensemble, a Canadian super-group featuring folk legends Bill Bourne and Wyckham Porteous, along with up-and-coming singer-bassist Jasmine “Jas” Ohlhauser. Combining Bourne’s grit, Porteous’ warmth, and Jas’ energetic devilry, the three manage to catch lightning in a bottle.
Bourne, who is cut from the cloth of a classic troubadour, was called by Texas songwriting legend Tom Russell “a shining light in the North American folk and roots scene.”
Porteous matches Bourne’s nearly legendary status and was called by Andrew Loog Oldham “Leonard Cohen meets Harry Dean Stanton, a warm, warm, performer whose voice is like a bottle of wine who has matured into a friend.”
Jasmine “Jas” Ohlhauser is the wild card of the bunch, an exuberant 25-year-old who also plays with the Edmonton band Lilys On Mars. With the addition of her dance theatrics, Bop Ensemble shows come close to performance art.
Each of the three is great on their own … together they’re something truly special.
http://www.mediafire.com/?jyqz2hjmnzdAfter securing national distribution, Orba Squara’s second release The Trouble With Flying will be released October 27; this is the follow up to 2007’s successful debut sunshyness. Mitch Davis, who performs as Orba Squara, finds inspiration for his natural free-flowing melodies from simple things in his life, like his collection of acoustic guitars, toy pianos, bells, and other instruments picked up at stores (including a sitar bought in Japan), flea markets, and given to him by friends.
Flying though reflects Mitch’s interest in growth for Orba with a bigger, louder and more ambitious sound than sunshyness. While the debut was a conscious effort, according to Mitch, the songwriting and recording of Flying “just happened” almost immediately after the release of sunshyness. And while sunshyness was purposefully minimal, a sound described by Pitchfork as “indie-folk, like a hybrid of Iron & Wine and the Boy Least Likely To,” Mitch allowed himself to employ effects and amplification on the new material. He wrote, performed and recorded nearly the whole album on his own at his NYC studio, with the exception of the title track and “Tell Me,” which feature Billy Squier on vocals and guitar. A week after a fortuitous backstage meeting where Mitch handed his childhood rock’n’roll hero (“The Stroke,” “Everybody Wants You,” etc.) a copy of sunshyness, he and Squier began collaborating. In addition to the new record, Mitch has undertaken the ambitious, creative, and critically praised The Trouble With Flying web project found at www.orbasquara.com. The unique website (featuring design by Random Collective) presents the album as a road trip, with footage captured from the 10-day bus tour that Mitch, bandmate Zé Luis and friends took from NYC to Portland in early 2009. The adventure found its inspiration from the album’s literal theme of exploring what is often missed when flying, with beautiful photographs of local color, changing landscapes, performances in the streets, ribs and biscuits, and the long terrain between the coasts. Also on display are lyrics and journal entries while the songs from Flying provide the soundtrack to the 430-foot side-scrolling Flash document. Orba Squara had incredible success with licensing the songs from the debut sunshyness. Along with Apple’s selection of “Perfect Timing (This Morning)” as the theme for its worldwide TV iPhone® campaign, Frito Lay, Expedia, Saturn, Goodyear, and Sun Chips also used songs from the record. The single
“The Trouble with Flying” and a tongue-in-cheek cover of Lady Gaga’s “Poker Face” are available on iTunes now.
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http://www.mediaf!re.com/?tjwdtonmdudHe's been called a prophet, an innovator, a poet; whichever you prefer, the emcee known as Killah Priest is certainly one of the most vivid lyricists in Hip Hop. Priest first entranced listeners on the classic track "B.I.B.L.E. (Basic Instructions Before Leaving Earth)" on GZA's seminal debut LP Liquid Swords. Since then Priest has continued to enthrall devotees of true Hip Hop with his lush imagery, graphic storytelling and razor-sharp rhymes. Now the Rap veteran and Wu affiliate returns with "Elizabeth (Introduction To The Psychic)". Priest delivers a solid full length of head nodders sure to satisfy Wu-Tang fans worldwide all while staying true to his spiritual side and his firm belief in the power of Hip Hop. "Elizabeth" is the first release on Priest's own Proverb Records. Production on "Elizabeth" is handled by frequent Killah Priest collaborator DJ Woool.
http://www.mediaf!re.com/?ozzjdzyymkjAfter a pair of albums under the group nom de plume Preston School Of Industry, Pavement co-founder Scott Kannberg, aka Spiral Stairs, makes his bona fide solo debut with an October 20 LP/CD/digital album release of ‘The Real Feel’ (OLE 858). Following an extended sojourn in Melbourne, Spiral returned to Seattle rejuvenated at the end of ‘08, and commenced recording with a collection of pals including members of PSOI, the Posies, guitarist Ian Moore, Gersey, and Broken Social Scene’s Kevin Drew. Mixed by the Posies’ Jon Auer, this album is by far the most crafted and introspective of Spiral’s post-Pavement works.
In the words of associate Parker Gibbs, ‘The Real Feel’, “has a vibe similar to classic 70’s albums by Fleetwood Mac (’Then Play On’), Captain Beefhart (’Safe As Milk’), and guitar god Richard Thompson, not to mention Aussie psych rock icons Died Pretty. Comparisons aside, this is 100% Spiral Stairs rock, the same rock that made Pavement the most influential band of the 90″s (take that Hoobastank!) and the same strange, dischordant, playful and melodic Spiral Stairs rock that your parents loved.”
“This is indie rock at its best and brightest,” continues Gibbs, “with Spiral Stairs getting back to the basics that have made him a legend in his own mind and to all of the children willing to enter his home.” And on that somewhat troubling note, we’ll add the vinyl edition of ‘The Real Feel’ features a different running order and a limited edition bonus 7″
http://www.mediaf!re.com/?ymmytzjmymzOne Fast Move or I’m Gone: Kerouac’s Big Sur, a new album featuring 12 original songs composed and performed by Ben Gibbard and Jay Farrar of Son Volt - with lyrics based on the prose of Jack Kerouac’s landmark 1962 novel Big Sur - will be available on October 20th. One Fast Move or I'm Gone is a result of Ben and Jay having discovered a mutual appreciation for Kerouac's work while recording several songs for a feature-length documentary of the same name, also available on October 20th.
http://www.mediaf!re.com/?j5wmzdtjkymBrian Harnetty is an Ohio-based musician, educator and artist, whose work involves typically overlooked elements of sound. Many of his pieces transform found materials- including field recordings, transcriptions, and historic recordings- into personal and often socio-cultural worlds. His music and installations have been performed and exhibited in the U.S. and Europe.
SILENT CITY is the follow-up album to his incredible '07 work AMERICAN WINTER (ALP181CD), which is rooted in recordings & transcriptions made available to Brian through a residency with the APPALACHIAN FOLK ARCHIVE (Berea, KY). The end-result often feels like a gently compelling collision of pure, real-deal "Holler Music" and the deftness of Morton Feldman.
Very much in the kindred-spirit, SILENT CITY features Will Oldham (Palace Brothers, Bonnie Prince Billy, Boxhead Ensemble) on vocals, and is a fascinating, compelling collaboration that mixes the last three centuries into one beautifully haunting, cryptic flow of idea-sound.
http://www.mediafire.com/?jzgwznd2yq5Nellie McKay’s gorgeously understated new album, Normal As Blueberry Pie, is everything a tribute record should be. McKay shows a genuine love and respect for her subject, not to mention a seemingly intuitive understanding of the long-forgotten appeal of singer/actress Doris Day—who, over the years, has become synonymous with the stodgy, overly sentimental schmaltz of the irony-free era from which she came, an era that seems to lie across the chasm of history, out of our reach. Backed by some fantastically talented jazz musicians, McKay bridges this gap, breathing life into Day’s out-of-vogue material; giving old standards a new sense of purpose that transcends nostalgia and makes them feel at home in the modern world. She tackles both popular and obscure Day-delivered numbers—written by legends like George and Ira Gershwin, Rodgers and Hammerstein, Burt Bacharach and Hal David, Johnny Mercer, and Antonio Carlos Jobim—with an endearing earnestness, a hushed grace, and a blustery voice that’s like a crisp autumn wind rustling the last brightly colored leaves from the trees in Central Park. It’s the freshest these songs have sounded in years
http://www.mediaf!re.com/?xemqxtz2wuzOvations comes as the tenth official album release from Glen Johnson's Piano Magic, and it finds the band considerably raising their game. Ovations feels like the fullest realisation yet of the sound Piano Magic have been persuing over recent albums, marrying classic underground indie sounds from the eighties with an orchestral level of pomp and bombast. After all these years you can finally hear something approaching genuine crossover potential in Piano Magic's music; you'd have to say it's more a case of the times having caught up with Johnson and co. rather than vice-versa. 'The Blue Hour' is like a collision between Joy DIvision and late-eighties 4AD - in fact, Brendan Perry and Peter Ulrich of Dead Can Dance make appearances on the record, providing an extra air of resonance. It's not all about retro alternative rock stylings however, and on pieces like 'March Of The Atheists' you'll hear myriad Eastern instruments sporting harmonies to match, while 'On Edge' maintains the band's engagement with electronics, launching into rapid-fire machine rhythms and searing, epic guitars.
http://www.mediaf!re.com/?hmnegiomntnhttp://www.mediaf!re.com/?mtu0jwuzuzvhttp://www.mediafi!e.com/?i2cnn5f1imlTegan and Sara's sixth studio album - Sainthood - addresses secular themes of devotion, delusion, and exemplary behavior in the pursuit of love andrelationships. Inspired by emotional longing and the quiet actions we hope may be noticed by the objects of our affection, Sainthood is about obsession with romantic ideals.
In the service of relationships we practice being perfect. We practice our sainthood in the hope that we will be rewarded with adoration. As we are driven to become anything for someone else, we sometimes become martyrs for our cause.
Love, like faith, can never be held in an individual's hands. But the story of a great love affair - especially one that is unrequited or has ended too soon - can be woven like scripture or a bedtime story. And so the themes of Sainthood are tied together by this simple title, borrowed, with great respect, from the lyrics of the Leonard Cohen song 'Came So Far For Beauty.'
http://www.mediaf!re.com/?m5md2ymm5ozAhead of the record's release on Monday (October 19), Logos - Bradford Cox's next round of ethereal pop genius as Atlas Sound - has been revealed as Rough Trade Shops' Album of the Month for October, with the record available with a bonus disc of alternative versions of album tracks and a batch of previously unheard material.
The limited edition disc is available for free when ordered through Rough Trade and gives a further insight into the delicate ambient pop of the Atalantan's solo project away from his pursuits as part of Deerhunter.
http://www.mediafire.com/?zyy5iygr2gdAfter several delays, Joss Stone is back with her fourth album ‘Colour Me Free’ next month, as released on Monday 2nd November. Joss wrote and recorded the follow-up to 2007’s ‘Introducing Joss Stone’ at Mama Stones (a live music venue owned by her mum), and worked with producers Jonathan Shorten and Conor Reeves.
The singer also worked with a number of guest collaborators on the 12 songs, including US rapper Nas, Jeff Beck and Raphael Saadiq (scroll down for the tracklisting). According to Stone, ‘Colour Me Free’ is a very raw sounding record, as she explains: “I kind of woke up one morning and wanted to make an album.”
“It’s very, very raw. It’s a bunch of musicians, writers and myself, and we’re just jamming, basically.” Joss added. “This time, the album was not dictated or forced, it was an organic process where each musician was given the freedom to create their sound.”
“I co-produced this record; it’s an honest and accurate representation of where I am as an artist and person right now. I am really proud of the music and excited to have people finally hear the songs.” The lead single from ‘Colour Me Free’ is ‘Free Me’, as released on 8th November.
http://www.mediaf!re.com/?tyjy51xykc4Nobody comes to a Devendra Banhart record for trenchant insight into the human condition. "All my thoughts are hairs on a wild, wild boar," he muses here on "Chin Chin & Muck Muck." Instead, Banhart's albums offer ashram-appropriate guitar strums, trippy-hippie tone poetry and, if you're lucky, at least one tune where he sings from the perspective of a rodent. What Will We Be has all that (check out "Rats"), plus a wee-hours piano-bar ballad and a driving soul-rock jam with more Tom Petty than Vashti Bunyan in it. A big improvement over 2007's ho-hum Smokey Rolls Down Thunder Canyon, it's also the most consistently satisfying full-length he's made.
Fans of Banhart's outré tendencies might be surprised that this is also his first major-label disc; after all, he doesn't really seem like the compromising sort. Yet, working alongside producer Paul Butler (from the U.K.'s A Band of Bees), Banhart actually flourishes with a little direction: In the catchy campfire singalongs "Angelika" and "Goin' Back to the Place," his appealing eccentricity gains potency when it's packed into more compact forms, while "Baby" and "16th & Valencia" shimmer with a newfound professionalism. What Will We Be sags toward the end with a handful of snoozy acoustic shuffles and a wack-ass impersonation of the Doors. But mostly, it clicks. Maybe wild boars can be broken.
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Part 2 - http://www.mediaf!re.com/?ji3nzmzyi2vSufjan Stevens' second release, Enjoy Your Rabbit, is a vast departure from the pan-ethnic folk of his debut. Using almost no exterior samples, Stevens crafts an electronic, all-"instrumental" song cycle based on the symbols of the Chinese zodiac. While working within these considerably narrower confines, he still maps out a wide musical territory by using each symbol as a mode, each one exploring different textures and tempos and, in the process, evoking a surprising array of moods. At times eerie and ominous like a backwoods Autechre, other times sounding like more club-oriented fare, Stevens sometimes trades in bloops and bleeps for oblique glitches and crackles, but the underlying guiding principle is wide-eyed exploration that fills nearly every track with a sense of playfulness. Enjoy Your Rabbit never gets too serious, although at times it's very intense. Many tracks even have some sort of musical pun working just under the surface; for instance, "Year of the Horse" is by far the longest, clocking in at over 13 minutes, and "Year of the Ox" has a regular, heavy thudding beat.
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Part 2 - http://www.mediaf!re.com/?wntivzmjua3On August 31, 1970, Leonard Cohen was scheduled to play the third Isle of Wight Festival. The conditions were not optimal. While 100,00 tickets or so had been sold, there were nearly 600,000 in attendance. Fans overran the island to see and hear the Who, Miles Davis, Jimi Hendrix, and many others over five days. Given the gatecrashers, things got ugly and violent. Some acts were booed from the stage while others were pelted with projectiles; fires were set — even the stage got torched during Hendrix's performance. Murray Lerner, the award-winning documentary filmmaker who had been commissioned to capture it all, packed up his gear. Thank goodness he stayed.
Leonard Cohen, was 35, had two albums under his belt with a third on the way. He was scheduled to play after Hendrix, right in the middle of the chaos. Organizers tried to find a replacement piano for the one that had been burned — he was asleep in his trailer when he was awakened at 1 a.m. An unkempt Cohen took the stage without hesitation at 2 a.m in a safari jacket and jeans over his pajamas, along with the Army — producer Bob Johnson on organ, piano, and guitar; Elkin "Bubba" Fowler on bass and banjo; fiddler Charlie Daniels; guitarist Ron Cornelius; and vocalists Corlynn Hanney, Susan Mussmano, and Donna Washburn. Cohen opened with a story about a man at a circus asking people to light a match so they could see one another; he requested that from the rowdy crowd. Some granted it early, many more later. Lerner instinctually reset a camera just before his performance and got most of Cohen's show, the vibe of which transformed the festival's last day.
It's all here on CD and DVD from Legacy. Cohen played songs from his first two albums, debuted a few — including "Suzanne," from the forthcoming Songs of Love and Hate — recited poems, and told stories. He offered personal confessions about being in a cheap hotel, trying to pick up a blonde woman in a Nazi poster while coming down from a speed run; he talked of friends who committed suicide because they had no one to talk to; and shared effortlessly, politely, and honestly without artifice or "showmanship." In other words, the qualities he has become known for throughout his career.
The CD captures the entire performance in nearly pristine sound. The hits (of the time) are here, the banter is here, and the entire performance by the band is so special it will leave the listener utterly satisfied. Whether it's "So Long Marianne," the poem "They Locked Up a Man," the stellar reading of "The Partisan," or the chilling version of "Famous Blue Raincoat," this is top-notch Cohen. The DVD is imperfect, but that's alright; it is still essential viewing artistically and historically. What Lerner captures is utterly magical, and not to be missed. His sense of timing is impeccable, his taste unassailable. Since he hastily reset his gear, there is one camera instead of three, but it hardly matters. He captures the essence of what happened, he understood instinctually what was going on on-stage and with the crowd, and he portrays that throughout the gig. The concert is interspersed with brief interviews with eyewitnesses Judy Collins and Joan Baez; but their input is unnecessary and self-serving. Kris Kristofferson's first person commentary, however, is wonderful, because it is journalistic and simple, without nostalgic interpretation. Cohen is not present as a commentator, which is unfortunate, but this is only a small complaint, really. This is one CD/DVD package that is so complementary, its pieces are inseparable.
http://www.mediaf!re.com/?0kzwmd5tyotSome of the songs on The Accidental Experimental have been with George for some time, including a few which would become source material for “An Invitation.” Working closely with producer and frequent collaborator Mike Andrews (Donnie Darko, Grey Boy All-Stars) they have outfitted the “Accidental Experimental” with a mixture of baroque pop, experimental folk, and romantic balladry that fans of both her solo work and band efforts will immediately find familiar and essential
http://www.mediaf!re.com/?mq0dmgzwgnmThe EP will feature Temecula Sunrise and Cannibal Resource, two tracks taken from their recently released and critically acclaimed album, Bitte Orca. The EP also contains two exclusive, previously unreleased tracks recorded as part of the album sessions – Ascending Melody and Emblem Of The World – featuring the band’s signature rhythms and stunning singing.
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Part 2 - http://www.mediaf!re.com/?vdlzyfdymfvThe debut disc from this former member of the folk group Marzuki and sometimes Danielson Famile contributor stakes out some wide musical and thematic territory. Although it was recorded on four-track, it transcends the confines of lo-fi and can even seem sonically overambitious at times. Exploring a terrain that can only be called pan-ethnic folk, A Sun Came begins with Celtic overtones before traveling east in a global musical study. Indian, Middle Eastern, Far Eastern, American folk, and instruments ranging from banjo and sitar to oboe and xylophone (most of which are played by Stevens) — it's all found here in some form or another, which would be a bit disorienting if not for Stevens' often personal lyrical turns and the wide-eyed indie rock vibe that permeates the songs no matter where they may roam. Also, short spoken word pieces are sprinkled across the album, snippets which on one hand sound like field recordings but are in actuality personal anecdotes and reflections from friends, blending further the multicultural music-lesson feel and the introspective, singer/songwriterly tunes — a nice effect. Highlights include "Demetrius," which takes a Sonic Youth-inspired guitar riff, rides it to the British Isles for some pan pipes, then onward to a Moroccan opium den, and "A Loverless Bed," which is a beautiful, reverb-laden ballad turned noise freak-out.
http://www.mediaf!re.com/?y3ay1zjgtzmIt doesn't get much more obvious than this, does it? Two like-minded experimental pop groups - who share a great deal of personal history and an unhealthy, often frustrating obsession with the works of one Steven Patrick Morrissey - come together to cover a couple of songs. Why hasn't this happened already? Is there an emoticon for "duh"? Because, well, duh!
But sometimes first thought really is best thought. Take, for example, this particularly choice split, right? Celebrating the first half century of our beloved Bigmouth, acclaimed Moz acolytes XIU XIU completely eviscerate one of Morrissey's most effective paeans to righteous self-loathing - the punishing, Gameboy-composed assault of solo weeper "I Am Hated For Loving".
Likewise, you've got Portland, Oregon's premiere pantywaists PARENTHETICAL GIRLS appearing here perhaps at their ballsiest — embracing the muted violence of early, under-represented Smiths masterpiece "Handsome Devil".
If only all things could be this simple.
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Part 2 - http://www.mediaf!re.com/?jknywzmggtyNirvana's stage-annihilating performance at the UK's Reading Festival on August 30, 1992-- the one where Kurt jokingly came out in a wheelchair-- has been bootlegged to oblivion but it's getting an official, remastered release.
http://www.mediaf!re.com/?ixgxmykobnnHere's a new album from Jason Molina of Songs: Ohia and Magnolia Electric Co. teamed up with Will Johnson from Centro-Matic and South San Gabriel.
"Consider the collective catalogs of these two prolific masters of the new American folk songcraft: Magnolia Electric Co., Centro-matic, Songs: Ohia, South San Gabriel. Now, let's just be honest. A little bit of artistic ego and one-upsmanship can serve a greater purpose. In this collaboration between Jason Molina and Will Johnson, each seem to hold the other's talents to the fire and elevate both performance and creativity. In the friendly sharing of ideas, Molina and Johnson become two poets' poets in a workshop to craft a singular, searing elegy
http://www.mediaf!re.com/?4ddzotqiyzlNorfolk & Western frontman Adam Selzer has a great pair of ears, the kind people will pay serious money to make professional use of.
Selzer's "day gig" revolves around his partnership in Type Foundry Recording studios, the small, well-regarded North Portland music emporium responsible for albums from artists ranging from Spoon and M. Ward (in whose backing band Selzer serves) to the Decemberists (Selzer's bandmate, Rachel Blumberg, was once the drummer) and Thao With the Get Down Stay Down. All have tapped into Selzer's talent to breathe new life into their music.
Selzer also has spent the past decade helming his own band, Norfolk & Western, whose trademark sound is a sepia-toned Americana that toggles between simplicity and intelligence, often pulling off the mean feat -- in a manner similar to the Band -- of embodying both characteristics simultaneously.
On Norfolk & Western's sixth full-length album, "Dinero Severo" (loose Spanish translation: "Severe Money"), Selzer sticks to what he does best: straightforward piano-based melodies spiked with guitar skronk. The tunes sometimes take the shape of a Dream Syndicate-like talking blues ("Whippoorwill Song"). Others are oddities whose melody and structure resembles radio-ready power-pop ("So That's How It Is," "This Is a Number 5"). It's a nifty trick, one that highlights the band's overflowing surplus of craft and Selzer's many gifts as bandleader, writer/arranger, and, of course, there's those golden ears.
http://www.mediaf!re.com/?wugywzljkdyThis is the first single from Yeasayer's new album, Odd Blood, to be released February 9, 2010. The single comes out on physical media November 3, 2009 but is available for digital download from their website immediately. Visit http://www.amblingalp.com/ (http://www.amblingalp.com/) for more information.
Good lord
Piano Magic - Ovations (2009) ~ Mp3 V2
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Here’s one record you can judge by its cover. The colossal sound on Legion of Two’s debut album Riffs is so ‘industrial’ you can almost trace the cables from those spindly pylons back to the turbine room of some imposing power plant. It sounds like metal, but it’s no head-banging power chord onslaught – rather it sounds like sheet metal being hit, scraped and battered into shape. It’s a cast iron album called Riffs that doesn’t really have any actual riffs, or even guitars or vocals. It’s also smeared in dubstep, glitchy electronica and visceral drone rock, and it might be the heaviest thing you’ll hear this year.
The plant workers are Decal producer Alan O’Boyle and percussionist David Lacey, big players on Dublin’s underground techno and improvised music scenes who fittingly unleashed Legion of Two at the Dublin Electronic Arts Festival last October. Since then, a few snatched MySpace live clips and tantalising song snippets have stirred up an online buzz – and they’ve delivered on the promise with an album that’s as dark and challenging as anything else on Planet Mu.
O’ Boyle’s trademark may be sleek electro and techno, but the shimmering cymbals, hissy feedback and rusty metallic whining on opening track ‘Intro (Starbound)’ is at once a serious departure from Decal’s floor fillers. It’s the pounding live drums and sampled percussion that hammer home Legion of Two’s mission statement though. Riffs is like Future Sound Of London’s Dead Cities after a nuclear holocaust, a rare electronic album with a coherent sonic theme – albeit one of dystopian urban decay.
The six-minute epic ‘And Now We Wait’ takes a corroded cityscape and concocts a wall of noise around rattling shutters, distant alarms, stabby rave motifs and malfunctioning electronics. ‘Palace (Dub)’ sounds like a rewired Blade Runner soundtrack if Vangelis lost the tender to Godflesh or Ministry; its breathy synth pad intro soon smothered in a molten lava bassline, seismic drums and claustrophobic 8-bit sci-fi loops. It also hints at ‘vocals’ buried in the mix, with twisted wailing that’s barely audible through a busted shortwave radio – ghosts in the machine, trapped under fizzling live wires and shards of scrap metal barely soldered together.
But it’s not all gravelly electro basslines and slabs of white noise. Delicate fractal synths act as pinholes of sunlight through acid rain clouds on ‘Legion of Two’, and the xylophone and woodblock effects on ‘Turning Point’ build up to a lush techno finale that Orbital would be proud of.
While the album as a whole is a slow, rumbling beast, the tempo drops even further after ‘(Interlude) ABC’, with its snatches of tinkering keys and a kid’s warped alphabet recital. There’s more space to breathe on Riffs’ cavernous dubbed-out second half. ‘Handling Noise’ is a creaking shipwreck of a track, with echoes of metal barrels slamming against each other in the hold until it descends into a cacophony of drills and squalling woodwind. ‘It Really Does Take Time’ is a dark dub masterpiece, with its panning echo chamber effects, wobbly bassline and sonar bleeps. It also has one of the album’s few ‘riffs’, a slithery low-end synth line that coils around a haunting vocal loop.
With nine tracks spanning an hour (three weigh in over the 10-minute mark), Riffs’ triumph is its relentless sensory overload. It’s not zeroes and ones programmed by algorithms – there’s nothing virtual about Legion of Two’s sound. And as the final track ‘Cast Out Your Demons’ spirals off in a dense fog and wailing sirens, you realise Riffs hits the spot because it’s an electronic album with its live wires and short circuits still showing, a towering noise factory that’ll trap you once you clock in.
http://www.mediaf!re.com/file/zgtwqlfwjf2/Lgn o 2 - Rfs.rarAn odd release for Planet Mu. The live drums in particular make it sort of post-rocky at times, but for the most part it resembles some of the more aggressive cuts off of the Nine Inch Nails instrumental album Ghosts, with a harder edge, cross-pollinated with Tobacco here and there. Recommended.The EP might be the ideal format for Justin Broadrick's music, regardless of his alias. Whether he's trying to erase your head via concrete-slab guitars in Napalm Death, reduce techno to a series of clockwork hammerblows with Final, or massage your pleasure centers with neo-shoegaze in Godflesh, Broadrick's music has a laudable singularity. The three-or-four-song dose mainlines his all-consuming mood of the moment without the potential dilution of trying to fill up a CD.
Broadrick claims to be channeling his long-unused (or presumed non-existent) pop instincts via Jesu, and the band's DNA always has too much of hard rock's cathartic oomph and pop's peaks and valleys to pass for ambient. But Jesu's extended-players like Silver, Lifeline, and now Opiate Sun do seem to bring out Broadrick's more memorable riffs and choruses. If nothing else, they foreground those riffs and ringing climaxes in a way that the hour-plus ebb-and-flow of Jesu or Conqueror isn't designed to do.
Opiate Sun isn't as good as the all-over bodiless sparkle of Lifeline, which may be the best non-collaborative release in Broadrick's unwieldy discography. It's more of a Jesu sampler, a four-song distillation of the band's major modes, with some of Broadrick's most accessible, ingratiating songwriting-- radio-ready if not for the tempos and the fuzz.
"Losing Streak" and the title track are more or less arena alt-rock at a snail's pace, almost cuddly and triumphant enough to be a Foo Fighters single, or maybe Probot if Dave Grohl had drafted Kevin Shields instead of Lemmy. (Plus, I swear, a hint of slow-motion southern rock grandeur in "Losing Streak"'s mid-song solo.) "Deflated" is one of those oxymorons Jesu do so well-- the angelic dirge-- with bass skirting doom metal while the guitar auditions for some early-1990s Creation Records A&R dude. "Morning Light" really is doom, the only out-and-out metal tune here, skewed only by Broadrick's multi-tracked sad-dude vox. Add it all up and (more or less) you've got Jesu.
So Opiate Sun is both the most recent fix for Jesu addicts anxiously awaiting album número tres, and an easy-access jump-on point for not-quite-yet-fans. Opiate Sun's heavy enough to act as gateway drug for those who still know Broadrick only as the guy behind Godflesh's decade-long bad day (if such creatures even exist). It will please the post-'gaze guitar-texture freaks who cream on contact with sonorous feedback. And it's memorable enough to hook those one-and-done consumers of the album-abjuring age. Not bad for four songs.
— Jess Harvell, October 30, 2009
http://www.mediaf!re.com/?yznz3dd4teyI’ll be honest - coming from the north west of England, grime totally passed me by; apart from the occasional transmission which broke through via the mainstream (Dizzee Rascal ‘I Luv You’, for example), it didn’t really penetrate deepest darkest east Lancashire. On this flimsy basis, I had the music neatly pigeonholed as a basic, functional sound – constructed in a Bow council flat using Music 2000 for the Playstation, for the sole purpose of being MCed over by a shouty youth in a baseball cap. Luckily, this compilation has come along to prove me utterly stupid and wrong. Granted, there are tracks on here (‘Frontline’, ‘Stiff’, ‘Crowbar 2’ amongst others) that do fulfil that role, but they do so with no little amount of style; blending high energy (not hi–nrg, that’s something quite, quite different) electronic drums and some tricky edits with utterly concussive levels of bass pressure, leaving plenty of space for MCs to do their thing.
However, it’s when Mr Danjah (possibly Terry to his friends) ushers the MCs to one side and lets the music do the talking that things step up a notch or three. I was surprised to note just how much you can hear the influence of some of the tracks here on the music that is slaying underground clubland in 2009; compare, for example, the laser-guided synth riffing of ‘Hyperphonix’ with the Brackles release on Applepips ‘Get A Job’, or the slinky alien P-funk of ‘Zumpi Hunter’ with the Purple Wow crew’s output. I think ‘Zumpi Hunter’ is my favourite track on the CD - I pretty much guarantee that you will have that synth hook stuck in your head for weeks after hearing it. Also worth a mention is ‘Green Street’ which splices an almost funky-esque drum workout with glistening melodic flourishes and big bad bass, whilst ‘Planet Shock’ is a cheeky remoulding of the bodypopping 80s electro classic that would appear to be a stone cold club rocker.
Although it could probably have done with leaving out a few of the more functional tracks, the compilation offers a fascinating and comprehensive snapshot of a producer that is not well known and a musical style that is oft ignored. I’d say that those who might have previously written grime off – like me - but are into Joker, Brackles or indeed any of the new wave of synth freaks
http://www.mediaf!re.com/?k2yznolztklBeatportal.com user Yield Load thinks "dubstep is wicked music, but I didn't know how your suppose to dance to it." The grammar's not there, but the idea is: Dubstep-- the nocturnal, claustrophobic subgenera of British electronic music that emerged from garage and 2-step-- is descended from dance music but doesn't sound like it's made for dancing. The tempos feel slow, the mood is usually threatening, lonely, or both. If there's any movement I can imagine going comfortably with dubstep, it's what Three 6 Mafia's DJ Paul rapped about on "Side 2 Side", and the standard step at indie-rock shows worldwide: "I'm in the club posted up, got my arms folded... twistin' my body from side to side."(pt.1)
Of all the videos of dubstep dancing I clicked through online, two stick out in my mind. One is by an overweight teenager in what is likely his parents' living room, a decorative ship's lifesaver on the wall between what appear to be illustrations of the seaside, a large desktop computer at one end of the room, an open door leading to a yard on the other. A track by the producer Skream comes on, and he starts to move his fists up and down like a child banging steadily on a table, taking very deliberate steps across a carpet. That's it. The other is of two men, one black and one white, dressed in suits, dancing in some kind of white, computer-generated void, as the names of their dance steps flash across the bottom of the screen. My favorite is called "Lost in the woods (with bewildered stare)". I don't know if the comedy was intentional. Either way, it's a sign that dubstep has reached a particular position of cultural importance: hundreds of thousands of people are watching a suburban kid dance to it on YouTube.
