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Author Topic: The "wink wink" Thread 2010: This Time It's Personal  (Read 378651 times)

Miles

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #100 on: 10 Jan 2010, 03:00 »

Just wondering what the criteria here for uploading is.

Any genre? Any level of popularity?

I have a SHITLOAD of music I uploaded to Mediaf!re for a bunch of comrades a while back, all correctly tagged with album art, all urls sitting in a .txt document on my hard drive. Some of it is fairly mainstream stuff though and was wondering if this is more of a thread for bands you probably wouldn't have heard of (to broaden horizons or whatever) or just sharing any music in general.

Cheers~
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Gridgm

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #101 on: 10 Jan 2010, 05:09 »

on sharing it's essentially if you think it's worth sharing then share it because obviously it will be similarly worth something to someone else
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and my ears are wearing head phones
they do play my favorite songs
not music i'm told to like
but the songs that make me dance along

KaosPilot

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #102 on: 10 Jan 2010, 08:53 »

Stapleton - On The Enjoyment of Unpleasant Places



Scottish indie-rock of the highest quality. Brilliant band, brilliant album. For fans of Avast!, Tellison, Dartz!, and Jetplane Landing.

Code: [Select]
http://www.mediafire.com/?2x3nwkzjzkl
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #103 on: 10 Jan 2010, 13:57 »

Any genre? Any level of popularity?

Yes yes yes, go go go!
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the_pied_piper

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #104 on: 10 Jan 2010, 14:21 »

Stapleton - On The Enjoyment of Unpleasant Places

Scottish indie-rock of the highest quality. Brilliant band, brilliant album. For fans of Avast!, Tellison, Dartz!, and Jetplane Landing.

Code: [Select]
http://www.mediaf!re.com/?2x3nwkzjzkl

This is pretty good. The 128kbps means that I can't really compare it with the high bitrate Tellison and Dartz! albums I have but i'd say it's more like We Were Promised Jetpacks meets Dark Captain, Light Captain.
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KaosPilot

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #105 on: 10 Jan 2010, 14:34 »

It started life as wma which was then converted to m4a and then to mp3 so I don't know if this would have had an effect on the kbps?

Now, WWPJ I've heard but Dark Captain, Light Captain?

Edit: After listening to their myspace I can confirm they are highly enjoyable.
« Last Edit: 10 Jan 2010, 14:40 by KaosPilot »
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Rubin

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #106 on: 10 Jan 2010, 14:46 »

I dig Berndsen

It seems that they have ingested an abobe average amount of Pet Shop Boys, but they do it well, except for a very few irritating tracks.
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‘All our lives are symbols. Everything we do is part of a pattern we have at least some say in.’
Frank, The Wasp Factory

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #107 on: 10 Jan 2010, 15:01 »

It started life as wma which was then converted to m4a and then to mp3 so I don't know if this would have had an effect on the kbps?

Well, maximum bitrate for a .wma file is 192kbps so to be honest it was probably 128kbps to start with too.
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blanktom

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #108 on: 10 Jan 2010, 15:27 »

Berndsen - Lover In The Dark[2009]
Code: [Select]
http://www.mediaf!re.com/?ky12r2gydjtNo review, sorry.
Supertime
Hisspace

Kind of a request, sorry. Anyone got this in a format other than m4a? My iTunes is screwed at the moment, I'm forced to use WMP.
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chenghiz

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #109 on: 10 Jan 2010, 18:20 »

Berndsen - Lover In The Dark[2009]
Code: [Select]
http://www.mediaf!re.com/?ky12r2gydjtNo review, sorry.
Supertime
Hisspace

Kind of a request, sorry. Anyone got this in a format other than m4a? My iTunes is screwed at the moment, I'm forced to use WMP.
Just use this: http://www.foobar2000.org/ !
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scarred

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #110 on: 10 Jan 2010, 22:41 »

Spoon - Transference

I pooped
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #111 on: 10 Jan 2010, 22:46 »

TMI
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #113 on: 11 Jan 2010, 00:27 »

Spoon - Transference

OK this is actually a terrible rip unless half the songs are supposed to suddenly cut out at the end. The good part of it is that it's convinced me that I absolutely need to buy this record.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #114 on: 11 Jan 2010, 21:35 »

Spoon - Transference

OK this is actually a terrible rip unless half the songs are supposed to suddenly cut out at the end. The good part of it is that it's convinced me that I absolutely need to buy this record.

Here is the actual good quality rip! Actually 320, not a transcode pretending to be.

Code: [Select]
http://www.mediaf!re.com/?qzq0yytymzw
EDIT! Track 6 is apparently corrupt. Download a working version here:

Code: [Select]
http://www.mediaf!re.com/?yubvqjwwayn
Spoon - Transference

« Last Edit: 12 Jan 2010, 01:01 by AanAllein »
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Zingoleb

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #115 on: 11 Jan 2010, 21:41 »

Why does that kid make me think of Paul McCartney so much

Argh
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Kyros

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #116 on: 11 Jan 2010, 21:55 »

That good quality rip is awesome! Thank you! However, Track 6, 'I Saw the Light' was corrupt.
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gospel

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #117 on: 11 Jan 2010, 22:13 »

Click Here for the Old, 2009 Thread


Can you guess what's so exciting? No?

