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[butmyrobotloves]

Man, it's been years, I think, since I've posted on here.  I just uploaded an album for a friend and thought y'all might enjoy it.

Barefoot Surrender--Barefoot Surrender

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http://www.mf.com/?237e8ads4e1p97f
www.myspace.com/never-say-surrender

This is hands down my favorite new album I've heard in years.  They describe themselves as punkgrass, but they're much heavier on the bluegrass than the punk.  I met these guys busking on the street one night this summer and they ended up staying with me for a few days.  I've been listening to them pretty much every day since.  Super catchy, hard-hitting, and EXCELLENT for drunken sing-alongs.  For fuck's sake, they have a washboard!  YOU NEED THIS. 

Stand-out tracks: Forgot My Name and Faith No More

Also, these guys could always use some more support, so if you like it you should definitely buy it from them / put them up on your couch.

[trr005]

Without further ado...

CAKE - Showroom of Compassion

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http://www.mediafire.com/?2lg5za28ubp6hsf

[kwami42]

oh hey winkwinkthread! Long time reader, first time poster.

The Avalanches - Since I Left You (2000, original print*)

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http://www.MF.com/?b9ycc60zoo0y5xy
in celebration of the first update to their website in years (not that that means anything) here's The Avalanches' seminal dance/"plunderphonics" record. enough has been said about this band but if you don't have this record or haven't heard the original version, enjoy.

*and by original version I mean the first run Australian edition. Later copies including the version released stateside involved several notable changes and cuts due to problems getting the samples cleared overseas (or so I am led to believe; all I know for sure is the singles played on the radio don't sound like the ones on this copy). The original print is vastly superior.

This is awesome, and I can definitely hear the differences in samples that you talked about.

Unfortunately 'Etoh' starts skipping a ton for about 40 seconds near the end

[Kai]

Electric Wizard - Come My Fanatics... [1997]

Upon its release, Electric Wizard's excellent debut carved a Titanic-sized swath through the heavy metal landscape, burying much that had come before under an avalanche of amp distortion, detuned riffs, and billows of marijuana smoke. And yet, impossible as it may seem, the band's absolutely colossal second effort, Come My Fanatics..., while somewhat less immediate than its predecessor, somehow upped the sonic ante through a wall of sludge so thick that even the most experienced of metal heads couldn't help but be overwhelmed by its power. Opening number "Return Trip" is quite simply a heavy metal landmark, from its sudden, feedback-induced (and bowel-releasing) opening chord to the anguished screams of main man Jus Oborn through to its final coughing denouement ten minutes later. The barely discernible lyrics to second track "Wizard in Black" (another monster at eight minutes) gradually emerge from the trio's cyclopean grind, intoning "I am a God...I am the One" -- and by gum if by now you're not ready to believe just that! Ensuing acid-metal behemoths like "Doom-Mantia" and "Son of Nothing" (the album's shortest track at almost seven minutes) will test the patience of uninitiated listeners before drifting into focus through billowing clouds of smoke, but the ultimate religious experience is well worth the lengthy conversion process. And though less memorable, instrumentals like "Ivixor B/Phase Inducer," (a full-fledged space rock feedback freak-out) and closer "Solarian 13" slot right into the album's imposing mass. Essential doom.

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http://www.mediafire.com/?y66yzgfxbs6jvli

[Orcusmars]

Seriously, that album is amazing. Everyone should give it a shot.

[JimmyJazz]

13-Point Program to Destroy America - The Nation Of Ulysses (Dischord, 1991)



Quote from Allmusic

A raging collection of songs preaching an ideology of insomnia, teenage rebellion, and sharp dressing, the Nation of Ulysses' 13-Point Program to Destroy America comes across as a blueprint for the complete overthrow of adult society in favor of one ruled entirely by the cool kids. Nearly every track on the album is played at breakneck speed, and the overall message is one of uprising. "A Kid Who Tells on Another Kid Is a Dead Kid" and "Cool Senior High School (Fight Song)" extol the virtues of kids sticking together to exclude those not fit for the glorious new society, namely grown-ups and squares. All the songs are punk gems, and after a couple of listens the revolutionary rhetoric starts to sounds pretty damn exciting, maybe because it's not entirely clear whether or not the Nation of Ulysses is serious or just playing a joke on all the indie rock hipsters. Either way, it's hard for anyone to not enjoy songs like "Look Out! Soul Is Back" and "Today I Met the Girl I'm Going to Marry." The revolution might not be here quite yet, but when it comes, be sure to have this album as proof to your worthiness.

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http://www.mediafire.com/?l0adlih19nfa4yd
I Know You Fine, But How You Doin' - The Gories (Crypt, 1995)



Quote From Allmusic

I Know You Fine But How You Doin' is a magnum opus of dirty brilliance. Dirty in the grunge-covered sense. Dirty in the back alley and sleepin' it off sense. As with their first LP House Rockin', the Gories employ a primitive backbeat of tom-toms, fuzzy guitars, and insomniac blues screams (distributed more democratically here by singer/guitarists Dan Kroha -- see also the Demolition Dollrods -- and Mick Collins -- see also Blacktop -- than on the Gories' debut, House Rockin'). Recorded in Memphis at Easley Recording in 1990 with legendary recluse/genius Alex Chilton at the boards, I Know You Fine is ever-so-slightly more "produced" than the debut. But the songwriting, thankfully, never leaves the gutter far behind. Better still, the Gories make you believe that it's all happened to them recently enough to be a painful enough memory to necessitate writing a blues-riff song. Muted howling, cavernous guitars, and throbbing drums are always half a step from simultaneously disappearing and blowing up in your face. The main benefit of a non-D.I.Y. production on this outing is atmospheric, after-hours gems such as "Six Cold Feet," "Early in the Morning," and "Smashed." The desperation quotient is taken up by such tunes as "Stranded," "Goin' to the River," and "Nitroglycerine." I Know You Fine is perhaps the Gories' most focused vision of urban punk blues. As an added bonus, the Crypt reissue version features more than nine extra songs culled from both singles and the original track listing of House Rockin' (perhaps Crypt didn't anticipate reissuing both records). With the added tracks, this reissued version of I Know You Fine But How You Doin' is the one Gories recording to buy if you must only buy one.