Hyperdub is usually cited as dubstep's most prominent and progressive label, but it's hard to even call most of their releases dubstep, strictly speaking. They've released off-centered hip-hop (Flying Lotus), brooding chill-out music that recasts the chill-out room as a bunker (Kode9 & the Spaceape), and misfit rave music (Zomby). Hyperdub's sound isn't dubstep, it's urban noir in the 21st century, or at least how the 21st century looked in 1970s science fiction: A procession of florescent signs over an empty street. 5: Five Years of Hyperdub-- their first CD compilation-- has the tall task of trying to anthologize the label without making it seem like they've run out of ideas. Their solution is sensible: One disc of new material; one disc of classics.
Like any label compilation, 5 functions as a kind of mission statement: Here's what we've done; here's what we do. Most of the music on it sounds made for the head, not the feet. In a way, it's like a modern analog to Warp's 1992 compilation, Artificial Intelligence, whose sleeve was a picture of an empty armchair in a living room-- electronic music that has a place in the home.
Describing his music to The Guardian in 2007, the producer Burial said, "I want it to be like a little sanctuary. It's like that 24-hour stand selling tea on a rainy night, glowing in the dark." His two albums, Burial and Untrue, have more in common with Massive Attack and ambient music than anything you'd hear at a club. Zomby, on the other hand-- whose Where Were U in 92? sounded like jungle and drum'n'bass chewed up by a Game Boy-- described his daily routine to XLR8R magazine as "lots of rolling joints" and "eating some chicken-based dish à la carte." These guys aren't public faces, they're lost in the crowd-- they're people spacing out in their living rooms, alone. Burial's identity was secret for two years after he started putting out records. Zomby will be photographed only while wearing a mask.
Anyone familiar with Hyperdub-- or dubstep in general-- will know most of the classics disc. That's the point. One of the label's first singles-- Kode9 & the Spaceape's bloodless cover of the Specials' "Ghost Town"-- doesn't even have a beat behind it; it floats. Burial shows up twice, once with "South London Boroughs", once with "Distant Lights". There's Zomby's nightmarish "Spliff Dub (Rustie Remix)", whose sampled vocalist sings, "One spliff a day keep the evil away," over a track of 8-bit garbage and what sounds like synthesizers in a deep fryer. (The music captures weed's paranoia more than its elation-- I mean, is it supposed to make me like pot or fear it?)
The word "classics" has a kind of accelerated, lax definition in dance music, and some of the tracks on the second disc are from as recent as earlier this year. The heaviest is Joker's "Digidesign", a spacious, bone-simple piece of 80s-style R&B based around a handful of acidic countermelodies, so elegant it almost plays like a jingle.
The first disc-- the new one-- is good, but doesn't hold up to the classics. Those expected to bring it, as it were-- Burial, Zomby, Joker, Flying Lotus-- do, just not in any revelatory ways. Of the bunch, Zomby is probably the most satisfying because he's so hard to pin down: "Tarantula" doesn't sound exactly like anything he's released before, and his most recent single, "Digital Flora"/"Digital Fauna" doesn't sound like "Tarantula". I was never sold on Quarta 330's chiptune routine, nor on Kode9's music either-- their new contributions roll off. The only track that actively perplexes me is Black Chow's "Purple Smoke", whose junkshop hip-hop beats are the most brainlessly retro flourish on the whole compilation, and whose come-hither Japanese vocalist confuses sexy with corny. Minor complaints. Hyperdub deserves this: They've reshaped the little world they work in, and they've reached out to a wider one-- whether that world dances or not.
http://www.mediaf!re.com/?mv0ymemhzmt(pt.2)http://www.mediaf!re.com/?izhmwjtqmmoGood stuff here even if you don't actually like dub music -- Hyperdub's about as close as you come to the real thing in the dubstep scene these days.
It took Vitalic's Pascal Arbez-Nicolas over four years to follow up OK Cowboy, but then he's never been a particularly speedy producer. After all, his debut album featured singles that were nearly a half-decade old by the time they appeared on the full-length. Even if Flashmob's title feels a little dated, suggesting mid-2000s trends a few years after they peaked, the same can't be said about its music. While the electro foundations of his sound remain the same after more than a decade, these tracks are sleek and innovative -- proving that Vitalic spent the years between OK Cowboy and this album uniting everything he learned making groundbreaking singles like "Poney" with what's been going on since his last album. While there are more than a few cuts that are classic Vitalic, all masses of synths and hard-edged beats (see the sunny expanses of "See the Sea " and the interstellar closer, "Station Mir 2099"), he's not afraid to change things up, most strikingly on Flashmob's singles. The title track is particularly bonkers, using vocals and synths that get higher and swifter until they blur into streaks, giving the impression of going faster and faster even though the actual beat stays rock-solid. It may be as (aptly) flashy and immediate as, say, Justice, but it also has an artfulness that is all Vitalic. He also uses disco's influence in similarly unexpected ways, permeating the album with the style's spirit rather than rehashing its clichés. "Terminateur Benelux" piles on the handclaps, cowbells, and breakdowns, but balances them with a wittily sinister bassline that borrows from Belgian rave; "Your Disco Song"'s whip-cracking beat and 8-bit synths sparkle and crunch like a shattered mirrorball. "Poison Lips" is even more unusual, transforming Vitalic's vocal program Brigitte into a breathy, glitchy Donna Summer replicant surrounded by swirling pads. He explores Flashmob's surprisingly delicate side more deeply on "Still"'s icy, Moroder-esque atmosphere and fluttering vocalizations, and on the gorgeous "Second Lives," which boasts a melody so lovely it feels like a classical piece given a radical spin on the dancefloor. Even with tracks like "Chicken Lady," which is equally kinetic and goofy, Flashmob is some of Vitalic's most artful, even subtle work. It may or may not be as profoundly influential as OK Cowboy, but it's just as engaging and even more cohesive.
http://www.mediafire.com/?t1znyw22zhh
http://www.mediaf!re.com/?mdjkym2mwo1Mostly anyway
http://www.mediaf!re.com/?wd4wzmnztoyhttp://www.youtube.com/watch?v=c73Kq0jwaeM
January 28, 1986 was one of those dark, tragedy-stricken days in American history, for on its tenth mission, in front of live television cameras, NASA space shuttle Challenger broke apart soon after its launch. Many might still remember the images of the Challenger coming apart at the seams, a completely devastating yet eerily majestic remembrance of lives and aspirations exploding in cascading plumes of exhaust and smoke.
The new album by C. Spencer Yeh’s Burning Star Core project bears the same name as that ill-fated space shuttle, and it finds itself working towards a similar pathos. Opening track "Challenger" is a prime example, setting the tone and immediately bringing to mind Brian Eno’s Music For Airports. But this venture could be more aptly dubbed Music For Space Stations: relying on softly shifting tones and a repeated high-frequency blip intermittently ringing out, Yeh depicts a relatively calm scene, only to be devastated with racket around the three-minute mark. Screeching noise disrupts the consonance, as if offering up a sacrifice, beholding the magnificent to be ritualistically destroyed by its preternatural dichotomy.
Indeed, Spencer makes it clear from the beginning that Challenger is a composed work rather than an improvised one (as his usual wont), and it’s made even clearer as this compositional method returns throughout the album. In fact, Yeh frequently adopts this formula on this album, in which the song starts off quietly, builds into a transcendent soundscape, and is then counterbalanced by some sort of dissonance. "Mezzo Forte," for instance, centers around Yeh’s voice looped in staccato patterns over one another, until a cosmic stuttering orchestra of “uh”s accumulates. A mesmerizing Satie-like piano line is added, but like the opening track, "Mezzo Forte" undergoes the ritualistic process whereby beauty is built up and subsequently destroyed.
Elsewhere on the album, "Hopelessly Devoted" features Hair Police member Trevor Tremaine supplying cascades of Jew’s harp on a really deep track with plenty body-vibing resonance, as "Un Coeur En Hiver" (translation: "A Heart in Winter") starts off with snippets of conversation and field recordings of what sounds like the din of late-night garbage pickup and rusty, swinging gates. Meanwhile, On "Mysteries of the Organ," Yeh busts out his trademark violin, with some swelling, attack-delayed organ — slightly reminiscent of an instrumental Burzum piece — and a violent assault on the piano.
Although not necessarily a "challenger" because it is one of Yeh’s more difficult works, the album instead challenges the listener into thinking more deeply about the nature of consonance and dissonance, and how it is enforced in the modern music scene. He’s playing with our relationship between aesthetics and emotion, making it easy to be reminded of, say, the Challenger space shuttle painting an epic canvas in the sky. The album’s cover art (by Robert Beatty of Hair Police/Three Legged Race) only adds to the tension: a Monty Python-esque burst of Technicolor springing forth from a crack in a gray, featureless celestial body surrounded by a similarly dreary universe.
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http://www.mediafire.com/download.php?mzjyzb5vmzthttp://www.mediaf!re.com/file/hy2mey2t1tg/Love Is Overtaking Me.ziphttp://www.mediaf!re.com/file/tcmymjjjman/Love Is Overtaking Me2.ziphttp://www.mediaf!re.com/file/gjgolngjyel/Meanderthals.ziphttp://www.mediaf!re.com/file/zreyxdwdlmq/DeYarmond Edison.ziphttp://www.mediaf!re.com/file/5fieoycmy2q/Hazeltons.ziphttp://www.mediaf!re.com/download.php?2mmnynaldnqGiven the late Fred Neil's near mythic reputation as a songwriter, singer, environmentalist, and recluse, the reissue of his 1965 album Bleecker & MacDougal is of historic importance. But rather than being an artifact of the man who wrote "Everybody's Talkin'," "Other Side to This Life" (which appears here), and "Dolphins," this album is made of the material that gave Neil his enigmatic presence. This is a highly evocative and emotionally charged set of material, nearly all of which Neil composed. The lineup on the album was similar to his previous outing with Vince Martin, and featured John Sebastian on harmonica, Felix Pappalardi on bass, and guitarist Pete Childs (who also played dobro and electric on the date -- the latter was heresy for a folk record), with Neil playing 12-string. The pace of the set is devastating, from the greasy blues of the title track to the strolling darkness of "Blues on the Ceiling," the jug band stomp of "Sweet Mama," and the balladic heraldry of "Little Bit of Rain," a dynamic Tim Buckley would bring his own magic to as he emulated it a few years later. In addition, there's the tough Chicago blues meets California swagger of "Country Boy," which Mike Bloomfield and Paul Butterfield would perfect two scant years later. "Other Side to This Life" is its own elegiac painting in sound, with glistening dirge-like textures caressed by Neil's baritone. The tough, battered "Travelin' Shoes" is an early example of folk-rock with a big accent on the word "rock." Yet, on the album's lone cover, a gorgeously wrought and multi-textured rendition of "The Water Is Wide," Neil added spare, haunting jazz overtones to the arrangements, transcending the folk coffeehouse prison the song had been encased in for a decade. In fact, if one listens to Bryter Layter by Nick Drake, it would be easy to hear the connection. The album closes with the winding dobro that sparks "Gone Again," underlining the album's feeling of rambling transience and willful acceptance of both the graces and hardships life offers. In 13 songs, Neil transformed the folk genre into something wholly other yet not unfamiliar to itself, and helped pave the way for an entire generation of singer/songwriters who cared as much for the blues as they did for folk revival traditions. This is -- more so than his fine compilation The Many Sides of Fred Neil or his debut Capitol album, Tear Down the Walls -- the Fred Neil record to have.
http://www.mediaf!re.com/download.php?mmjtl2y5zwyBRAINTICKET's debut album is perhaps one of the most psychedelic recordings of all time (and also one I do enjoy). Led by Swiss keyboard wizard Joel Vandroogenbroeck, BRAINTICKET will space you out beyond belief. "Cottonwood Hill" is loaded with acid laced guitar solos, heavy forboding organ screeches and loads of psychedelic influenced lyrics and vocals. The uninitiated should recognize that the title song BRAINTICKET Part 1 & 2 does have a major repetitive chorus which although I find perfectly psychedelic may trouble others out there. Like all good prog rock, BRAINTICKET explore a vast array of music here and move from funk-like beats to heavy west-coast acid-freaked-out psychedelia. To sum it all up is to simply say that if your into the psychedelia then BRAINTICKET is your long lost grandfather.
http://www.mediaf!re.com/download.php?2iqzdtniqzfEverything She Touched Turned Ampexian is album number five for Prefuse 73, aka Guillermo Scott Herren. With 28 tracks lasting a total of 48 minutes, it sounds like the future on fast forward. Picture a mixtape mash up of psychedelic hip hop with only the briefest of pauses for breath.
After three short switchback tracks, NoNo is a restful patch of crooned breathing. However, it's only 14 seconds long and over before you know it. Straight after Herren serves up an intense slice of stop start beats – appropriately titled Punish - that ends with violin wails and multi-tracked voices.
There's a scene in the 1976 film The Man Who Fell To Earth in which David Bowie's lost alien sits surrounded by a huge bank of televisions, all tuned to different channels. The cacophonous result isn't that dissimilar to first impressions of this album. It feels like it’s necessary to focus on individual moments to get a sense of what's happening, but those moments are succeeded by so many other shard-like sounds that it can feel like a challenge to keep up. Surrender is probably the best strategy. The only alternative otherwise is flight.
The other 70s reference is Dan McPharlin's cover - a Roger Dean homage mixed with just a dash of Studio Ghibli. The otherworldliness of the image further underlines the sense of a world gone mad from sensory overload.
It wouldn't be a Prefuse 73 album without some lovely beats under the ever-changing soundscapes: the fleeting Get Em High, the clockwork skronk of No Lights Still Rock and the stoned Regato are high points. Everything She Touched Turned Ampexian may be a challenge, but it's one well worth facing.
http://www.mediaf!re.com/download.php?zm3wznuzvuqDon’t let the soft, scented domesticity of Anja Plaschg’s stage moniker or album title fool you; ‘Lovetune for Vacuum” is a mournful Frankenstein of a record – a young woman attempting to come to terms with the often twisted depths of her own feelings by imprisoning them within a fortress of ticking shutter sounds and mandrake violins. With a beguiling voice pitched somewhere between Anthony and Karin Dreijer Andersson (Fever Ray/The Knife), 18 year old Plaschg (who grew up on a rural pig farm in her native Austria) cuts an emotionally bruised, shadowy figure on her extraordinarily precocious debut.
At the heart of the record is a shy, elegantly mechanical android, that ticks and whirrs with the sounds of typewriters, camera clicks and children’s toys, gradually expanding and dominating with each song. On the childlike ‘Cry Wolf’, it cowers reticently behind a background of Múm style vocals and a naïve flute, but gathers strength by ‘Turbine Womb’ (the lyrics can be a little sci-fi Sylvia Plath, but impressive for a second language) to sound like Optimus Prime doing the ballet; indeed, Plaschg’s strengths reach far beyond the stereotype of the quirky musical ingénue to join Peter Broderick, Hauschka and Max Richter as part of the exciting European scene of young classical protégés, such is her impressive piano work. Come the penultimate track, ‘DDMMYYYY’, the machine is fully-fledged, as industrial and aggressive as Leila or any of Richard D James’ Warp brethren as it drowns out a woman’s crazed histrionics – it’s no surprise that both Fenessz and DJ Koze have remixed her.
In parts, this is a terrifying record, and you can only imagine what it’s like to be her parents – an unpredictable raven haired pearl looming from the shadows of farmhouses in her press photos, even crouched naked amongst the pigs; with tortured scientific lyrics about the Greek daemon of death (‘Thanatos’, not dissimilar to the rousing layered vocals of Electrelane’s ‘The Valleys’) through to the slightly sixth form poetry words of ‘Extinguish Me’ (“I search in snow, in vain / For your footsteps’ trail / I have to kiss them / With my scalding tears”) and childhood pain (‘Spiracle’). It’s not always a pleasure to listen to, particularly as the tangle of piano and icy church intonations of ‘Fall Foliage’ rumble into that familiar elegant clunk of clockwork and whirrs, but it’s to her credit that she rides the motif through to the end of the record, and proves its worth – her bleak electronic dystopia could easily soundtrack Watchmen or similar. If this is how she sings ‘Lovetunes…’, heaven help us when she turns her pen to less starry-eyed subject matter.
http://www.mediafire.com/?wwnxztyztijClocking in at 46 minutes -- nearly half the running time of 2007's In Defense of the Genre -- Say Anything's fourth album is both trim and tuneful, with Max Bemis devoting more focus than ever to the tightening of his quirky, unchained pop songs. "Focus" is a relative term, of course; the frontman still finds time to run wild throughout this disc, rearranging conventional song structures like Picasso and sampling from multiple genres -- emo, rock, punk-pop, R&B, even doo wop -- with greedy glee. The choruses boast stronger hooks this time around, though, which lends heft to Say Anything's musical mish-mash, and the band's willingness to break rules is what makes this album so refreshing. Arriving at the tail-end of 2009, a year in which most emo-pop was compressed, polished, and wholly indebted to Top 40 radio, Say Anything is as unpredictable as they come, boasting 13 tracks that sound dangerous and delicious at the same time. "There are babies with guns beheading their friends in shopping malls around the world, yet somehow the Kings of Leon still have time to write songs about girls," Bemis sing at the beginning of "Mara and Me," adding "I don't suck much less" in a guttural scream. It's this combination of self-loathing and pop culture critique that fuels most of the album, and Bemis distances himself from his contemporaries by briefly embracing their tricks -- the palm-muted guitar chords, the "whoa oh oh" background vocals, the dramatic delivery -- before turning them on their heads, whether that means adding pizzicato strings to "Do Better" or circus-styled keyboard to the aforementioned "Mara and Me." This is an impulsive album, an odd piece of work that manages to be puzzling without alienating the listener.
http://www.mediafire.com/?yndxdzmkthiOut of Allentown, PA right near where I go to school, comes Broski, the sister of a blog reader named Emily. Broski is self described as "Music for driving away from your girlfriend's house" and it's pretty fitting. The four track EP is just a two-piece set of Mitch on guitar and Jordan on drums, but the simplicity isn't a bad thing. Mitch plays some choppy quick catchy rifts with a definite emo influence. They recently played with My Heart To Joy which is what I'm digging right now so that's a plus. I was going to try relate them to a Cap'n Jazz spin-off band, but they are like an upbeat version of all of them combined. My only critique which is kind of a major turn-off for me normally is the lack of vocals. I'm a big fan of music with something to say and a good voice to say it. Despite this, I enjoyed listening to Broski, and I look foward to seeing how they develop.
http://www.mediafire.com/?mlioz2jm2zjTree Sounds used to go by Molly Sunday but now she plays lo-fi ukulele under a new name. Since it's just one girl, it's a pretty simple sounding album, but nonetheless it's full of a lot of ukulele strumming, claps, and fun lyrics. The "band" name is kind of fitting, because it makes me want to go outside and go fishing and climb trees.The Sarcastic Dharma Society-Other People's Songs
The Sarcastic Dharma Society or pretty much just Matthew J. Vuksinich for the most part shot me an email asking me to listen to his work and tell me what I think. This local artist from the thriving music scene of Portland, Oregon has some real talent. Whenever I get emails from people with music to listen to especially if it's their own, I never have high expectations.
WRONG! I was simply blown away when I opened up the files he gave me which consisted of covers of some of my favorite artists. These are the likes of Andrew Jackson Jihad, Why?, The Beatles, Bright Eyes, and Mt. Eerie which I just recently got into.
The album consists of 10 songs all being covers of artists that I love from the start. Some of my other favorite tracks are "Don't Let Me Down" by The Beatles and "Shit On My Heart" by a local Portland band known asMeyercord.
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http://www.mediafire.com/download.php?my3d2fywn3yhttp://www.mediafire.com/download.php?0zw03kwmaxkhttp://www.mediafire.com/?y1intiltyzzFolk
Witch-Hunt: The Rites of Samhain is a recording of a 1999 live collaboration of Blood Axis and In Gowan Ring, performing as Witch-Hunt
http://www.youtube.com/watch?v=c99XyIcpSWQ
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http://www.youtube.com/watch?v=sRzou2Qy5Y4
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http://www.mediafire.com/?gntlnqadjdc
Code: [Select]http://www.mediaf!re.com/?y1intiltyzzThis is the actual physical release, containing the track and the a capella
Washed Out - High Times / Life Of Leisure
Two EP's clocking in at a combined 37 minutes of lo-fi electro-pop brilliance. You're welcome.
http://www.mediafire.com/?nwhwnjb0tythttp://www.mediafire.com/?jxh25unoonm When Once hit theaters in 2007, Glen Hansard had already pursued international acclaim for more than 15 years with the Frames. Although popular in Ireland, the singer's music wasn't nearly as omnipresent in other countries until the movie's release, which catapulted former Frames tunes like "Falling Slowly" into the spotlight. The Once soundtrack was also a big hit, turning Hansard's side project with simpatico songwriter Markéta Irglová into a full-fledged, award-winning, globetrotting band. While playing international venues and attending industry award shows, the two attracted additional attention for their real-life relationship, which effectively replaced Once's semi-tearful conclusion with a storybook ending. Released two years after the film's release, however, Strict Joy finds Hansard and Irglová going their separate ways, choosing to end their relationship while remaining in the same band.
Hansard has used heartbreak for fuel in the past, and he keeps the blaze going throughout these 12 tracks. If the Once soundtrack was a bit spotty — its track list culled from a haphazard array of old Frames songs, Van Morrison covers, collaborative material, and musicians' own tunes — then Strict Joy shows what the Swell Season can do with a singular theme and a solid backing band, both of which contribute to the album's cohesion. Van Morrison's influence is still apparent, particularly in the '70s-styled soul of "Low Rising," but the singer/songwriter ambience that permeated Once's music doesn't carry as much weight here. Instead, Strict Joy devotes more concern to exploring the lush possibilities of Swell Season's sound, which now includes tasteful doses of strings, electric guitar, and overdubbed harmonies.
The results are quite often gorgeous, with songs like "The Rain" and "Wild Horses" building up to expansive, cathartic climaxes over the course of several minutes. Also striking are the performances by Markéta Irglová, who turns her fragile voice — an instrument that always seemed detrimentally self-conscious on previous albums — into something alluring on "Fantasy Man" and "I Have Loved You Wrong." It's testament to the band's vision that they remain focused despite such improvements; no amount of cinematic orchestration can change the fact that these songs are, after all, inward-looking tunes about heartbreak and personal struggle, and their lyrics resonate regardless of their wrapping paper. As a result, Strict Joy is a joy from start to finish, and few bands manage to mix intimacy and sweeping songcraft with such finesse. - Allmusic
http://www.mediaf!re.com/download.php?by3dzaag0n3edit
Though the file is named something completely different
http://www.mediaf!re.com/download.php?wzhtzmjgedmhttp://www.mediafire.com/?gonyoj0nmdj
James Chapman, aka Maps, is yet another British laptop electro one-man band, in the mould of Calvin Harris and Theoretical Girl. He comes from Northampton, got a Mercury nomination for his 2007 debut We Can Create, and, in a great many ways, has no distinguishing features in a UK pop landscape awash with arty 80s-influenced synth revivalists. Except for one thing. His second album is a masterpiece that stands with the best - Depeche Mode, Yazoo, the Normal - of the Mute label's electro-pop past.
Turning the Mind is inspired by a strand of behavioural therapy, pioneered by US psychologist Marsha M Linehan, which attempts to blend cognitive therapy with the "mindfulness" meditation techniques of Buddhism. Or, to put it crudely - Be Here Now. Being a fan of Jason Pierce's Spiritualized, Chapman has chosen to mix this heady Zen therapy theme with a cocktail of drug references. Add bitter break-up lyrics, a truckload of twinkly 80s synths, a sense of hymnal melody pinched from European classical music, whispery harmonies, and beats borrowed from 90s shoegazing indie and Balearic disco, and you have a record that sounds like Pierce, the Pet Shop Boys and Dutch trancemeister Tiësto getting head-shrunk while tripping on a beach in Ibiza. There's a song called Valium in the Sunshine, just to punch the point home.
In anticipation, perhaps, of accusations of being pretentious and drug-addled, Chapman gets his rebuttals in early on the sky-scraping single I Dream of Crystal: "Don't get me wrong/But you can't knock what you've never done ... So get the fuck off my case." From there, Turning The Mind switches between misery, joy and bursts of anger as its dozen beautiful melodies bathe you in honey. It's the best pop album about beating depression since 1983's Soul Mining by The The. Buy now, and avoid the winter rush for Prozac.
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Ink & Dagger - Ink & Dagger (2000)
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http://www.mediafire.com/?mymwwyhjztwand then buy it if you like it!Don't look now, but one of the best British indie bands of the decade isn't from Britain at all. At least not strictly speaking. Cats On Fire's passport pin them as Finnish nationals, but the band's sophomore set, Our Temperance Movement, pins the band as long-lost sons of The Smiths, Felt and Pulp. Scandinavian indie-pop traditions be damned: Cats On Fire are the sort of pop act any Anglophile on this side of the Atlantic should be watching.
The band doesn't change its tack on Our Temperance Movement from its approach to 2007's debut effort, The Providence Complains (review) (Marsh Marigold). Why would it? Wrapping up that wonderfully conflicting mix of jangly, sunny mornings and hints of morose, drizzly afternoons, Our Temperance Movement flirts with the same spirit as the Marr/Morrissey collaborations, and singer/guitarist Mattias Björkas' handsome, confident delivery carries the power of everyone from Morrissey to Jarvis Cocker. Swells of acoustic guitar intertwine with electrics for pure bed-sit pop bliss that recalls a million independent bands before Cats, and the band's reliance upon pop fundamentals doesn't just cut through the waves of indie-pop fashion, but grounds it as basic great music. Who but the most picky fan can complain about a return to such solid form?
With the recent demise of The Lucksmiths, Cats On Fire serve to stand as primary defenders of the old-school indie pop flame. It burns bright throughout Our Temperance Movement. It's nothing but classic pop mastery in "Letters from a Voyage to Sweden," as a steadfast acoustic guitar holds down rhythm duties as an electric sings blithely, with Björkas sings about smarmy misbehavior below decks. "Garden Lights" could easily be mistaken for a light pop number with its competing bass and guitar melodies -- like XTC with an extra guitarist on hand -- if you don't catch the subtleties of the lyrics, a story about mislaid drunken vengeance and arson. "Never Sell the House" is a maudlin number pushed forward by droning organs in its background, and "Lay Down Your Arms" and "The Borders of This Land" are a near-perfect blend of sugar melodies and restraint.
Cats On Fire cornered the market on British indie rock. It wasn't too hard: The band's blend of '80s and '90s influences that spans your record collection polished its chops, and Britain's sagging pop culture did the rest. Finland, welcome to the (musical) Empire.
http://www.mediafire.com/?jmoyimezm0oDisc 1 - http://www.mediaf!re.com/?zygyezvjh2q
Disc 2 - http://www.mediaf!re.com/?bnmkmzdzda2Deluxe two CD edition includes a bonus CD that contains acoustic versions of the album's 12 tracks. 2009 release, the sixth studio album from this Alt-Rock outfit lead by Chris Carrabba. Alter The Ending is the official follow-up to
2006's gold Dusk And Summer. The album was produced by Butch Walker, noted for his work with Weezer, Fall Out Boy and Pink, and co-produced by Adam Schlesinger (Fountains of Wayne). Features 12 tracks including the first single 'Belle of the Boulevard.'
http://www.mediaf!re.com/?g4jydn5lr0yhttp://www.mediaf!re.com/?vznwh0mtwncIllinoize is a free remix tape put together by Montreal-based producer Tor, sampling songs from multi-instrumentalist and indie hero, Sufjan Stevens. Tracks are sampled from his 2005 LP Illinoise, as well as 3 of his other albums, 'A Sun Came', 'Seven Swans' and 'Songs for Christmas', blending Sufjan Steven's acoustic guitar, piano and horns with MC's Aesop Rock, Big Daddy Kane, Gift of Gab (Blackalicious), C.L. Smooth, Outkast, Brother Ali, and Grand Puba.
http://www.mediaf!re.com/?dnyzzqt4trhNewbury jumped from Mercury to Elektra and in 1970 recorded the second of his amazing trilogy that concluded with Heaven Help the Child. Produced by Dennis Linde, a songwriter, and recorded at the same converted garage studio (Cinderella Sound) It Looks Like Rain had been made, 'Frisco Mabel Joy adapts its title from a song on the previous album. Once again, texture, atmosphere and above all mood and mystery were the central tenets of what would become Newbury's trademark sound. The album opens with Newbury's arrangement of what he called "The American Trilogy," a suite containing three songs that have their origin in the Civil War. If this sounds familiar, it is: Elvis Presley made a much more bombastic version of this the centerpiece of his Vegas shows. Newbury's version, full of soft strings, guitars, Charlie McCoy's haunting harmonica bleeding into a muted brass section, is full of drama and pathos. 'Frisco Mabel Joy moves into an entire series of songs that talk of dislocation, emptiness and endless searching through regret, remorse, and ultimately acceptance and resignation. And Newbury's vocal abilities are just astonishing. He has a different voice for literally every song. It is tempting to write about every single song here, but it would be fruitless; Newbury's tunes are so slippery and mercurial. They shift shape and disappear into a puff of smoke the minute you think you have them pinned down. And if the stories and arrangements aren't enough to confound the listener, the melodies, all of which have their roots in country music, are so much more deceptive, they turn in on themselves and extend each measure with complex phrasing and mode changes.
http://www.mediaf!re.com/?qmgajmnwmny"The Fall" is the new studio album by American singer-songwriter Norah Jones. Jones' official website has stated that she "has taken a new direction on the The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partner Jesse Harris. King also helped Jones put together a new group of musicians to perform on the album, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer)". Jones has also revealed the cover artwork for the album, which features a portrait by photographer Autumn de Wilde.
http://www.mediaf!re.com/?jmmtfineyizhttp://www.mediaf!re.com/?wnjmwldzbngA funny thing about Neil Landstrumm’s music: it used to get filed, in genre-crazed dance shops at any rate, under ‘wonky’, which referred to off-kilter, glitchy techno producers largely listened to by those entrenched in the scene. A few years on, the Scotsman has kept his ears open to the roughest dubstep and neo-rave tackle, fed it into his machines, and now he’s on the fringes of the new wonky, which has nothing to do with the other one. Wild! Anyway, this half-hour of chiptune-electro glee, shimmering dub melody and breastplate-shattering low end is both an ideal introduction to Landstrumm’s killer dancefloor skills, and a companion piece to last year’s ‘Lord For £39’ album.
Marina and the Diamonds, really just Marina Diamandis (the Diamonds are the fans), was born in Wales to Welsh and Greek parents in 1986, although she has often claimed to be from Ancient Greece. After dropping out of four different music courses at four different universities, Marina decided to make her own way in music, and began writing her own unique brand of left-field pop songs under her new stage name. Early on, she claimed that her inspirations were Britney Spears and Gwen Stefani -- who she often covered at live gigs -- but her songs have a soulful edge pointing to a deeper source of influence.