Shearwater – The Golden Archipelago

Code: [Select]
http://www.mediaf!re.com/?etyzmzytynm
Quote
“The Golden Archipelago”is the third album in a triptych of mindblowingly beautiful, dense and ambitious excursions about man’s impact on the natural world from Austin’s SHEARWATER. This
time singer/songwriter Jonathan Meiburg turns his attention to life on islands – a world of lushness and austerity, silence and sudden cataclysms. From rising sea levels to displaced populations, Meiburg travels from the Falklands to Madgascar, from the Bikini Atoll to the Tierra Del Fuego. The music matches the grandeur and melancholy of its subject matter. This is an ALBUMalbum. The first 10,000 CDs come packaged with a 50-page perfect-bound book of dossier of records, photos, regulations, and images on islands, displaced peoples, immigration records and more.

Quote
Rules:

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

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

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

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

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

Repost the rules at the top of each new page.
« Last Edit: 12 Jan 2010, 16:58 by gospel »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #118 on: 11 Jan 2010, 23:00 »

Yeah I'm getting that too.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #119 on: 12 Jan 2010, 00:46 »

hmm, probably a problem with my rar'ing. i'll try to fix that shortly
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #120 on: 12 Jan 2010, 00:51 »

so, would people prefer if i upload track 6 separately, or try and re-upload the whole thing (i hope that i don't have the same problem...)?
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scarred

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #121 on: 12 Jan 2010, 02:59 »

Here is the actual good quality rip! Actually 320, not a transcode pretending to be.

Thanks much! Uploading the corrupted track(s) separately is a fine way to go about it.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #122 on: 12 Jan 2010, 04:18 »

i might be completely wrong here, but i think all these corrupt files in people's uploads are the result of saving them as .rar files.  just about every album i've upped as a .rar has had a track or two that's corrupted, but the ones i've upped as .zip files (you can do this on winRAR, you won't need to get separate winZIP for it) have all been fine.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #123 on: 12 Jan 2010, 08:42 »

Have some Steeleye Span; a UK electric folk band, somewhat like Fairport Convention and similarly successful in their day.

TAG YR FUCKING SHIT, PEOPLE.

Christ. I'm sure these guys are great, but I stopped listening after the first track off the first album imported as "track 1". No album, no artist, no year, no anything.

(Paul, no offence meant. This is just one of those things that really irks me)
« Last Edit: 12 Jan 2010, 10:13 by valley_parade »
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Wait so you're letting something that happened 10 years ago ruin your quality of life? What are you, America? :psyduck:

Zingoleb

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #124 on: 12 Jan 2010, 09:31 »

See, even if someone tags it all I just assume they're wrong and go to wikipedia* to double check and/or fix them. Same thing goes for when iTunes automatically downloads album tracks (which pisses me off because half the time they are wrong and also EVERYTHING IS LABELED ALTERNATIVE/PUNK. God that pisses me off.) I'm kind of anal about my library.


*yeah, I realize the irony here
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KaosPilot

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #125 on: 12 Jan 2010, 13:14 »

Marnie Stern - In Advance of the Broken Arm



Quote
Somebody hold me steady, this record has me in convulsions! Not in a bad way either, Marnie Stern has done something with this, her debut album, that makes me rabid with childlike glee... she has combined two of my guiltiest pleasures - math rock and riot grrl. Okay I know I might not be selling it here but this works; apparently (or so her press release says) she only started listening to 'good' music at 23 years of age, when she chanced upon Sleater Kinney, picking up her guitar playing technique after seeing a video of Don Caballero... and that's exactly what 'In Advance of the Broken Arm' sounds like. Firstly, her guitar playing is simply incredible; apparently playing for at least three hours a day, she has perfected her technique into pure art in the same way Chris Corsano has perfected drumming. The fun doesn't stop here though, she is joined by none other than math rock prankster Zach Hill (of Hella) who lays down frenetic percussion to accompany Marnie's vocals and fretwork and then lends his hand to the production too. Phew, well I'm exhausted, even writing about this record is tiring, so imagine listening to it - from the minute it starts your senses are assaulted by Marnies' gorgeous (but lovingly abrasive) vocals, her abstract sense of songwriting and Hill's incredible barrage of drums. Maybe this is the first singer-songwriter math-rock album, it certainly sounds like nothing I've ever heard before and what's more, every second works perfectly. With the attitude of Sleater Kinney and the technique of Don Caballero she does something that many have tried and few have mastered - writes songs that are equally as listenable as they are technical, and somehow it still retains a punk spirit? I recently waxed lyrical about Hella's latest project which takes their sounds into bigger, brasher more poppy places, but where Hella shoot for late 70s prog rock, Marnie Stern manages something which sounds a lot more contemporary and a lot less comical. This is music with conviction, with honesty and with pure unadulterated character, and Kill Rock Stars have yet again struck a seam of gold. I am going to be spinning this record for a long time to come, and I highly recommend it to anyone with a penchant for the more unpredictable side of life. Blistering!