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http://www.mediafire.com/?g6zwwb94g95dypu

The Perfect Prescription - Spacemen 3 (Glass, 1987)



Quote from Allmusic

Drawing together some earlier material and a slew of new songs, Spacemen 3 tied everything together on the brilliant Perfect Prescription, the clear point of departure from tribute to psych inspirations and finding its own unique voice. Planned as a concept album, Perfect Prescription works where so many other similar efforts failed due to the strength of the individual songs, as well as the smart focus of the concept in question -- a vision of a drug trip from inception to its blasted conclusion, highs and lows fully intact. The bookending of the album makes that much clear -- "Take Me to the Other Side" is a brash, exultant charge into the joys of the experience, a sharp, tight performance. "Call the Doctor," meanwhile, is a pretty-but-wounded conclusion, husky singing and a drowsy mood detailing the final collapse. The many highlights in between beginning and end are so striking that the album is practically a best-of in all but name. Sonic's eventual work with Spectrum and E.A.R. gets clearly signaled via the majestic reprise of the Transparent Radiation single, here introduced by the swirling flange of an edited "Ecstasy Symphony," also originally from that release. Sonic's breathless delivery of the Red Krayola classic, combined with the elegant arrangement, is a marvel to hear. "Walkin' With Jesus," meanwhile, is practically the birth of Spiritualized, the much different earlier takes now become a reflective combination of acoustic guitar, two-note keyboard lines, and Pierce's yearning, aching desire. The intentionally nasty flip to that is the storming charge of "Things'll Never Be the Same," a call to arms (or injecting something into them) that's as disturbing as it is energetic, the compressed, violent rage of feedback and rhythmic charge a gripping listen. Guest performers from the Jazz Butcher family tree, including Alex Green on sax, help expand the record's sonic range even further. Further reissues include a rotating series of bonus tracks from contemporary singles.

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http://www.mediafire.com/?wmth2i75xa1an5h

[KvP]

Wbeeza - Void

Wouldn't you know it, it's House music. House music with a pretty deep variation in track-to-track sound, no less. "The World Is Yourz" is quite reminiscent of Fred Falke / Alan Braxe's "Links 'n' Rings" - superb House production behind an old school MC, just the way it was meant to be.

'Void' is probably one of the most anticipated House albums by a UK producer in years. It's also Wbeeza's debut LP and places him as a promising British answer to Theo Parrish in many respects. His career trajectory thus far has seen his tracks played by a range of cats from Panorama Bar's Tama Sumo, to fellow South London figurehead Cooly G, via celebrated slots at the Freerotation festival and gigs across Europe. The seventeen tracks of 'Void' displays an appreciation for and dedication to the spectrum of deep house music, taking in everything from Dilla-esque HipHop with 'The World Is Yourz' feat. Chico Santiago, to moonlit vibes in 'Let Me Know' feat. Diyana, and abstract, heady beatdown experiments such as 'Sarar' or 'Day By Day', with a couple of proper floor controllers in 'Tru My Veins' and 'Variations'. The vibes run deeep on this one...

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http://www.M/F.com/?lann9x68yce3q97


Cyclobe - Wounded Galaxies Tap at the Window

Stephen Thrower and Ossian Brown, longtime associates / live accompanists of Coil, as Cyclobe. They really hit upon that classic ambient industrial sound that Coil captured around the turn of the millennium.

There are very real reasons why Cyclobe albums are so infrequent, as Ossian Brown and Stephen Thrower seem to deliberately eschew or expertly conceal most of the tools that similar artists rely upon (improvisation, chance/randomness, repetition, etc.) in favor of a constantly shifting and deliberate abstract narrative.  There is a purposefulness and articulation to Cyclobe’s brand of psychotropic mindfuckery that is very much their own. Their best work (such as this album) feels like a twisted, meticulously composed infernal symphony or an ambitiously nightmarish film soundtrack for a film that no one could possibly make. Wounded Galaxies evokes something far too extreme and abstract to capture with words and images: a deep, timeless, all-consuming cosmic terror.

Phantom Code

It is both fitting and remarkable that Brown and Thrower met through their associations with Coil.  On one hand, there are enormous similarities between the two groups: a deep fascination with both the occult and obscure transgressive art, overlapping collaborators like Thighpaulsandra, the use of similar electronic textures, and so on.  On the other hand, however, Cyclobe has wound up in such a completely different place that it is almost difficult to imagine that the two were ever intertwined.  Cyclobe sounds like Coil's id allowed to run rampant.  Ossian and Stephen certainly display a predilection for all things eerie and nocturnal, but they seem to be chasing an altogether more difficult, disturbing, snarling, and visceral vision.  No one will ever confuse a Cyclobe album with ambient music.

That said, however, the first side of the album begins with some deceptively haunting and beautiful synthesizers that suggest otherwise.  That feeling doesn't last long though, as "How Acla Disappeared From the Earth" quickly grows darker and more uncomfortable as more and more sounds fade in.  It is one of the shorter works on the album, so it doesn't have much time to evolve; yet it features some truly wonderful gurgling and shivering weirdness in its periphery.  The next song, "The Woods Are Alive with the Smell of His Coming," completely eclipses it though.

Cyclobe’s "17-minute Pagan opus" was actually debuted on its own last year as part of an exhibition at The Tate Gallery St. Ives and it is easy to see why: it is not only the centerpiece of the album, it may possibly the defining moment of the duo's career.  It is built upon a simple, yet darkly exotic backbone of kalimba and Michael York’s pipes–a foundation that doesn’t change that much over the course of the piece, serving mostly as a rhythmic anchor for the surrounding maelstrom. The real excitement lies in what unfolds on top of it, as I am amazed at how many ingenious variations of "all hell breaking loose" Thrower and Brown are able to unleash: violent, discordant cello solos from John Contreras; squealing strings that sound like the swirling spirits of the damned; horrific orchestral cacophonies; and a deep creaking like the very fabric of the universe is straining and about to rupture.  It is, quite simply, an utterly staggering work.

The album's second half again begins in much calmer, uncharacteristically droning fashion with "We'll Witness the Resurrection of Dead Butterflies," but its opening motif is quickly subsumed by Cliff Stapleton’s Arabic-sounding hurdy-gurdy permutations.  The piece eventually reaches a bit of a lull before being torn apart by a violent series of apocalyptically crushing stabs of ugly harmony separated by quivering aftershocks.  It feels like the actual earth is shuddering in terror–loud, unexpected, visceral, and awesome.