Her piano/keyboard-driven songs vary from melancholic ballads to out-and-out glam-pop, but her unique voice and melodic style are omnipresent in her music. Essentially a solo artist, Marina wrote the bulk of her early material alone, arranging it for a band to ensure her live shows carried the full energy of her studio recordings. Quick to distance herself from comparisons to the rest of the female solo artists who broke through in 2009, Marina was also open about voicing her opinions on more established musical peers including Lily Allen and Kate Nash. In interviews she often showed a dislike of being grouped together with other emerging artists, especially when she had nothing in common with them except gender. The variety in her music made it hard to classify or pigeonhole, and comparisons were made with artists as diverse as Regina Spektor and Elvis Costello. The startling "cuckoo!" refrain of "Mowgli's Road" and the introspective balladry of "Obsessions" could not be more different, but it was the ever-present charm in Marina's music that brought her cult success in the early part of her career.
Her first single, "Obsessions/Mowgli's Road" was issued by indie label Neon Gold in the U.S., also home to electro-indie Americans Passion Pit, and was followed later in 2009 by The Crown Jewels EP, which contained three new songs, including an electronic remix of fan favorite "I Am Not a Robot." After playing the exhausting British festival circuit in the summer of 2009, Marina briefly retired to the studio to polish off her debut album, The Family Jewels, before quickly hitting the road again in late 2009.
http://www.mediaf!re.com/?ydyw0z3oyyt*FIXED*http://www.mediaf!re.com/?vqwmlghzz5khttp://www.mediaf!re.com/?jryqnodmk55New York’s Beat the Devil long stood out on the indie music scene, and not just because it was the lone drums-bass-harmonium trio. It was frontwoman Shilpa Ray’s distinct voice, along with her harmonium playing (sort of an accordion played on a table, imported from Europe to India in the nineteenth century and popularized there), which was the band’s signature. As bassist Mishka Shubaly (now of Freshkills – QRO live review) put it in an independent documentary about the band, “Shilpa Ray sounds like Shilpa Ray… and no one else.” Now operating solo, Ray’s baritone bellow stands out even more – but is it special, or any good? No, no it isn’t.
Beat the Devil had been a somewhat divisive band on the New York music scene, loved by a few, but loathed by many, especially as they most often opened for other bands, and the audience for the headliner wasn’t prepared for or interested in what Beat the Devil was trying to do (they were received – and played – much better when headlining – QRO live review). They were kind of that stereotypical ‘critic’s choice’ band, the kind of act that seemed to find favor with critics because they had a ‘weird’ hook & seemed designed to shun the mainstream. All of that has apparently gone to Ray’s head, as she ditched the other two-thirds of Beat the Devil to go solo with a backing band, Her Happy Hookers. Their debut record, A Fish Hook An Open Eye, is what you didn’t like about Beat the Devil – only more so.
Mostly, that’s Ray’s voice. Her baritone bellow-yell is certainly not usually heard, but maybe that’s because no one wants to hear it. There might just be a reason that centuries of music have passed over the sound of a woman sing-yelling in a low register, just the way male voices done in a high-pitched tone are only used as a joke (Tiny Tim, Alvin & The Chipmunks…). It’s hard to describe, but think of when Daphne Zuniga is imprisoned in Mel Brooks’ classic Spaceballs, and ‘sings’ “Nobody Knows the Trouble I’ve Seen” (the bass voice is obviously dubbed in from a male singer). Think of that, but of a woman actually trying to do it.
A harmonium is popular – at least in India. But its exotic roots aside, Ray’s harmonium isn’t that special, as it mostly just sounds like an accordion or weak organ. And it isn’t even delivered with the kind of energy one finds in polka, or sadness as in cabaret, but it’s just… there. Sometimes on A Fish Hook, Ray actually lets Her Happy Hookers add something, but that something usually either isn’t noteworthy in its own right (like the garage-road beat to “Coward Cracked the Dawn”, or full-on girl-garage – including fifties garage-guitar solo – to the following “I’m Not Frigid… Yet”), or can even detract further: the spastic drumming in the verse of “I Only Have Eyes For You” is nauseating, and the lame grandeur of “What the F**k Was I Thinking?” only heightens Ray’s poor qualities.
The catchy backbeat & tones of “Filthy & Free” is the only real ‘good’ addition to Ray’s work on A Fish Hook, but even there, the song just become catchy backbeat & tones – dragged down by Shilpa Ray. Far more exemplifying of the record are the opener & closer, “Beating St. Louis” and “Looking For Mr. Goodbar”, respectively. The over-bellow & un-special harmonium is right there in front of you to start on “Beating”, at least letting the many who don’t like it a chance to quickly stop the record. “Looking” (not going to denigrate the fines folks in St. Louis & at Mr. Goodbar by shortening those song titles to their names…) is stripped to just Ray’s voice & instrument; it’s everything that’s not special & not good about Shilpa Ray & A Fish Hook An Open Eye.
http://www.mediaf!re.com/?cyi0kij21on“It’s funk, but refracted through a slightly bizarre prism. This music from Benin, recorded in the ’70s, is definitely funky, and you can hear the American influence — El Rego is a James Brown wannabe at times, although his band is looser — but it’s also strongly African in thought and execution. This excellent compilation focuses on four productive artists from the period, each of whom has his own take on the Benin sound, like different facets of a whole. The music of Antoine Dougbé flows, powered by guitar and percussion (just like all the bands here) and with some explosive brass and dynamic guitar work on “Honton Soukpo Gnon.” Gnossas Pedro can take a poppier approach — “Dadje Von O Von Non” wouldn’t have sounded out of place in the Hot 100 in the 1960s — but all of them can get rootsy under the Western influence. Imagine the Chambers Brothers crossed with the Super Rail Band and a touch of Fela Kuti and you have a rough approximation of the groups here, with Honore Avolonto very African on the percolating “Tin Lin Non.” But what unites all the music here is a strong, thick groove, soulful and deep, with El Rego’s “Djobime” particularly explosive. The men themselves are true characters, with professions ranging from brothel owner to voodoo priest. All in all, it’s a storming collection and a very in-depth look at a time and place that’s been ignored for far too long.”
http://www.mediaf!re.com/?oyky3nwquymMountain Man is a group of three young women- Amelia Meath, Molly Sarle, and Alex Sauser-Monnig- who sing with or without Alex’s guitar. It is incredible what they are able to do with their voices- they have huge ranges, great precision, and a frighteningly smooth blend.
It’s impossible to pinpoint what they are doing, each song is like this beautiful lattice sphere. They weave in and out of eachother – only the most careful inspection will reveal that they often switch their positions multiple times in one phrase. And although their songwriting is influenced by the comfortable history of American folk, there is something very vibrant and new about the compositions.
There’s a fragile balance between the three very different styles and personalities in these three young women. They are all songwriters, and having all three approaches with the same treatment on the same album is really satisfying. There is Alex’s guitar based songs, with deep, slow moving roots. Amelia, writing for voices alone, creates rising complicated lattice structures. Molly also writes for guitar, but with space for more weight, drama, and tension.
http://www.mediafire.com/?lmtndmwqnlk"Cinematic scope" gets too many close-ups in critic-speak, but 35mm perspective comes naturally to Ola Podrida leader David Wingo. The Dallas native and longtime Austinite first garnered national praise after scoring the acclaimed indie films of director and close friend David Gordon Green, most notably All the Real Girls and George Washington (see "Vision and Focus," Screens, Nov. 12, 2004). The latter soundtrack was released in 2002 on local label Emperor Jones.
Wingo does his best work in scenes, crafting imagistic snapshots over a Hill Country backdrop, combining Iron & Wine's dusty lore with the breathy melancholy of Nick Drake. What's not said is often as important as what is, an uncertain anxiety lurking in shadowy details. This deceptively complex balance of atmosphere and tension made Ola Podrida's eponymous debut one of the sleeper hits of 2007.
"With soundtracks, the director already has an idea for the emotion for a certain scene or the mood, and I have to approach it with the end result in mind," relates Wingo, who recently moved back to Austin after a stint in Brooklyn. "Now that's just etched into my process."
That much is evident on Ola Podrida's sophomore effort and Western Vinyl debut, Belly of the Lion, due Nov. 10. The album was written and recorded late last year in his Brooklyn apartment between session work for Gentlemen Broncos, the new comedy from Napoleon Dynamite director Jared Hess that premieres at the Paramount Theatre on Thursday, Sept. 24, as part of Fantastic Fest.
Belly of the Lion, on which Wingo plays every instrument except a few drum tracks, should push Ola Podrida into the thick of indie rock's folk awakening. It puts a rural twist on modern dream pop, at times recalling Pink Floyd's Wish You Were Here spun at half-speed and steeped in the nocturnal 1990s haze of Trance Syndicate's slow-core movement. In fact, American Analog Set's Andrew Kenny was a touring member of Ola Podrida when the then-quintet swooned Central Presbyterian Church at South by Southwest 2008.
"It's a guitar record for sure," Wingo enthuses. "I've been having some fun plugging in effects pedals again."
http://www.mediaf!re.com/?tmqqcrgzmnoFor The Mission Baby is as honest and gritty as it gets. The messages herein come from a place deep within Holcombe and oozes out through his gritty vocals and bluesy musical approach. Joined by heavyweights like David Roe (upright bass), Lynn Williams (drums), and the multifaceted Tim O’Brien and you’re standing on firm ground. Add in the harmony vocals of fellow artists Siobhan Maher and one of my favorites, Mary Gauthier, and you can’t lose.
And Holcombe doesn’t. Bursting out of the gate with the plodding “Bigtime Blues,” the artist bites off his lyrics with gusto, charging them with energy and down home passion. You can almost hear the booze being poured. An Appalachian tale is told through the story of “Hannah’s Tradin’ Post” while “Leonard’s Pigpen” bring a compelling blues/folk jam to bear with some great dobro work by Jared Tyler.
“You Have It All” is one of the album’s highlights, offering up the image of one who’s always struggling with the idea that “I ain’t got what I want it’s never enough,” ultimately coming to the conclusion, “There’s a taste in my mouth bitter as gold/ I cant swallow the blues and keep my eyes closed/ Well the cat ate the bird he’s grinnin’ for sure/ Buzzards flyin’ low bringin’ a cure.”
Holcombe wisely follows that track up with the levity of “Short Street Blues” which segues nicely back into more introspective themes with the faith questions of “A Bigger Plan” and the heartbreak of the title track, strangely contrasted with a jaunty backdrop. “Another One Gone” slows the tempo again and showcases some nice fiddle work from O’Brien while “Doncha Miss That Water” keeps the pace steady.
“Straight and Tall” is another album highlight, finding Holcombe seemingly channel a bit of Dylan for this understated near prayer. Holcombe sings: “A warm shirt for the cold/ A lil’ food to fill the void/ So kindly make your plans/ Use my back and arms/ Make me straight and tall.” “Whenever I Pray” is a lovely ode to small-town country life that would make Wendell Berry proud and album closer, “Someone Left Behind,” offers up a snippet of hope without offering easy answers. It simply makes you wishing there was more.
Malcolm Holcombe is a guy that has lived the life, has been down and out, and has seen his way to some sense of light. The songs contained on For The Mission Baby and keen snapshots and reflections on those times and experiences and are well worth experiencing yourself. If you’re looking for honest music, look no further. Holcombe’s your guy.
Cats On Fire are pretty great for a band that sounds exactly like The Smiths.
Neil Landstrumm – Bambaataa Eats His BreakfastExcellent. I didn't want to have to buy this one, as I think Landstrumm's on the low end of the Planet Mu quality spectrum. But the little snippets of this album I've heard have been good.
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http://www.mediaf!re.com/?mmzkmnmninmThough fronted by the sister of Sharin Foo, Giana Factory shares little else with the stylized neo-garage of the Raveonettes. Instead, this Danish troupe specializes in frozen cold, electronic minimalism, heightening drama through an eerie starkness. "Bloody Game" is little more than pulsing bass and ricocheting keystrokes, as Loui Foo recites the lyrics with clinical dispassion. "You better open my chest with a knife/ Check if my heart beats for you/ And if it doesn't, then do what you need to do," she intones. The remove in her voice seems far from accidental. In this tale of love gone wrong, she gives up so much of herself to her lover, so much control, that she quite literally ceases to be. It's a chilling, albeit engrossing, account best observed from a distance.
THE GASMAN – 001 (self release) - Cut up electronics and expensive atmospheric keyboard ambition from the rather mysterious Gasman - Aphex Twin, Rephlex, Speedranch, Squarepusher, Plexi squelchy oddness meets the more obtuse atmospherics of Tomita or even the ambient classical cathedral stretching side of Cardiacs (The Gasman has recently been providing in between band atmosphere on the recent Cardiacs tour). The sounds and textures can be a little relentless, but hey, if your head is the right place then and strange electronic squelch that soothes rather than attacks is your thing then this is rather good.I can't find a better review than that. As far as I'm aware this album isn't sold electronically, and the physical discs are limited to a run of 500. I had it imported. Basically it's weird electro with a lot of looped and altered classical elements. And lots of reverb.
http://www.mediafire.com/?jmnrtngyy3uBoards of Canada's 2005 album, The Campfire Headphase, included a song called "Chromakey Dreamcoat" that sounded like guitar loops playing on a wobbly phonograph. You have to wonder if this was a shout-out to their li'l homey Bibio, who cut three records for Mush from the whole cloth of this idea. Like his idols, he filled his electro-acoustic music with antiquated cultural products and nature sounds-- things that are beautiful because we've less and less use for them. But he lacked range, his wavering loop-collages falling into two categories: those informed by the sprightly forms of British folk, and those that were nearly formless.
Bibio released Vignetting the Compost just five months ago, and it seemed to cement his status as a pleasant one-trick pony. So it's shocking how utterly and successfully he rewrites his playbook on this Warp debut. I actually have to eat a little crow. I wrote of Compost that Bibio had a "thin, modest voice that verges on anonymity," and suggested that he should favor atmosphere over songcraft. This seemed justified: The more the songs approximated pop structures, the less interesting they became. But on Ambivalence Avenue, Bibio proves that he actually can sing and produce memorable arrangements. He used to make FX blurs with traces of pop and folk; now he inverts that formula with bracing clarity.
The results are fantastic and diverse: The title track weaves bouncing vocals through crisp guitar licks and bouncy flutes; "All the Flowers" is a fey folk gem; the dreamy "Haikuesque (When She Laughs)" is better indie-rock than many indie-rockers are making these days. Summery anthem "Lovers' Carvings" coasts on crunchy, gleaming riffs and upbeat woodblocks, and the autumnal "The Palm of Your Wave" is simply haunting. It's hard to believe that these inspired, moving vocal performances are coming from the same guy who recorded moaning ambiguities like "Mr. & Mrs. Compost". Occasionally, you'll hear a little tremble in the strings and go, "Oh right, this is Bibio," but mostly, detuned atmosphere has been replaced by silky drive.
While these songs are a quantum leap for Bibio, they still reasonably project from the foundation he's laid. But there's no accounting for the remainder of the album, which finds him paddling the uncharted waters of hip-hop, techno, and points outlying. "Jealous of Roses" sets lustrous funk riffs dancing between the stereo channels as Bibio belts out a surprisingly effective Sly-Stone-in-falsetto impersonation. "Fire Ant" spikes the loping soul of J Dilla with the stroboscopic vocal morsels of the Field; "Sugarette" wheezes and fumes like a Flying Lotus contraption. The music feels both spontaneous and precise, winding in complex syncopation around the one-beat, with subtle filter and tempo tweaks, and careful juxtapositions of texture (see the arid, throttled voices scraping against the sopping-wet chimes of "S'vive"). Many songs taper off into ambient passages that have actual gravity, gluing the far-flung genres together. It's the kind of seamless variety, heady but visceral, that few electronic musicians who aren't Four Tet have achieved.
While Ambivalence Avenue is an excellent album by any measure, Bibio deserves extra credit for venturing outside of his established comfort zone. He began his musical career trying to emulate Steve Reich and Boards of Canada on no-fi equipment. He was fascinated by the physicality of media-- of degrading tape and malfunctioning recording gear. And he was interested in the natural world, letting the sounds of streams and rainshowers stand in for his own personality. Having depleted these ideas over the course of three solid albums, he's put them aside to do nearly the opposite. Ambivalence Avenue moves the focus from the flaws of media to their capacity for precision, and takes fewer cues from nature than from the urban sounds-- including Dilla and Madlib-- that Bibio admits discovering in recent years. By jettisoning a limiting aesthetic, he reveals his abilities to be startlingly vast, and one of our most predictable electronic musicians becomes a wild card.
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Bibio's Stephen Wilkinson had a banner year in 2009. He rang it in with Vignetting the Compost, an album that seemed to beckon spring with its delicate, pastoral electronics, then took his music several steps forward with that summer's Ambivalence Avenue, which was as dazzling as it was eclectic. Wilkinson closed the year with The Apple and the Tooth's hybrid of new songs and remixes by similarly wide-ranging artists who found plenty of ways to push Ambivalence Avenue's tracks in even more far-flung directions. Some remixers hone in on the album's anything-goes feel: Clark, whose fearless sound clashes feel like a major influence on Bibio, takes the already hyperactive "S'vive" to another level of brilliant fragmentation, using sudden stops and starts, layers of dreamy analog synth, and crashing electronic noise to rework the song so drastically it feels like a suite of mini-remixes. Letherette's transformation of "Lover's Carvings" from a folky guitar vignette into a soulful, bottom-heavy slow jam is even more radical, even if it's not as shocking. Other artists tap into Ambivalence Avenue's reveries. Lone doesn't tamper much with the hippie bliss of "All the Flowers," only adding filtered electronics and crunchier beats to its chiming harmonies, while the Gentleman Losers' take on "Haikuesque" somehow makes the song even more nostalgic. Bibio himself contributes a remix as well, the lovely, chamber pop-ified "The Palm of Your Wave," but The Apple and the Tooth's new tracks are more interesting. Ambivalence Avenue's mix of sunny folk-pop and challenging beats and textures continues on the title track and "Rotten Rudd," even if neither is quite as jaw-dropping as the songs from that album. "Bones and Skulls," however, is a standout that proves Wilkinson's songwriting is growing ever more effortlessly graceful as it segues from a breezy melody into a moodier piano and guitar coda. Even if The Apple and the Tooth is more a summation of where Bibio was in 2009 than another bold step forward, it's still a very enjoyable look back on his artistic growth that year.
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http://www.mediaf!re.com/?mhjhlzlmkozhttp://www.mediaf!re.com/?zj5cwiy3dmiTake Me Round Again: The Friedbergers cover the Friedbergers.
The Fiery Furnaces have been reworking, rearranging, and rewriting their songs live since they first started touring in 2003. They have taken this practice one step further on their new record, Take Me Round Again. Recorded separately this past July in Michigan and New York, Matt and Eleanor each recorded 6 songs that originally appeared on I’m Going Away. All that remains the same are the words.
Eleanor: “I’ve gotten into the habit of rewriting songs Matt has written, just as a way of practicing and singing at home. Originally, I had wanted to record a folk-style record called Eleanor Friedberger sings the songs of the Fiery Furnaces. I thought it would make a nice greatest hits record, but reworking I’m Going Away before it even came out seemed a lot more exciting.”
Matthew: “After asking people to send us their re-write of I’m Going Away before having heard it [http://www.thefieryfurnaces.com/site/deaf-descriptions/], I thought we owed it to them to make an actual alternate version of the record. And not just leave all the new arranging for live shows.”
http://www.mediaf!re.com/?eytjinytk3oVic Chesnutt has recorded with many different people for all kinds of labels, but he s never made an album like his debut on Vapor Records. Chesnutt s first two releases were produced by R.E.M. s Michael Stipe, and from there he was featured in the PBS documentary Speed Racer and his songs were recorded for Sweet Relief II: Gravity of the Situation. A wide range of artists including Garbage, Madonna, Smashing Pumpkins, R.E.M. and Live all covered Chesnutt originals. He has recorded with other groups like Widespread Panic and Lambchop and musicians as varied as Bill Frisell and Fugazi s Guy Picciotto. Chesnutt recently performed on Cowboy Junkie s Trinity Revisited, with others and over a dozen different releases of his own. Skitter On Take Off allows Vic Chesnutt to create his most dramatic album yet, recording devastating songs like Rips in the Fabric and Dick Cheney live with no overdubs. This album becomes a unique addition to his history, and allows the singer songwriter the chance to collaborate with an important influence. I m honored to work with Jonathan Richman. Over the years he s taken me under his wing and mentored me in a very meaningful way, truly shaping me into the songwriter and performer I am today. And it is an ongoing process. Chesnutt and Richman s work together is one for the ages.
Disc 1 - http://www.mediaf!re.com/?jzmw2y1tmmy
Disc 2 - http://www.mediaf!re.com/?tdn1nhitt1z2 DVD set includes bonus live audio CD
The DVD features over two hours of live concert footage from three sold out shows in Berlin, Dublin and Glasgow. The footage documents the end of the band s 2007 tour in support of Baby 81, their most recent full-length release. The live audio was mixed by BRMC s own Peter Hayes and the gritty cinematography keeps the band s music front and center while viewers experience the show both from the stage and from the audience s perspective.
Over ninety minutes of unadorned, intimate behind-the-scenes footage is captured on the second bonus DVD along with additional performance footage. Viewers accompany BRMC as they record songs from Howl, see the making of the Weapon of Choice video, and witness inspired, impromptu off-stage performances.
The package is rounded out by a bonus audio CD featuring 14 songs from the concert film and a gorgeous 48-page booklet of previously unseen backstage and candid photos of the band.
Wrong code on the first Maria and the diamondsFixed. Thanks.
http://www.mediafire.com/?ydyw0z3oyyt
That Ola Podrida album's missing the first track.Strange. Here's a different copy.
http://www.mediafire.com/?lmtndmwqnlkPitchfork 7.1
No matter how extensively technology's all-seeing eye attempts to catalog every rock recording ever made, Drag City's recent stream of reissues keeps unearthing uber-obscure excellence at a steady clip. After resurrecting 70s folk singer Gary Higgins and early 80s punk polymath JT IV (John Timmis IV), the Chicago-based label brings us Death, an all-black punk/hard-rock trio from Detroit (not to be confused with the 80s speed-metal band). Comprised of brothers David, Bobby, and Dannis Hackney, the band started out in 1971 playing R&B but switched to rock after hearing the raucous proto punk of their neighbors the MC5 and Stooges. That incarnation lasted only a few years and seven songs, and after balking at Columbia Records' demand for a name change, the band relocated to Vermont and reinvented themselves as a gospel rock group.
...For the Whole World to See, recorded in 1974, requires more ballpark adjustments than your average reissue. For one, most bands today fusing breakneck punk with arena rock bombast do so under a massive cloak of irony, and are commonly shunned (c.f. Electric Six). Making matters worse, Death espouses earnest political views while walking that tightrope. Luckily though, there's enough stylistic diversity and ahead-of-time knick-knacks on the album to prove Death more than just fanboys fawning over Kick Out the Jams and Raw Power.
Leaning heavily on pregnant pauses and choppy two-note melodies, opener "Keep on Knocking" confirms the rock+punk arithmetic of the band's mission statement. The other six tracks don't play out so predictably. "Let the World Turn" starts out in a Pink Floyd-style haze of reverberated guitars and detached vocals before igniting into a frenzied speed punk chorus. The ho-hum AOR verses of "You're a Prisoner" collide with a doomsday refrain straight out of an Ozzy Osbourne nightmare, while "Freakin Out" stands the test of time as the band's most innovative song here, anticipating the jittery pop punk that'd soon arrive from the UK.
The album falls short of a diamond-in-the-rough-caliber discovery, but considering these seven songs are the remains of an aborted 12-song full-length-from a band that reinvented itself every three or four years, For the Whole World holds up well alongside, say, concurrent Blue Oyster Cult or New York Dolls albums. This is the kind of reissue that re-instills faith in today's frustrated rockist, the listener whose fidelity gets tested by a rogues gallery of calculating rock revivalists every year. Armed with profound musicianship and the bona fide origin story so many less interesting bands' press kits grasp for, Death comes across as extremely likeable despite gleefully ripping off all the obvious influences.
http://www.mediafire.com/?vjn5o2tmwmm
http://www.mediaf!re.com/?2nuynyj4o41neofolk
http://www.youtube.com/watch?v=sRzou2Qy5Y4
http://www.mediaf!re.com/download.php?jnm2ntymehj[/quote]http://www.mediafire.com/?mwzv2yynz1d
http://www.mediafire.com/?zn41ygzwjgm
http://www.mediafire.com/?zmrmmwjyjjyI present to you StickLips "It is Like a Horse, it is Not Like Two Horses,"Yo dawg track 12 ain't coming out.
Tor & Sufjan Stevens - Illinoize (The Remix) ~ Mp3 320Is there anyone I could get a re-up of the bolded track? It keeps extracting corrupted for me. Thanks! :)
(http://www.illinoize.biz/images/Album-Cover.jpg)
1. Star of Wonder / None Shall Pass (f. Aesop Rock)
2. Dumb I Sound / ATLiens (f. Outkast)
3. John Wayne Gacy Jr. / Specialize (f. Pete Rock & CL Smooth)
4. The Tallest Man / I Like It (f. Grand Puba)
5. Kill / Any Type of Way (f. Big Daddy Kane & DJ Premier)
6. Night Zombies / Talkin' My Shit (f. Brother Ali)
7. The Dress Looks Nice On You / Make You Feel That Way (f. Gift Of Gab)
folk/ambient
Both pianists, there is little wonder that after exploring a plethora of musical styles, the two find themselves most at home writing traditionally structured pieces, with the ivories a major element throughout. Their music demonstrates clearly the innate ability the two have for song writing, borrowing from the world of film soundtracks and contemporary classical composers to craft delicate instrumental compositions.
Alongside their favoured instrument can be variously heard the plucked strings of the Welsh harp, violins, woodwind instruments, field recordings, percussion and a heady dose of mind wobbling effects. From the time Nest began writing together, one purpose was clear; to produce beautiful music free of pretense, and they do it exceptionally well.
http://www.youtube.com/watch?v=FZJCQbOiczc
http://www.mediaf!re.com/?nyme0ujmndt
http://www.mediafire.com/?jld0cqwzieh
Hey, I like my QotSA as much as the next guy, but TCV is like slowcore Era Vulgaris.
And Era Vulgaris was terrible.
Edit: also fuck you guys Owl City is hella rad bro *unf unf*
Them Crooked Vultures might've been the most boring thing I've heard all year.
Edit: also fuck you guys Owl City is hella rad bro *unf unf*
Edit: also fuck you guys Owl City is hella rad bro *unf unf*
Regarding Death In June. While their lyrics and imagery do sometimes refer to fascism (specially the 3rd Reich). I do not think that DI6 is a fascist band. They are a band that is fronted by an openly homosexual man who was part of Crisis, a staunchly anti-fascist band, who played the first DI6 show at an anti racism rally, who has worked with several jewish people in his works, who was a member of the International Marxist Group, who has performed in Israel.
(http://4.bp.blogspot.com/_N6N33rOvXmE/Ss0R9s5GDmI/AAAAAAAAASk/rVHj6safz-4/s400/death+in+june+-+rose+clouds+of+holocaust-front.jpg)Code: [Select]http://www.mediaf!re.com/?zmrmmy
Rose Clouds of Holocaust is my favourite Death In June album
so if you can listen to it, knowing all that stuff...i can't do anything about it, but there maybe some people outthere who didn't know and mind the fact.
you forgot that one of the founding members (tony wakeford) had conections to clearly facist group and left the band when that fact came out!
and there are also leftwing people who chaneged their opinion aswell as the other way around. just because you are a homosexual or bisexual or whatever and worked wit a person with jewish faith
and have been to israel you still can be a racist and sadly racism isn't that simple to define anymore. there are even facists who like to listen for example to beastie boys occasionally.
death in june contributed a song for a sampler of a racist magazine as well as interviews for clearly pretty, pretty right wing magazines.
so if you can listen to it, knowing all that stuff...i can't do anything about it, but there maybe some people outthere who didn't know and mind the fact.
It is strange hearing an album and having your first thought being “this is going to be big.” Some bands just give you the feeling that there is going to be a groundswell of support for them. Surfer Blood seems to have taken all of the right notes in compiling their sound to be that band. The vocals, sung with boyish charm by John Paul Pitts, have hints of Jim James’ (My Morning Jacket) space falsetto and really stand out behind the sweltering music created by the five piece Florida band. The music ventures into lo-fi hazy rock that randomly samples some of the best the genre has to offer, especially from many ’90s legends. The group also follows the Vampire Weekend path of incorporating the easily digestible portions of world music. Other sections have a My Morning Jacket/Band of Horses vibe when the reverb drenched guitars swell in bombastic glory.
The album starts with two of its strongest tracks, the dark and charging “Floating Vibes” and “Swim,” which was the first song I heard from the band and the track that really drew me in. The band dives into their world music kick with “Take it Easy,” and revisits the theme later in the album on the instrumental “Neighbor Riffs.” “Harmonix” is a sliding, mid tempo track that features, believe it or not, guitar harmonics backed by a bouncing bass line and up tempo drum beat. “Twin Peaks” finds Pitt’s echoed vocals backed by great guitar work. The next two songs would seem to be paired; “Fast Jabroni” is a great, buzzing song that really finds the band driving their sound forward while “Slow Jabroni” is a slower, more drawn out track that spreads it gloom and doom over songs six plus minute lifespan. A charging riff gives way to a more mundane song with “Anchorage,” which features such lifeless lines as “I don’t want to spin my wheels, I don’t got no wheels to spin.” The album closes out with the straightforward pop song “Catholic Pegasus,” which is a strong rebound from “Anchorage,” and has a strong feeling of loss, both in the somber lyrics and the darkly melodic music.
Astro Coast is a very strong debut album that has all of the makings of a band that is about to be heard by a large number of people. Like Cymbals Eat Guitar did earlier in the year, the band liberally take a pastiche of benchmark influences and adds their own dynamic to make a really strong record. Different people will hear different things when they hear Astro Coast, but I think it is safe to say a lot of people will like what they hear.
http://www.mediafire.com/?zmznj2dzfh0
If I told you Sinner DC sits somewhere between Sigur Rós, Nathan Fake and The Field with a bluesey, melancholy bent, many of you would run for the hills faster than you can say "Berlin." Hold up.
After all, Matthew Dear circa Asa Breed and Fairmont have shown that just because you're melancholy doesn't mean you're a drippy Converse-wearing teenager hung up on girls you'll never get. Such an introspective bent—tamed and directed by talent and maturity—yields records that reward with repeated listening, giving up their treasures to those willing to switch on, stare out a window at the vast sky and let their minds wander.
Swiss trio Sinner DC's fourth album mixes this inward-looking sensibility with the precision and quality typical of an Ai release, and the effect is enchanting. Each track has an organic feel but with synthetic sounds that could only come from obsessive attention to every synthesized detail. The feeling of fading grandeur is all pervasive, as if you're caught in the distant afterburn of something wonderful but never there to see it actually happen. As a result, it's often not what's going in the foreground that's most engaging, but all the delights in the back, such as the bubbling and fading effects and squeaks on "Sunrized."
What Sinner DC share with The Field is a reliance on repetition—sections are built up to run until the end of the track. But instead of a beautiful phrase worked over until you're in a state of joy/madness, Sinner DC add layers and textures to give their tracks the depth that Axel Willner's loops lack. There's also more variety—from Nathan Fake-esque stormers like "Golden Horses" to "Coast" and "V," which out-Burial Burial for half-lit, post-rave emotionally intense brilliance.