Rather...longsish review from Boomkat.com

Code: [Select]
http://www.mediaf!re.com/?3mtizfdmloz
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Zingoleb

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #126 on: 12 Jan 2010, 14:05 »

what irony is that?

A lot of people don't view wikipedia as a reliable source. I do, for what it's worth.
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Scarychips

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #127 on: 12 Jan 2010, 14:22 »

Okay, so we are actually starting a new thread.

Oh and thanks for the Shearwater. Really cool of you.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #128 on: 12 Jan 2010, 14:37 »



Nils Frahm - The Bells

Quote from: Strangeglue
This record became a part of Kning Disk’s solo piano series at the behest of Peter Broderick, who first heard Frahm’s exceptionally lucid and beautiful piano improvisations in much the same way I did; lying down and looking up. I thank him for having done so, Nils Frahm is a welcome addition to my life, reminding me of the first meeting I had with Gonzales’ phenomenal record Solo Piano.

Those who don’t find Broderick’s music annoying after the first listen (unlike myself) might well find themselves sharing the slither of the venn diagram where the two meet. Coincidentally Broderick was present at the recording of the album, which must have been a real treat. In his own words they “hired a beautiful old church in the heart of Berlin for two nights, with a wonderful old grand piano and the most amazing natural reverb I've ever heard.” Lucky for some eh?

Though fans of iconic improvising pianists like Keith Jarrett might enjoy The Bells, it should be noted that Frahm is devoted to the same kind of prettiness that drives contemporary classical/indie/folk crossover players like James Blackshaw, fans of whom should apply (and it even outswirls that good lads latest piano forays… review here). In other words: There’s no jazzmatazz. But don’t dismiss it just yet jazzficionados! Because Frahm is capable of playing with an immense, guttural power and when he does alight on the prettiest lillies he does so softly and moves on before sinking them with overemphasis and heavy handed repetition; the twee technique which has become the norm in much of that very indie/folk/classical genre that Broderick is perhaps an unwitting figurehead for.

When I began this review I had no idea that I would have so many cross-references to play with. Dude clearly digs Satie, but who doesn’t? It’s not ECM material (a Very Influential Label), but is that just marketing/who your mates are? In the record shop where I work this would end up in the indie/folk bed with quack piano doctor Hauschka (don’t get me wrong, he’s good too!) and the ever wonderful William Basinski (reviewed here), separated from the Chick Corea’s and the Gary Burtons (who you can have a little taste of here and here) by all manner of soul, gospel and electronica.

And this divide makes some sense, because they are growing from very different earth and being picked up by younger antennae (plural of antennae? Not so easy is it!). The improvisatory technique was wrenched from the hands of the jazzers and the Steve Reichers, or at least duplicated/borrowed/stolen, a long time ago. So fans of the what’s-gonna-happen-next chemistry can go looking all over the genre spectrum and find good results, be it Pocahaunted, Chris Corsano & Paul Flaherty or some punk band you’ve never heard of making up their songs on the spot. This has been going on a long time too. So a pianist like Frahm is not only absorbing all manner of non-improvised ear candy, he’s hearing the technique pioneered by his instruments forebears echoing out through the Devil’s music, and Buddha’s too.

But that’s getting a little too far out, and as soon as I let one of The Bells’ longer tracks loose again, in this case the melancholic ‘It was really, really grey’, my senses and my emotions are re-engaged, and the ideas of “why” fall by the wayside. The piano is not a dying instrument, but there is something of antiquity about it. It is an immensely articulate conjurer of images, but that goes for nearly all music, except for pale abominations like Mr Scruff.

So instead of using all manner of untranslatable images to explain my deep and sentimental interaction with this music I’m inclined to call the grand piano a unique kind of lens; it delivers the images with it’s own character, rather than devising them. The basic parameters of its sound can be replicated, but its inimitable soul is embedded in all those ever changing hammers and strings. Nils Frahm can speak to that soul, and The Bells is a beautifully captured conversation between two friends. Pieces like the truly striking ‘Said and Done’ embody something in music that can’t be achieved on other instruments, it is enlivening and uplifting. ‘Down down’ explores deep resonance and attracts a magnificent force without sounding like an “experiment”, ‘Over there it’s raining’ and ‘Somewhere nearby’ are both full of light, lyrical and at times painfully wistful.  

The Bells achieves a depth by its contrast of fragility and strength, applied to welcome emotions as well as those of a more challenging nature. The record’s explorative nature flows well, these forty minutes were culled from five and a half hours of recordings. I’m intending to seek out more records by Mr Frahm.

Code: [Select]
http://www.mediaf!re.com/?ijdwoyjzmfz


Floating Points - Vacuum EP

Quote from: Resident Advisor (4.5/5)
Floating Points' Vacuum EP sounds a bit like Motor City Drum Ensemble if Danilo Plessow, like, knew how to orchestrate a full band and stuff. Sam Shepherd, the man behind the project, likes the same sort of dusty soulful house sound as MCDE does on his Raw Cuts series, but it's smoother, less overtly loop-driven. The tracks on Vacuum flow, maaaan.