Gradually, the relentless bludgeoning gives way to some less alarming subterranean moans and rumbles and a delicately haunting piano theme takes shape over a buzzing bed of squiggling electronics.  The piano piece is "Sleeper," but it is difficult to tell quite where it officially begins due to my inability to pinpoint the moment of segue.  "Sleeper" is something of an aberration for the album, as it actually features some odd and creepy childlike vocals from Ossian Brown.  In all other respects though, it fits in quite nicely, as the piano gradually becomes more chromatic and unmoored and the underlying music begins to lurch and swell thunderously.  The title piece follows, perfectly closing the album by mangling a simple drone piece into massive swells and jarring paroxysms of dissonance.  It actually has a disturbingly post-coital feel to it at times.  I am curious about whether or not that was intentional, as Thrower has stated in the past that he feels that there is a "capricious sensuousness" to Cyclobe's music.  It is difficult and a bit unnerving to try to imagine sex as deviant and alarming as Wounded Galaxies though.

The whole thing adds up to a rather overwhelming, unnerving, and utterly absorbing listening experience.  I am fairly certain that my heart rate increased quite a bit over the course of the record, as there was no way to remain calm in the face of such disturbed content and violent dynamic shifts.  It was kind of like being attacked, actually.  That probably isn't an experience that appeals to most people, but Wounded Galaxies is certainly one of the most immediately striking and singular albums that anyone will release this year (and definitely the only album that can be described with phrases like "rapturous cosmic convulsion").  I don't think Brown and Thrower are particularly concerned about appealing to "most people" anyway.  Despite all of its more overt charms, however, I suspect Galaxies’ greatest achievement may lie in its sheer depth and complexity: there are all kinds of layers and textures that I was far too shell-shocked to appreciate during my first several listens.  This is a very hard album to fully process and I don't expect to get tired of it anytime soon.

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http://www.M/F.com/?27bk6jy6qb4nr7s


Master Eveleigh - Fascinating Action

Somewhat perplexing drill'n'bass glitch music (think Lexaunculpt or Drukqs-era Aphex Twin), buzzing and seething all the way through.

'Fascinating Action' is the 2nd release on Lab Beat, and the first and only from Mr Master Eveleigh. He's obviously spent a fair bit of time listening to Squarepusher circa 'Come To Daddy' and AFX's 'Girl/Boy' song, judging by 'Chat Perdu (Pornography Mix)' and this same obsession with trickily enhanced rhytms shines through in the Rephlexian special 'Cornish Clotted Cream' and the masterful programming prowess of 'Gangsta Glitch'. Fans of The Tuss, The Wisp, or Jodey Kendrick should really check this out.

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http://www.M/F.com/?ec8c7a8kabq6a3k


Mr. One Two - The Lost Country

Latest from Garage boutique L2S. Prime dancefloor cuts.

Another debut from L2S records, this time courtesy of Mr One Two. 'The Lost Country' faces Eastwards for melodic inspiration and fuses it with swinging Garage breaks in laidback style. 'Tibetan Bowl' is equally atmospheric, but with a more active 2-step swing and morphed vocals from Blender.

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http://www.M/F.com/?eggarcssy3llyt7


M2J - Infinity Complex

They released this one just last week. Absolutely killer 2-step raving on the A, with a grime-ier, Terror Danjah-esque B-side, formant'd bassline and all. The best L2S in awhile.

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http://www.M/F.com/?lf5a7y6gcyfos2s


Sp:mc and Lx One - Down / Judgment

Classically sparse dubstep in the Pinch / Darqwan mold. Almost trip-hop.

One of the freshest pairings in purist dubstep deliver lushed-out heavyweights for Tempa. 'Down' takes it back to deep end '06 styles with plummeting subs and suspended halfstep patterns enveloped within widescreen aquatic dub zones. 'Judgement' has a more purposeful dread personality, bowling lethal sub moves under crafty, double time fluctuations with a proper old skool Pinch sensibility. Deep and extra deadly gear.

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http://www.M/F.com/?oy0xknkx60da0ox


Audiofun - Racket

Taut and nervous electro-house, with none of that fuckin' Ed Banger coke'n'leather bullshit. For whatever reason, none of the remixes are identified so you end up with two clutches of three songs with the same name and different sounds.

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http://www.M/F.com/?wfr9o6g7co464d1


Gremino - Ruffness / Silver

The latest from the quietly consistent Car Crash Set imprint, home to Blind Prophet and more. The A-side is a whiplash-inducing stepper cut, the B-side steps up the warped rave influences to near-Raffertie levels.

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http://www.M/F.com/?32aah17jijja28a


Jacques Greene - The Look EP

From Montreal by way of Dublin, Jacques Greene makes heart-touching, foot-moving House in the Tom Trago mode, with a little more in the way of modern synthwork and a remarkably light touch when it comes to gated pads. Pretty great, and fitting with LuckyMe's collective vision.

Electro-seared Funky party cuts from Jacques Greene on his debut solo EP. With 'The Look' he joins a enviable list of debut contributions on Lucky Me, Hud Mo, American Men and Nadsroic among them, but brings something quite different to the table. The debonaire bounce of 'The Look' rolls with lazer-guided precision, no sweaty business here, while 'Good Morning' is like some new strain of deeper, introverted electroFunky with Deep House keys and tinted midnight vibes. 'Holdin' On' drops in a canny R&B swinger, with subtle but damn effective edits and seasick synths in the closing stages reminding us of Machinedrum and Praveen's 'Sepalcure EP' and 'Tell Me' keeps the drums loose and woozy while a synaesthetic light show of sublimely layered synths totally captures our attention. Fans of the more refined strains of Deep Teknologi, Cooly G, Kode 9 or L-Vis should be all over this.

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http://www.M/F.com/?kp740w0y0kucmo1


Downliners Sekt - We Make Hits, Not the Public

The Autechre comparisons are apt only in that this is really impeccably produced - the punch of the drums and the buzz of the bass is pretty unbelievable, but it isn't remote or proggy the way Autechre often is. I passed on these guys before and I guess I really shouldn't have. This is what Eskmo would sound like if he wasn't so tangled up in that brostep problem. With Eskmo, James Blake and this, maybe vox direct from the DJ is becoming a new Thing.

We Make Hits, Not the People is the second in a trilogy of physically-released EPs by Downliners Sekt, four tracks exploring the innermost mechanisms of electronic music. Gears grind, pistons slam, exposed circuity enervates by rerouting electricity into explosive dead ends, all that good industrial stuff. Not unlike Raster-Noton's recent output, the fastidiously mechanical music shares certain structural ideas with dubstep. However, the force with which these beats crash and skid on the warehouse floor packs a determined wallop far greater than even the deepest sub-bass caverns of London.