Crystalised does have a few duffers, hence the rating, but they'll quickly be forgotten when you get to "Glass Alley." It's the album's triumph by a country mile and will have you smiling at the sunset, the clouds, the radiator, the shirt on the back of your door or whatever you eyes happen to fall on when it's on. It encapsulates everything Sinner DC are about and, more than that, sums up better than anything you'll hear this year Border Community's mantra of "blurring the boundaries between the bedroom and the dance floor."
http://www.mediaf!re.com/?zy2jtmdttyh
http://www.youtube.com/watch?v=zJPEqc4N2l0Seriously, best album of the year
Flowers From Exile is Rome’s 4th full-length album in what I’ve come to find is an extremely impressive catalog whose Death by June influence is worn like a proudly earned badge. With Flowers From Exile, Rome releases their most realized and challenging outing of their young career. While Rome’s lyrical scope on Flowers From Exile may still share a lot in common with that Douglas P’s the music is more open to experimenting with who they are as a band. The gentle acoustic guitars and atmospheric tape-loops are now met with the worldly and exotic elements usually reserved for crooners like Nick Cave, Leonard Cohn & Tom Waits. Rome’s willingness to transcend being simply another Martial act gives way to not only an esoteric depth but the sort of haunting charm that’s long been lost from bands mining this sound
http://www.mediaf!re.com/?ndmygjzqzhlhttp://www.mediaf!re.com/?mlytekj2zgzNot that recommended :wink:
I came in here all ready to post By Request Only, guess I was beaten to the punch!I'm deeply sorry :oops:
Anyway, it fucken roxx
i'm going to get an Owl City tattoo.
i'm going to get an Owl City tattoo.I'm sorry.
This band already has a few self-released EPs under their belt, but this debut full-length is probably my favorite thing they've done so far. Each of their previous releases has had some great songs on them, but never really worked as a whole, whereas this record does. The band has calmed down a bit for the record, toning down their psychedelic tendencies and pretty much removing their noisier elements (meaning there aren't any crazy freakouts on here), though they're certainly still plenty lo-fi. But even though their sound is tamer, their songwriting is definitely much better now; the most appropriate (albeit obscure) comparison is the Mezzanines, but other obvious reference points include the Gerbils, the Velvet Underground and Pavement's slower moments. Unfortunately, it seems that the album is a bit too subdued overall (and contains a few dull spots), making it feel a bit longer than the 37 minutes it spans; but tracks like "Elbow Job" and the psych-poppy "Killer Roentgens" are definitely worth checking out!
http://www.mediafire.com/file/zc4fzzotytz/I Am Pants.rar
Rome-Flowers From Exile(2009)
As the skwee universe expands out of Europe to America it is important to remember where it came from. Harmonia were there at the beginning and now 10 releases old, this shows just how much the sound has matured and developed. Awash with bleeps and bass, we now see more clearly the hip hop elements and the dubstep influences that keep this sound alive.
http://www.mediaf!re.com/?5vyyynmn3tghttp://www.mediaf!re.com/?lyzzvmmfzmz
http://www.mediafire.com/?jmznoxowjke If James Murphy wants us to believe that he's an old man trapped in a young man's game, he's going to have to stop picking from the tree of life at some point. Signing Philly livewires Free Energy to DFA is not that step towards graceful maturity, and for that your coming summer months owe the codger a debt of gratitude. After hearing only "Dream City", a cut from the band's forthcoming debut, Stuck on Nothin', it would be unwise to ignore Murphy's commendation of something this unbridled and, in the spirit of things, totally rad. "Dream City" is a good-time 1970s rock rip of epic proportions, as promises of dancing downtown, cruising around, and getting "lost in the endless sound" weave in and out like the attention span of a drunk in the backseat. It's perfect mood music for a night that looses itself in the afterglow of the inevitable busting of the moontower kegger, leaving everyone a little high, a little bored, and completely enraptured with the endless possibility of youth. The handclaps, the na-na-nas, the maddening twinkle in the eyes-- they're all here, playing like subtle reminders to take note of these things before they pass, or at least until we get to hear the rest of Stuck on Nothin'. - Pitchfork on "Dream City"
If any band deserves the chance to play a concert beneath Dazed and Confused's moon tower, it's Free Energy. The Philadelphia-based quintet's music-- full of glam-rock guitar leads, teenage boy-girl romance, and new-wave Moog bloops-- is a composite of all things groovy and 1970s. There's a strong chance that, one day, they'll write some kid's all-time slow-dance prom song. But "Something in Common", from the group's new digital EP, isn't it. "Come on/ We can find there's something in common between our lives/ I want to hold on all night when I look in your eyes," sings frontman Paul Sprangers. But the commonality he seeks is not immediately forthcoming. Thus, "Something in Common" lumbers onward at mild-tempo for four-and-a-half minutes. The EP's other tracks-- "Dark Trance" and "Free Energy"-- are just as guilty of wanderlust, but meatier hooks make the time breeze by. "Something in Common", on the other hand, finds Free Energy jamming out the timeless classic-rock clichés but failing to deliver a classic. - Pitchfork on "Something in Common"
No offense to poster but that Them Crooked Vultures album is boring as fuck. Doesn't come close to being as cool as the sum of it's members.
FREE ENERGY EP (2009)
No offense to poster but that Them Crooked Vultures album is boring as fuck. Doesn't come close to being as cool as the sum of it's members.
Supergroups almost never come close the being as cool as one would hope. Sad truth. Really, name a an awesome supergroup, one you'd rather listen to than any of the individual members. It can't be done!
Led Zeppelin weren't all that.
Broken Social Scene.
Yeah, I mean just because all the members are technically proficient and have had success in the past doesn't mean they'll be good together. I got to the breakdown in that first Them Crooked Vultures song and was kind of stupefied when I found myself thinking "man this sounds like Audioslave".No offense to poster but that Them Crooked Vultures album is boring as fuck. Doesn't come close to being as cool as the sum of it's members.
Supergroups almost never come close the being as cool as one would hope. Sad truth. Really, name a an awesome supergroup, one you'd rather listen to than any of the individual members. It can't be done!
Led Zeppelin weren't all that.
Led Zeppelin weren't all that.
[The Who are] alright I guess.
Led Zeppelin weren't all that.
they were good, but not the penultimate sum of all human effort and achievement.
Edit: That reminds me, has anyone listened to Shrinebuilder? Is it worth getting?
Man, Zeppelin is fucking awesome, much much more than sufjan stevens, but that bit only makes you sound bad.
http://www.mediaf!re.com/?wzgqqqmmt2f
SHRINEBUILDER LEAKED?
Yeah I know but he gets jocked here a lot and just seemed like an appropriate target.
From the Bardot-like cover shot of a windswept and gorgeous Françoise Hardy to the oddly chipper title, this 1965 U.S. debut (originally released on the proto-world music label Four Corners) is clearly pitched at the adventurous edge of the U.S. pop market, pitching Hardy as the Gallic Petula Clark. (Clark was, unbeknownst to the U.S. market at the time, making terrific French-language pop records herself at the time.) Complicating this, of course, is the fact that Hardy's music, for all its catchiness, is stripped down to its barest essentials — acoustic and electric guitar, bass, minimalist drums, very little else — and Hardy herself sings her (mostly self-penned) lyrics in an attractive but chilly drop-dead monotone that's far removed from the perkiness of almost every other female singer (minus Nico and Mary Weiss of the Shangri-Las) of the '60s. Even the perkier tunes, like the enormous French hit single "Tous les Garcons et les Filles," have a measured, restrained quality. The Yeh-Yeh Girl From Paris is an outstanding record, but it's the '60s pop equivalent of Shaker furniture: free of ornamentation and exquisitely simple. -AMG
http://www.mediaf!re.com/?ynomnem1ajt
http://www.mediaf!re.com/?qmmnn0dkg2iShrinebuilder!!!
http://www.mediaf!re.com/?wthnmjhtjy5(I guess you guys replace a letter in the website's names so that if ppl search for the file sharing site your forums won't show up, right? I'll do that.)
http://[email protected]/?d=SZEFHUOEnote: it actually took me a while to come up with another supergroup that wasn't terrible besides The Raconteurs. I almost gave up!
http://www.med!afire.com/?attzwlntxnyAs a mad musical genius, Mike Patton continues his wild-eyed adventures of conquering every genre possible with Anonymous. In Fantômas he tackled horror music and cartoon themes, in the Executioners he had a go at hip-hop, in Peeping Tom he deconstructed pop, and in Mr. Bungle he combined doo-wop, funk, Middle Eastern and carnival music to make a wonderful schizophrenic mess. Anonymous maintains his journey into uncharted territory by mixing Tomahawk's unique blend of mathy-doom metal with Native American tribal chants. This blend of drastically differing musical styles could easily result in something that sounds forced or even satirical -- especially since one style is centuries older than the other -- but instead, the entire experience creates the feel of camping out at a haunted American Indian Reservation. All of the songs are embellished versions of tunes from books of transcribed "Indian songs" published in the early 1900s (with the exception of an instrumental guitar ballad that ties up the album nicely, adapted from an anonymous parlor song.) Patton fans will likely rejoice about the absurdist outcome, though the record is quite a departure from the Tomahawk of old. The group sounds less like a band performing this time around, and this may be partly due to the fact that they recorded separately. After the departure of Kevin Rutmanis (bass), Duane Denison (guitar) and John Stanier (drums) recorded their parts in Nashville, and then sent their finished product to San Francisco where Patton added his vocals and samples. As always, Patton runs amuck and uses this opportunity to show off his unrivaled range and his masterful ability to veer from layered oceans of eerie moans to psychotic barks and crooning modal scales. The result actually feels more like a Fantômas concept performed by Bungle than a third Tomahawk album, and fans may be disappointed that it doesn't sound like their last two releases, where they distinctively rode the line between savage and brooding within the constraints of heavy metal. The ominous element is present, but the dynamic shifts drastically into a more atmospheric new age realm scattered with a few chaotic explosions here and there for good measure. It feels more like a soundtrack than an album, where pieces vary from eerie, to unnerving, to mystical. Although this is a unified record that should be experienced from start to finish, individual songs have slight and interesting variations to keep the experience from becoming stale. For instance, "Antelope Ceremony" has jazzy-prog movements like something out of Zappa's Apostrophe period, and "Sun Dance" integrates four bars of thunderous punk into an otherwise tranquil desert soundscape. There's a good chance this departure from their formula will appeal more to people who want to pick up where California left off on "Goodbye Sober Day" than fans of Helmet or Jesus Lizard. But considering that the band is playing in a completely new style, and incorporating traditional Native American instruments (rain sticks, flutes, buckskin drums) this is undeniably a stunning musical exploration -- and as far as original artistic endeavors go, this ranks as Patton and company's most ambitious masterpiece. The only question left is whether or not the guys knew they were capable of creating this type of music when they originally named the band.
Tomahawk - Anomymous (2007)
note: it actually took me a while to come up with another supergroup that wasn't terrible besides The Raconteurs. I almost gave up!
QuoteTomahawk - Anomymous (2007)
actually one of the worst things ever.
Bah, the first two Tomahawk albums are great.
note: it actually took me a while to come up with another supergroup that wasn't terrible besides The Raconteurs. I almost gave up!
Battles
note: it actually took me a while to come up with another supergroup that wasn't terrible besides The Raconteurs. I almost gave up!
Battles
you got me there. But then again, Battles is already way bigger than any of the bands they were in before that so I dunno
After three groundbreaking albums over the course of a decade, the internationally acclaimed electronica project Shpongle has returned from what fans feared was the end of the project when Nothing Lasts ... but Nothing is Lost, their third album, was released. Not prepared to leave us hanging, electronic music pioneers Simon Posford and Raja Ram have continued to push the envelope and break boundaries to create yet another sonic masterpiece: the much-awaited fourth Shpongle album, Ineffable Mysteries from Shpongleland.
There are languages here that Shpongle fans will know and love as much as their previous work, and yet there are some massive leaps forward in terms of production techniques, sonic trickery, structure, and direction compared to all of the previous outings to date. With influences drawn from anywhere from Steve Reich and Mike Oldfield to the Batman movies and beyond, this really is another over the top record in terms of production skills, tonal textures, and original ideas from Shpongle. It is rich in detail and emotion, in worldly and otherworldly samples and inspiration, and in harmonic and melodic construction.
http://www.mediafire.com/?jtway3mtzzk
http://www.youtube.com/watch?v=FOVe7DHkg6k
Cold Meat Industry has waited till the end of the year to offer us one of the best releases of 2006. Jerome Reuter's solo project, Rome, with its first long player. This young artist from Luxembourg has long been in the music world. Starting in punk bands, he moved on to rock with great baselines (references he does not speak about but are easily found in the Internet). However, working with other people may limit creativity and that is what happened to Jerome. When he decided to form Rome, a word that comes from a shortening of his own name, his knew one main thing: he would work alone. Rome is the future of the neo-folk world. It does not fall into the same four chords played with the guitar in a 'wanting to live up to Death in June' sound. And it moves enough into post-industrialism to be called experimental and to be misunderstood. This fresh combination of sounds: great guitar work, martial percussion, pop melodies and dark crooning, capture the listener and transport them into a different world. On occasions, the guitar sounds are so full of beauty and longing they almost hurt to listen to. It opens the more guitar-oriented songs a possibility of jumping into the indie world -and that, perhaps, offends some more traditional dark folk followers. On the other hand, there are many compositions that are constructed only over ritual and repetitive percussion, moving the songs deeper into desperation and darkness. Some of the songs even move closer to dark wave than to neofolk though the combination of guitars and synthesisers. I am not saying this has not been done before; it has simply not been done with such delicacy and mastery in a long time. "
http://www.mediafire.com/?znmnygw2fym
http://www.mediaf!re.com/?fmz0uummgyyWhat about The New Pornographers?
http://www.mediafire.com/?jz0jzzmyym2
http://www.mediafire.com/?wmtnml2jnuzOn a day in late July 2008, when the sun was hot enough to melt the skin, Veirs and a friend stumbled upon a booth at the Portland, Ore. farmer’s market selling July Flame peaches. Veirs so liked the name that she suggested she and her friend each write a song with that title. They bought a bunch of peaches and canned them in their bathing suits on the hottest day that summer.
The peaches, spiked with cloves and drenched in syrup, turned out great, and the song is one of Veirs’ best ever.
“I’d been in a songwriting slump at that time and writing that song pushed me over my plateau and into a new place where I was surprising myself again. I invented oddball tunings so I was really using my ear to search out new-sounding melodies and patterns,” says Veirs. “I wrote this album from a searching, soulful place. I hope it elicits a real gut feeling.”
Composed mostly on her “crappy nylon-string guitar,” (though also on her Les Paul electric guitar, banjo and piano), in the barn behind her house in Portland, Ore., July Flame is a relatively stripped-down folk record highlighting Veirs’ masterful finger picking guitar and confident vocals. “Laura’s like the queen bee and my ear is her hive; she nests and makes honey in the hairs of my cochlea,” says Jim James of My Morning Jacket (who sings on several tracks).
The album breaks from Veirs’ previous full-band efforts, although many of the same players make appearances on the album, including longtime collaborators Karl Blau and Steve Moore. String arrangements are featured more on this album than on others; the brilliant improviser Eyvind Kang plays viola on many songs, and legendary arranger Stephen Barber composed hauntingly beautiful string quartet arrangements for three songs.
July Flame is the sixth album that Laura and producer Tucker Martine have made together. Recorded and mixed at their home, the songwriting, arrangements, production and performances create a fully realized piece of art that inspires reflection and calm in a world that spins unsteady.
http://www.mediafire.com/?1qzdeywyomi“Still Light is an eclectic trio joining Edinburgh based Singer/Songwriter Lucy Hague, London based artist Sand Snowman, and Kirill Nikolai. My original search led me to Kirill Nikolai, who I was surprised to see Irish born painter Francis Bacon sighted as an influence. Also among the top friends listed I find Nick Drake. Upon seeing this I am immediately drawn to the conclusion that Still Light will be golden, and they are. Among the two songs found on their fairly new Myspace page, “Tenebre”, from the 2009 release “Lything” is part Iron And Wine’s “Our Endless Numbered Days” with a dash of imagery formed from the tale of Into The Wild’s Chris McCandless and strangely enough a touch of U2’s “Joshua Tree”. The open plain, the winding road, the desolation. I hear and feel so many ranges of influence. There is Pink Floyd, there is J. Tilman of Fleet Floxes, and to compare Lucy Hague’s vocals to that of Amy Lee, I will do just that. “Tenebre”, with is vaguely Southern use of what appears to be a banjo only leads me to speculate that the trio comes together with a broad background to form this truly new, original, and unique sound. With it’s subtle and overall non-intrusive instrumentation, “Tenebre” stands out and allows for Still Light to shine as vocalist’s as well as seasoned musicians. Music for elevation, not the elevator.”
Brad Tilbe adequacy.net
“Its October 1st and ominous skies are already rolling in. Appropriately, so are new tracks from Still Light, a UK/US band that crafts exceedingly dreamy acoustic psych crafted for dark mornings where getting out from under the covers is the last thing one wants to think of. Blurring the line between ambient folk, celestial drone and a land where Delia Derbyshire is still recording the world, Lything, the groups latest release on Apollolaan Recordings (limited to 50!), is a wondrous departure from reality. It drifts by like clouds bound for some other town, but not without leaving an impression. Sort of like this. Recorded by Lucy Hague, Sand Snowman and Kirill Nikolai, Lything is best suited for low impact home life, which makes sense as the record was cut in “Kirill’s closet/bedroom/living room in Boulder, CO, Lucy Hague’s pad in Edinburgh, Scotland and Sand’s home studio in London.” Blanket vibes for sure. Take a look at the gorgeous hand made art here. For those of you still lamenting the lose of summer, this should help ease the pain.”
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Laura Veirs – July Flame [2010]
http://www.mediafire.com/?4ywfjhntz4kShugo Tokumaru is not (as many reviewers have assessed) the Japanese Sufjan Stevens. He may share some of Stevens' fascination with found instruments and eccentric acoustic arrangements, but that's where the similarities end. Tokumaru, in general, seems to go much deeper into his own musical world -- playing with sounds more and taking ideas much further. If comparisons must be made, it would better describe Tokumaru's trajectory to align him with the likes of a less predictable pop experimenter like Lindsey Buckingham. Like Buckingham, Tokumaru's songs can sound deceptively simple on the surface, but closer listening reveals a very sophisticated musician at work. Anyone can layer instruments on top of one another (and, with the advent of digital home recording, often to a ludicrous level), but it takes a real talent to sort out how they should fit together. This is where Tokumaru shines, especially on his album Exit -- a home-recorded affair that flirts with indulgence but rarely succumbs to it. That's an important point because a song like Exit's opener, "Parachute" -- with its multi-layered fingerpicked guitar propulsion and more melody lines than you could shake a stick at -- could have been just a predictable lo-fi mélange had someone else been at the helm. In Tokumaru's hands, indulgence is tempered with taste and taste is augmented by confident individuality and competent musicianship. That individuality and musical prowess are evident enough -- as Tokumaru is clearly at ease on a number of different instruments -- but all of that would amount to beans if you couldn't put it together just as expertly. In the arrangement department, Tokumaru displays both skill and mischievousness. He has a Brian Wilson-like penchant for playing instruments off of each other to achieve a greater result (just listen to the Pet Sounds playfulness of "La La Radio") and is fearless in his use of dissonance (check the gradually twisted interplay between the recorders and melodicas on "Clocca"). Ambitious as some of that may seem, Exit never feels like a show-off record -- just a thoughtfully put-together one.
(http://imgur.com/Zuw6a.jpg)Laura Veirs – July Flame [2010]
ohmygodohmygodohmygodOHMYGODOHMYGODOHMYGODOHMYGODOHMYGODOHMYGOD
http://www.mediafire.com/?4wrngwrhzahLaura Veirs' Seattle is not a city plagued by rain and enormous bowls of coffee; rather, it's a metropolitan snow globe trapped in a solid sheet of ice. The 13 songs that make up her fourth album (and Nonesuch debut), Carbon Glacier, rely on Veirs' free associating motor-mouth imagery to dig them out the tundra, and it's a testament to her skills as an interpreter that the majority of them break through. That's also thanks in part to the intricate arrangements and superb musicianship from her "Tortured Souls," Steve Moore, Karl Blau, and producer/drummer Tucker Martine (Modest Mouse). Martine allows the experimentation to bloom in all the right places, resulting in a record that never overworks itself, despite being packed to the gills with ghostly glockenspiels, organs, random percussion, and trombone. Veirs' hypnotic voice cuts through it all with deadpan sincerity -- she's equally capable of pitch-perfect beauty ("Lonely Angel Dust") or tightrope uneasiness ("Icebound Stream") -- that comes off somewhere between Nina Nastasia and Jolie Holland. Her ability to sound as comfortable singing over grungy and compressed drum loops as she does on simple folk tunes is admirable, and it makes all of the genre-hopping exceptionally fluid. Even at her warmest, she exudes a certain collegiate coolness, and when Carbon Glacier begins to drag -- and it does near the end -- Veirs manages to retain and command a level of anticipation/fascination that's the mark of a true artist.
1. Coochie (featuring Ludacris, Ol' Dirty Bastard) – 4:10
2. On the Vista (featuring Mos Def) – 2:39
3. Hard Times (featuring NOE) – 2:38
4. Dollaz & Sense (featuring RZA, Pharoahe Monch) – 3:47
5. Why Can’t I Forget Him (featuring Nicole Wray) – 4:16
6. Stay Off the Fuckin’ Flowers (featuring Raekwon) – 2:31
7. Ain't Nothing Like You (Hoochie Coo) (featuring Mos Def, Jim Jones) – 3:23
8. Hope You’re Happy (featuring Billy Danze of M.O.P., Q-Tip, Nicole Wray)
9. Tellin’ Me Things (featuring RZA) – 2:39
10. What You Do to Me (featuring Billy Danze, Jim Jones, Nicole Wray) – 5:14
11. Done Did It (featuring Nicole Wray, NOE) – 3:29
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http://www.mediafire.com/?wmn22td0tjjBlakrocCode: [Select]http://www.mediaf!re.com/?dnfardfjykz
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http://www.mediaf!re.com/?5myjzkndzryIt's a tricky thing to make accessible pop that doesn't hide behind clever irony or fall into the soulless, Auto-Tuned suckhole of Top 40 pap. The Bird And The Bee displayed an aptitude for bubbly, tropicalia-laced pop on its excellent debut, and the cumbersomely titled follow-up, Ray Guns Are Not Just The Future, continues that exploration of carefree, happy-making music.
Vocalist Inara George and programmer Greg Kurstin have an affinity for all things pretty and vaguely retro, as her exceedingly pleasant vocals and his lush production attest. It's a formula, yes, but one that works over and over, from kitschy but rich-sounding earworms like "Love Letter To Japan" and "Diamond Dave" (yes, as in Lee Roth) to the more introspective and sadly beautiful "Ray Gun" and "Baby." Only the somewhat plodding "Witch" and a couple of jarring musical interludes lean toward self-indulgence. "Polite Dance Song" is a welcome repeat inclusion from a 2007 EP that subtly showcases George's vocal prowess in the context of a silly hip-hop-influenced goof, a reflection of the underlying skill and craft that make this fluffy-sounding collection of songs cheerily frivolous, but not disposable.
Grade: A-
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The Bird And The Bee - Ray Guns Are Not Just The Future [2009]
(http://i8.photobucket.com/albums/a24/phyrexianmeatdog/thebirdandthebee.jpg)Code: [Select]http://www.mediaf!re.com/?5myjzkndzryQuote from: The A.V. ClubIt's a tricky thing to make accessible pop that doesn't hide behind clever irony or fall into the soulless, Auto-Tuned suckhole of Top 40 pap. The Bird And The Bee displayed an aptitude for bubbly, tropicalia-laced pop on its excellent debut, and the cumbersomely titled follow-up, Ray Guns Are Not Just The Future, continues that exploration of carefree, happy-making music.
Vocalist Inara George and programmer Greg Kurstin have an affinity for all things pretty and vaguely retro, as her exceedingly pleasant vocals and his lush production attest. It's a formula, yes, but one that works over and over, from kitschy but rich-sounding earworms like "Love Letter To Japan" and "Diamond Dave" (yes, as in Lee Roth) to the more introspective and sadly beautiful "Ray Gun" and "Baby." Only the somewhat plodding "Witch" and a couple of jarring musical interludes lean toward self-indulgence. "Polite Dance Song" is a welcome repeat inclusion from a 2007 EP that subtly showcases George's vocal prowess in the context of a silly hip-hop-influenced goof, a reflection of the underlying skill and craft that make this fluffy-sounding collection of songs cheerily frivolous, but not disposable.
Grade: A-
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Mass Of The Fermenting Dregs-World Is Yours(2009)
http://www.mediafire.com/?ymym4ydrmnzQuoteso if you can listen to it, knowing all that stuff...i can't do anything about it, but there maybe some people outthere who didn't know and mind the fact.
Oh please. Can we keep the political activism outside the door? Death in June, as Sol Invictus and other neo-folk bands political affiliation and/or leanings should be ignored, and their artistic output enjoyed for what it is. There are plenty of extreme nationalistic bands in the US, for instance, or bands with a clear Zionist stance. Should those bands be defenestrated as well? If that were the case any German industrial/martial band should be banned from the airwaves. Freedom of speech and being a mature audience have a lot to do with this, as only very young idealists (an utopic stance to take) will take umbrage on whatever these artists think/do in their private lives.
Holding a belief (even though it is wrong) is not a crime. This is not an opinion, if you think of human rights i hope it will be clear why. As for nationalistic bands in the US, they are not posted here because no one has posted them here, not because of any bans or censorship. I honestly don't think anyone listens to them or is interested in them but if they were they will not be punished for their hypothetical crimethink
for sure no one knows of all the stuff which is going on in all of the heads from musicians we all are listen to, but IF you do, as in this case and don't like their opinion
maybe you don't like listening to their music anymore. to me believing in a master race and stuff is not an opinion is it is a crime; mind-wise , if you think of human rights.
i don't know about of all the nationalistic bands of the u.s. and other country, but they are not posted HERE for that reason, right? that's all i am saying.
aaand the most german industrial bands suck anyway :)
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http://www.mediafire.com/?1tyt2e3xvtlTurboweekend is a three piece band from Copenhagen consisting of Martin Petersen (Drums), Silas Bjerregaard (Vocals) and Morten Køie (Bass), and adding Anders Møller onhttp://www.myspace.com/turboweekend (http://www.myspace.com/turboweekend)
synths and backing vocals live. The music is part dark synth pop, part bouncy electro-rock with a soulful twist. The three main members have been friends since 4th grade, and
have played together for ages, but this particular band was formed in the summer of 2006.
http://www.mediafire.com/?mrzynmjwmhghttp://www.mediafire.com/?gmwmdygr2mz»The idea has come to me that what I want to do now is to saturate every atom. I mean to eliminate all waste, deadness, superfluity: to give the moment whole; whatever it includes.
It must include nonsense; fact; sordidity; but made transparent.« – Virginia Woolf, 1928
The principle that every idea must be reduced to its essential quality in order to realize its potential, became Lack's guiding light in the process of composing their third album.
The title Saturate Every Atom thus contains all the premises of the album: always compress, always concentrate, never compromise.
http://www.mediafire.com/?myanztw2tkuGAFFA gave us 5/6 stars and wrote:http://www.myspace.com/electrojuicemusic (http://www.myspace.com/electrojuicemusic)
"If it's dark, twisted electro-hip hop, melodies with hints to classic 90's IDM or stretched out techno with old school electric bass and beautiful soundscapes,
the two boys' music is unique and independent and at the same time fairly catchy. An enviable combination."
DR Music handed out 5/6 stars as well and wrote:
"On 7 very different tracks they move effortlessly through various kinds of spherical house and electro."
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Bon Iver's 'Woods,' Except even more spacey and amazing.
http://www.mediafire.com/?tdznjilyktmReal Estate - Real Estate[2009]
http://www.mediaf!re.com/?ywzzjdt3qvyNormally, when you see the word "orchestra" attached to an indie act, it's intended in an ironic fashion. It's either one dude with 7 toy Casio keyboards billing himself as an Orchestra, or three scruffy dudes playing decidedly un-orchestra like rock & roll. This scenario plays out roughly 99% of the time, but I can introduce you to that remaining 1%: Sydney, Nova Scotia's Tom Fun Orchestra and their new album You Will Land With A Thud.
Not to suggest that this nine-piece extravaganza makes music that is anything close to orchestral, but their size and raucous, sweeping sound certainly means the Orchestra tag makes more sense for them then it does for yer man with the Casios. That big sound is headlined by the growl of frontman Johnny Turbo, who sounds like either an 80's Saturday morning cartoon hero or a badly named Mafia driver, and provided by the capable Tom Fun players and their plethora of instruments. What's in that plethora you ask? How about a trio of guitars, violin, upright bass, accordion, banjo, drums, mandolin, clarinet, trumpet, and shaky bass. I don't know what a shaky bass is exactly, but it sounds mighty cool.
This album also sounds mighty cool, which is a fairly impressive feat for a collective this size. Its one thing for a group like this to be impressive live, and Tom Fun has certainly established a reputation in the Maritimes as an outstanding live act. But often the visual impact and energy of such a large group will carry the day during a live performance. On record, that many people and that many instruments can often result in a kind of organized noise that doesn't do the band justice. Thankfully, that isn't the case on You Will Land With A Thud, as the various players give each other enough space to create the energetic, chaotic-yet-melodic sound found throughout the album. The talent assembled to help make the album certainly didn't hurt the cause, as Gordon Gano (The Violent Femmes) & Warren Bruleigh (the Violent Femmes, Louise Attaque) handled production duties, the mixing was done by Phil Palazzola (The New Pornographers), and it was mastered by Howie Weinberg (Nirvana, White Stripes).
Not bad for a little band (well, figuratively speaking) from Cape Breton. Despite their home island's reputation for traditional, east coast music, Tom Fun looks to a number of diverse sources for inspiration. The Waits-ian When You Were Mine opens the album in a more subdued fashion than I would've expected, but its tale of birthing a tiny, slimy spy and sending him off to Lithuania and Syria is a good intro to Turbo's vivid, storytelling style. The horn-filled Rum & Tequilla brings jook joint jazz to mind, while Tar Pond Tango is certainly the only latin-tinged song about Cape Breton's famous environmental nightmare. Highway Siren Song Breakdown and its irresistible electric blues guitar & harmonica combo spins a tale of a 70's drug run through Oklahoma and is un-expectedly one of the album highlights for me.
I can certainly appreciate the influences found on those aforementioned songs, but it's on the more wide open, cluster-rock songs where the band really shines. Songs like Throw Me To The Rats, Watchmaker, Last Of The Curious Thieves, and Heart Attack In An Old Motel showcase the band in full force, and are all quite powerful. Watchmaker and Last Of The Curious Thieves both have prominent vocal contributions from Alicia Penney, and her soulful voice works as a nice counterpoint to Turbo's gruff delivery.
Anyway, this review is already as large as Tom Fun's roster, so I'm simply going to stop right here and encourage you to check out You Will Land With A Thud. It's really quite enjoyable, and will not only help you shake off winter's doldrums, but it will keep you grooving through the spring and into the summer.
http://www.mediaf!re.com/?f1gxij1gxqwIt's a bit like Grand Hallway I suppose, but rockier and Canadian.Grand Hallway has created quite a unique place in pop music. Their songs are an interesting medium between baroque orchestral pop and traditional Japanese music. Given their prior releases, hearing the sounds on Promenade is no surprise. Led by master songwriter Tomo Nakayama, Promenade finds Grand Hallway expanding on their musical abilities.