"Vacuum Boogie," as the title suggests flows upwards, straight into air. The melodies reach, reach, reach until you're nearly ready to dive into the track yourself and push them where they so obviously want to go. This sort of unresolved tension is where Points, AKA Sam Shepherd, excels. You're either hanging on to the edge of your seat or hanging on to your dancing partner waiting for the hit. The same goes for "Truly" and "Argonaute II," on a more muted scale. The groove is paramount, the instruments locked into a Bolero build that only rarely gets extinguished, only to be built up again. Like Plessow, Shepherd's talent on this particular EP is in creating glowing bits of soul and then simply letting them run their course. Both producers often create more challenging work elsewhere, but Raw Cuts and Vacuum Boogie are a classicist's dream.

Code: [Select]
http://www.mediaf!re.com/?yzdhjjqygmm


King Midas Sound - Waiting For You...

Quote from: Pitchfork (7.6)
The Bug's London Zoo aged well over the past year: It still stands as one of the more exciting albums of 2008, a roots-heavy dubstep/dancehall crossover with rib-cracking rhythms and an amazing guest roster of singers and toasters that stands as a remarkably distinctive collection of voices. But there was a surprise harbinger in that album, a song that my original review actually completely overlooked due to-- or maybe despite-- a stripped-down, ambient eeriness that offset the rest of the album's aggro-beat feel. That song was "You & Me", a strikingly delicate yet powerful collaboration with the soft-voiced singer/poet Roger Robinson. And about three months after London Zoo dropped, the creative partnership of Robinson and producer Kevin Martin brought forth a deservedly lauded single under the name King Midas Sound: the ghostly "Cool Out", which rivaled the best of Burial when it came to the more desolate corners of dubstep.


One year later, "Cool Out" has reemerged as the lead track off the first King Midas Sound full-length, and it's retained its impact-- assuming you can refer to the feeling of becoming slowly enveloped in abandoned-high-rise ambiance and serenaded by quivering, sweetly voiced murmurs as an impact. It also stands as one of the highlights of Waiting for You, or at least one of the most chilling moments; the fact that this album can conflate the two is a sure sign of where it's coming from. Every strength this record holds draws off the symbiotic relationship between Martin's beats and Robinson's voice, which adapt to each other in a way that the last two people in a barren environment might. This is dub production rendered as the final reverberations of a deserted cityscape, infused with a crumbling low-end that does for bass what a single fluorescent tube in an underground concrete tunnel does for light. And the voice decorates it like a spiderweb-- fragile in appearance, but structurally resilient enough to hold strong against the rhythm.


Robinson's singing sells his idea of zero-gravity lovers' rock like a champ, filling in the evocative cracks that his mostly straightforward lyrics don't do much to cover. The title track's lovesick sentiments are familiar, but there's this pang to his voice-- a bit disbelieving, bitter, hopeful and agonized all at once-- that holds the deeper meaning. And he's just as powerful on the other songs where he's called upon to invoke that lonely brooding atmosphere-- "One Ting" (sonically bleaker than the nano-orchestral lavishness of Dabrye's remix from the "Cool Out" 12"); the misty-eyed take-me-back begging of "Darlin'"; "Meltdown" and its heavy-sighing pleads for intimacy. Robinson does have an intriguing vocal counterpart on a few tracks in the person of Dokkeki Q member Kiki Hitomi, at her ethereally malicious best on "Goodbye Girl" delivering spiteful reprimands and Elvis Costello quotes with a scalpel's agility ("I wish you pain 'til you can't ever feel joy/ I wish you luck with a capital F, boy"). But the more remote and abandoned Robinson's aching voice sounds, the heavier it hits.


Not all of Waiting for You has that same ambiance, though it rarely rises above the level of a soft rumble. Martin's production forgoes the stereotypical dubstep war of bassbin attrition to let the beats glow instead of flash, and even when it approaches an actual heavy knock-- like the underwater dancehall bump of "Outta Space" or the smothered Mantronix boom-clap of "I Man"-- it still resembles the starker moments of Mezzanine-era Massive Attack more than it does something along the lines of Bug tracks like "Skeng" or "Warning". Still, a little something is lost when things digress from the cutting isolation that made "Cool Out" work, especially when Robinson breaks from his singing to issue scoffing spoken-word holistic reprimands on "Earth a Kill Ya"-- a decent bit of preaching with a heavy scowl of a beat beneath, but oddly harsh and self-assured on a record that thrives on sounding vulnerable.
Code: [Select]
http://www.mediaf!re.com/?ndemtxi2kt1


Oneohtrix Point Never - Rifts

Quote from: Tinymixtapes (4.5/5)
What does it mean to be a DIY artist in 2009? For one thing, it means you probably aren’t making a living off of music. One might think that Oneohtrix Point Never and other like-minded acts carry an anti-commercial agenda, content to release homespun music to only the most eager fans, happy to send a "fuck you" to the gloss of top 40 and a celebrity-obsessed culture. But surprise, surprise: unlike the oftentimes nebulous, nihilistic noise scene that dominated the DIY landscape early in this decade, the new underground is engaging every area of our culture, high and low — from the Billboard charts to your garage — with fascinating results. Almost anything can be appropriated under the "experimental" banner these days; just take the simple pop bands dripping in distortion or the multitude of nu-age acts releasing short-run cassettes while simultaneously getting name-dropped on Pitchfork. Yet one unifying factor among DIY sub-genres is a distance from monetary concerns, which should strike fear into the hearts of the Big Four CEOs: yes, music will survive one way or another, even if the industry is hemorrhaging money.