As opposed to the unfriendly "industrial detritus" of preceding EP Hello Lonely, Hold the Nation, Hits feels more structured. Every track carries some sort of vocal melody, presumably sampled from any number of pop or R&B sources. They may be fragmented and occasionally encased in suffocating bulletproof glass, but they're melodies nonetheless. Downliners Sekt don't go about the typical route of dehumanizing androgyny or fashioning the anthemic and triumphant out of snippets, but rather use their siren songs to thicken the dread. On "White Dawn," a disconnected voice tremulously whimpers "I feel so cold"—it's too easy, too obvious and too effective.

"From Under Spinning Lights" starts the EP off with subtle sputters, synths whirring in the background—until the swinging beat finally drops, brutal by anyone's standards. This is painful music. Probing tendrils of electricity snarl and spark, menacingly creeping up the sides. The softly cooing vocals exhorting that "love is real" from somewhere deep within the track's churning chambers are mocking, an ugly approximation of humanity from a hulking mech.

Those electric currents combine with the beats for the startling "Incertia Gloria": Think five Reese basslines playing at once. But just like the previous EP, the final track shows the most progress: the potential energy of "Selfish G" is such that it sounds like the track is compelled to move, a violent thrust that nearly brings it down from within. Horns murmur in the distance and vocals babble meaningless phrases that ride the same unnatural horizontal trajectory; this mechanical beast isn't even pretending to be human anymore. As the track burns itself out, consumed by digital distortion flames, it becomes a question of whether or not Downliners Sekt vision is a dystopian reality or a nightmarish hallucination, but while their beats are playing, the thrilling terror—or awe—they inspire renders such matters meaningless.

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http://www.M/F.com/?tr67h29tyoo6euv


The Drop / C.R.S.T - Looking to the Sky: The Remixes

Went out of my comfort zone and took a chance on this clutch of lite reggae remixes. The results are really hooky and unusually deft, as remix EPs go. Goes down real easy.

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http://www.M/F.com/?x5gi648um466yu3

[pinkpiche]

I only have one thing for you today. It's okay.


Iceage - New Brigade

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http://www.mediafire.com/?qf1w979jb29wmdb

[adoom]

Hey so yeah

Earth - Angels of Darkness, Demons of Light 1 (2011, 192 kbps)

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http://www.M/F.com/?1dwffjlab5bhrti

Thank you very much, you lovely person.

[TheClickOfALight]

Can anyone up Rihanna's new album please? Don't think it's anywhere on the old thread...

[StaedlerMars]

Did we miss the rules? I think we missed the rules. Hold on.

Here you go:

Please note the second to last rule.

Rules:

The first rule of this thread is you do not mention MF.  I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.

No hot-linking images or albums. You can re-host images at http://imageshack.us.

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Also, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.

Repost the rules at the top of each new page.

[KharBevNor]

Okay I got a few things to post in relation to the Weird Folk thread. Prepare for EAR FEASTS.



Cromagnon - Orgasm



Sounds for really serious heads.

Yeah sure-- everybody prattles on about these so-called "fucked up" records alla time to the point where the term loses it's edge entirely. Is it REALLY fucked up, or does it just offend the same twits who have built a little Ikea record collection based on MTV or "hipness"? Shit, some people think Ween or Pavement is/was way out there, wheareas I find them to be disposable pap that stole it's soul from early Zappa (former) or early Fall albums (latter).Which brings me to an album that truly IS fucked up: CROMAGNON's ORGASM. Before I go too deep into scribing here, for history's sake I'll point out that this sucka appeared in 1968 on ESP-disk-- mavericks among mavericks in the musick biz. They brought us Sun Ra's HELLIOCENTRIC WORLDS, the first two FUGS platters, ALBERT AYLER's SPIRITUAL UNITY, and of course, the entire catalogue of proto-punk heroes, the GODZ.Now, when you stick the needle into the groove that is opener, "Caledonia", you'll immediately think you're listening to Einsturzende Neubaten gone black metal, then you'll realize you're WRONG and that there was no reference points such as that available in 1968. Wow-- the next track, "Ritual Feat of the Libido" is simply "Caledonia" slowed down to 1/3 speed you may notice; it makes your hands kinda clammy... music shouldn't scare you right? Especially not the kind made by two guys who useta write bubblegum hits that would make Herman's Hermits blush??! Ooops! Shouldn't listen to those voices in your head-- not only is it possible, that's exactly what's happenin'. And who are these mantra-chanting freaks cryptically referred to as their "Connecticut Tribe"? OK, you can't see me, but I'm shrugging my shoulders nervously....

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http://www.mediafire.com/?knqds3cydu383od

Current 93 - Cats Drunk on Copper



Great live album introduction to Current 93.

One of the most memorable nights in my adult life now has a soundtrack companion. The night on that summery evening at the Union Chapel in 1997 is still fresh in my mind. I got to spend time with one of my best friends Andrew, as we met Coil for the first time in person on the way in, and sat in a crowd pointing at various WSD-celebs like Steven Stapleton and other supporting cast members like Mika from Panasonic, Ivan Pavlov of COH and John Everall of Sentrax. The concert opened with readings from John Balance and a couple others (one of them lives in NY I think) and subsequently continued with the current cast of Current 93: Rose McDowell and Michael Cashmore on guitar, Karl Blake on bass, Joolie Wood on violin and James Mannox on drums. Special other guests on hand that evening included Bill Breeze, Martin Stone and Big Bucks Burnett, all joining in the big "Christ and the Pale Queens" closer. The unobtrusive audience gives me the impression it was recorded straight from the sound board, but unlike many similiarly recorded shows, I don't feel there's any loss of depth here. Put the music on in your livingroom and it feels like you're actually there.

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http://www.mediafire.com/?kvu3ff99136hvbq

Down in June - Covers...Death in June



Songs by the dark, militaristic industrial folk group Death in June are re-interpreted generally as pretty nice relaxed Scandinavian pop songs.

No slavish imitators, Sweden's Down In June deconstruct and lavishly, as well as lovingly, reinvent songs from the Death In June catalogue with their own distinctive Totenpop vision.
As The Byrds were to Dylan so Down In June are to Death In June.
A very rare and surprising discovery awaits.