Promenade is much more dramatic than Yes Is The Answer, their debut LP. It takes the listener on a journey; each song follows a romantic storyline. The path is one that finds Nakayama joining with artists as diverse as The Maldives, Voyager One, and Sleepy Eyes of Death to total an impressive eight. The octet, then, produces a sound full and encompassing. Each run through Promenade will draw forth new elements, providing the listener with another chance to listen to the album for the first time.
“Raindrops” may begin soft, with a patter of plucked guitar strings, but it grows into one of the more beautiful melodies heard this year. “Blessed Be, Honey Bee” continues with a strength only eight can provide, while “Elinor With The Golden Hair” brings forward the Japanese influence with an oriental string sound. Toward the end, “Sirens” shines with multiple vocals compounding and swirling amidst an array of orchestration.
The rumors are that Grand Hallway is poised to break out with this release, and I can sure believe it. Promenade is an impressive journey, one that blurs reality with a fictitious dream-world both colorful and mysterious. In Promenade, Grand Hallway has pieced together a masterpiece, one that will certainly garner Nakayama and the seven that accompany him fame in the world of independent music.
http://www.mediaf!re.com/?rvga4k2nn2nHe's the unassuming rocker in their midst: Brad Oberhofer stunned colleagues at Matador Records, where he works as an intern, when he played them a demo of a few songs he had recorded.
Now the 19-year-old NYU student has landed one of them, "Away FRM U," on a Paste magazine CD sampler -- a rare feat for an unsigned artist nobody's yet heard of -- played a CMJ showcase hosted by Hartford/Brooklyn music promoter Natalie Noyes and has generated intense interest among music-biz types in New York for his vibrant, raucous indie-rock sound.
"I have not seen someone with as much potential as he has," says one of those Matador colleagues, Thom Williams, who with a friend has been assisting Oberhofer. "Give him a year or two and he could be a MGMT figure."
http://www.mediafire.com/?m2nmzmv5zdn
Grand Hallway - Promenade [2009]
Confession time: I am a fickle, vacuous consumer whore who will only truly listen to something when popular culture tells me I should. With their debut record, Ruin Everything!, Athens, GA’s We Versus The Shark have allowed me see this outstanding flaw. I’m happy to say that over the course of ten tracks bursting with flavor and good times, Ruin Everything! facilitated my slow, arduous recovery process.
So the story goes, Mr P sent me a package with CDs to review, and among the batch was this We Versus The Shark album. I popped it in (probably in a bad mood), listened to the first few bars of "You Don’t Have To Kick It" and promptly discarded it. All I remember hearing were disco beats and nondescript shouting over some chicken-scratch guitar. Exasperated, I cried, "I’ve heard it before!"
Over the next few months, I kept seeing We Versus The Shark’s name here and there, and after a few friends kept chatting them up, I decided to give Ruin Everything! another chance. I re-listened to "You Don’t Have To Kick It," and though the ever-present disco beats and shouting were firmly in place, I also unearthed found sounds, malfunctioning electronics, jagged guitar parts (not in the way most of their peers take this route—think more Dazzling Killmen math and less Gang Of Four skronk), and poignant melodies that rocked the shit out of my sandwich. In short: I found the group to be completely irresistible.
At their most chaotic, We Versus The Shark might recall a more caustic Q And Not U having entirely lost it, or a much more refined version of the Ex, but neither comparison does the group justice. There are certainly obvious reference points scattered about the album, but I found it nearly impossible to describe the band in simple terms. I guess the most accurate description for We Versus The Shark would be "frenzied pop."
http://www.mediaf!re.com/?3tnm1nymim3So I was trawling through FFFFOUND! and stumbled across this (http://ffffound.com/image/63513f9d0d81dc0ab9f801cf501c49278a734bb0)
Mystic duo Magic Wands return with the Magic, Love and Dreams EP recorded with John Hill (Santogold, Lykke Li, Nas) to be released through Bright Antenna and Young and Lost Club.
Recorded in John Hill’s New York Studio - and using the same drum machine as Prince’s Purple Rain - Magic, Love and Dreams is cosmic pop of the highest order.
Both Teenage Love and Kiss Me Dead feature walls of white noise guitars, whilst the newest track on the EP, Starships (a song inspired by the Phoenix lights) kisses the sky with ether rag soaked abandonment. Previous UK single, Black Magic, has been given the full John Hill treatment and the 2009 version sounds super nova big.
Magic Wands have spent the last 6 months touring relentlessly, and writing and recording the tracks that will make up their debut album. They’ve been on a monster East-West Coast US tour with Black Kids and the Virgins as well as returning to the UK to support CSS on their October dates.
In anticipation of the EP release through Bright Antenna, the band tour with The Kills and The Horrors in the US through April and May. They’ll return to the UK for early summer shows around the EP.
Magic Wands formed in 2007. While living in Nashville, Chris found a song on Myspace that he listened to repeatedly, day and night. Soon he discovered it was a song by Dexy, called ‘Teenage Love’. During the course of the summer 2007 Chris and Dexy started talking on the phone until dawn, writing songs for each other and mailing gifts such as toy lions, old records, handwritten poems and one glowing heart lamp. Though 2000 miles apart, they decided they were destined to be. Two weeks later Chris was back in L.A. helping Dexy pack up her old Mercedes Benz for a trip across the country.
Currently, Chris and Dexy aren't sure where they would call home, but for the time being are holed up in Los Angeles recording a new track called Warrior. The video for Warrior will be available as a free download upon purchasing the EP on Itunes.
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http://www.mediafire.com/?ehl2gyjc13c“Sweet, gentle and scrumptious, the music of Brooklyn trio Pearl and the Beard conjures up lazy summer afternoons at just the time we need that kind of thing most. The group consists of just three souls—Jocelyn Mackenzie, Emily Hope Price and Jeremy Styles—but its sophisticated vocal harmonies and crafty arrangements make a big impression on the combo’s recently issued debut CD, God Bless Your Weary Soul, Amanda Richardson.” – Time Out New York
“Pearl and the Beard is modern folk at its most graceful. Sans pretense and fresh with tangled harmonies… their simple lyrics are lifted with airy, soul-turning melodies yet reasoned by earthy sounds. It’s unique and exceptional.” – The Soho Journal
“…shades of Gothic troubadour Will Oldham” – The Washington Post
“…Good, honest, sweet and soft… the interplay between the singers is the highlight of this act’s potential.” – The Deli Magazine
“Quirky Brooklyn folk trio Pearl and the Beard… is a breath of fresh air in New York’s cluttered music scene, and they’re well on their way to success” – BreakThru Radio
“Pearl and the Beard’s gentle folk melodies and graceful, cohesive harmonies beg to be listened to.” – Alyssa Rashbaum (Spin, Vibe, Rebel Spirit, etc.)
Oh my god, that Will Smith Medley is AMAZING (The dude (The Beard?) has a very nice voice, and I love the cello). My roommate absolutely loves Will Smith, and I just showed that to him as he's planning on going to bed.It's not.
I guess I'm gonna grab their album, too. (Please tell me the Medley is on the album, or at least that I can find it to download somewhere)
http://www.mediaf!re.com/?nmanr52zzm1http://www.mediaf!re.com/?dnmnmqzlmmj
The sophomore release from Vancouver’s Meatdraw is one rowdy celebration of gospel-tinged pop rock that pleads high spirits, open ears and moving feet. The group, led by brothers Marco and Stefan Bozenich, toy with a big-band sound by weaving sunny melodies, a ska-inspired energy and organic fireside songwriting through each track to lead listeners by the hand from finger-snapping lulls to positively fist-pumping highs. To put it plainly, Meatdraw’s music is about as happy as they come, and often ironically so; the opening track "Are We Gonna Die?", despite its ominous title, is upbeat and decidedly non-fatalist, as the title’s query is followed by “How’s it gonna end?” Fin Du Monophone is cheeky, unpretentious and a really fun listen.
http://www.mediafire.com/?mxyyniymyymhttp://www.mediafire.com/?2emdeighd2gNegura Bunget have always had a particularly interesting ability to capture the same sort of lugubrious drone so characteristic of the Ukranian black metal sound ala Drudkh or Hate Forest, while still maintaining a high level of harmonic compositions wrapped up in transcendental melodies that sweep up the listener and supplant them in a beautiful yet haunting soundscape of somber woe. The strong pagan tonalities of the music loosely comparable to earlier Borknagar go beyond being simply a facet of the lyrics, the entire product has an amazingly distinct sense of culture that undercuts everything, creating a tumultuous and intense backdrop to their quite distinct brand of emotionally feral black metal.
While they’ve always had a large dose of subtlety throughout their music, with past albums Negura Bunget seemed to have a fairly singular and clear cut direction, OM meanders playfully around, developing and expanding ideas, pondering its own purpose and nature, with each tumultuous passages coming and going as if a dream. "Epic" does not even begin to describe the stunning panorama this album entails. Negura Bunget’s mastery of their style of Romanian Black metal becomes increasingly apparent with each release.
The stylistic and dynamic variety present on OM is absolutely phenomenal. The versatility of the vocals from high snarls, lower sneers, and soaring clean vocals is an interesting parallel to the extremely tasteful implmentation of percussion, each musician effortlessly shifting seamlessly from raging blasts and lacerating guitar lines to more conserved moments highlighted by the implementation of unconventional instrumentation creates a lucid portrait of a band that is both capable of pernicious wrath as well as pedantic experimentation. The clear and warm production undeniably fits OM with a stripped down organic approach that gives the material room to breath and swell rather without the performance becoming clinical. In fact, the entire presentation is nothing short of breathtaking.
Albeit all of the material stands upon its own particular merits, each song plays an integral part in an infinitely greater whole, from the last moments dying echoes of the album openings lugubrious screams, “Ceasuri Rele” does a fine job of setting the atmosphere for the haunting ferocity to follow with the grandiose opening statement set by the ethereal “Tesarul De Lumini”. The progressive atmospheric cuts, “Primul Om” and “Norilor” and the large majority of “Cel Din Urmã Vis” rather than bogging down the album as simple filler or pure wastes of time, succeed at providing contemplative prologues to their subsequent tracks. The forlorn “Conoas Tãcutã” and the contemplative “Hora Soarelui” prioritize the implementation of folk influences, raising the tracks to the levels of spiritual journeys unto themselves, while the direct ferocity and relative overtness of “De Piatrã” are jarringly different, juxtaposed with the nearly avant-garde amalgam of tumultuous passages presented on “Inarborat” and “Dedesuptul” deftly reconcile and combine the phenomenal stylistic variety Negura Bunget wield.
I’ve always been curious as to why Negura Bunget haven’t received near the amount of widespread publicity and appreciation I believe they are quite in fact due, but for whatever reason, OM should finally cement Negura Bunget’s unconventional black metal and should place them amongst the current elites of the genre. This is an album that demands to be listened to; this is not a background album. The beauty is in the subtlety; it’s when the music has had enough time to work throughout your being that the brilliance truly hits you.
http://www.mediaf!re.com/?kudw33vntyn
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\\Asthmatic Kitty’s Library Catalog Music is a series of instrumental albums designed for possible use in films and television, background sounds for home or office, or personal needs, such as relaxation, stimulation, meditation, concentration, or elevation. For your listening pleasure, we asked a select group of talented artists to create a unique recording for this collection. Specific uses for the music is this series may include accompaniment to cooking, eating, sculpting, exercising, high stakes poker, soaking, panoramic landscapes, cuddling, car chases, drawing, knitting, bandaging, romance, playing chess, or planning the rest of your life, of which this is the first day.
Yuuki Matthews is a Seattle-based freelance musician and owner of 2 cats. Originally from Hollywood (Burbank), California, Yuuki moved to the Northwest with his mother and brother in the mid-nineties. He recorded the songs that make up Music for Savage Tropical Imagery at home between tours, odd jobs, and major milestone events. With this record, Yuuki sought to expand upon the nostalgia of subtle sound degradation.
http://www.mediafire.com/?ymzlmmjy4ij
a compilation CD of Guided By Voices best songs.
Oh man, that Grand Hallway album posted on the last page is so good.
http://www.mediafire.com/?34yflxzdzzuhttp://www.mediafire.com/?dynikyhtiheThe band split in September 2009 after performing their farewell gig at Camden Dingwalls supporting Drugstore. Their final album, Hibernation songs, is still due to be released on Azra Records
http://www.mediafire.com/?mkxezkmmg0ihttp://www.mediafire.com/?m1dzin0m1um1. Smog - Vessel In Vain
2. Calexico - Untitled II
3. Calexico - Untitled III
4. Adem - Statued
5. Calexico - Ritual Road Map
6. Laurent Garnier - Forgotten Thoughts
7. The Earlies - Morning Wonder
8. Richard Hawley - Steel 2
9. Clayhill - Afterlight
10. Calexico - Crooked Road And The Briar
11. Lucky Dragons - Heartbreaker
12. Gravenhurst - The Diver
13. Cul De Sac - I Remember Nothing More
14. P.G. Six - The Fallen Leaves That Jewel The Ground
15. ABBC - Pluie Sans Nuages
16. Aphex Twin - Nanou 2
17. M. Ward - Dead Man
18. DM & Jemini - The Only One
Hey, KvP what radiostation do you work for?KCSU (http://www.kcsufm.com/)!
The Black Dog was formerly the trio of Ken Downie, Ed Handley and Andy Turner and over the past a couple of years, SOMA have released the first six Black Dog EPs as Book Of Dogma, Temple Of Transparent Balls and a couple of their best tracks on the Soma Coma Vol. 2 compilation.
The early works are musts for lovers of late eighties/early-nineties sci-fi-techno and since Ed and Andy left (to form Plaid), Ken was variously Black Dog with different line ups before teaming up Martin and Richard Dust (of Dust Science) to rave reviews for the album Radio Scarecrow release.
They say Further Vexations is their “attempt to capture and express our emotional frustrations, and the trials and tribulations of living in an un-democratic surveillance society…To say we are pissed off about it, would be an understatement”. Now you might expect that this would be an angry soundtrack off the back of that but it starts off quiet with ‘Biomantric L-If-E’ and ends with a gentle ambient Alice Coltrane inspired ‘Later Vexations’ and the multi-layered synths of ‘Kissing Someone Else’s D.O.G’.
The tracks ‘0093’ and ‘You’re Only SQL’ were released as 12” mixes on vinyl a couple of weeks ago and the original versions are highlights on the album; I vote ‘You’re Only SQL’ as title of the year so far? ‘We Are Haunted’ is also a club orientated track - perhaps The Black Dog dance their vexations away - and ‘Stempel’ and ‘CCTV Nation’ are positively techno dancefloor bangers!
‘Skin Clock’ and ‘Dada Mindstab’ are from the darker side, particularly ‘Dada Mindstab’ which is very Sheffield showing that there’s no fear of them losing touch with their electronic roots; ‘Tunnels Ov Set’ is the scary one from the steel foundry!
So it’s a bit like a mixtape for just over an hour with the 3-part ‘Northern Electronic Soul’ as it’s centre piece. At times it gets into full-on techno mode like their Detroit vs. Sheffield EP of last year (the Robert Hood remix of ‘Train By The Autobahn’ was one of last yeas’ best tracks, especially if you’re listening to it on a train)..
The extremely Limited Edition triple vinyl version will have all gone by the time you read this, (further vexations?) but the CD is required listening at home or club, from start to finish or selected favourite tracks; can I say dogs bollocks?
http://www.mediaf!re.com/?kitnvzdyigjhe Black Dog was originally the collaborative project of Ken Downie, Ed Handley and Andy Turner. The latter two already had released a handful underground releases as Plaid. The first notable appearance from the trio was on the original 1992 Artificial Intelligence compilation from Warp, followed a few months later by the seminal album Bytes. Presented as a compilation of artists, including Plaid, Xeper, Atypic. Balil or I.A.O, Bytes combined classic Detroit-infused techno sound with atmospheric electronic textures and complex rhythmic structures, at times clearly influenced by hip-hop. This debut album, which compiled a series of previous EPs, propelled The Black Dog right at the top of the burgeoning British electronica movement alongside other Warp stalwarts such as Autechre, B12 or LFO. A few months later, The Black Dog reappeared on GRP with their first album proper, Temple Of Transparent Balls, and confirmed the band’s position as one of the most visionary acts around. The last album released as a trio, Spanners, showed a more eclectic sound and approach as Downie, Handley and Turner expanded on their original electronic main frame.
With Turner and Handley gone to revive Plaid, Downie was left sole in charge of the Dog. The release of Music For Adverts (And Short Films), barely a few months after the split, signalled a tangible new direction for the project. Although the original techno and ambient elements still ran throughout this album, Downie appeared to leave the complexity of previous recordings behind and introduced a more immediate feel to his music. Followed sporadic EPs, including one with Israeli singer Ofra Haza, as well as countless remixes for artists as diverse as The Creatures, Marilyn Manson and Laurent Garnier.
Ken Downie, this time with Martin and Richard Dust as full time members, seemingly returns to the essence of the Black Dog sound and pretty much reinvent it in the process. If recent EPs Bite Thee Back and Trojan Horus appeared to explore a wide musical scope, from vintage techno to dark organic ambient, Silenced is a more focused affair. Developed over eighteen tracks in just under an hour, the running themes of this album are that of tortured soundscapes, dark back alleys electronica and intricate textures. Silenced snakes its way down the subconscious, infiltrates the mind and refuses to come out. Elements of old style acid and electro collide with more contemporary forms of electronica and occasional Middle Eastern influences to form an extremely dense and inspiring soundtrack. Often dark and threatening, the soundscapes presented here serve as stunning backdrops to gentle melodies, often developing over the course of a whole track.
The album opens with the two-parter Trojan Horus, which sets the mood for the rest of the record. While the first part is a rather straightforward slow-moving piece, part two introduces a more complex sonic structure, based on hip-hop beat and vocal samples. The album then appears to move within these boundaries, with Downie and the Dust brothers perfectly containing each track while developing it to full extend. Tracks such as Lam Vril, Alt/Return/Dash/Kill, Remote Viewing or Gummi Void are sumptuous compositions in the purest Black Dog tradition that also manage to sound extremely modern and fresh.
Silenced also revives the Black Dog tradition of having short, yet fully formed, interludes inserted in between longer tracks, especially referring to the Bolt series found on Spanners, with Bolt 23 Blue Screen Ov Death, Bolt 777 Ordinary Boy and Bolt 33 Glitch & Chin. Although lasting between thirty seven seconds and one minute and two seconds, these three tracks appear to articulate different sections of this album together, from the stern first section of this album to the more upbeat second part to the closing section, providing some additional textures to an already very consistent record.
With this first full-length outing for The Black Dog cuvée 2005, Ken Downie and Martin and Richard Dust have created an impressive collection of classic electronic moments. While not negating at any point previous work, they comfortably manage to bring the legendary sound of The Black Dog into the twenty-first century. The Dog is anything BUT silenced!
http://www.mediaf!re.com/?xml1mixemxm
The Devil and Abbe May – Hoodoo You Do
Dance music fans are likely familiar with the evolution of drum'n'bass from its breakbeat hardcore roots through the rhythmic upheaval of jungle and, eventually, into the washed-out, joyless navel-gazing it eventually fell into near the end of the 1990s before UK garage stole its spotlight. That was a lesson hard-learned, so it's understandable (and fortunate) that this decade's significant beat-driven innovations from the UK have gotten only less genteel with time. Compare an early dubstep classic like one of Horsepower Productions' plenty-heavy 2001 singles with some of the outlandish stuff Joker or Zomby have dropped this year, and you can hear what it means for a genre to jump from strength to strength, advancing without diluting. Moving up in this arena means you don't necessarily need to get more tasteful-- and if you do, you just offset it by getting brasher, too.
Evidence of this rarely comes clearer than it does on an album like Silkie's City Limits Volume 1. The London producer broke out big last year with a succession of singles, including the tellingly-titled "Jazz Dubstep", that blended fusiony sophistication with the archetypal shuddering bass wobbles and tightly-built drum patterns that accompanied the genre's mid-decade expansion. The 13 new tracks on City Limits (nine on the triple-12" edition) sound like a wider mission statement of that style, and that this album pulls it off without sounding like an exercise in mannered noodling is a cause for relief. The best moments on City Limits perfect a certain wide-ranging formula: ethereal, borderline-ambient synthesizer chords billow like fluffy airbrushed clouds over deep skank-motion rhythms, jittery breaks, or agitated melodies that keep them grounded in body-moving turf.
So while there's subtlety and refinement in the melodies-- like the fluorescent glow of the synths in "Turvy", or the ultra-smooth digital sax riff in "Beauty"-- the beats knock hard, trembling inside subwoofers and pushing back so heavily you're practically forced to hear every single note in a rhythmic context. At its rawest-- "Spark" and its waist-winding, rave-gone-skanking rhythm; the chattering, long-arm-swinging lope of "Sty"-- Silkie's productions sound a bit like Benga's wobbly, bristling aesthetic having Blade Runner visions. There are subtle nods towards breakbeat and jungle, too, like the choppy, pitched-up chirping vocal samples and Atari bomb-drops in "Quasar" that sound like they could've come from a 1994 Bay B Kane joint.
And even when it all gets pushed to extents as absurd as the eight-minute "Planet X"-- a deep churn of mousetrap percussion and tremulous, rubber-legged bass punctuated with '84-style funk flash on some Jam/Lewis business-- there's more than enough force in its beat to keep entropy at bay. Funny, then, that even with the knack for extended vamps exhibited on this album, the biggest highlight should also be the most succinct song on the record. The Mizz Beats collaboration "Purple Love", with its restless, stammering arpeggio bassline and thickly congealing waves of sweeping pads, is dubstep at its funkiest and most euphoric. It's almost doing City Limits Volume 1 a disservice to call it retrofuturism-- such a tendency has rarely sounded much less indebted to a caricatured past or a clichéd tomorrow. And it's good to know that even in the wake of a forward-thinking genre's continued commercial acceptance, it's still possible to keep pushing the limits-- wobbling without falling down.
http://www.mediaf!re.com/?yodmvwa5hyi
The closer it hews to the jungle ragga sounds of Jamaica, the more dub there is in the dubstep, the less I seem to like it
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lana avacada. the full length, so this is all 14 songs. i just got a hold of it and updated it on the blog, figure i'd update it here too.
enjoy this guys this shit is so mathy and good.
http://www.mediaf!re.com/?jmmmvqzjnukhttp://www.mediaf!re.com/?l4wmjjvwy2m
That Negura Bunget album is sick, I got that a few years back.
http://www.mediaf!re.com/?myx2fmiymm4http://www.mediafire.com/?0jjziuyhjj5The 7th track isn't working for meCode: [Select]http://www.mediaf!re.com/?eey3drtmjzi
lana avacada. the full length, so this is all 14 songs. i just got a hold of it and updated it on the blog, figure i'd update it here too.
enjoy this guys this shit is so mathy and good.
Roberto Carlos Lange (Helado Negro, Savath & Savalas) offers up his contribution to the Library Catalog Music Series. Music for Memory is like one giant crossfade going from one idea to the next in long rhythmic patterns. Its broken tape delays and found reel to reel tapes comprise the beats and the long drone music made from orchestrations that became re-assembled from short ideas to long ones.
http://www.mediaf!re.com/?bzbgihomzzb
http://www.mediafire.com/?yvjztnnmzy2
This is an Iceland band, cant find any reviews for it.
Lights, as they are commonly known as, started in 2003 and gained a lot of attention in the Icelandic music scene early on. As the band and sound grew, so did the audience and the shows. Only 3 months into this new phase Lights on the Highway were voted the Best Emerging Band at the Icelandic Music Awards. They had also been invited to play at the Iceland Airwaves Festival and by the end of November 2004 they had performed their first international show at one of London’s most famous rock ‘n’ roll venues, London Astoria, even before the release of their first album saw the light of day in 2005. Lights returned to London a year later, this time for a show at the famous Marquee.
In the summer of 2007, after laying low for almost a year, Lights on the Highway (Kristofer, Agnar, Karl and Þórhallur), started writing new material. Their first single, “Paperboat”, was released late 2007 and marked a new chapter for the band. It took nearly a year to finish enough material for the album and the second single, “Silver Lining”, was released in the summer of 2008. They finally finished recording the album in December 2008.
Early 2009, LOTH released their third single, “A Little Bit of Everything”. Their newest single “Katrina”, a parody of the effects and consequences of 2005’s Hurricane Katrina, was released alongside a release date for the album in the beginning of August 2009.
Once again the band has added a new member to it’s ranks, Stefán Örn, a keyboard player and vocalist. So the band is a five piece band again and currently on tour, following the release of their second album.
(http://c3.ac-images.myspacecdn.com/images02/98/l_5c21cae9fbf64536b08b83b644426732.jpg)Thanks for this, it's excellent!
Lights on the Highway - Amanita Muscaria
This is an Iceland band, cant find any reviews for it.
Album of the year in my book
1. Katrina
2. Silver Lining
3. A Little Bit of Everything
4. Paperboat
5. She Takes Me Home
6. Coffin Nail
7. Heart of Moon
8. Play to Keep Warm
9. Blossom
10. Memorabilia
http://www.myspace.com/lightsonthehighway (http://www.myspace.com/lightsonthehighway)
http://www.gogoyoko.com/#/album/Amanita_Muscaria1 (http://www.gogoyoko.com/#/album/Amanita_Muscaria1) you can listen to the album here and buy it as wellCode: [Select]http://www.mediaf!re.com/?yvjztnnmzy2
http://www.mediaf!re.com/?fyjnenxhqyw
http://www.mediaf!re.com/?jzroun52nwh
Tycho is the music project of San Francisco based artist and producer Scott Hansen. As Tycho, Hansen blends swirling melodies into vaguely triumphant arcs that crisscross between stuttering beats and vocal samples, creating rolling sonic landscapes that extend off into the horizon. Known in the design world as ISO50, Hansen's bucolic, sun-drenched design style serves as a backdrop for the music which so closely echoes his visual sentiments.
http://www.mediafire.com/?xtcmhgwggmmThey may specialize in reissues, funk and soul and blues and gospel, but the fine folks at Mississippi also dabble in more contemporary sounds, The Spooky Dance Band (members of the late great Reeks and the Wrecks) and Sad Horse (members of the late great Fuck!) being the most recent, until now, and until Why Are We Building Such A Big Ship, hitch sounds exactly like it could be the title of a Mississippi compilation, but is in fact the name of a group, a BIG group, nine members, handling instruments like accordion, upright bass, banjo, bass drum, trumpet, French horn, sax, piano and euphonium. That should give you a rough idea of the sort of sounds these cats conjure up, and consider that this is a co-release with a label in New Orleans, so we’re talking a sort of woozy, New Orleans style funeral jazz, or more modern references might be the Decemberists, or even a less rambunctious, darker more contemplative Pogues, that sort of jazzy, drunken, wandering minstrel sort of cabaret sound, the instrumentation makes the sound old timely, Dickensian even, the horns moan and bleat, the accordions wheeze, very playful, yet ominous and haunting, the arrangements are gorgeous, evoking cobblestone streets, and cloudy skied rain soaked afternoons, shuttered buildings, and rolling hills of brown grass and tumbledown structures. It’s the music’s very old timeliness that somehow makes it a perfect fit on Mississippi, and while it may not appeal to the blues / gospel / archival vinyl reissue purists, it is pretty cool, and should definitely please fans into the Decemberists, Beirut, Neutral Milk Hotel, Slim Cessna and other outfits not necessarily at home in this time…
http://www.mediafire.com/?rmd1dmyjntiSketches of an Amorous Window began as side project for b. Aubrey ( geisterfahrer, why are we building such a big ship, Jamestown 1609) and Shae Freeman (geisterfahrer, 23 Joules) as an outlet to play acoustic instruments and write songs that were influenced by folk music, early jazz, old country (especially murder ballads and disaster songs) and assorted Americana.
The duo live and work in New Orleans and are rumored to be assembling a live band for this project.
http://www.mediafire.com/?ojlmtb2ybmzThis local Santa Cruz, CA band includes Zack (accordion), Caspian (banjo/piano), Mars (singing saw/mandolin,) David (washtub bass), and KC (washboard/piano).
They are often seen on Pacific Ave. performing for spare change.
http://www.mediaf!re.com/?kjiyyjtj1ei
Space Jam
http://www.mediafire.com/?nnzzfmi0yxi
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http://www.mediaf!re.com/?z2ojfzmt5gi
Ummmm.... that Tycho album is pretty cool. But it's only part 1 of the .rar?
So it's supposed to go track 1-2-3-4-5-12-13?
http://www.mediaf!re.com/?zc3l040ymen
It’s taken me a hell of a long time to feel comfortable enough to sit down and write this review. William Fitzsimmons was a name I had heard of a few years due to the track “Funeral Dress”, an incredibly beautiful track that stuck with me. When I saw his name on the review list I instantly chose to be the one who got his CD. Now, singer-songwriters don’t make up the bulk of my collection, in fact a quick scan will show they fall somewhere behind ‘80s Synth Pop’ and ‘Hair Metal’, so any comparisons I draw may seem simplistic and I apologise.
The Sparrow and Crow is honest, crushingly so in fact. No-one is going to be having any major problems working out what Fitzsimmons is singing about, and this adds to the discomfort of the listening experience. The album is the result of the break-up of his parents’ marriage, followed by the break-up of his own, and it is understandable that he would want to write this album. Rarely have I listened to a piece of music that has allowed me to feel what the songwriter was feeling at the time with such clarity. Again, this is as far from easy listening as it is possible to get. You don’t just have this on in the background, it reels you in and you are consumed by it.
This is not to say that Fitzsimmons has sacrificed his ability to write beautiful music in his new confessional songwriting style. Just Not Each Other is both simplistic and devastatingly beautiful, praise I seldom give music. Comparisons with both Bon Iver and Elliott Smith seem inevitable, and to my ears are wholly justified. However, The Sparrow and The Crow sounds more polished than most of Smith’s early work and certainly more so than Bon Iver’s ‘For Emma, For Ever Ago’, yet it is lyrically more raw, ignoring symbolism and analogy in favour of straight up honesty. This juxtaposition of music and words makes the message that much more powerful.
Despite the subject matter of the album it never feels over self-pitying or self-absorbed. While this may be a hard album to listen to, I’m sure it was a harder album to write and release. We should be thankful that Fitzsimmons did, because it is a fantastic album. After Afterall a re-working of the closing track from his previous album, is a haunting way to start the album, and to finish the album with the optimistic Goodmorning Fitzsimmons finds a way to almost make the listener forget about the pain and agony of the proceeding 11 tracks.