Daniel Lopatin, a.k.a Oneohtrix Point Never, is equipped with a pragmatic view of music’s call-and-response with the broader culture. Of our capitalist bubble, he says: "None of us are totally culture-free, and all of us, on some level, have been sentenced with having to relate to the ‘popular’ whether we side with it or not." Which seems more appropriate and less reactionary than several of America’s famous counter-culture head-spaces. And while it’s easy to view Lopatin’s attitudes through the prism of DIY culture in general, his music has many entry points. Listening to Rifts — a compilation of the albums Betrayed in the Octagon, Zones Without People, and Russian Mind — some will hear 80s soundtrack music, cosmic ambiance, or minimalist repetition, while others might pick up on the mishmash of noise and plastic, mystical new age music.


Indeed, as fellow TMTer Jon Lorenz pointed out, the sounds on Rifts look to past versions of unrealized futures for inspiration. Hearing the record in one sitting is like being in two times and places at once, like watching someone from another decade daydreaming. There is a calm certainty at the heart of these recordings that allows each track to paint a vivid and believable fantasy world through sound. Lopatin is also clearly aware of his music’s dialogue with the culture it sprang from. "I’m a sponge," he says. "I love culture and the process of soaking it in is just as rewarding as working from the inside-out and making my own ‘unique’ work — really I don’t see those processes as separate."


Perhaps most musically striking about Rifts is its pervading bareness, an aspect that, on the surface, disengages it from the pop canon. Oftentimes a song will appear shimmering and expansive, only to be revealed upon closer inspection as a single spare synth line arpeggiating to infinity. Other moments are filled with pure ambient texture, lending a variety somewhat rare amongst such peers as Caboladies and Emeralds. As well as providing entry points for a variety of listeners, the versatility and mobility of ONP’s sound also gives Lopatin an exit strategy if he needs it. That is, through the application of a synthesizer, almost any sound-world in recent memory can be conjured in facsimile. "I wanted to make an album that flowed seamlessly through this unspoken history of musics," Lopatin reiterates, "with the synthesizer as the primary engine for the discovery and marriage of disparate musics, which to me, feel like they really belong together."


And that’s really the beauty of Rifts and the movement of albums and artists it loosely represents. It’s as if the overt hybridization of 21st-century music has finally produced a strange, new singular vision, with various facets being illuminated by every new CD-R and handmade tape release. Rifts’ sleek digipack casing is perhaps both an unintentional laying down of the gauntlet and a nod backwards. Or maybe it’s just easier to ascribe an epic narrative to an equally epic slab of music.
(pt 1)
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(pt 2)
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« Last Edit: 12 Jan 2010, 14:47 by KvP »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #129 on: 12 Jan 2010, 17:02 »

Magnetic Fields - Realism

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Quote from: nonesuch
The Magnetic Fields’ new album, “Realism,” will be released on Nonesuch Records on January 26, 2010. Swerving from the unrelenting feedback pop of “Distortion,” this record explores the various genres under the umbrella of folk. Stephin says, “I thought of the two records as a pair, and I initially wanted them to be called ‘True’ and ‘False.’ But I couldn’t decide which I wanted to be called ‘True’ and which I wanted to be called ‘False.’”

VA - Portland Stories: A Collection of Nine Songs Produced and Compiled By Heather Woods Broderick

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Quote
Portland Stories is an effort made by Heather Woods Broderick (who is a member of the Efterklang live band and recently released her debut solo album on the Preservation label) to capture the simple beauty of some lovely musicians in her hometown of Portland, Oregon.

Portland is blooming with music. Music on the streets, on front porches, in venues around the city, in basements, coffee shops, record stores, etc. It's a city that is truly embracing music.  And for this compilation Heather sought out to document a small, quiet corner of that music world in a very simple way. She road her bike to the homes of eight different people with a simple 4 track recorder and pressed record, whether in be on the front porch or in the living room.

The result is a strikingly beautiful set of nine songs (including one by Heather herself).  Sparse, warm, touching, honest music. Songs that make a nod to the old world of simple folk music but stay true to the time we're living in now. (Peter Broderick)

Artist Info: (in order of appearance)

1. Kele Goodwin - Kite Strings

'Kite Strings' was written after a failed attempt to fly a pterodactyl shaped kite on windy spring evening in the middle of a busy street. The kite never did fly and now resides in the basement resting on top of Laurel's 4-track tape recorder.

myspace.com/kelegoodwin

2. Sarah Winchester - Northeast Kingdom

Sarah Winchester grew up in Vermont singing folk songs and church music with her family.  Later, she would perform in various choirs and begin writing songs. She received her B.F.A. in Studio for Interrelated Media from Massachusetts College of Art, where she studied sound recording and performance, printmaking, painting, and writing. In addition to her solo work, Sarah plays drums and sings with Portland, Oregon band A Weather.

myspace.com/sarahwinchestermusic
aweathermusic.com

3. Michael Elias - Halfway There

Michael Elias wrote 'Halfway There' when his wife and son were away for a few weeks. He got to missing them, and this is what came out.