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http://www.mediafire.com/?a4c4hdmadcc494n

Looking For Europe: The Neofolk Compendium



Man, what can I say. Apart from the respect I have to give it for having an enormous influence on the development of my own musical taste, Looking For Europe is just about one of the best 'various artists' releases I've ever seen. Compiled to accompany a book of the same title, it presents a history of neofolk over four CDs, from prehistoric fragments from the sixties all the way to the present day. Along the way, it manages to include an astonishing wealth of rare, unreleased and exclusive material, from artists as illustrious as Genesis P Orridge and Laibach (not to mention Blood Axis, Der Blutharsch, Andrew King, etc.). Unbelievably good shit. If you only download one thing from this post download this and give it a whirl, broaden your damn horizons!

“Looking For Europe” is a must have compilation for neofolk music fans. The authors and the Auerbach label have compiled a long needed compendium that captures the many elusive strands of a musical tale that is still unfolding. Neofolk music has grown over the last twenty years from the original compositional experiments and inspirations of a handful of pioneering musicians into a thriving underground music culture that has redefined the post industrial music landscape. Whether you are a hardcore neofolk fan or one of the newly initiated you will find “Looking For Europe” to be an essential and informative history of this coveted genre.

Part 1:

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http://www.mediafire.com/?jnkh9n2z9bwqfd5
Part2:

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http://www.mediafire.com/?v8kvz0g31kzrsy1

[TheClickOfALight]

Did we miss the rules? I think we missed the rules. Hold on.

Here you go:

Please note the second to last rule.

Oh, my bad. Sorry. Still, I'm desperate, can't find it anywhere...

[scarred]

because of the weird folk thread:

Chelsea Wolfe - The Grime and the Glow (2010) (320kbps)

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http://www.mediafire.com/?swg46dpqk3p6cez
dark, gloomy, weird. think a way more disturbed marissa nadler.

[KharBevNor]

Oh, my bad. Sorry. Still, I'm desperate, can't find it anywhere...

Sorry guy, we don't actually listen to shit music here, you should find another forum.

 

[Tom]

Here, try this link.

[TheClickOfALight]

Sorry guy, we don't actually listen to shit music here, you should find another forum.

 

"Listening to pop music - even if it's actually really good - isn't cool oso I don't do it, in case some people on the internet I've never even met and never, ever will, and who know me completely anonymously, judge me negatively."

Here, try this link.

Helpful, thanks, I haven't been trying that for the past few weeks, I'll have to check it out...

[StaedlerMars]

dude check your PMs.

EDIT: heh. if you don't capitalize the P and the M there that reads differently.

[KharBevNor]

"Listening to pop music - even if it's actually really good - isn't cool oso I don't do it, in case some people on the internet I've never even met and never, ever will, and who know me completely anonymously, judge me negatively."

"I let myself be trolled constantly"

 

[Patrick]

Without further ado...

CAKE - Showroom of Compassion

<3333333333333333333 haven't listened yet but I'm downloading it and I am SUPER PSYCHED

[TheClickOfALight]

dude check your PMs.

yeah, have done now, thanks very much!

"I let myself be trolled constantly"

 

Meh, I've had a long day and couldn't resist the bait...

[JD]

Cromagnon - Orgasm

This is amazing

[amok]

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http://www.mediafire.com/file/c880jq8wzy9z9eo/k-prok-pyro.rar

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http://www.mediafire.com/file/bk0o6u9mwsxg6so/k-prok-jiadp.rar
^ listen to this one first if you're not sure where to start

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http://www.mediafire.com/file/a2u943ej29o571v/k-7-9.rar

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http://www.mediafire.com/file/8b6q3y8zladv2ye/k-afstan-vnam.rar

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http://www.mediafire.com/file/d3gn665qcuu6aii/k-ehid.rar

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http://www.mediafire.com/file/yzhawgt7m68i5qu/k-ufex.rar

so because it's 2011 and time to start giving back
and because of the new His Name Is Alive album
which is.......
alright
here's a couple old ones from the 90's when I really loved them

Nice one, thanks. Love their recent albums but never looked into any from before the mid-'00s. Definitely gonna check these out.

[likshot]

This is an incredible mix. I just wish I could have been there to see it performed live. It is by Lord Cry Cry, who had loads of stuff up on Soundc!oud, but it has all been taken down in the last month. It's dubstep, it's blues, it's jazz. It's impressive.

You know, Generation Bass is more than just a dance or transnational club label.
First and foremost we LOVE music.  It therefore follows that we will sign and release records by artists who we really dig and love and feel very, very passionate about.
Thus, as I advised you at the beginning, when the label came into being, expect the unexpected.  That’s what you ought to expect with us!  My task is keep you constantly surprised, perplexed, guessing and sometimes scratching your head.
You might not get it right now but maybe you will a few years down the line..lol..
Lord Cry Cry is an artist I have been waiting for all of my life.  If you could hear what I have already heard, you would be sitting here with your jaw hitting the floor.
He is our GREAT WHITE HOPE…ahahahaha…..sounds sooo southern doesn’t it..lol..Maybe one of my heroes, Neil Young, might have something to say about that
No, honestly, I am so damn excited about this artist cause he embodies so much of what I LOVE……part Tom Waits…part John Lee Hooker… Part Dubstep…..Part SurfStep….part PsychoBilly…..mostly GENIUS!
This is music for the SOUL and a reminder to those who sold their souls…ie.. Robert Johnson…
If there is any justice, I think a dude like this ought to be supporting some of the biggest rock bands on earth and playing sold out stadiums if he could duplicate what he does with a LIVE band!!!
Here’s an introduction into Lord Cry Cry’s mind.
It’s a mix which will enable you to see into a tiny bit of his MADNESS & GENIUS but without giving too much away as to the forthcoming release.
Don’t go into this mix expecting Tropical Bass or Cumbia but do expect lashings of Classical stuff, Blues, Jazz, Dubstep and some other really weird shiit.  A man after my very own heart!
It’s one of my top 3 mixes of 2010 and this dude is one of my Top Artists of 2011

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http://www.mediaf!re.com/?xybodwr1i67ymxa

[youthcant]

Smith Westerns - Dye it Blonde (2011)
Sophmore album of Smith Westerns, slightly (cough) more produced. Beachy, bonfire, tops-off fake garage pop rock.
http://vimeo.com/17777581

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www.M/F.com/?ps85hxt985l45ia


Iron and Wine - Webcast/Kiss Each Other Clean (2011)

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http://www.M/F.com/?aj5eaj13e1cb9f7It's good, but strange that he really like belts-out and sings, instead of the modest whisper of yesteryears.