This is an album that will stay with you for a long time and rightly so, it is a beautiful CD.
http://www.mediaf!re.com/?2igmzn0xyytAfter Afterall (http://www.youtube.com/watch?v=yAo8SoO3GeE)
Little Teeth create a Bohemian-pop rhapsody on their latest album, Child Bearing Man that has a gypsy punk clamor liken to Gogol Bordello with avant folk splashing and glam-pop histrionics reminiscent of The Dresden Dolls. No matter how many times you play Child Bearing Man, the album always sounds like a music student’s project with the goal to incorporate all of the classmates instruments into the compositions. It does not matter how out of key the vocals are, or how much the banging in the movements veer off-kilter, as long as everyone is accounted for that is all that matters.from absolutepunk.net
The San Francisco based trio of Little Teeth did just that with lead singer Dannie Murrie’s vocals creaking at every point. Ammo Eisu’s drumming and cello and violin chords trundle at a metronome that ticks to its own internal timing, and Andy Tisdall’s banjo shuffles and bass thumps mousy through the melodic phrases like a rolling bale of hay skidding across a field. There are overtones of bluegrass and country when Tisdall’s banjo and Murrie’s mandolin and accordion keys spin off into jamming whirlies, but most of the album has a gypsy punk folk fluster that have a tattered make-up and toy-like chimes giving the tunes a great amount of playfulness and wobbling. The gypsy punk rumples of “Oh Drag” have the kiddy-toy chimes of The Sippy Cups but with the adult handling of The Flaming Lips. The bluegrass shindig of “Applegate” is sleeved in showy flails with a square dance/hootenanny pace and a gypsy propped cadence.
The album delves into an avant art-pop tunage in “OHM” and “Livers & Heart Disease,” while the country shades of the banjo in “Between My Ears” are backed up by traditional toe tapping rhythms. The lyrics in “Between My Ears” show the band’s penchant to use symbolism and figurative expressions in their verses like, “Could’a held my hand / But busy fingers played a note with no repair / It’s the piece of promise there that was tangled in my hair.” Murrie’s vocal blemishes are not only apparent but exaggerated by her hoarse timbres. The slow drifting acoustics of tracks like “Good Girls and Boys” “White Houses,” and “Japanese Candy” are gently whisked while strolling along a carousal ride’s axel. The band executes circus-like stylistics and theatrics that recall of Vagabond Opera producing a brigade of instruments. The clicking beats of “Sideways” are ribbed by whiny strings which create a Bohemian vibe, and then smoothen to a satiny texture on the wind-chimed fillings of “Terrible News.”
Little Teeth may only be made up of three people but their brigades have the might of thirty. They exude a Bohemian-pop playfulness in their songs that is totally off-beat and skewed far from mainstream. Child Bearing Man is original without a doubt, and music that you would expect from a student becoming acquainted with the building blocks of tunesmith, and Little Teeth do not purport to be anything more that that.
http://www.mediafire.com/?yymnzzkli05http://www.mediaf!re.com/?ydegzymizn0Orchestral elements have always been used by bands to transform their work into something all the more epic. It is a timeless trick having been employed by everyone from The Who to Metallica and has been fully enlisted by bands such as The Arcade Fire. New Jersey’s own Miracles of Modern Science has taken this technique to a new level by creating a pop-rock sound that is entirely based around their classical instruments, pushing the standard rock requirements into the background. The result is the self proclaimed orchestral space rock that is both beautiful and epic in nature. Their debut, self titled, EP demands excellent speakers and a warning to your neighbors because the only way to listen to their first release is by turning it up, way up.
“MR2” leads things off with Kieran Ledwidge’s catchy violin section that will be stuck in your head for weeks. Two cellos and a mandolin fill things out and create the soundtrack to the story telling style of the lyrics. Grand build-ups litter the group’s musical landscape bringing you from valley to peak and back again. With the help of the two cellist’s combined with the high notes of a mandolin and violin, the epic pop song is perfected just the way the Beatles would have wanted it on “Eat Me Alive”. What is interesting to hear is the technique used by musicians, from plucking to odd bends and strains, as on the previously mentioned track. “Luminol”, a song about a desperate longing for love with a hint of bitterness and acceptance, is the stand out amongst the few selections. It carries those moments with a more predominant mandolin section that adds a touch of Appalachian roots to the music. Vocal duties are also traded, punctuated with harmonizing ooh’s and ahh’s as every string is plucked and strummed. “524” Closes things out with a western epic that includes some excellent whistling, and country guitars to go along with the running horse sound of the percussions. The send off proves that this east coast six piece can write one hell of a song in what ever style they choose be it indie pop, or civil war western.
While MOMS debut is short, is it a teaser for what is to come for the group. Given their talent and formal training the possibilities are endless, just check out the strange Dr. Seuss inspired non-EP track Didit (also available for free). By transferring the rock formula to classical instruments you create something unique. When you take those same instruments and make them the focus of your creativity, you end up with something that is new and exciting with endless possibilities. Hopefully this is not the last we here from Miracles as this EP is the proverbial tasting spoon at a Baskin Robins, you know you want more, but you have to wait.
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Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
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Larkin Grimm - Parplar (2009, V2 mp3 files with album art)This sounds fucking spectacular, thanks a bunch.
Saw this lovely young lady open up for the Mountain Goats last week, and I was impressed and bought the vinyl. She looked like she was 6-foot-eight on stage, and starkly beautiful. Some seriously messed-up freak-folk, with plenty o' weird instruments, but in spite of that a minimalistic feel. Lyrically, I am not certain that there is any body part that does not get a mention here, but somehow manages to avoid being (too) gross. The first, nearly-acapella song gives me creepy chills: "Who told you/You're going to be alright?/Well, they were wrong, all wrong/And in my mind, you are already gone." If Syd Barrett meets Bjork Gottmundsdottir in a wiccan commune in the woods of the Northeast U.S., these songs might be their sacred hymns.Code: [Select]http://www.mediaf!re.com/?zc3l040ymen
What's that Fever Ray - Remixed thing like?
The latest single from Sweden's Fever Ray comes loaded with a heap of remixes by names needing no introduction here: Troxler, Dettmann and Martyn among them. Karin Anderssen's compositions, less clubby than her work in The Knife but more melodically developed, would seem ready made for reworks, full of spare, moody electronics and tantalizing texture. Oh, and that voice, that instantly recognizable voice, serpentine, witchlike, giving a spooky edge even to lyrics as innocuous as "I have a friend I've known since I was seven...we used to talk on the phone…we talk about love, about dishwasher tablets."
The more distinctive versions here make their mark by foregrounding the gap between Anderssen's original vocal and their own newly-added material. Martyn's dubstep jam is a prime example: The vocal doesn't precisely fit, meaning you can tell right away that it's a remix, but the disjunction between voice and beats actually gives the track a bit more of an edge, in comparison to, say, Nic Chacona's take, which is straightforward dreamy-housey dance floor glitz. CSS also attempts to re-fit the entire tune, transforming it into some slow-mo cosmic funk that finds its groove once the 808 claps get flurrying, while Troxler also goes for the same glitzy minimal house as Chacona but pushes the vocal into a weirdly disorienting, arrhythmic space atop the beat.
Mr. Dettmann's on board for two takes here, ostensibly so he could have enough room to accommodate his varied interests. One is a speechless, driving minimal techno banger, and the other, called "Voice In My Head mix," is up there with Karin's own work in terms of inspired weirdness, taking nothing other than a heavily filtered vocal loop—wispy and ghostlike—and threading it across a bare and warbly beat. It pushes the envelope in its own way, as do Crookers, whose skittery, hyperactive electro workout takes flight once it sheds a series of repetitive vocal loops. (It subsequently lifts off into several minutes of what sounds like a rotary phone dogfighting a demonic air horn.) Ultimately, these two versions are the EP's standout WTF? moments, reflecting Fever Ray's own taste for novel, unpredictable productions.
http://www.mediafire.com/?otzzmzyqijdSo what is Audie’s niche in this music world? Well, a voice that is as articulate and emotive as any signed artist I’m aware of. Strong roots music that will definitely find it’s place in alt country circles. An amazing slew of production and musicianship should allow this album to be critically acclaimed and while we aren’t necessarily hearing an ambitious attempt to redefine the genre, it’s clear that Audie deserves some recognition at the table.
When the title track, “Full of Ghosts”, completed the stream I was left wondering how certain people go so long without being heard. My hope is that our listening pathology will change soon and artists like this will have the chance to really give something to consumers. Something with integrity, musicianship and a strong reminder of where we all came from. Home.
http://www.mediafire.com/?y4dyziht3yzScheduled for release January 26, IRM is, says Gainsbourg, the result of trying “very different things.” The songs, she adds, “are all in different styles but one proper album.” Following the release of the monotone, electronica/industrial workout of the title track last month, Gainsbourg and Beck join voices for new single “Heaven Can Wait”, a slithering, piano-punctuated ditty that comes alive in a completely surreal video (watch it after the jump).
http://www.mediafire.com/?qm5ryzzinyyPascal Babare was born in southern Australia, the son of a choral singer and a composer. His mother can only hear in one ear and sings like an angel; his father was the first ex-gangster to join the Melbourne Symphony Orchestra.
Raised in and out of ashrams on a diet of Pet Sounds and droning chant, Pascal cared for his first mentor, a camel named Jinglebaba, while listening to 2-Pac and devising uniquely horrific ways to kill insects. Wondering what it all meant, he wrote to Brian Wilson, who wrote back, telling him to focus on the heart’s vibrations. He keeps the letter close to this day.
A drummer in his pre-teens, Pascal picked up other instruments as his school days dwindled, first with others and then alone. So the banging was expanded with guitars, harmoniums, birds and thighs, all finding form in sublime chunks of warm, rickety pop. By nineteen, he had written and put to tape Thunderclap Spring, his first elpee.
Self-recorded, in thick-carpeted suburbia, in thin-walled Japan, in fog-blanked London, on street corners and during carnivals, Thunderclap Spring is possessed of a a lightness and a song writing genius that belies its creator’s years. Through naïve morning ragas, ecstatic shouts and evening croons, slide guitars ride percussion slaps, loops and yelps, coming together in hooks and curves that leap and turn with words of wonder, Vikings and quiet discovery.
Thunderclap Spring is a work of intricate, wide-eyed joy, a record of sun, rain, light and shadows.
http://www.mediaf!re.com/?z0mvwdkwmfeGodspeed You!Black Emperor-Tiny Silver Hammers(2004)http://www.mediaf!re.com/?jmiwhmhiwmjGeirr Tveitt-Piano Concertos Nos. 1 & 5(2001)http://www.mediafire.com/?m34bmz5mael
http://www.mediaf!re.com/?wjyyn5nycgt
Audie Darling - Full Of GhostsMmmm, alt-country. It's the "alt" that makes it good...
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/?yrmtmvqtmxzAn 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/?xdtdrmmlj1nhttp://www.mediafire.com/?amyfn53mdyjMediaf!re is starting to piss me off. After trying to get it to upload a single fucking file for the last half hour, I said fuck it and found someone else who already had this up.
Kiss the Anus of a Black Cat - If the Sky Falls, Then We Shall Catch LarksCode: [Select]http://www.mediaf!re.com/?xdtdrmmlj1n
Icelandic shoegaze, but with none of the "English-as-a-second-language" vibe that has made other Icy acts famous.
Which one do you recommend more?
More psychedelic black metal. Mind-blowingly good.shit just got real.
Negura Bunget- Om
(http://www.metalkingdom.net/album/img/d27/4676.jpg)
William Fitzsimmons - The Sparrow And The Crow[2008]this guy would lose 3/4 of his fan base if he shaved his beard.
(http://img707.imageshack.us/img707/8497/williamfitzsimmons.jpg)
Disc 1 - http://www.mediafire.com/?bwjtd32fhyu
Disc 2 - http://www.mediafire.com/?zwfzzezyjzx
Disc 3 - http://www.mediafire.com/?gntiezoivjg
Disc 4 - http://www.mediafire.com/?f1g2m0oiyr5
Disc 5 - http://www.mediafire.com/?h4n1oybyd4g
Disc 6 - http://www.mediafire.com/?mnziwe5xyybThis six-disc compendium contains the complete run — four sets over two nights — by the Doors' at the Felt Forum in New York City January 17 and 18, 1970. Although previously unavailable in its entirety, music from these programs has shown up prominently throughout several live packages — namely Absolutely Live (1970), and Alive She Cried (1983). Additionally, over an hour was excerpted to create the "Live in New York" CD within The Doors Box Set (1997). Most any unissued live material from the original quartet of John Densmore (drums), Robbie Krieger (guitar), Ray Manzarek (keyboards/vocals) and Jim Morrison (vocals/percussion) could be considered cause for celebration. However, the experience of hearing the band's ebb and flow as they organically develop the performance in real-time — as opposed to hearing a package of material that has been cherry-picked after the fact — is one of several advantages that the Live in New York (2009) anthology has over its predecessors. Another is the stunning fidelity throughout, thanks to the work of Doors' original producer/engineer Bruce Botnick and the exhaustive processes of restoring the eight-track, open-reel master tapes. With so much territory to cover — over seven hours in all — there are, inevitably, a few audio dropouts. In those rare instances, very good quality substitutions from other sources (of the exact same material) almost seamlessly fill in any moments that might be missing due to reel changes and the like. Always a question mark in terms of performance quality, Morrison is on pretty good behavior and in exceptional voice. Immediate evidence can be found on the soulful reading of "Blue Sunday" from the first show. However, by the final outing, his husky and raspy vocals make it clear that he is rapidly losing his range. Morrison has also cleaned up his stage prattle in the wake of the infamous occurrence where it was alleged that on March 1, 1969 in Miami, FL Morrison exposed himself during the show. A warrant was subsequently issued for his arrest on one felony count of lewd and lascivious behavior and three misdemeanor counts of indecent exposure, open profanity, and drunkenness. Certainly far from scared straight, he seems to have gotten the message, and was actually awaiting trial at the time of these recordings. He even jokingly refers to it during the spoken "Only When the Moon Comes Out" interlude on the 18th. On paper, there is little variance between each of the four set lists. However, the energy and vibe vacillate significantly from version to version and show to show. The core inclusions of "Roadhouse Blues," "Ship of Fools," "Alabama Song," "Light My Fire," and a combo pairing "Back Door Man" with "Five to One" were played every time. While "Alabama Song (Whisky Bar)," "Break on Through (To the Other Side)," and "Who Do You Love" were done a bit less frequently. On the other hand, there are rarities aplenty as "Blue Sunday," "Love Hides," "Little Red Rooster," "Crawling King Snake," a half-hearted "Wild Child," "The End," "Celebration of the Lizard," "Close to You" (sung by Manzarek) — plus the four-song encore on the 18th that includes "Rock Me Baby," "Going to N.Y. Blues," "Maggie M'Gill," and "Gloria" were only unleashed once. During that same finale, former Lovin' Spoonful co-founder John Sebastian (harmonica) is invited on-stage. According to Bruce Botnick's "technical note" found in the accompanying liner notes booklet: "When John came onstage to join The Doors for the Sunday second show encore, he was handed a microphone that was only going through The Doors' sound system, and not plugged into the Fedco Audio Labs mobile truck. As a consequence, John's harmonica didn't get recorded. So, earlier in 2009, we arranged for John to join Ray Manzarek and myself at Skywalker Sound in San Rafael. John replayed his parts as closely as possible against the PA leakage from the audience tracks on the original recorded 8-track masters." Purists will be able to use a code on the Rhino Web site (www.rhino.com) to download the untampered versions.
Drift features a heavier guitar sound than the albums that bookend it, but otherwise fits right into the Apartments' whiskey-soaked, vaguely French universe. Frontman Peter Milton Walsh's obsessions -- old hotels, deserted train stations, haunted women -- are all present, and his songs as melancholy as ever, if less delicate this time out. With such gorgeous melodies and cinematic lyrics, though, it seems silly to complain -- if the Apartments have settled into a groove, at least it's a good one. Drift does not reach the heights of 1995's A Life Full of Farewells, the Apartments' chamber-pop masterpiece. But fans of Tindersticks, Leonard Cohen, and Spain will find it rewarding all the same.
http://www.mediafire.com/?xmkmw5ynnojFrom the stinging blues call and response of the tile track through the killer modern creative choir jam on "Spirits Up Above" taking a small cue from Archie Shepp's Attica Blues. But it's when Kirk moves into the covers, of "My Cherie Amour," "I Say a Little Prayer," and the Coltrane medley of "Afro Blue," "Lush Life," and "Bessie's Blues," that Kirk sets it all in context: how the simplest melody that makes a record that sells millions and touches people emotionally, can be filled with the same heart as a modal, intricate masterpiece that gets a few thousand people to open up enough that they don't think the same way anymore. For Kirk, this is all part of the black musical experience. Granted, on Volunteered Slavery he's a little more formal than he would be on Blacknuss, but it's the beginning of the vein he's mining. And when the album reaches its end on "Three for the Festival," Kirk proves that he is indeed the master of any music he plays because his sense of harmony, rhythm, and melody comes not only from the masters acknowledged, but also from the collective heart of the people the masters touched. It's just awesome.
http://www.mediafire.com/?nn0xpmdsjxwWatford, England's Sad Lovers & Giants made few headlines but some strong LPs, arguably the best of which, and certainly the most somber, is this collection. Its deftly played and arresting post-punk songs are built around Tristan Garel-Funk and David Woods' subtle evocations of mood. Singer Garce Allard's voice is at once brittle-sounding but self-assured. Both factors complement the sophisticated musical structures of songs such as "Imagination" and "Sleep (Is for Everyone)." They should be one of their generation's more celebrated discoveries, but sat out time on a label much less fashionable than, say, Factory. The intricacy of Garel-Funk's guitar on "Big Tracks Little Tracks" certainly puts them on a par with the Durutti Column. "Your Skin and Mine" has an innate grandeur that, keeping indulgence at arm's length, conveys a sense of pain and isolation that echoes Joy Division. It's an album that argues for a reappraisal of one of the '80s' best-kept secrets.
http://www.mediafire.com/?cnyymwznj2v"I'll Melt With You" will forever be the one specific moment that's Modern English's place in pop history, but the album it came from, After the Snow, isn't anything to sneeze at. Indeed, in transforming from the quite fine but dour young miserabilists on Mesh & Lace to a brighter incarnation who still had a melancholy side, the quintet found exactly the right combination best-suited for their abilities. Like contemporaries B-Movie and the Sound, Modern English used punk and post-punk roots as a chance to introduce a haunting, beautiful take on romance and emotion, while the contributions of Stephen Walker on keyboard helped make the album both of its time and timeless. That said, the secret weapon on the album is the rhythm section of Michael Conroy and Richard Brown, able to shift from the polite but relentless tribal beat clatter on the excellent "Life in the Gladhouse" to the ever more intense punch of the title track, the album's unheralded masterpiece. None of this is to denigrate the contributions of singer Robbie Grey and guitarist Gary McDowell. The former's seemingly mannered singing actually shows a remarkable fluidity at points -- "After the Snow" again is a good reference point, as is the fraught, slow-burn epic "Dawn Chorus" -- while McDowell works around the band's various arrangements instead of trying to dominate them. Some songs, like "Face of Wood," even find Modern English -- often dogged with Joy Division comparisons early on -- predicting where New Order would go before that band got there itself. Still, "I Melt With You" is the main reason most will want to investigate further. A perfect pop moment that didn't have to strain for it, its balance of giddy sentiment and heartfelt passion matched with a rush of acoustic and electric guitar overdubs just can't be beat.
http://www.mediafire.com/?mwy2tn20mnnSometimes it makes one wonder how such similar ingredients can create such different results. Take Failure for example. You get the mourning vocals, the discordant wails of guitar feedback, the Steve Albini production -- yes, just about everything that fits the Nirvana template. Yet Failure seem to miss the point. Because even here on the band's third album out of the fire, Fantastic Planet is ripe with idolized ingredients but low on original flavor. One aspect that seems to be in the band's favor this time around is the choice to self-produce. While not exceptional, their ear towards the atmospherics (check out the Downward Spiral-like "Daylight" or interludes like "Segue 3") help create an effort that is more skilled than your average Kurt Cobain-worshiper. Another strong sign is that this album seems more guided by Greg Edwards' swaying basslines than most bands' reliance on angry guitars. However, these high marks can't hide the normally weak songwriting. The lyrics go from quoting Russian films to clumsy metaphors about carpet stores ("Go ahead roll me up in your detachment/I'm here to decorate your fear for awhile") while the oafish musical structures leave little to the imagination. One crucial ingredient that might be missing is a talent for hooks. Because despite everything else -- and regardless of the true internal antipathy towards himself and his world -- Cobain still had an undeniable skill for crafting songs in the middle of all the "noise." An album like Fantastic Planet, on the other hand, shows how a different band can attempt to create the same "pained" dish, yet continue to burn themselves with almost every style-over-substance track. Failure might get there someday. It's just that until that day arrives, we are only left with albums that hint at a talent hiding behind another band's personality.
http://www.mediafire.com/?lxdglqyigyrMedia darlings after the commercial success of their debut, Digable Planets attempted to prove their artistic merit with this second album, and succeeded wildly. A worthy, underrated successor, Blowout Comb was just as catchy and memorable as their first, and also offered the perfect response to critics and hip-hop fans who complained they weren't "real" enough. Except for a dark, indecipherable single named "Dial 7 (Axioms of Creamy Spies)," Blowout Comb excelled at pushing great grooves over sunny-day party jams, even when the crew was providing deft social commentary -- as on "Black Ego" and "Dial 7 (Axioms of Creamy Spies)." The trio used their greater clout to invite instrumentalists instead of relying completely on samples, and the music took on more aspects of the live jam than before. Though Blowout Comb still borrowed a host of riffs from great jazz anthems (from Bob James to Bobbi Humphrey), Digable Planets used them well, as beds for their back-and-forth freestyling and solos from guests. The Digables remade Roy Ayers' "We Live in Brooklyn, Baby" into "Borough Check," and invited Guru from Gang Starr to salute Brooklyn's block-parties and barbershops. (The focus on the neighborhood even carried over to the liner notes, laid out like a community newspaper.) The closer, a brassy, seven-minute "For Corners," also captured that fleeting feeling of neighborhood peace. Though Blowout Comb lacked the commercial punch of Reachin', Digable Planets made great strides in the two areas they'd previously been criticized: beats and rhymes. The beats were incredible, some of the best ever heard on a rap record, a hip-hop version of the classic, off-kilter, New Orleans second-line funk. The productions, all crafted by the group themselves, were laid-back and clearly superior to much hip-hop of the time. The raps, though certainly not hardcore, were just as intelligent as on the debut, and flowed much better. While Reachin' came to sound like a moment in time for the jazz-rap crowd, Blowout Comb has remained a timeless classic.
http://www.mediafire.com/?zmuehmzzyzmRocket From the Tombs, the Cleveland band that featured a pre-Pere Ubu David Thomas and future members of the Dead Boys, has been hailed by numerous serious rock critics as overlooked punk and new wave forefathers. They never entered a recording studio, however, and for the most part their scant body of demos and live tapes have been heard only by serious collectors, though some were available on the 1990 album Life Stinks (itself hard to find now). The Day the Earth Met the Rocket From the Tombs does not issue every tape known to exist by the group, and is not perfect from the standpoints of fidelity and performance. The 74-minute disc does, however, finally make a reasonably comprehensive document of their work widely available for the first time. The first half is devoted to a February 1975 loft rehearsal, and though the sound is on the muddy side, the performances raw, and the songs on which David Thomas sings lead afflicted by some indistinct vocals, it's a quite powerful fusion of hard rock, metal, and art rock that in retrospect can be seen to contain some seeds of American punk. Particularly edgy are an early version of "30 Seconds Over Tokyo" (redone to famous effect by Pere Ubu) and the nearly out-of-control "Life Stinks," though the standout number is the unexpectedly melodic, lyrically desperate "Ain't It Fun." The next seven songs, from one of their final shows in July 1975, boast better (though not outstanding) fidelity, and some of their most innovative compositions ("Final Solution" and "Sonic Reducer"), as well as the arcane Velvet Underground cover "Foggy Notion" (at that time impossible to find even on bootleg). Thomas doesn't sing lead on any of the July 1975 numbers but does on all three of the final selections, taken from a May 1975 show, including the future Dead Boys staple "Down in Flames" (with a downright avant-garde instrumental section) and a cover of "Search & Destroy." There are shortcomings to Rocket From the Tombs: some of the songs leaned too heavily on heavy metal and simple outrage, and for all the notoriety attached to the band because of the Pere Ubu and Dead Boys connections, their best moments were actually the more sensitive reflections on troubled youth by Peter Laughner. And there are some imperfections to the package in that it doesn't include all the known Rocket From the Tombs tapes, the excerpts seemingly selected so as not to repeat any song twice (it's also unfortunate that the loft cover of the Rolling Stones' "Satisfaction" fades out almost as soon as it starts). Yet, in all, this is a release of considerable historical importance and definite musical worth, enhanced by lengthy and knowledgeable liner notes.
http://www.mediafire.com/?mmyoinynxyeA very impressive debut from a great band out of Wisconsin, it was originally released on a Mexican label in 1988 but has been reissued on the new Grind Core label. This quintet plays hardcore speed-metal that sounds like a cross between Kreator and Dark Angel. The kind of music that made thrash and speed-metal so good in the '80s, it doesn't sound dated.
http://www.mediafire.com/?yjz02dwzzmyhttp://www.mediaf!re.com/?b2ulwjziy2nPas fait en chocolat (http://www.youtube.com/watch?v=3MUaTEkZPW4&feature=related)
Tricot Machine - s/t[2007]
(http://1.bp.blogspot.com/_NDuj00BwqZs/Rz3xuRfUU5I/AAAAAAAAASg/LaGBi_H3CG0/s320/tricot+machine.jpg)Code: [Select]http://www.mediaf!re.com/?b2ulwjziy2nPas fait en chocolat (http://www.youtube.com/watch?v=3MUaTEkZPW4&feature=related)
http://www.mediafire.com/?0keltjwneeyYou could say the same for MatisyahuWilliam Fitzsimmons - The Sparrow And The Crow[2008]this guy would lose 3/4 of his fan base if he shaved his beard.
[img]http://img707.imageshack.us/img707/8497/williamfitzsimmons.jpg[img]
http://www.mediafire.com/?jyjgkwmthmd
Doves took to The Roundhouse stage with the London Bulgarian Choir for a brand new performance, reworking the band's music for the BBC Electric Proms audience.
Composer Avshalom Caspi was specially commissioned to rearrange a number of Doves tracks for the 40-strong London Bulgarian Choir. The choir's unique phrasing and emotive folk singing style perfectly complemented the soaring melodies of the band.
Doves' front man Jimi Goodwin said, before the show: "We're really excited about playing at the BBC Electric Proms. The voices of the London Bulgarian Choir are just unbelievable, and it is brilliant just to get the chance to play the songs differently for the Roundhouse audience. It is going to be really special."
In addition, Doves were joined on stage by celebrated North Indian classical musician Baluji Shrivastav who played on the album track Birds Flew Backwards.
The band's fourth album Kingdom of Rust features all the elements which make Doves so recognisable. Blurring the line between joy and heartbreak, the songs channel universal emotions that connect on a personal level. Says Jimi, "You sometimes see that in the faces when people sing along live. We always think about leaving enough room for the listener to put themselves in there somewhere".
http://www.mediaf!re.com/?jm4ziwwjgglhttp://www.mediaf!re.com/?wcwmja2benthttp://www.mediafire.com/?miyioojmxue(8.6/10)"Borrowed nostalgia for the unremembered 80s." Those words, when James Murphy over-enunciated them on what's still arguably the decade's best piece of music-as-music-criticism-- LCD Soundsystem's 2002 debut single, "Losing My Edge"-- had the decisive feel of a gauntlet being thrown down. One 1980s baby struck back with a Nintendo Power Glove. Just a guess: Probably not what Murphy had in mind.Deadbeat Summer (http://www.youtube.com/watch?v=qlJ27Dcv4fc&feature=fvw)
Of course, cheaply copied reminiscences of a blurrily imagined decade are basically their own genre now, cloudy and proud. The sound has many names, but none of them seem to fit just right. Dream-beat, chillwave, glo-fi, hypnagogic pop, even hipster-gogic pop-- all are imperfect phrases for describing a psychedelic music that's generally one or all of the following: synth-based, homemade-sounding, 80s-referencing, cassette-oriented, sun-baked, laid-back, warped, hazy, emotionally distant, slightly out of focus. Washed Out. Memory Tapes. Ducktails. Ah-woo-ooh.
For Alan Palomo, reflecting on the music of the Reagan era has a personal component. The Texas-reared Mexico native's dad, Jorge, was a bit of a Spanish-language pop star in the late 1970s and early 80s. The analog electronics of that bygone period echo throughout the younger Palomo's increasingly promising previous recordings, whether with former band Ghosthustler (he wore the Power Glove in the video for their "Parking Lot Nights") or, more recently, on VEGA's Well Known Pleasures EP. Finally, working with Brooklyn-based visual collaborator Alicia Scardetta as Neon Indian, Palomo has brought all the best of 2009's summer sounds-- bedroom production, borrowed nostalgia, unresolved sadness, deceptively agile popcraft-- together on a single album.
Whatever they owe to the past, the memories on Psychic Chasms are Palomo's and ours. Soft vocals recalling You Made Me Realise-era Kevin Shields. Italo-disco synth arpeggios. Hall & Oates drum sounds. Divebombing video-game effects. Brittle guitar distortion. Manipulated tapes that bend the notes the way Shields' "glide guitar" did, the way bluesmen's fret fingers did. Field recordings of birds. Oohing and ahhing backing vocals. And samples, on at least two songs, of the elder Palomo, whose electro-rock approach was quite similar. All combine on eight or nine unforgettable songs and a few tantalizingly brief interludes, indelibly capturing the glamor and bleary malaise of being young and horny as an empire devours itself.
Like a low-rent Daft Punk, Palomo takes what 1990s rock fans probably would've considered cheesy-- LinnDrum and Oberheim rhythms, Chromeo-plated electro-funk Korg riffs, processed party-vocal samples-- and not only makes them part of a distinct artistic vision, but also keeps them fun. Quick opener "(AM)" is rife with detail, as an indecipherable tenor floats over a mock-dramatic drum fill and 8-bit star cruisers do battle against twinkling fairy dust. Another sub-minute interstitial track, "(If I Knew, I'd Tell You)", keeps its secrets to itself, letting multiple melodic synth lines hint at a gulf-sized pool of melancholy over a tape-altered rhythm track. "Laughing Gas", at slightly more than a lyric-less minute and a half, is the one that ruins my attempted distinction between songs and interludes, with bongo drums, robot vocal samples, and euphoric giggles straight out of those Air France kids' dreams. The cumulative result is a meltdown-deadened but deliriously inventive perspective on pop.
"I really hope the medium by which someone writes a song isn't the only thing the song has going for it," Palomo told our own Ryan Dombal in a recent interview. With Psychic Chasms, Palomo doesn't need to worry. "Deadbeat Summer" and "Should Have Taken Acid With You" are two views of the same non-endless season-- one mind-expandingly lazy and the other too lazy for mind expansion, both undeniably catchy, both earning doctorates in The Graduate school of coming-of-age ennui. The Italo-alluding title track, the New Order-throbbing "Local Joke", and the visceral funk alarums of "Ephemeral Artery" are beautiful bummers, tracks with lyrics the faithful are sure to puzzle out the way kids used to with the first couple of Weezer CDs. "Living this way held by a single strand/ But you wouldn't understand," worries "6669 (I Don't Know If You Know)", which comes back, refracted again, as 56-second finale "7000 (Reprise)". If you want to destroy his sweater, hold this thread as he walks away.
Overall, Psychic Chasms is something like a dream collaboration between the Tough Alliance and Atlas Sound, the latter of whose Internet-only Weekend EP shares a delinquent theme with one of Psychic Chasms' best songs. After barely a half hour, the whole thing is over, but there's enough going on in the layered electronics and enigmatic longing to make this one of the year's most replayable albums. Consider "Terminally Chill", which has more vocal and instrumental hooks than the average Top 40 song, but also the immediately recognizable stamp of an impressive young talent. Palomo's gear was stolen last month while on tour with VEGA, but a recent FADER video suggests he could launch a decently credible alternate "career" as an acoustic troubadour doing Mexican traditional songs. For various mundane personal reasons, this cassette-focused album is one of the actual CDs I've listened to most since I actually listened to CDs. A new generation's borrowed nostalgia? High time.