myspace.com/splitrailfence

4. Nicholas Archibald Marshall - Into the Night

Nicholas Archibald Marshall, originally from Northern England, now lives in Southeast Portland. He has an old brown dog, and went gray before his time.

arenarockrecordingco.com/bands/sabertooth

5. MayMay - The Fall

Laurel Simmons is the songwriter behind maymay. The project began as an ode to friends and family back home in Flagstaff, Arizona. Over time it has evolved to become a project played, at various times, with several fellow musicians. Among those included are Heather Woods Broderick, Raúl Pastor Medall, and Nicholas Archibald Marshall, all dear friendships found in a new place.

myspace.com/barbarramaymay

6. Rauelsson - Liebre

Rauelsson is the moniker for Raúl Pastor Medall's musical projects. Born in Spain, but self-considered adopted Oregonian, Raúl has spent the last years of his life living in between Portland, OR, where he resides currently, and his European motherland. He released a double ep on HUSH Records in 2008 and has two new albums to be out in 2010 on the same label.

myspace.com/rauelsson

7. Town Rill - My Park Bench

Town Rill is the musical pen name of a fella named Birger Olsen. He writes modern blues and secular spirituals with hope of soothing his soul and perhaps a few others along the way. He's currently at work on a new album of New Orleans blues and country folk.

townrill.com

8. Galveston - Never Ask Why

Galveston is the musical alias of Chris Ashby. The music is influenced by, and occasionally performed with, other musicians.

myspace.com/galvestoregon

9. Heather Woods Broderick - Behind Doors

Heather wrote and recorded 'Behind Doors' in her vacant bedroom in Portland, Oregon, shortly before moving. To her, the song marks the realization of changing times and the closing of an era. Heather's debut solo album, 'From the Ground', was released in 2009 on the Australia based Preservation label.

myspace.com/woodsmusical
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #130 on: 12 Jan 2010, 18:21 »

I suppose I could, like, contribute this decade.

The Appleseed Cast - Low Level Owl Vol. 1

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If one stands back from the mayhem of life around them and will honestly realize what has been done on volume one of Low Level Owl, they will be floored. Here is a band who has, for the most part, orchestrated a symphonic masterpiece and glides effortlessly from one track into another. Odd for the average indie rock fan? Perhaps. Unapproachable? Hardly. Ambience and environment are the keys here. Through a number of experiments and hard work, the band has made a piece that is truly larger than what many people may be able to appreciate. A few drawbacks of the album, however, are to be noted. While the drumming is nothing short of superb, much of the guitar work seems trivial and uncreative. It almost borders on the needlessly repetitive, which leads to another point: It seems as though many of these tracks are almost used as filler. Three minutes of drums played backward is interesting for about the first 30 seconds. After that, it's kind of pointless unless it's integrated into some sort of song. Therefore, out of the 14 tracks, one can see that quite a few of these might possibly be tossed, although the final piece, "View of a Burning City," is hypnotically hallucinating in its drone. Regardless of the few drawbacks, the more this is played, the more there is to find to enjoy. The setting and time put into such a work shows how the whole is easily a sum of its parts. This is definitely not an album to be picked apart song by song. In fact, it seems a shame that both volumes weren't released at the same time. While it might take a while for a listener to realize the full implications of what Appleseed Cast has done here, at the least it's no worse than Mare Vitalis, which was a quality album. At its best, Appleseed Cast might be America's closest answer to Radiohead. ~ Kurt Morris, All Music Guide
« Last Edit: 12 Jan 2010, 18:23 by Radical AC »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #131 on: 12 Jan 2010, 18:32 »

I think you missed the point, dude
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #132 on: 12 Jan 2010, 19:15 »

Marnie Stern - In Advance of the Broken Arm

This owns.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #133 on: 13 Jan 2010, 05:31 »

I suppose I could, like, contribute this decade.

The Appleseed Cast - Low Level Owl Vol. 1

That's awesome!   :mrgreen:  Thanks!
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #134 on: 13 Jan 2010, 09:24 »

Marnie Stern - In Advance of the Broken Arm

This owns.

I would marry Marnie Stern right now if she promised to never stop shredding
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #135 on: 13 Jan 2010, 10:49 »

Marnie Stern - In Advance of the Broken Arm

This owns.

I would marry Marnie Stern right now if she promised to never stop shredding

That marriage would probably be the most confounding thing. I imagine most disputes would be settled via guitar/scream battle.

It would be ever better if you were the dude in your avatar, too.
« Last Edit: 13 Jan 2010, 10:55 by Orcusmars »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #136 on: 13 Jan 2010, 11:39 »

Marnie Stern - In Advance of the Broken Arm

This owns.

No doubt.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #137 on: 13 Jan 2010, 11:41 »

If that's how Marnie settled disputes, she would never lose.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #138 on: 13 Jan 2010, 20:25 »

If that's how Marnie settled disputes, she would never lose.

I am pretty sure that regardless of how marnie settles her disputes irl, i would not ever want to get into a dispute with her.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #139 on: 13 Jan 2010, 23:20 »

Hot Chip - One Life Stand [224 VBS] (2010)

Link's dead, but now that I know it leaked, Google should be able to fix that.