[JD]

Smith Westerns - Dye it Blonde (2011)

whoop hold on I have this in much better quality
The Smith Westerns - Dye it Blonde

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http://www.mediafire.com/?wzarg01e2qblk91
All in delicious 320kb

[likshot]

The first track, "The Free Slave" has, in my opinion, the most fluid, exciting, groovy rhythm section I have ever heard.
I have perused this thread for a year or two now. I thank you all for introducing me to music I would have not found for a long time without you. I have tried to join a few times and was not successful. I don't know what went wrong, I am a musician, not a computer aficionado.
This album is fucking sublime.

1970, the year of this recording, was a mighty exploratory year for jazz. The shock waves of the Miles Davis bombshell, Bitches Brew, were strongly reverberating in open minds. But not every innovator had to plug-in their instrument in order to crackle electrically. Indeed,Roy Brooks demonstrates on this live date just how alive and creative acoustic jazz could still be in that pivotal year of 1970. Brooks drives his all star quintet, which includes the grossly underrated Woody Shaw on trumpet, the heavy-weight George Coleman on tenor, the unstoppable Cedar Walton on piano, and the fluid Cecil McBee on bass.
Funky, adventurous, and totally accessible, this recording captures the sheer excitement and enthusiasm that players like these could generate when the chemistry was just right. This is a near-classic club date, a fact that is loudly amplified by the near frenzied appreciation of the audience, whose presence is felt throughout the four lengthy tracks that stretch across the record grooves. It almost makes the listener jealous, wishing to have been there on that memorable day at the Left Bank Jazz Society Baltimore, soaking in the pleasure of such a jamming session. Thankfully 32 Jazz has unearthed this disc for us to spin!

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http://www.M/F.com/?eqox5jj12qg520e

[est]

It might have been during the time when confirmation emails were not going out. (it was ages, we couldn't get it working right)

In any case, welcome!

[Algernon]

Timber Timbre - Timber Timbre (2009)



Magic Arrow

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http://www.M/F.com/?t89km283875t55j

[De_El]

hey kids long time no share



The Townhouses - Islands

I grabbed this album today and found it too infectious to keep to myself.  The group are from Melbourne. The music is gentle and ringing, occasionally blippy and bloopy, otherwise beaty and soupy.  Give it a try and enjoy.

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http://www.mediafire.com/?8rdcinkqqr0eq9v

[amok]

(self-titled; 2010; V2)

Contender

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http://www.mediafire.com/?2z0sn5db8u2gb3c

[StaedlerMars]

Timber Timbre - Timber Timbre (2009)

Magic Arrow

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http://www.M/F.com/?t89km283875t55j

This album is pretty fucking excellent, I'm actually surprised it hadn't been posted yet.

[ThePianoMan]

Downliners Sekt - We Make Hits, Not the Public

The Autechre comparisons are apt only in that this is really impeccably produced - the punch of the drums and the buzz of the bass is pretty unbelievable, but it isn't remote or proggy the way Autechre often is. I passed on these guys before and I guess I really shouldn't have. This is what Eskmo would sound like if he wasn't so tangled up in that brostep problem. With Eskmo, James Blake and this, maybe vox direct from the DJ is becoming a new Thing.

We Make Hits, Not the People is the second in a trilogy of physically-released EPs by Downliners Sekt, four tracks exploring the innermost mechanisms of electronic music. Gears grind, pistons slam, exposed circuity enervates by rerouting electricity into explosive dead ends, all that good industrial stuff. Not unlike Raster-Noton's recent output, the fastidiously mechanical music shares certain structural ideas with dubstep. However, the force with which these beats crash and skid on the warehouse floor packs a determined wallop far greater than even the deepest sub-bass caverns of London.

As opposed to the unfriendly "industrial detritus" of preceding EP Hello Lonely, Hold the Nation, Hits feels more structured. Every track carries some sort of vocal melody, presumably sampled from any number of pop or R&B sources. They may be fragmented and occasionally encased in suffocating bulletproof glass, but they're melodies nonetheless. Downliners Sekt don't go about the typical route of dehumanizing androgyny or fashioning the anthemic and triumphant out of snippets, but rather use their siren songs to thicken the dread. On "White Dawn," a disconnected voice tremulously whimpers "I feel so cold"—it's too easy, too obvious and too effective.

"From Under Spinning Lights" starts the EP off with subtle sputters, synths whirring in the background—until the swinging beat finally drops, brutal by anyone's standards. This is painful music. Probing tendrils of electricity snarl and spark, menacingly creeping up the sides. The softly cooing vocals exhorting that "love is real" from somewhere deep within the track's churning chambers are mocking, an ugly approximation of humanity from a hulking mech.

Those electric currents combine with the beats for the startling "Incertia Gloria": Think five Reese basslines playing at once. But just like the previous EP, the final track shows the most progress: the potential energy of "Selfish G" is such that it sounds like the track is compelled to move, a violent thrust that nearly brings it down from within. Horns murmur in the distance and vocals babble meaningless phrases that ride the same unnatural horizontal trajectory; this mechanical beast isn't even pretending to be human anymore. As the track burns itself out, consumed by digital distortion flames, it becomes a question of whether or not Downliners Sekt vision is a dystopian reality or a nightmarish hallucination, but while their beats are playing, the thrilling terror—or awe—they inspire renders such matters meaningless.

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http://www.M/F.com/?tr67h29tyoo6euv

This really is some brilliant stuff--definitely one of the best things I've heard lately. It's worth noting, though, that you can download this (and all their other releases) for free from their website.

[likshot]

Linton Kwesi Johnson is a UK-based dub poet. He became the second living poet, and the only black poet, to be published in the Penguin Classics series. His poetry involves the recitation of his own verse in Jamaican Patois over dub-reggae.

This is a compilation album and captures completely the anger of the Rasta man during the violent summer of 1981 in Brixton, South London.
At the beginning of April, the Metropolitan Police began Operation Swamp 81 - plain clothes police officers were dispatched into Brixton, and within five days almost 950 people were stopped and searched through the heavy use of the sus law - which allowed police to stop and search any individual on the basis of 'suspicion' of wrong-doing. This increased tension between the police and the community eventually leading to the riot.

Happy summer reggae this 'aint. It a cyall ta arms chap!

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http://www.M/F.com/?1d3509q0u5p69jy

[KvP]

Huh, always wondered what "Swamp 81" referred to.

[amok]

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http://www.mediafire.com/?43c80mr9cpev8be
(2010 / 320)

review

[KvP]

It's too bad, I was going to have a rip posted as soon as it got here. Boomkat's been really slow lately.