Julie Doiron's 2009 album I Can Wonder What You Did with Your Day follows the same basic template as her previous album Woke Myself Up. Divided between quiet, austere ballads and gently rocking songs, the record is easily the equal of that album and has moments that rate with her best. While Woke Myself Up was a reunion of Doiron and her Eric's Trip bandmates, this time only Rick White is involved, providing bass, keyboards, and production. Recent collaborator Fred Squire rounds out the group on drums and some guitar, and between the three musicians they craft a sparse, sweet, and intimate album. Doiron's direct and focused lyrical style, her simple yet plaintive vocals, and her simple writing approach give the album the feel of a tender confession. The songs that stand out most are those that give the listener a boost, like the almost peppy "Consolation Prize" (though typically the bouncy hooks are matched with melancholy words), the lilting "Borrowed Minivans," or the perfect for driving through rain-slicked city streets at night "Lovers of the World." With a coating of fuzz and hiss, they could have been highlights on an Eric's Trip record. Without them, they are very good indie rock songs. Good as these uptempo songs are, the songs that pack the most emotional punch are the songs where Doiron's voice is paired with minimal musical backing. Blue's echoing electric guitar swoops can't cover the pain in Doiron's vocals and words, the simple chords and deliberate tempos of "Spill Yer Lungs" provide a steady foundation for Doiron to quietly spill her guts. Many singers would try to fill the space in these songs with vocal gymnastics or tricks, but she is content to stick within the boundaries of the song and this restraint ends up being one of her strongest points. The listener is never distracted from the blunt and real-sounding nature of the words on the sad songs, alternately you never get the feeling she is faking the few happy songs like "Glad to Be Alive" or "Nice to Come Home." The only song on the album that doesn't work is the dirge-y "Heavy Snow," where both the guitars and Doiron's voice end up getting carried away and overdoing things just a touch. Otherwise, I Can Wonder What You Did with Your Day is a solid addition to the catalog of one of the best underrated singer/songwriters around.
http://www.mediafire.com/?zydjjalntmzConsolation Prize (http://www.youtube.com/watch?v=m8gywC5sMNI)
Vince Guaraldi Trio - A Charlie Brown Christmas !
Neon Indian - Psychic Chasms[2009]
http://www.mediafire.com/?mkqzzem2hwn
http://www.mediaf!re.com/?fydffymywlt
http://www.mediaf!re.com/?b1zjvymw1wzHelicopter Helicopter- By Starlighthttp://www.mediaf!re.com/?otymtwmeatzhttp://www.mediaf!re.com/?ymjzytzyd4mhttp://www.mediaf!re.com/?yjgykcntjjqhttp://www.mediaf!re.com/?azwy3nvktwyhttp://www.mediaf!re.com/?wndnf1mgjmzhttp://www.mediaf!re.com/?znon3fnjtnzhttp://www.mediaf!re.com/?d13mrahti2yhttp://www.mediaf!re.com/?itwizynzmfzhttp://www.mediaf!re.com/?mekywjnmedyhttp://www.mediaf!re.com/?udg5ymeizizhttp://www.mediaf!re.com/?a4m2oncttfnhttp://www.mediaf!re.com/?wonfuzimjwghttp://www.mediaf!re.com/?in42djwkmjihttp://www.mediaf!re.com/?yqknygzzmnyhttp://www.mediafire.com/?4mom2ckn2lk
c'mon man
Vince Guaraldi Trio - A Charlie Brown Christmas !
http://www.mediaf!re.com/?qme42zekmzi"Balletesque’ is like a dignified Southern gent, the music flowing as smoothly as bourbon. But while you can relax and enjoy it you won’t be able to resist dancing."
Stuart Gadd, Artrocker
“Balletesque makes significant claims for a band whose time has come.”
Michael Quinn, BBC Muisc
Is anyone else anxious for the new Final Fantasy album? I believe the new album is entitled "Heartland." I probably should rephrase that to "Is anyone else anxious for the new Final Fantasy album to leak?"
http://www.mediafire.com/?donk5mmcn3uJackie Oates is deservedly becoming yet another young celebrity in the new folk scene, but she has some famous friends to help her – especially her brother. He is Jim Moray, the highly experimental folk star whose Low Culture album was one of the highlights of last year. Here he acts as his sister’s producer, while adding anything from guitar and mandolin to bass, banjo, vocals and a dash of sampling to her gently breathy vocals and violin, viola and cello work. She’s also assisted by that fine Scottish singer-songwriter Alasdair Roberts, who wrote the title track and adds guitar and vocals. But none of that should take attention away from Oates herself. She is capable of handling anything from traditional songs such as The Miller and his Three Songs (helped by Moray’s percussion effects and some sturdy melodeon work from Saul Rose) or the powerful murder-ballad The Butcher’s Boy (on which Roberts adds vocal backing) through to the totally unexpected: a string-backed treatment of the Sugarcubes’ Birthday.
http://www.mediaf!re.com/?oozyngeny1khttp://www.mediaf!re.com/?dyzqzm3yznzhttp://www.mediaf!re.com/?ujnygmymnlw
Rules:
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Frankmusik - Completely Me [2009]
Seriously good shoegaze. Take the fuzzy guitars of My Bloody Valentine and the weird electronics of Black Moth Super Rainbow, mix, and add dreamy female vox.
http://www.mediafire.com/?waggmxmnjzm
Jackie Oates – Hyperboreans]
MySpace (http://www.jackieoates.co.uk/hyperboreans/)
Hyperboreans Live (YouTube) (http://www.youtube.com/watch?v=V5w6K_qHbRk)Code: [Select]http://www.mediaf!re.com/?donk5mmcn3u
http://www.mediafire.com/?sharekey=829471ab76f7411e24a64199ac7f73e55330dcc107dc3c12a601da0f25e869f4
http://www.mediaf!re.com/?omngdugmnetPlanet Mu advance into the inviting world of Skwee with a full length Skwee eL Pee from Finland's Eero Johannes. For those unfamiliar with Skwee, it's basically a lo-fi and quite tongue-in-cheek style of synth pop indiginous to the peoples of Scandinavia, with practitioners and producers ranging from The Knife through to DMX Krew or Mesak. As far as i'm aware (feel free to correct me) this is the first full album of Skwee music recieving a domestic release in the UK so well done Eero, go you. The album itself is a very entertaining little oddity, with Eero originally booted out of his funk band for too many Bass solos, he finds time here to fully indulge in a bit of slapped and thrummed bottom end with poignantly piquant melodies to drag your emotions fully up to speed with your ass. It's proper hero music for those days when you can't get out of bed and just need the naughtiest 8-bit synth solo to let you know it ain't all that bad. Yeah.
http://www.mediaf!re.com/?enmqciztjrzBoasting an incredible line-up (including Keith Rowe, Werner Dafeldecker, Ekkehard Ehlers and Rhodri Davies), Paul Baran's Panoptic is a somewhat high concept affair about globalisation, underclass and surveillance, but even if you're not willing to make the bridge between these ideas and the sounds strewn across the record, there's an abundance of wonderful abstract textures and immersive electroacoustic tones to get acquainted with here. The record begins with a shanty-like piece, 'Scotoma Song', complete with walkie-talkie vocals and droning organ chords, but it's only on ensuing instrumental tracks that the album's beauty and complexity truly reveals itself, peaking with the crossed signals and ghost-jazz brass phrasings of 'Tonefield'. Recommended.
http://www.mediaf!re.com/?jjmhmyyjozo
Sly and the Family Stone AnthologyNevermind, I fixed it for you
"Amazon.com
For a time, it seemed as if Sly Stone would change the world, and it's only because his music was so ambitious that we forget, sometimes, that he did just that. His integrated band played funk-based jams, but always with touches of soul, blues, rock, and lots and lots of pop, a synthesis that spoke to its time even as it predicted the future. Comprising some of the most accomplished and inspirational music ever created, this 20-song set contains all but the last of his hits as well as a few hard-edged album tracks. Until a proper box set is put together, this will have to do. --David Cantwell"
Code: [Select]http://www.mediaf!re.com/?sharekey=829471ab76f7411e24a64199ac7f73e55330dcc107dc3c12a601da0f25e869f4
ttp://www.mediafire.com/?wjnvfzmynnx
Disc 1 - http://www.mediafire.com/?ntyhzymxdrw
Disc 2 - http://www.mediafire.com/?m1b3tjm1kom
Disc 3 - http://www.mediafire.com/?3ml2amvtd2ySpiritualized's third collection of hypnotic headphone symphonies is their most brilliant and accessible to date. Largely forsaking the drones and minimalistic, repetitive riffs which have characterized his work since the halcyon days of Spacemen 3, Jason Pierce re-focuses here and spins off into myriad new directions; in a sense, Ladies and Gentlemen We Are Floating in Space, with its majestic, Spector-like glow, is his classic rock album. "Come Together" and the blistering "Electricity" are his most edgy, straightforward rockers in eons, while the stunning "I Think I'm in Love" settles into a divided-psyche call-and-response R&B groove, and the closing "Cop Shoot Cop" (with guest Dr. John) locks into a voodoo blues trance. Lyrically, Pierce is at his most open and honest: The record is a heartfelt confessional of love and loss, with redemption found only in the form of drugs -- designed, no less, to look like a prescription pharmaceutical package, Ladies and Gentlemen is pointedly explicit in its description of drug use as a means of killing the pain on track after track. Conversely, never before have the literal implications of the name "Spiritualized" been explored in such earnest detail -- the London Community Gospel Choir appears prominently on a number of songs, while another bears the title "No God, Only Religion," pushing the music even further toward the kind of cosmic gospel transcendence it craves. A masterpiece.
Spiritualized - Ladies & Gentlemen We Are Floating In Space (Deluxe Edition) ~ Mp3 V0
Spiritualized - Ladies & Gentlemen We Are Floating In Space (Deluxe Edition) ~ Mp3 V0
Blonde Redhead - 23 (2007)Works for me, but I re-upped just in case:
http://www.mediafire.com/?kdkkzyjnrzm
Spiritualized - Ladies & Gentlemen We Are Floating In Space (Deluxe Edition) ~ Mp3 V0Thank you so freaking much.
http://www.mediafire.com/?mjctjqqyzzb"Reed channels soul legends like Sam Cooke and James Brown for a smokin’ performance that’s sure to earn him a place at the front of the retro-soul revival."
– Amie Street Editors
For fans of: Sam Cooke, Amy Winehouse, Sharon Jones
Agreed, but the link to disc 2 seems to be missing above (or it is actually there, and my noobishness knows no bounds).Spiritualized - Ladies & Gentlemen We Are Floating In Space (Deluxe Edition) ~ Mp3 V0Thank you so freaking much.
http://www.mediafire.com/?manomaxjdjdhttp://www.mediafire.com/?0gkzmzmvzqmhttp://www.mediafire.com/?t2jmynwyymthttp://www.mediafire.com/?lz4mnzzyull
Agreed, but the link to disc 2 seems to be missing above (or it is actually there, and my noobishness knows no bounds).Spiritualized - Ladies & Gentlemen We Are Floating In Space (Deluxe Edition) ~ Mp3 V0Thank you so freaking much.
http://www.mediaf!re.com/?2mbg4hhzlzjWhen people are comparing you to Grizzly Bear, Fleet Foxes, Arcade Fire, and Vampire Weekend, big things are coming. Local Natives are a young five-piece out of Los Angeles, with Gorilla Manor being their incredible debut effort. The first thing that caught my attention was their intricate song structure, front to back with big and small transitions. Look out for the percussion throughout, especially in the opening track, “Wide Eyes”, really fun and interesting beats. Their debut is already out in the UK, but is being released in the US on February 16 courtesy of Frenchkiss. Local Natives will be touring Europe to support their album out there, but expect a North American tour once Gorilla Manor gets released in the US.
http://www.mediaf!re.com/?ydzzioh4mojabracadabra, motherfuckers.
YEASAYER - ODD BLOOD
(no album art yet...)Code: [Select]http://www.mediaf!re.com/?ydzzioh4moj
Three listens in, and it gets better with each one. Much more synthy than "All Hour Cymbals"...darkly dancey...some moments of almost Michael Jackson influence...really digging it.
YEASAYER - ODD BLOOD
http://www.mediaf!re.com/?nzjynkwxxyz
(http://4.bp.blogspot.com/_xm3vHey7eGA/SZzuzomXg4I/AAAAAAAAAH8/T7lC5ekEN2o/s320/blonde_redhead-23.jpg)
Blonde Redhead - 23 (2007)
http://hotfile.com/dl/20260826/d71d74d/Yeasaye_Odd_Blood.rar.htmlhttp://www.mediafire.com/?0grzdggxunuSpiritualized - Ladies & Gentlemen We Are Floating In Space (Deluxe Edition) ~ Mp3 V0first song on the first disc is corrupt.
(http://ecx.images-amazon.com/images/I/41D-tSqRLsL._SS400_.jpg)
Album art
(http://3.bp.blogspot.com/_SShcGkl6jEc/SyF3HopVoDI/AAAAAAAAERk/YkbZxJ-wdHs/s320/534135456.jpg)
Experiment in Metaphysics is one of the rarest and most sought-after artifacts of the hippie era. Recorded live during a five-hour session in the basement of a shoe-repair shop in June of 1970, most of the 300 original copies of Experiment in Metaphysics were simply given away in one afternoon, yet, inexplicably, bootleg copies of the album later sprang up half-way around the world. The reason for the album's staying power is apparent: the music is gorgeous, first-rate progressive folk. In fact, Side Two of the original LP's label was given the title "Acid-Folk" (the other side was called "Kommercial"), probably one of the very first uses of that term. Perry Leopold creates a proto-gothic ambience full of dark and brooding imagery that is much less cartoonish than most of what passes as "acid," while maintaining that music's visceral punch. Experiment in Metaphysics is exquisitely intelligent and forward-looking. Leopold's mood is much more pious than most music that came out of the psychedelic era, and, indeed, extreme piety tends to be a product of youth, yet there is something aged and wise about Leopold's music. The "Kommercial" side, cryptically subtitled "SMOKE," is conceptually bleak, and after "The Absurd Paranoid," it takes on a much more palpable quality, grounded in experience ("Cold in Philadelphia" and the gorgeous "The 35th of May"). The "Acid-Folk" side (subtitled "DROP") opens with the stark, multi-part title track. Each of the three songs in this section is a virtual mini-suite, with the closing cut, "The U.S.S. Commercial," standing as the album's magnum opus. Experiment in Metaphysics shows some truly progressive and experimental songwriting, even for the time period. Each song, even the instrumental cuts, feels like a story, with beginnings and endings and all kinds of interesting ideas and storylines sandwiched in between. The album is a relic that has not lost one iota of its power.
http://www.mediaf!re.com/?imnzzz2yyo3
first song on the first disc is corrupt.]
http://www.mediafire.com/?kmzmwzllwmwRules:
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 200mbs. 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.
Far as I can tell, he's only got a couple of 12" singles (http://www.boomkat.com/search.cfm?q=coco+bryce), none of which are available on Boomkat. He does have some mixtapes with unreleased stuff on his myspace (http://www.myspace.com/cocobrycebeats), though.
Miles Davis - Sketches Of Spain
http://www.mediafire.com/?t2dhqmy0htnWild Eyes (http://www.youtube.com/watch?v=28yuWPnX33w&feature=related) http://www.mediafire.com/?1yzmm1jq2jmhttp://www.mediafire.com/?zycmywtnojnhttp://www.mediafire.com/?ynqzhzxm2rm
Take one serving Sufjan Stevens, a half cup of Arcade Fire, and dashes of The Postal Service and Ra Ra Riot and you've got Freelance Whales. From this description, one might think they're too late too their own scene in embracing a more acoustic approach rather than today's popular electronics. This choice equally about budget as aesthetic, however; hailing from Brooklyn, they're well-known buskers who've only recently begun playing the area's smaller venues.
Using such atypical instruments as the harmonium, banjo, glockenspiel and waterphone, it's any wonder how they refrain from succumbing to a singular gimmick. They manage to make every song on debut Weathervanes a unique experiment in indie pop, even when their influences are unashamedly clear - "Broken Horse" is an errant, if earnest, take on Sufjan's folk-pop stylings.
Regardless of their roots, there's an authenticity here that can't be ignored. More importantly, there's an eerie, dreamlike naïveté that comes with the effeminate, wispy vocals. Combine this with the youthful bliss found behind the energetic arrangements and you get a deadly fusion of catchy pop hooks and moving instrumental swells that make you wish everything was simpler again. This is a group who've got their eyes set on the stars. I very much doubt we've heard the last from Freelance Whales.
This is a very good thing.
http://www.mediaf!re.com/?w3zdfmlcmwxFreelance Whales - Weathervanes [2009]Code: [Select]http://www.mediaf!re.com/?w3zdfmlcmwx
oh my god so good hurghl burghl
"Alien City was composed over a period of five years. It is a song cycle of epic proportions centering around the incarnation of Celestial Visitors to this planet. They take youthful bodies with the soul mission of increasing the intelligence of the human race. Alas, in their compassionate endeavors they become trapped in the pernicious web of the world and their aim becomes warped and sarcastic. In taking mortal bodies they lose their reference point, their center of gravity, and they eventually become as depraved and stupefied as the very people they initially intended to illuminate. There is no story line; no characters are introduced. The work is arranged in four movements." - Liner notes
http://www.mediafire.com/?gkjmmxnimnmHum, not sure what else to add to this baby ... Living in Seattle, Washington, Alien City was the brainchild of singer/multi-instrumentalist Jon Turnbow. Written and recorded over a five year span, 1979's "Alien City" is definitely different. Having listened to the album a dozen times, I'll readily admit to be totally confused by the storyline. While the eclectic concept was certainly unique, Turnbow didn't have much of a voice. On the other hand, exemplified by tracks such as "Information Overload", "Older Men" and the instrumental "Suffer", he had a knack for crafting surprisingly catchy material. I've read a couple of brief reviews that compare the effort to mid-career Bowie. That's not a bad comparison - think "Ziggy Stardust" era glam and you'll have a feel for much of the project. Apparently a vanity project, the album's rather rare (500 copies were reportedly pressed), making it a growing collectable. Just be forewarned that this collection isn't the easiest thing to sit through.
Not sure what this has to do with anything, but following the album's release Turnbow reportedly was briefly incarcerated in a mental institution. He subsequently reappeared as a member of Strongbow (see separate entry).
Originally released in a limited pressing of 500 copies, this album took five years to complete. That’s an absurd amount of time for a microscopically small, self-financed recording at any time — perhaps more so in the ’70s, when not everybody had the means of producing, pressing and distributing an album electronically like so many bedroom artists today. The man responsible for Alien City was a Seattle, WA native named Jon Turnbow, and his labor of love is actually a concept album. The concept is a little vague, it is described as “the Incarnation of Celestial Visitors,” but the message gets a bit lost over the course of the album.
The best description one could give of Alien City would be “Ziggy Stardust” or “Aladdin Sane” era Bowie, a little more glam/prog, a little less punk, and a bit more out of left field. Reports indicate that Jon might have spent time in an asylum after recording this album. Unlike Stephen David Heitkotter — whose stunning album Heitkotter was posted here on Monday — hopefully he has since been rehabilitated.
Original copies included a lyric sheet. There are currently no plans for a reissue, but just like the Harbinger album yesterday and the Heitkotter LP on Monday, both of these lost gems deserve to be heard. Thanks again to Swan Fungus reader Viagra Falls for this recording — I can’t wait to see what else he uncovers for us to enjoy in the future.
http://www.mediafire.com/?lmzlomyyaowTarpits and Canyonlands is a far leap from and, ultimately, above its predecessors for several reasons: First, it simply sounds great. Under the veteran oversight of Monroe, N.C., producer Scott Solter (The Mountain Goats, John Vanderslice, St. Vincent), Bombadil’s nuances shine brightly on the biggest screen they’ve ever seen. At times, the piano seems like it might spill out of the speakers, and James Phillips’ brilliantly busy drumming influences everything, like a caboose with something to say… Their kitchen-sink approach has begotten both poise and precision by demand, and the themes that geyser from the album’s every inch are presented and captured perfectly.
But what’s most inspiring might just be the words, or tales of resilience and resignation to survival: A marriage becomes a chance to test mettle. Suicide gets cast as a cheap alternative that hurts others more than it helps the dead. Life becomes an opportunity to lift someone up. That fits somehow, since four years ago, Bombadil, an ex-cover band trying to stake claim to a sound of its own, sounded like the kid-spit of the headliner, The Avett Brothers, who’ve since become one of the biggest things on American stages… But make no mistake: It sounds a lot like a breakthrough and a breakaway, a mature but charged statement from a band whose ideas, enthusiasms, abilities and emotions have finally found their nexus. These tunes are the sort of stuff adventurous chamber ensembles could tackle and indie kids can shout. Let’s hope, then, that the band’s temporary setback remains just that
http://www.mediafire.com/?z2i4womnymyKenneth Pattengale works outside—or at least on the fringes—of what the music industry might traditionally call its own. Over the last eight years, Pattengale has taken inspiration from the career paths of artists like Randy Newman, Elvis Costello and personal hero Joe Henry by exploring what it means to wear the differing hats of film composer, record producer and performing songwriter.
The music called into question is hard to classify. It runs the gamut from swamp music to rhythm & blues, lullaby to country & western, folk song to piano ballad and beyond. The songs take direction from the stories they tell, not necessarily held together by a clear musical style but by the authenticity with which the stories are told. Along with the artists that Pattengale looks towards for career inspiration, he hopes to follow Tom Waits, Gillian Welch, Chris Smither and Loudon Wainwright in their ability to conjure a unique American voice by transforming emotional experience into narrative.
Beginning with Downtown LA in 2001, Pattengale has independently released six full-length albums of original material. He has just finished recording a new collection of material entitled Speak! The record is to be released on December 1, 2009 independently through Pattengale’s own indie imprint Four Six Productions.
Pattengale spent 12 weeks at the beginning of 2007 writing and recording what would become the score for the German animated film Die Drei Rauber, which was produced by Tom Tykwer’s production company X-Filme. Shortly after, he started to perform his own material for live audiences in Los Angeles. “I hadn’t played live for almost four years. I was always scared of not having enough control over the performance environment, or lacking the textures only available in the studio. In many ways, working on the film—being collaborative in nature—forced a re-evaluation. It made me yearn to make a connection with people beyond what the recordings alone have to offer.” He continues to perform live sets of original material often in his native Los Angeles.
In addition to countless short films, two features and six albums, Pattengale has produced records for a varied group of artists, from hardcore sensation From First to Last for major label Interscope to rootsy Americana newcomers Matt Taylor and his Laurels for Pattengale’s own indie imprint. In 2009, Pattengale has continued producing work for macabre noir-baladeer Erich Von Kneip and pop-wiz Evan Vidar. It’s the balance between the three arenas Pattengale works within that drives his career. He explains, “Upon seeking advice from a hero of mine, I was urged to simply do the work that lay in front of me. I’ve found a tremendous personal and emotional success in following that advice—putting myself in situations that reward a hard work ethic and a healthy imagination but, above all, a commitment to honesty in your work.”
Pattengale holds a degree in history from the University of Southern California and “fights [himself] for elbow room among stacks of books, scraps, instruments & computers” in Los Angeles, California.
http://www.mediafire.com/?jyeunlwwyn1The Slew: Forging the new chapter of rock. 100%: The iconic rock turntable experience.
What started as a soundtrack to a film never made has spun into an amps-at-11 turntable rock experience.
Four and a half years ago, Eric San (aka Kid Koala) and Dylan J. Frombach (aka Dynomite D) started working on a rock record. The pair, who met on the Beasties Boys tour in 1998, had been approached to soundtrack a documentary feature film. The film was eventually abandoned, but with Mario C on board for mixing, San and Frombach were already deep into the psych rock-influenced score and there was no turning back.
Teaming up with Chris Ross and Myles Heskett, the former rhythm section of Grammy Award-winning band Wolfmother, The Slew set out to put together a full-blown rock band experience to do justice to the material in a live setting. And justice was served: The truly excessive six turntables, drum, bass, keyboard and wall of amps that made their way across North America this October made for a full-on raw, pummeling rock experience. The Slew bring punk rock attitude back to the turntable unlike anything you’ve ever heard.
The Slew’s album, 100%, was given away online ahead of the tour, and limited quantities were made to sell at the gigs. Due to overwhelming post-tour demand,100% is now hitting record stores, distributed by Koala’s longtime record label, Ninja Tune. Backstage rumors suggest more shows and new material from The Slew may emerge at some point, but for now, enjoy 100% in all its rock excess.
http://www.mediafire.com/?zgiw4kntyt5“Plant that flag on solid ground,” advise the members of Megafaun on their second album, Gather, Form & Fly. The trio– comprised of brothers Brad and Phil Cook and Joe Westerlund– sing that admonition repeatedly, in boisterous unison, yet they have no intention of taking such advice, at least not musically. In fact, since the disbanding of their previous band DeYarmond Edison (with Bon Iver’s Justin Vernon), they have celebrated the joys of shaky foundations, creating ingeniously ramshackle folk rock that combines acoustic instruments and mountain harmonies with obtuse sound collages, meandering song structures, and abstract passages featuring the most psychedelic banjo imaginable. As if to illustrate this point, they’ve even designed the album cover so that it works either as a square or as a diamond, the subtle shift of landscape revealing new ambiguities.
“Solid Ground” kicks off with a dirty guitar riff and a walking bass line, unfolding as a formally repetitive blues. This type of structure– the same line three times, followed by a new fourth line– is perhaps the most solid ground in rock, yet Megafaun make it slippery by adding a squealing solo whose feedback emanates not from a guitar, but from a closely mic’ed blues harmonica. Near the end, the casual midtempo groove threatens to fall apart as the instruments break stride, but Megafaun manage to keep it together. Averse to predictability and sentimentality, the band is restless with established forms, yet instead of subverting blues and folk traditions, they upend them. Their ends are deconstructive, not destructive.
This tendency, however, made their 2008 debut, Bury the Square, sound frustratingly divided, as if the band’s divergent musical urges had been compartmentalized and overthought. It was as though they had all the pieces, but were unsure how to fit them together. Gather, Form & Fly improves dramatically on that release, integrating musical styles more organically and confidently to play up the contrasts between them. “Solid Ground” segues seamlessly into the múm-like “Darkest Hour”, which turns water droplets into a rudimentary melody before morphing into waves crashing on a beach and finally settling into a thunderstorm backdrop for splices of a hymnal roundelay. Similarly, “Impressions of the Past” begins with a shuffling intro that never coalesces into a vocal-based song. Instead, it’s 10 or 12 different songs before the vocals enter in the final minutes, and even then, they sound like just another instrument in the mix. The song doesn’t present a fully formed memory but, as its title suggests, a series of memory traces– brief, bittersweet, and impossible to hang on to.
Megafaun’s songs change shape constantly– a thrillingly mercurial quality that makes Gather, Form & Fly a headily absorbing, occasionally unsettling listen. Despite their musical wanderlust, the trio remain firmly rooted in the Appalachian foothills, enamored with folk traditions and pastoral airs. The album opens with “Bella Marie”, a gossamer overture featuring guitar, piano, and a violin so closely mic’ed you can hear the friction of the bow on strings. Joe Westerlund’s clattery percussion on “The Process” can’t disguise its chicken-coop soul, and Christy Smith, of Nola, North Carolina’s the Tender Fruit, duets on “The Longest Day”, a delicate country number that floats along on tender banjo and guitar strums. The buoyant melody of “The Fade”, perhaps the most instantly accessible song here, recalls locals the Kingsbury Manx as the Cook brothers sing about the death of their grandfather and the tragic shortcomings of memory: “It’s been a year,” they sing together, “and now I fear the fade is on.” (Trivia: That’s him on the CD and etched into side four of the vinyl.)