I'm not that huge into Hot Chip but the two singles they've released from this one have been ace. Will definitely be giving it a shot.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #140 on: 14 Jan 2010, 11:45 »

So yeah, I never post in this thread because I'm usually too busy stuffing my tubes full of new awesome, but today is a new day.
Also, monocycle sorcerer, you are kind of a hero (Ancestors?!?!!?!?!?).

Within the Ruins - Creature (Tech Death/Metalcore)


"Holy shit this shit's got vaginas with teeth on this shit! With teeth, homie!"
Yeah, that's how this album got introduced to me last year. That said, I'd say it's without a doubt the best metal of any flavor to come out of western Massachusetts in years. Real technical chuggles and squeedles. Shitloads of weedles. The bass kinda gets lost in it all and the drums are just okay, but it's their first LP.
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Job For A Cowboy - Demo (Deathcore)


Before Ruination and even Genesis there was a time when JFAC was innovative, even fucking nasty. Their demo and their first LP Doom was that time.
The most brutal demo my ears have ever fondled. Really, if you take nothing else from this post take this album and crank "Day in Black" once. You'll see what I mean.
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As Blood Runs Black - Allegiance (Death/Chug Chug)


The chuggles in this album weigh a ton. It's put together real well too! Got some hardcoresque chants, loopy squeedles, confused giggles, and heavy deedles. It's a shame they'll probably never put out another full length.
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Also, for those of you not so into the heavy, have some Bonobo!

Bonobo - Sweetness (Creamy Bass)


This shit ain't no half n' half; it's heavy cream.
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« Last Edit: 14 Jan 2010, 12:16 by Sythe »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #141 on: 14 Jan 2010, 12:23 »

Oh shit Bonobo, I've been meaning to check this out for a while.  This calls for more bass.

... after the pagebreak.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #142 on: 14 Jan 2010, 12:24 »

Jazzsteppa - Jazzsteppa



Known as the first group to play dubstep music live with acoustic instrumentation, Jazzsteppa basically has more flavor than just about any dubstep I've ever found.  The instrumentation is spot on ... lots of sweet horns and dubby percussion and stuff.  And then there's the basslines.  Um, shit.  I really want to come up with some worthwhile superlatives to talk about the basslines in these tracks but I've used them all before on lesser things.  The basslines sound like someone modified the engine of a Harley-Davidson the size of the moon to allow for pitch control and then filled the gas tank with combustible molasses and stuffed the exhaust pipes with steel wool.  BLUH.  SO HEAVY.  OH MY GOD.
Example track: Jazzsteppa - Taylor Rain

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #143 on: 14 Jan 2010, 14:44 »



Jahdan Blakkamoore - Buzzrock Warrior

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Gold Dust has teamed up with the Brooklyn-based Dutty Artz crew to present the debut album Buzzrock Warrior from Jahdan Blakkamoore. A vocalist extraordinaire, Jahdan is as comfortable over classic roots-style reggae as he is over cutting edge dancehall and tropical dubstep riddims. Hip-Hop heads might recognize the Boot Camp affiliate from his verse on Smiff N Wessun's 'Sound Bwoy Burreill'.

The album brings together many of the Dutty Artz crew's interests including dancehall, digital cumbia, grime, dubstep and other delicious tropical sounds. - The record features Modeselektor, grime super hero Jammer, Zizek Dutty Artz and 77Klash.

I have no idea what the fuck any of that means but this is a good album. Ran a couple of searches so I don't think it's a repeat. mp3 -V2

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #144 on: 14 Jan 2010, 19:38 »

Pantha du Prince - Black Noise (2010)

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #145 on: 15 Jan 2010, 01:15 »

ooooo

Known as the first group to play dubstep music live with acoustic instrumentation
So it's dub music.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #146 on: 15 Jan 2010, 06:14 »


Quote
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.
[/quote]

Love the JazZsTepPa.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #147 on: 15 Jan 2010, 06:54 »

In 2010 mediaf!re thread AND here. So everyone/no one is happy.

OK, this is a lot of stuff, so I'm not going to bother with album art except in select cases. All albums are fully tagged, including album art.

American Heritage - Millenarian

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American Heritage has tons of quick, angular riffs, but is backed up with some heavy thrash and a lot of loose bottom end crunch. A band like The Acacia Strain try for heavy by hammering down on their super detuned top string, playing monotonous breakdowns for half of an hour, but a band like American Heritage sounds as heavy as hell by just playing super tight, super intricate metal - but don't let their technical prowess lead you to believe these guys are "tech." The vocals take a background and the music itself just rides and carries the weight. But I don't mean this is like Pelican with some vocals, it's an integral part, but not the focus. I liken it to a band like Akimbo or Lords hanging out with the dudes and dudette from Kylesa or His Hero is Gone rocking out to Anodyne and playing some raging metal.