[KvP]

This is the new shit.


Zerkalo - Stoi Storoni Zerkala Pt. 1

Pretty excellent synthwave throwback. Kind of like Serafina Steer if she played synths instead of the harp, sorta. Seedy cocaine goth music.

Clone initiate another sub-label, this time dedicated to an offshoot project of the Heinrich Mueller / Dopplereffekt spectrum. On these two Zerkalo EPs Mueller works with Victoria Lucas, whose arid vocals appeared on the shadowy Black Replica tracks available through their myspace. In Part I of 'Stoi Storoni Zerkala' the pair craft a sound in thrall to the richness of pure synthesizer tones and stark machine rhythms, unadorned by unnecessary FX and conjuring imagery of Chris & Cosey producing the soundtrack to some unknown 80s Russian film noir. It's not as conceptually high brow as the recent Dopplereffekt material but should satisfy your darker cravings. Aces.

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http://www.M/F.com/?x2456hl565e0b70


Tevo Howard - What Is Noise?

Following a killer 2010 (that featured a pair of sublime drops on Rush Hour) Chicago House classicist Tevo Howard launches an EP for the always-on-it Permanent Vacation. Expect only the finest hypnotic-melancholic, strictly analogue, deep house/techno grooves, wrapped up in silken pads, winding bass worms and cosmic hooks. If you were into the Virgo reissue last year, this is definitely the one.

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http://www.M/F.com/?4qv4pl5lpoj9exp


030303 Label Compilation

Modern acid techno (they released that incredible EOD EP I posted a few weeks back) with a strong IDM undercurrent, as befitting such things. Great turns from EOD and Vibert.

Purveyors of the finest modern acid, the 030303 label gets its game together with ten tracks from James T Cotton, Ceephax, Ardisson, Luke Vibert and the rest. JTC's 'Nothings The Same' gets out the gates with a groovy Chi-town jacker using some dope Green Velvet style vocals. Ardisson are in the mood for it with the deadly uptempo '5 Minutes To Get Straight' and true to form, Luke Vibert gives one of the maddest offerings on the rushing machine breaks of 'Acid pHorce'. We're not sure who DB is but he's obviously got a thing for the techier end of the Rephlex catalogue i.e. The Wisp or The Tuss on 'Orisphee'. Ceephax's 'Acid Schmichael' hurtles out a dose of fast acid for the ravers dem and there's also a rare cut from the brilliant D'Arcangelo on 'No Strings Attached But A Volcom Belt'. Belter!

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http://www.M/F.com/?5rbibdocd98zmrd


Cursor Miner - Requires Attention

Eclectic pop, more than anything, but generally all-over-the-place. Hooky, with pretty great production. Closest thing I can compare it to is a more hi-fi version of Pictureplane.

Electronica maverick Cursor Miner deploys his fourth album, a journey into the lawless frontiers of pop music where just about anything can happen. Oddball opener 'Reject' is what you'd imagine Depeche Mode jamming around a campfire might sound like, while the more circuit-centric 'The Golem Of Bognor Regis' lurches more conscientiously in the direction of an electro influence, whilst also sounding a little like one of Atom TM's many guises in its absorption of chintzy exotica. One of the album's highlights, 'The Man With The Transparent Face' marks a turn towards a post-dubstep sound, embracing throbbing, pressurised basslines and aggressive beats whilst keeping it quintessentially Cursor Miner with a weird lyrical contingent. Following suit, 'Mad Cow (Intensively Farmed Version)' maintains the dark and distorted urban edge, while such diverse treats as the Rephlex-ish 'Full English Fastbreak' and the star-gazing cold-wave missive (and former single) 'Luna' keep the top quality content flowing.

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http://www.M/F.com/?apzz9pn7unslu06


Wil Bolton - Time Lapse

Boomkat says it better than I can. Flirts with Campfire Headphase-era Boards of Canada, generally very idyllic.

Hibernate records continues to dominate the pastoral ambient wasteland with this latest missive from Boltfish co-owner Wil Bolton. Better known as glitchy IDM feller Cheju, on ‘Time Lapse’ Wil strips down his sound to come up with something far more measured and beautiful than anything in his back catalogue. Beginning with the reverberating electronics of ‘Falling Away’ this sets the tone for the album, with distant field recordings sitting beneath echoing melodies. Somewhere in-between the electrified shoegaze of Manual and the melancholy electronics of Vangelis, Wil navigates his sound into more acoustic territory on ‘Corrosion’ and into deep, haunting drone on ‘Slate’, but the rich melodic sense is the glue that holds the record together. Bolton might not be breaking any new ground on ‘Time Lapse’, but his production skill and ear for melody make this a thoroughly enjoyable cinematic listening experience.

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http://www.M/F.com/?kxa4x1tu0g747sj


The Gulf Stream - Native's Mantra EP

Somehow I ended up with another release from the same label that gave us the bro-y bass album I posted a week or so ago. Overall a lower-key affair, but still punchy!

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http://www.M/F.com/?opoqadirdvvlwyb


By Proxy - Sixty Eight

I know nothing about these guys other than that they're from NYC / San Fran / Seattle and they're releasing stuff on Car Crash  Set, who I trust. The title track is a blue-toned club R&B track in the dBridge / Riya mold. It's pretty awesome. Contains a remix by Aussie DnB dude Vaccine.

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http://www.M/F.com/?k59658rt4wjvbtg


Julio Bashmore - Everybody Needs A Theme Tune

I wish Julio would write my theme tune He branches out a bit from his UK Funky roots (he might be the best in that business, Night Slugs be damned) with techier songs here. I love it to bits.

I feel like maybe he got his cover switched with a Oneohtrix Point Never album by accident.

Killer and diverse four-tracker from Señor Bashmore, the first for new London label, PMR Records. Most notably Julio diverts his energies into two new areas with the cannily dubbed-out disco triplets of 'Everyone Needs A Theme Tune' and even a slouchy future boogie cruise on 'The Horn That Time Forgot'. Back in more familiar terrain, 'Battle For Middle You' infuses a DirtyBird style deep burner with a sweetly filtered Detroit drop and 'Ask Yourself' floats off on a bed of 808 bass hits and breezy tropical synth pads. Very nice indeed.