Moments like that lend Gather, Form & Fly its warmth and accessibility, despite the intentionally shaky foundations of songs like “Guns”, which begins with one of their best moments: “All we’ll ever be, all we’ll ever need,” the trio sing together, with a mix of triumph and forlornness, before ominous rumblings dislodge their vocals from the emphatic guitar strums and drown them all in gentle noise. Rather than blanch the song of its momentousness, that spectral coda makes it all the more meaningful, as if they’ve just stepped from a sunlit clearing into dark woods. While some listeners may grow weary of such insistent drones, and while it’s tempting to read these tendencies as opposite extremes, ultimately there are no simple dichotomies in these songs, no easy distinctions between written and improvised, concrete and fluid, organic and synthetic. All the sounds and ideas emanate from the same sources and desires, and the prismatic contrasts between them illuminate this intriguing and heartfelt album.
http://www.mediafire.com/?umzznmj2zye"This album -- which was "produced in Hollywood, Nashville and London by Messrs. Watt and Hamilton" (aka Hamilton Wesley Watt and William Lincoln) -- is today considered a cult classic among those who find themselves trekking across the West Coast rock tundra, circa 1969. Psychedelic country-rock, folk-rock, and bluegrass -- abetted by lushly downcast orchestral arrangements and the occasional sound effect -- are combined here in a heady and confident manner. The opening track, "Lisa," is a sweeping orchestral piece which is eventually brought to a resounding end with the crash of a tympani drum. Then, the listener is abruptly hustled into a barrelhouse bluegrass-style romp, "Stone River Hill Song," which wouldn't sound too out of place on an album by Dillard & Clark, or, perhaps, even the Grateful Dead. Banjos, tack piano, and fuzz guitars collide in "Did You Get the Letter," which veers into Beatlesque White Album territory -- replete with backward guitars, cuckoo clocks, TV audience laughter, gunshots, explosions, someone speaking in Vietnamese, crying babies, and various sonic effluvia -- before returning to the song's main theme. Whispered vocals and a regal harpsichord elevate the stately and sublime "Lady Bedford." "Sunshine Woman" (covered in 1971 by Bernie Schwartz on his fantastic solo album, The Wheel) is another of the album's more memorable moments. It ends with a suicide note to the "World" and existence itself ("I hope we meet again someday"). In fact, it seems fair to point out that much of the moody lyrical content herein seems to be about drug use and acts of suicide. There's no real dross or dead weight on this overlooked work of ambitious scope that reveals the considerable talents of its two songwriters/producers. Originally released by Capitol, this album remained out of print for many years until it was reissued on CD by See for Miles in 1996." -- Bryan Thomas, AMG
http://www.mediaf!re.com/?onitmz334nahttp://www.mediaf!re.com/?vu2t0mfd2ntSay what you will about bassist, songwriter, singer, bandleader, and arranger Me'Shell Ndegéocello, any box you attempt to put her into is not possibly big enough to hold her creativity and restless, unwieldy aesthetic vision. On "The Sloganeer: Paradise," a tune in which she equates the bland, complicit nature of blindly living modern life with committing suicide, she sings: "To know me is to know I love with/My imagination." It's a summation of her entire career thus far, and this album furthers that notion exponentially. The World Has Made Me the Man of My Dreams is Ndegéocello's debut for Decca; it is wilder than Cookie: An Anthropological Mixtape, or her last recording, The Spirit Music Jamia: Dance of the Infidel. The latter set was a project that indulged her love of postmodern jazz and engaged in improvisation. She directed an ensemble that included Oliver Lake, Don Byron, Jack DeJohnette, Kenny Garrett, Ron Blake, Brandon Ross, Lalah Hathaway, Cassandra Wilson, and others. It walked a line between tight song-oriented material and longer jam-based tunes, and she didn't really sing on it. That's remedied here, and her sultry, smoky voice is heard on virtually every cut. Musically, this albums walks through walls. There are funky soul tunes whose backdrops are full of psychedelic music that would make the latter-day Jimi Hendrix smile in delight (think the material from Cry of Love). There are jazz-oriented tunes that slip toward pop, folk, and whole-tone folk songs. The lyrical content engages spiritual concerns and carnal love more often than not in the same song. And while she once more employs a wildly diverse collection of collaborators that include everyone from Ross and Lake to Pat Metheny, Oumou Sangare, Robert Glasper, Mike Severson, Daniel Jones, Doyle Bramhall, David Gilmore (not the one from Pink Floyd), James Newton, and Graham Haynes, she also cut two songs ("Evolution" and the bonus cut "Soul Spaceship"), playing all the instruments herself. So what does it sound like? The future arriving fully formed on the doorstep. It opens provocatively enough with noted American Muslim teacher and Islamic scholar Shiek Hamza Yusuf reciting the predictions of Mohammed to a backwash of Ross' guitar and ambient sounds. (Yusuf was the man who appeared with George W. Bush after 9/11 and denounced the attacks and all religious violence, and is working for a return to Islamic sciences as well as assisting Western governments in understanding Islamic culture and Muslims.) It moves into a rock & roll dreamscape called "Sloganeering: Paradise" awash in keyboards, a drummer playing drum and bass breaks that would make Prince jealous. "Evolution" is a spaced-out psychedelic dirge with few lyrics and a sound field worthy of Hendrix (and indeed her guitar playing is influenced in that direction). The sci-fi jazz of "Virgo," with Lake, Newton, and trombonist George McMullen, hovers and floats in vanguard space before turning into a dreamy pop song with acoustic guitars, synth washes, and samples but is held together with a gorgeous melody and vocal performance (and contains a funky little solo by Lake on alto saxophone). "Shirk" is a gorgeous spiritual duet between Sangare and Ndegéocello with Hervé Sambe and Metheny on acoustic guitars. Metheny also appears on "Article," the following cut with a guest appearance by Thandiswa Mazwai singing with Ndegéocello, but this time out she pops that bass of hers in response. It's a dizzying cut with shifting rhythms and textures, and call-and-response vocals that feel more like counterpoint as different sonic and textural motifs move across the front of the tune. All this and the record is just over halfway. The deep spirituality at work here has been present in Ndegéocello's work arguably since the beginning, but it has become more pronounced in recent years. That said, the beautiful and poetic expressions of desire as it encounters both flesh and the divine are soulful, without pretension or artifice. "Michelle Johnson" is a freewheeling exploration of electronic outer realms, tough guitar, and bass-heavy funk, with killer drum kit work by Deantoni Parks and hand percussion by Gilmar Gomes. The sonic treatments by Scott Mann and Chad Royce are all structure to fill the space around the artist's basslines and expressive belly-deep voice -- and you can be the judge as to which Michelle Johnson she's speaking of here. "Solomon" is among the most beautiful songs this woman has ever written. It is presented in a painterly way, illustrated and framed inside a warm bubbly electronic backdrop that gives way to languid melody, a spine-moving bassline that grooves low and slow on this futuristic soul lullaby. The official album closes with the completely out-to-lunch "Relief: A Stripper Classic," which is the true missing link between urban soul, heavy metal, and slow, downtempo funk -- all of it with a pronounced hook and refrain. "Soul Spaceship" is the place where Sly Stone, Amp Fiddler, and Millie Jackson meet in a big bass sci-fi wonderland presided over by Rick James and Teena Marie! The basslines and synth lines are huge, drum machines abound and skitter, and all the while Ndegéocello and Sy Smith make a beautifully grooving mess with the vocals. Ultimately, The World Has Made Me the Man of My Dreams, with its irony, sincerity, seeming contradiction, and elliptical paradox, is the most expansive, complex record yet released by this always provocative artist. It will take more than a single listen to warm up to, but once you actually take it in, it will be one of her recordings you go back to over and again because while it gives up its secrets slowly, it gives the listener something new each time too. Wild, visionary, and marvelously tough, this is a groover that will turn you inside out.
http://www.mediafire.com/?z2bjjmdzoztEqual measures Morcheeba, Corinne Bailey-Rae, Laura Marling and Bat For Lashes: enter London singer/guitarist Alessi Laurent-Marke and her whimsical lounge LP Notes From The Treehouse.
Breathy, folky, dreamy, pretty music bursts out of your speakers as 18-year-old Alessi begins with Magic Weather. Its peculiar lyrics, feathery harp and Alessi's impish melodies are the perfect introduction to this quirky acoustic star.
The Horse continues with the fairytale theme: just 2.14 minutes short, it may end abruptly but the message of unavailable love is delivered sweetly.
Sweeter still is Over The Hill with its simple ''I love you'' hook, layered guitars and wispy hints of adultery: ''It's just a shame that from the very beginning you’ve always been her man''.
It is at this point that you realise this cutesy-sounding, buttery bringer of folk fairytales isn't so angelic as she seems. Puppy dog eyes, yes, but don't all mistresses flutter those?
Still, older-than-her-years Alessi excels when coupling these gripping tales with her eccentric vocal and happy-go-lucky melodies. Venture too far to the left, however, and quirky becomes try-hard.
Constellations, for instance, aptly floats off into outer space; lost on many mere mortals. The Asteroids Collide - with its Bjork tribute band vibe - is also way too weird for the average ear.
Still, these cuts are in the minority and are easily outshone by a plethora of gorgeous melodies (Hummingbird, in particular, haunts and excites). What Alessi's Ark has achieved with Notes From The Treehouse is an accessible, magic box of acoustic tricks for that all-important wider audience.
http://www.mediafire.com/?z2dmngmnomiOver The Hill (http://www.youtube.com/watch?v=Vvnhaolxs3k)http://www.mediafire.com/?1mizwyd2nzm"THE NATIONAL LIGHTS explore the graceful, folky traditionalism of acts like Iron & Wine and Sufjan Stevens, but behind their quiet sound lies more sinister subject matter: obsessive love, jealousy and a killing. Songwriter Jacob Thomas Berns writes songs about small American towns, rivers and fields and falling in love, but his towns hide secrets, the landscape hides graves."
"The Dead Will Walk, Dear is a hushed, beautiful song cycle that, upon close listen, is actually a disturbing series of songs about a river and some girls who have been killed and dumped into it. Yeah, old fashioned murder ballads cleverly disguised as songs of love lost. Songwriter Jacob Berns may sound innocent enough, but the dude’s got a serious dark side."
Sick, sick, sick. That's what this album is. Oh sure, it sounds pretty, with its gentle, mostly acoustic arrangements, whispery vocals, and other folkish whatnot, but wait a second. All those references to grinding bones and eating flesh and burying things aren't metaphors or poetic turns of phrase-- they're actually about killing people, eating them, and burying them. Songwriter and principle vocalist Jacob Thomas Berns sounds musically well adjusted, but I get the feeling he was the kid who worried his eight grade English teacher with disturbing journal entries about sexual violence and cold-blooded murder.
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http://www.mediafire.com/?mqm4i0nmz0nStar Lust (http://www.youtube.com/v/kkB3Jha6NCY&)http://www.mediaf!re.com/?iz5zjgzjjo2
So Sean needs some Boris learnin' and I'm posting this great Boris album to do just that.Incidentally, my name is Sean, and this is the first Boris album I've ever listened to.Code: [Select]http://www.mediaf!re.com/?w4mezxywmmz
You have to say the words "high five," too, preferably bold and in all caps.whatever man
There was a David and Goliath quality to the simultaneous performances that closed out the 2009 Pitchfork Music Festival. Against the Flaming Lips' grid-draining light show and extravagant confetti budget, the Very Best pitted a grinning guy in a rakishly cocked plaid hat, a stocky Euro-hipster with a console-laden table, and a couple of head-wrapped backup singers. The crowd seemed thin and politely engaged during the first song. By the last, the audience had swelled considerably, and everyone was bouncing up and down-- a sea of genuinely happy faces. That's the simplest and most important thing about the Very Best. Their enthusiasm is contagious.
The group debuted last year with the superlative mixtape Esau Mwamwaya and Radioclit Are the Very Best. The Malawi-born singer ran a secondhand shop in London, where he met Etienne Tron of Radioclit (Tron is French; his partner Johan Karlberg is Swedish). Radioclit's prior work had leaned heavily on grime, Miami bass, crunk, and other aggressive genres; they dubbed their style "ghetto-pop." But with the Very Best mixtape, they turned from dark, druggy hedonism to effervescent productions that blended Afropop-laced originals with mixes of M.I.A. and Vampire Weekend. It was feel-good music that felt fresh and healthful, just like Mwamwaya's voice. He sang ebulliently in Chichewa, English, and other languages, and the foreignness of the words only cleared the way for the life-affirming feeling that shined through them.
Warm Heart of Africa, the group's official debut, rises to the high standard set by the mixtape, from which only two tracks are held over: "Kamphopo", where Mwamwaya swaggers through sun-streaked Architecture in Helsinki samples, and a dance mix of "Kada Manja", with added drums and some of its strings gathered up into a loping rhythm. A couple of guest stars also return. Ezra Koenig of Vampire Weekend duets with Mwamwaya on the title track, which will probably be the first song on the album that knocks out most listeners. "The boys move fast/ You should take it slow," they advise coquettishly, in an irresistible hopscotch cadence, over splashes of sampled guitar and hand percussion. And M.I.A. appears on "Rain Dance", panting and purring over a taut drumline, in one of the album's few respites from blaring melody. This sense of continuity with the mixtape is bolstered by the fact that some of these songs are so immediate you'll swear you've heard them before, like "Julia", which sounds like some kind of sublimely cheerful G-funk.
Radioclit deserve a lot of credit for keeping the vibe upbeat but diverse: Whether they're cooking up a snap track with pizzicato accents on "Yalira", pinging 1980s synth-pop on "Chalo", tropical dreams on "Angonde", or kwaito-inspired pulses on "Ntdende Uli", they stay out of Mwamwaya's way, using small and tactile rhythmic embellishments to give him extra kick-- always lively, never cluttered. Which is smart, because Mwamwaya is a scene-stealer, for the uncomplicated reason that he sings like an angel and takes evident pleasure in doing so. On "Zam'dziko", his voice weaves in and out of itself, adorned only with sporadic drum claps. For Mwamwaya, a hot beat is always nice, but pretty much optional. The album's biggest asset has to do with his presence, and it's hard to put a name to-- "spiritual generosity" sounds too grand, but that's what it feels like.
Some people tend to get up in arms whenever African music gets mixed up with Western genres-- as if they haven't always been in a dialogue, like how marabi is related to American jazz. The Very Best inspired me to learn more about some of the genres they employ, and if you do the same, that's great-- but an Afropop primer isn't what Mwamwaya's about here. In drawing lines between older African genres, like highlife, and newer ones, like kwaito, and then linking those to international pop styles of various eras, Warm Heart of Africa pictures a glittering web of connectivity where national and cultural boundaries dissolve. People care about socio-cultural chin-stroking; music does not. This record simply wants to be heard, by whomever will listen and enjoy. There's no cynical play for authenticity, no implication that Afropop is somehow piously cordoned off from Western music. It's a true global-pop album, and a hopeful template for things to come.
http://www.mediaf!re.com/?zwnimmajnoyhttp://www.mediaf!re.com/?25qgmf0monjTheirspace (http://www.myspace.com/captanobvio)http://www.mediaf!re.com/?mmznjhmkyn3Theirspace (http://www.myspace.com/bonaparte)2002 should be remembered as being a fine year for American groups bringing their British '80s influences bang up to date and relevant again. So whilst Liars capture the essence of Gang Of Four, Interpol tackle Joy Division and this year's Jesus And Mary Chain are Black Rebel Motorcycle Club, Radio 4 aim for The Clash's post-'London Calling' phase. It's another ambitious step to take and one which should provide many pitfalls but once again it's another brave and successful excursion. With vocals recalling the vitriol of Mick Jones and a sustained melodic intensity 'Gotham!' is another post-punk exemplar. 'Our Town', 'Dance To The Underground' and 'Save Your City' are driven, urgent anthems which sound a rallying cry for the disenfranchised. Perhaps even more satisfyingly, 'Struggle' and 'Pipe Bombs' re-enact The Clash's experimental dubbing techniques. Purists may scoff that this music is unoriginal but it would be foolish to moan when some of this revivalist material has a level of consistency which surpasses the original work.
http://www.mediaf!re.com/?nzy1majzjlnOur Town (http://www.youtube.com/watch?v=92smSyhtmT0)http://www.mediafire.com/?otazwtrmdejTheirspace (http://www.myspace.com/thebrokenwest)
What turned out to be the only full studio album the Field Mice released was also nothing less than a quietly triumphant masterpiece. Building on the strength of its string of great singles while keeping its own particular character and mood, For Keeps -- a sly and sharp title, given how many of the band's songs reflected both love's creation and dissolution -- found the five piece full of gently impassioned creativity. It could be the subtle funk wah-wah guitars on the opening "Five Moments" or the blissout psych droning of "Tilting at Windmills," but writing the Field Mice off as simple twee pop types would be a hard task for anyone after a listen to this album. In the end, the group stood apart from all the early '90s scenes swirling around it to make its own mark. Davies' softly cool vocals, winsome without being cloying, brought both greater variety and range of emotion to the songs. Wratten's still in fine voice, and together their duets work perfectly, almost defining the form that many other bands clearly inspired by them would take. On his own Wratten experiments with his voice, adding flanging to the just-epic-enough guitar build of "This Is Not Here" and elsewhere piling on the echo and other tricks for fine variety. The subtle musical nods all over the map fit the band's impressive range of influences, while avoiding drowning in them. There's the hint of late-'50s/early-'60s tearjerker drama in "Star of David," for instance, heightened by the sharp growl of the guitars against the slow, building punch of the drums. In the end it's the Field Mice, but it's a much more accomplished and intriguing Field Mice than the band's detractors (and possibly many of its followers) would ever give it real credit for.
http://www.mediafire.com/?mnwmtzjzoz0
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http://www.mediaf!re.com/?qdhfmlnwl34we are pleased to announce our forthcoming album, “THE COURAGE OF OTHERS” will be released FEB 1st, 2010 in the UK and EUROPE, and FEB 2nd, 2010 in the US. we have a few tour dates scheduled below, with many more to be confirmed and posted shortly. we thank you all for your patience and support and we are looking forward to seeing you all next year.
http://www.mediaf!re.com/?ktknmwyjnmdAlessandro Steffana released his debut solo album to much acclaim on Important a few years back Since then he has worked as a member of Mark Ribot’s Ceramic Dog project as well as Mike Patton’s Mondocane.
Guano Padano, assembled by Alessandro Stefana, features guests Alessandro Alessandroni (renowned whisteler of the immortal Ennio Morricone western soundtracks), Gary Lucas (Captain Beefheart/Jeff Buckley guitarist), Chris Speed (clarinet player with Tim Berne, Uri Caine, John Zorn etc.) and, last but not least, the legendary Italian singer Bobby Solo
Guano Padano’s music is a kind of road movie, unfolding between the scorching asphalt of Highway number 4 and the juicy smells of the peasant festivals so common in the Pianura Padana. It’s a dreaming mixture of rock, psychedelia, folk and country, jazz improvisations and Morricone hints. Alessandro “Asso” Stefana and Zeno de Rossi started to work together some years ago while playing in Vinicio Capossela’s band, of which they are still steady members. For this trip they are joined by Danilo Gallo, a double bass player with a dark, meaty, gutsy style, who has shared with Zeno various adventuresmerged in El Gallo Rojo collective, one of the most interesting experiences of Italian underground and independent jazz
http://www.mediafire.com/?nn2vmwu3cnjLos Campesinos! are proud to announce the title and track listing of their forthcoming album. ‘Romance Is Boring’ will be released 1st February 2010. through Wichita Recordings. The single ‘There Are Listed Buildings’ which is currently available exclusively on the band’s UK tour dates, will precede it, on the 2nd November 2009.
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Fixed LCCode: [Select]http://www.mediaf!re.com/?nn2vmwu3cnj
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http://www.mediafire.com/?zlim1zzz2zyThe Flaming Lips And Stardeath & White Dwarfs With Henry Rollins And Peaches Doing The Dark Side Of The Moon
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The Flaming Lips And Stardeath & White Dwarfs With Henry Rollins And Peaches Doing The Dark Side Of The Moon
It is. And it's kinda awesomeThe Flaming Lips And Stardeath & White Dwarfs With Henry Rollins And Peaches Doing The Dark Side Of The MoonHang on is this an actual thing
http://www.mediaf!!!re.com/?ojzdytwzfgwhttp://www.mediaf!re.com/?nyzzzanm2g3Urthboy - Spitshine (2009)
Broken Bells - Broken Bells (2010)
Some musicians are famous for departing their homeland (Scott Walker, for instance), while others don't find themselves until they leave. Janine Rostron, aka Planningtorock, is among the latter. Rostron left England for Berlin and ran into Peaches, Kevin Blechdom, Jamie Lidell, and Chicks On Speed along the way. While Planning... doesn't sound much like her fellow expats, she does share their flair for the theatrical-- she performs live in Elizabethan costumes and masks-- which is fitting considering her video work predated her music.
Part travelogue, part self-help manual, Rostron's debut album details the transformational powers of getting the fuck out of town (in her case Bolton, England), and using the self-imposed alienation to examine personal truths and discover survival skills. "Bolton Wander" is a straightforward narrative of her move and the reasoning behind it. "Local Foreigner" moves on its belly, with eerie percussive vocal stabs and tambourines slithering in and out and Berlin's empty buildings echoing in the song's hollow corners.
If half of Have It All is about leaving home, the other is about never going back. The sprightly "Changes" explains her metamorphosis. Here her lower vocals are backed by a higher, ghostlier version of the same, as if her different stages are duking it out for supremacy. Eventually the more confident Berliner wins out. On album centerpiece "I Wanna Bite Ya" Rostron flips "I hate your guts" on its head : "What happens if/ I start on your little finger/ What happens if/ I'm halfway up your elbow." This is Rostron's central strength: Her ability to collapse the distinction between threat and enticement, and make you forget that there ever was a distinction in the first place. It's violence rendered playful with a flirty xylophone trill, and sex stripped of any innocence by a guttural growl.
Despite her location and label, Rostron doesn't make dance music. Planningtorock also separates herself from her label mates by keeping her vocals pure, expressive, and soulful; she eschews electro's lifeless monotones and IDM's synth manipulations. The title track has the album's only true beat and bass lines. Most of tracks on Have It All stay away from bass-heavy dance beats, but her songs are more flexible without that backbone. Rostron's Janis Joplin-like runs are able to cover the distance between melody and primal scream, leaving her free to exploit her entire expressive range.
Have It All is only one part of a three-part system (along with her costuming/performance and her videos). After all, the album's first track, "The PTR Show" welcomes you to her show, not her album. But Have It All is unique on its own, and sounds like nothing else that's come out this year. The Knife's Silent Shout could be a reference point (and Rostron has remixed a song for them) but their otherworldliness and theatrics alienate the listener. Rostron invites us to become a part of her alienation, and injects the experience with a sense of humor. It repulses as it beckons; the more you ignore her, the closer she gets.
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http://www.megaupload.com/?d=VMBEDIKDhttp://www.mediaf!re.com/?hnfy2zridtnsample songs: "A Night In Tunisia (http://popup.lala.com/popup/432627043554352270)", "Cry Me A River (http://popup.lala.com/popup/432627073619123342)"Has anyone listened to that Broken Bells album? How is it?
http://www.mediaf!re.com/?2rug50z0yly(http://i26.photobucket.com/albums/c120/OrcusMars/SSVol2.jpg)http://www.mediaf!re.com/?wwrwet2wyyy(http://i26.photobucket.com/albums/c120/OrcusMars/SSVol3.jpg)http://www.mediaf!re.com/?y1fewnyoqoihttp://www.mediaf!re.com/?doyhjmzzdjmI posted Vol. 1 of that months and months ago, but I didn't have the other two, and I'm really happy more attention in being paid to this band ... they're fucking EXCELLENT.
Basically, FUCK YEAH! You rule!
PS: I have their self-titled if you want it. I think I upped it even longer ago than SS V.1 but I can re-up it pretty easy.
I posted Vol. 1 of that months and months ago, but I didn't have the other two, and I'm really happy more attention in being paid to this band ... they're fucking EXCELLENT.
Basically, FUCK YEAH! You rule!
PS: I have their self-titled if you want it. I think I upped it even longer ago than SS V.1 but I can re-up it pretty easy.
I was actually going to up that one and Free Ride next, so don't worry about it, bro.
GOTCHA COVERED, MANG.
P.S. You rule, too - Acid Mothers Temple forever.
http://www.mediaf!re.com/?zxd2ewn33nqDisc 1 - http://www.mediafire.com/?omtrym5ymyt
Disc 2 - http://www.mediafire.com/?11tmjwfuixd
Disc 3 - http://www.mediafire.com/?dqomjdiz5to
Disc 4 - http://www.mediafire.com/?vjznmtiztnn
Disc 5 - http://www.mediafire.com/?2xmhdm33mzy The Live Anthology is a multiple-disc set of recordings drawn from thirty years of live performances. The collection brings together material from 1978-2007 culled from hundreds of hours of live concert recordings covering every era of Tom Petty and the Heartbreakers' tours and represents the best tracks as chosen by producers Tom Petty, Mike Campbell and Ryan Ulyate.
The producers made no fixes or overdubs, letting the newly mixed original recordings showcase the invention, spontaneity, craft, and the musicianship that has made Tom Petty and the Heartbreakers among the most celebrated live performers of their time. Along with powerful interpretations of their own classic hits and originals, The Live Anthology features the band tackling some of their best-loved cover material, from classics to obscure beauties to unexpected adaptations. The theme from Goldfinger, the Zombies' 'I Want You Back Again,' the Grateful Dead's 'Friend of the Devil,' early Fleetwood Mac's 'Oh Well,' Booker T. and the MGs' 'Green Onions,' James Brown's 'Good, Good Lovin' and many more. Tom Petty and The Heartbreakers travel wide, paying their musical debts through song and showing just how confidently the band moves across genres and over time.
21-year old Mica Levi is quickly shaping up as one of the year's top tips-for-the-top. Not that she's a reality TV competition winner or well groomed pop princess, instead she creates a fractured, unhinged music that blends several sources to end up sounding not much like anyone else currently out there.
Which is not to say she is doing anything original. No, the sound she creates on guitar and electronics (accompanied by Raisa Khan on keyboards and Marc Pell on drums) is quite conventional indie rock with borrowings from all over – there’s grime and dubstep, Gary Numan and Nine Inch Nails, Tricky and X Ray Spex – but the way she meshes them together, playing fast and jittery, layering sounds, leaving lots of hiss and clutter in, makes her stand out from today’s Brit rock pack.
How brightly she will stand out is debatable: she is no singer, preferring to mutter garbled lyrics – the effect is like listening to someone speaking too fast on the phone - and there is no melody or rhythm here that will appeal to those who like conventional structure in their pop. But the hype has already started with the likes of Guardian blogger Everett True claiming "Micachu is an exceedingly precocious 21-year-old who may go on to completely transform our expectations of music." Everett used to make great claims for Courtney Love so best to ignore such rhetoric – Micachu & The Shapes are conventionally unconventional, edgy and noisy as youth like to be, but in need of stronger songwriting if they want to appeal beyond rock writers who like to champion anything they consider dissonant.
As a debut album this suggests promise, but promise of what is unclear: rock music is now so played out that it is impossible to surprise listeners. For now, nothing here suggests making music for Micachu isn't just gap year fun before the real challenges of life begin.
http://www.mediaf!re.com/?zzimuyrj5nnLiars - Sisterworld (Mute, 2010)
(http://stereogum.com/img/liars-sisterworld-aa.jpg)
anyone interested?
hxxp://uploadbox.com/files/6117f595c9http://www.mediafire.com/?thhew0wnmtohttp://www.mediafire.com/?ncny3jr1mmwhttp://www.mediafire.com/?xg0z1nwymqz‘25-year-old German is startlingly talented. His debut album as Get Well Soon is an ambitious and omaginatively arranged mix of exultant Motown pop, electronica, soundtracks and noir-ish alt. rock. Fans of the Arcade Fire, The National and Radiohead will faint clean away.
UNCUT (4 Stars)
In other words, it’s a provocative, opaque, boldly dramatic labyrinth of an album and you’d be a fool not to dive right in’
THE FLY (4,5 Stars)
‘Rest Now..’ is a bold and beautiful collection of songs. Gropper has crafted an album on par with the ambitious sonic adventuring usually favoured by the likes of Sufjan Stevens or Patrick Wolf, fellow sonic visionaries who Get Well Soon deserve to be mentioned amongst’
CLASH MAGAZINE
http://www.mediafire.com/?zzod2xizrwz8.0
The Portland Cello Project kicks off The Thao & Justin Power Sessions with a cover of a John Tavener song, leading right into a typically Nico-esque vocal cameo by Thao Nguyen. It's a good sign. That they blend the spiritual with the dark and mysterious is fitting, since the cello is one of the few instruments that can evoke the infinite and the heartbreakingly local within the same line. The album is quite the emotional workout, but The Portland Cello Project isn't afraid to rock, nor to mix some distortion into its transcendental brew.
Thao Nguyen and Justin Power contribute vocals to songs they brought with them to the sessions, with Powers’ tracks (especially “Hungry Liars” and “Cut the Rope”) being among the more up-tempo and edgy. Nguyen breezes through several songs, with “Beat (Health, Life & Fire)” being the most remarkable. There are four other, more stricly cello-driven songs as well, including a cover of Pantera’s “Mouth for War.” Yeah, it works.
The 16 classically trained cellists that form The Portland Cello Project have performed in a variety of settings, including punk clubs. Their generous ear for music of all kinds and the ability to draw the deepest emotion (with humor) from it is helping them create a signature sound and career. The Thao & Justin Power Sessions should serve as an introduction to the ensemble, and it should only further open your own ears.
http://www.mediafire.com/?eotkghnbjmwIf you've been waiting for a National Enquirer style headline in the form of 'Bob Dylan's Love Child Discovered Living In Canada Shocker', well you may just wish to contact the press room after listening to Rodney Decroo's new album! Vancouver's premier folk-rocker croons like Mr Zimmerman with a the fragrantly soaked scent of a T.B. Sheets era Van Morrison.
Mocking Bird Bible is being peddled as a 'straight ahead depression session', and 'so exhaustively bleak that you fear for it's health'. This seems to me a rather odd way to project and portray an album you are hoping to put out there with the intent of persuading people to part with their hard earned cash. There's nothing wrong with stark hard truths and uncomfortable, challenging subject matter, but as always there are at least two sides to every story. Rather like Nick Cave is perceived by many to be some sort of Earthly portal to convey and bestow upon us all things dark, Rodney has set himself up as a suicide counsellors worst nightmare. However, for me, as with most of Mr Caves outpourings, there is hope, honesty, love and above all a certain life affirming quality and character to most of this album. To quote cliché gold, 'is your glass half empty or half full?' The opening track, Scared Ground is fine example of just this paradox....
your messenger he found me, told me this tale,
he said you're dice are rattlin' like teeth in your head,
and you been singin' songs about dyin' in your bed,
but that long legged man with that no win smile,
he's been walking round beside you for many a mile,
but you know I heard that rumour that you gonna break that chain,
and when you do you gonna see me again,
when you make it to sacred ground.
The album is full of fantastic evocations and imagery, but, by trying to typecast himself as some sort of grim preacher of woe Rodney Decroo has sold himself short. The album is not a depression session, and if his publicist feels it is he or she clearly need to stay in a lot more. There are many lyrical high notes in host of well written and executed songs throughout the album. This ,from one of Mocking Bird Bibles' stand out tracks, Gasoline....
Well a needle is a lover and a lover is a liar,
L.A burns like a junkie on fire,
red crow flies, murder in the eyes,
road runs crooked as a strong mans lies,
white dove mornin', park side growin',
burn like water and the water is flowin',
fist in the glove and the glove is smokin',
joker in the alley but he aint jokin'.
Is that rain comin' down or is that gasoline?
Oh Suzanna light that match to find out where we been.
Whilst you never quite get past a gentle toe tap of a rhythm throughout the album, and whilst it could do with the odd injection of pace and immediacy it is nevertheless a fine collection of personal and memorable songs. Spinning Wheel, Long White Road & Loneliness Has The Soul Of A Spider consolidate the quality of song writing on show here. The musicianship is tempered and taut, complimenting Rodneys voice masterfully. Little, and pertinently used, banjos, fiddles, pianos and electric guitars all help to keep the albums flow and form. 'Shooting Stars' is a little anachronism in that on hearing the first few bars I defy anyone to not think you're about to here a Nirvana cover...
Rodney has just finished touring his native Canada, so whilst you may not be able to catch him live here any time too soon you may just wish to give his tunes a quick spin on his MySpace page, believe me it's not all doom and gloom!
http://www.mediafire.com/?yizzkzo5mzmThis is a rollicking, engagingly idiosyncratic amalgam of old-time blues and jug band sensibilities from the North Carolina-based Woody Pines and his band, whose songs of Cajun queens, dusty highways and speakeasies are informed not only by squalling harmonica and whumping bass but a conviction that makes them sound about six decades older than they really are.
As well as Pines's nasal holler, Zack Pozebanchuk on bass and Rennie Elliot and Andy Tubb sharing credits on drums, there are tasty contributions from guest artists including producer Gill Landry on slide guitar. Stand-out tracks include the harmonica and fiddle-driven Chew Tobacco Rag and a compelling rendition of Harlem, a vintage joint-jumper swinging to sax and cornet. It's not all up-tempo stomp, and Pines' Walking Down the Road has overtones of early Dylan in its guitar fingerpicking and wistful drawl.
http://www.mediafire.com/?tznnjzyomjzDie Stadt Muzikanten is Woodpigeon's third full-length album and follow up to the internationally acclaimed Treasury Library Canada. Produced by Arran Fisher, the fifteen tracks on Die Stadt Muzikanten move and contort like a film soundtrack. Lush, grand moments complement Mark’s signature cinematic “pretty-pretty-pop” sound. Songwriter, Mark Andrew of the Hamiltons, breathes a glorious new life into Die Stadt Muzikanten, an album both inspired by a recent stay in Germany and of the comparative lives of his ancestors.
http://www.mediafire.com/?zgizhmzh5ng‘Custom Made’ has the theme of ’something old, something new, something borrowed, something blue’. I don’t know if wedding bells are in the air at camp Deerhoof but the theme gives the group a chance to showcase an alternate mix of ‘The Tears and Music of Love’ (something old..) and reworking of ‘Makka Shobu’ from single ‘Matchbook seeks maniac’ (something new….sort of…), a remix of ‘Rrrrrrright’ by Germlin (a.k.a. Joe Howe of Gay Against you and Ben Butler and the Mousepad (this is something borrowed) and finally a return visit to Apple O’s ‘Blue Cash’ (something blue…you get it) featuring new dude Ed Rodriguez (guitarist and former member of XBXRX among others). ‘The Tears..’ is fresher, livelier and generally better than the album version, Germlin’s kooky remix is totally killer and the reworking of theme to that Robinson’s cordial ad (‘Blue Cash’) really benefits from the rethink and some sweet production work.
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http://www.mediaf!re.com/?znizdom2jtnThe 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.