Blacklisted - No One Deserves To Be Here More Than Me

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So what's the big deal? Why did this one record polarize so many of their fans? Well here's the thing; Blacklisted decided against everything and released a grunge album. Yup, you heard me, a grunge album. No One Deserves to be Here More Than Me sounds like it could have came out on Sub Pop in 1990 and no one would have batted an eye about. "Everything in My Life is for Sale" sounds like a Bleach-era Nirvana and the whole album just has a cold, rainy, flannel, coffee drinking feel to it with its heavy guitars, thundering beats, and good slathering of 70's rock growled yelled vocals propelling the tracks.

Cable - The Failed Convict



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The well worn familiarity that Cable's music exudes gives them an authentic air and screams working class angst. Still, the band seems in great form, adding nuances to their music that previously their music showed hints of possibility; well placed guitar leads cut through the morass of the steady rhythms adding a layer of subtle melody that just breaks through the haze. The storytelling style of the vocals with tales of crooked judges and going west makes the entire album sound like the band is some gang of desperate cowboys sitting on some barren plain in a post apocalyptic nightmare screaming their guts out at the moon. And song titles like “Gulf of Texaco” and “Running Out Of Roads To Ride” add to that imagery. I still am not used to the song “Outside Abilene,” but it works with the rest of The Failed Convict. There is just an initial shock that comes with hearing the song; the fade of the closing track to the line, “Pray for me, brother Bill…” is a great way to end the album.

Coalesce - OXEP

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The OX EP is the companion piece to its stunning namesake LP, and as such it follows in the same vein of bass heavy Americana as OX. The OX EP contains five new tracks (not including the coupled opener and closer “Ox to Ore” and “Ore to Earth” that recall Sepultura's “Refuse/Resist”) of sludgy, moody, and downright pissed off metal. OX EP's first real song, “The Blind Eye”, hits like a Mac truck, as the band throw out groovy riff after groovy riff. “Through Sparrows I Rest” is an absolute beast. Sean Ingram's vocal chords work overtime, traversing a sea of tumultuous down-tempo bass and blues inspired lead work powerful enough to level a red wood. Coalesce also expand on the spaghetti western flair that was experimented with on OX, making “Joyless in Life” and “Absent in Death” sound like something from an Ennio Morricone soundtrack. Even though they act more as interludes than actual songs, they help add to the diversity and personality that ties the OX EP together.

The Catalyst - Swallow Your Teeth

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Throughout the album The Catalyst hone in on the goal of creating an aggressive and loud record, of which they truly do succeed at doing. “Small Town, Big Mouth” is The Catalyst at their most chaotic. The vocals are belted out with great force to match the intensity of the music. Occasionally they mix in some Botch-esque angular riffing, which gives the song an added flair. Another great example is “Sterling is a Hole,” a bombastic gnarling of guitars and pounding rhythms partnered with scathing screams. If I had to choose a favorite track from the album, this would probably be it.

Keelhaul - Keelhaul's Triumphant Return To Obscurity

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Keelhaul's Triumphant Return to Obscurity is about as fitting a title for an album as I've ever heard. After laying dormant for a few years the band has returned with their fourth full-length release. In spite of high praise from fellow musicians and critics, Keelhaul has remained, for the most part, below the radar of even the most grounded music fans. Leading off with “Pass the Lampshade,” the four-piece outfit wastes no time lollygagging around. The band's fusion of technical metal, math-rock, and classic metal is yet again in full force, with drummer Will Scharf providing the backbone for this auditory assault. The rumblings of Aaron Dallison's bass and the guitar duo of Chris Smith and Dan Embrose complete the musical equation.

mouthbreather - Thank You For Your Patience

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Excoriating guitars and shouted vocals meet pounding drums and shattered cymbals here to make some pissed-off post-Flag aggro rock that will turn your head and then shred your eardrums. Born from the ashes of Wow! Owls and The SetUp, Mouthbreather released a demo a couple years ago that got a fair amount of attention. The five-piece promptly undertook a healthy touring regiment on the back of that buzz, eventually arranging for one of said tours to end in Louisville so that they could record their debut full-length with Lords drummer Chris Owens. They tracked a dozen songs in a week-long session at his HeadBangingKillYourMama Studios and claimed in Summer 2007 that they would be would be releasing the material imminently. Fast-forward to early 2009, and the Mouthbreather debut finally coming out courtesy of the good folk of Kiss Of Death. Coyly entitled Thank You For Your Patience, the debut Mouthbreather full-length pairs five songs from the demo with an equal number of new ragers, all ten of which peel paint at twenty paces.

Taint - The Ruin Of Nova Roma

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So yeah, in short, this is some seriously dynamic noise metal. One part dirgey-sludge that would make AmRep proud, one part post-metal ala Neurosis, and one part Chicago skronk ala Jesus Lizard.

Taint's "ace in the hole" (I couldn't resist), is the vocal skills of lead singer JimBob. Managing to keep it gruff and gritty, but still swing with the song and offer melodic twists at the same time, he gives the songs an element and depth often totally missing in band's of this ilk.
« Last Edit: 15 Jan 2010, 10:47 by evilbobthebob »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #148 on: 15 Jan 2010, 08:05 »

I thought we would be using the 2010 thread from now on?
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #149 on: 15 Jan 2010, 08:50 »

I thought we would be using the 2010 thread from now on?

This is the post-2010 thread. It's better because it's longer.
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