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http://www.M/F.com/?8ccb63p1ml2b40u


Jamie Grind - Footwork EP

The wiley, grizzled dubstep vets at Fortified Audio (who have released a few pretty choice twelves in the last year that you can find in the old thread) break into the faux-Chicago game, with this EP from Jamie Grind exploring... Footwork. If you like Ramadanman / Andrea / Addison Groove, this is more of that same great taste. I like the way Europe is refining and streamlining the rough'n'tough sensibility of the original Chicago sound.

After making a solid first impression with his Infrasonics debut, Leeds-based Jamie Grind reduces Chicago footwork to a shimmering flicker of neatened swing rhythms on Fortified Audio. The lead track deploys many of the same elements as your average footwork cut but arranged for House'd-up UK 'floors. Linking with Hackman the pair sketch out a skittering Broken-Beat raver on 'Saw The Light' while 'Without You' runs with percolating 808s, tidy rhodes stabs and sweet garage vibes, saving the killer 2-step blush of 'Now You Know' for dessert. fans of everyone from Hyetal to Andy Stott should give this some attention! Recommended.

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http://www.M/F.com/?4lbaan21st7dte0

Last one!

Bvdub - Tribes at the Temple of Silence

Beautiful loop compositions from the dub techno stalwart Bvdub, like a less minimalistic Basinski in its better moments. Patient listeners are rewarded with the eventual emergence of gentle, loping techno on a few cuts. Brilliant stuff, great to veg out over.

The consistently good Home Normal label presents what must be the most engaging and lushly complex album to date from Brock Van Wey aka BVDub. Drifting slightly away from the vast dub scapes he's reputed for, 'Tribes At The Temple Of Silence' is a sumptuous suite of drone/loop-based ambient electronics with a keener sense of pop sweetness and taste for tempered beats. A first sign of things to come occurs on 'A Quiet Doorway Opens', setting the four walls of his sound to a more intimate environment. 'The Past Disappears' gives the first convective flush of emotion with a slow blur of symphonic strings and 13.5 tog ambient tones opened out with richly padded but deeply discrete basses. The keys and crystalline melody of 'Sanctuary' are more New Age positive, recalling some later Roedelius wanderings, but 'These Walls Will Always Remember' succumbs to that comforting loneliness that defines the best of his work, with chilly synths condensed into heaving, harmonious sighs. 'Morning Rituals' introduces even rarer elements to his work with what sounds like Native American ululations woven into waves of static and gently buoyant, icily clear electronic soul rhythms, whereas 'We Move As One' smudges fluttering dub house patterns into the background, foregrounding his powdered snow-crunching synth textures. 'Towers Rise To The Sky' renders his gauzy veils of ambient shimmer with breathtaking delicacy. Highly recommended.

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http://www.M/F.com/?248gg5t0khnh1q1

[clockwatcher]

JESU - HEARTACHE DETHRONED (2010)

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http://www.M/F.com/?7gy9awibwz14yr1
reissue of out of print first EP and some old unfinished stuff......

The Heart Ache EP consists of two 20-minute songs. The first six minutes of “Heart Ache” is a familiar Godflesh grind. Six minutes in, however, a Mellotron-triggered sampled choir starts up, and a clear guitar line begins to ring out, introducing a new guitar tone that will characterize Jesu throughout the albums and EPs to come, followed by Broadrick’s clear, yearning vocal and a slowly evolving composition including chiming acoustic guitars and keyboards, all played by Broadrick. The song succeeds in taking the listener on a complex journey without the pummeling loud-quiet-loud dynamics of the archetypal post-rock song. “Ruined” is even more cohesive, with a gorgeously downcast, ringing motif. The previously unreleased Dethroned EP is less impressive: unfinished songs still very much in a Godflesh mode. The title song is muscular, but marred by anonymous processed vocals, and “Aurated Skin” is beautiful but airless, falling a bit too close to formulaic dreampop.

[ellis]

Barefoot Surrender--Barefoot Surrender

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http://www.mf.com/?237e8ads4e1p97fwww.myspace.com/never-say-surrender

Wanted to thank you for this - gotta admit I have a weakness for anything bluegrassy.  Even putting that aside though, the album's fun.

[large/marge]

CAVIL AT REST - ORIONS WAY (2007)

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http://www.M/F.com/?cuzfgk1kgm2d3a0
I've been following this thread for 2 years now and I finally popped my cherry. I feel like a man.

OK, you all know Local Natives. Cavil At Rest was Local Natives before they changed their name and got better management. Same guys. Much more upbeat. Just as awesome. I dont know why they never pushed these songs but it's not my band so I cannot judge. "Sun Hands" was even a Cavil At Rest demo before the Natives went Local. This is a combination of both of their old EPs. The bassline, claps and breaths in "Who's There" will explain everything. Enjoy!

[the_pied_piper]

OK, you all know Local Natives.

Umm... who? 

[trr005]

Your popped cherry is so fantastic indeed.  Thanks much

[pwhodges]

Those earlier disks remind me that their earliest gigs at the Jericho Tavern in Oxford under the name On a Friday  were recorded by a friend of mine.

[dustnation]

Pienza Ethnorkestra - Indiens d'Europe (2006)



http://www.myspace.com/pienzaethnorkestra

Crazy great french jazz, folk-rock, something. Hope you enjoy it.

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http://www.M/F.com/?bb1qq9avh9sxa93

[clockwatcher]

Wil Bolton - Time Lapse



Bvdub - Tribes at the Temple of Silence

obviously, like everyone else, I can't keep up with all the goodness you put up but thanks generally and I'm liking these two at the moment - very relaxing

[Vuk]

Ulcerate - The Destroyers of All

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http://www.mediafire.com/?ab5w1x5mjdaf2aa
If you liked Everything Is Fire, you will definitely like this. For those that haven't listened before, I'd say they fit between the style of tech metal Gorguts and Deathspell Omega are known for. They play technical music, but it has so much atmosphere...and that title track is pretty much incredible.

[SWOON! at My Gravitas]

Awwwwwww daaaaaaaaaang

[scarred]

Rules:

The first rule of this thread is you do not mention MF.  I am doing this because we are currently the first hit for the full version of "MF thread" on Google, so y'know, that's bad n' shit.

No hot-linking images or albums. You can re-host images at http://imageshack.us.

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to MF, in multiple parts if the album is over 200mb. The reason for this is that we know MF is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Also, please do NOT request albums. This includes requests for re-uploads; if you miss it, try looking for it somewhere else.

Repost the rules at the top of each new page.

[BitLip26]

Anybody heard of Old Grey Mule? Great instrumental blues sound - can't seem to find the album 'Sound Like Something Fell Off the House' anywhere though. Definite must check out.