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Author Topic: The "wink wink" Thread 2010: This Time It's Personal  (Read 432988 times)

smack that isaiah

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #200 on: 20 Jan 2010, 18:05 »

That was a really good song.  And cool music video, too.  I'll be downloading this next chance I get (spring break.  Damn, my school stays in session w/o break for long periods of time).  Thanks
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medicatesleep

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #201 on: 20 Jan 2010, 19:58 »


The Jesus and Mary Chain - Hate Rock 'n' Roll (1995)
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Back when rock n roll used to actually rock, there was this little band from Scotland that briefly kicked the world in the balls. I'm sure the majority of you have Psychocandy and define the bands sound by that album, but that's a shortcut to thinking. "Hate Rock 'n' Roll" has that really fuzzy yet slick Albini-esque 90's production. Some of their best work IMO.

Fans of Dinosaur Jr, Failure, Guided By Voices and Oasis
« Last Edit: 20 Jan 2010, 20:01 by medicatesleep »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #202 on: 20 Jan 2010, 22:00 »

This is a local-ish band that I love to pieces. The singer signed my forehead! The bassist signed my CD. We all hung out. Good times were had.



Penny Whiskey - Half-Corked
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So I really doubt there's going to be a review of this so I'm not bothering to look. I'm not a great reviewer, so I'll just put it simply - the band's very folky, very down to earth. This album has some traditional songs on it, as well as some originals, and one terrible joke. Some of the songs are downright hilarious, some are serious, and one in particular (White Hare of Howden) is downright haunting. Ian Anderson approves of this band, or at least that's what Kirk told me.

1. The Fox
2. Another Irish Drinking Song
3. Drunk for a Penny
4. Dirty Old Town
5. Such a Crime
6. Mary Ellen Carter
7. River
8. Battle of New Orleans
9. MTA
10. White Hare of Howden
11. Lord Scinta
12. Paul's Joke
13. Streets of London
14. Sacred Ground
15. Whiskey 'Fore Breakfast
16. Such a Crime (Radio Mix)

And if you like this, I can up an earlier incarnation of this band called Kilbrannan, which is who they were before they kicked out their guitarist for metalling up their folk.

Narada World - Celtic Dance
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It is a wonderfully varied collection of Irish jigs and reels with some other less traditional but still lovely tunes mixed in.

Kim Robertson does a lovely harp piece called Molly on the Shore which has White Coral Bells hummed in the beginning - may sound unusual or even weird, but it really works and it ends up going through my head all day it is so lovely. There are some pieces by John Whelan included as well that get my toes tapping each time I listen to them. What I like best is that none of the songs sound repetitive with one another since there are various artists and music styles presented.


I also tried to upload Tea for the Tillerman but it pooped out on me so I'll do that lady.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #203 on: 21 Jan 2010, 01:01 »



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http://www.mediafire.com/?j2yj5wzcmyf

Rapeman was an American noise rock group founded in 1987 and disbanded in 1989. It consisted of Steve Albini (formerly of Big Black) on guitar and vocals, David Wm. Sims (formerly of Scratch Acid) on bass, and Rey Washam (formerly of Scratch Acid and Big Boys) on drums.


This is the first and only Rapeman album, included is also the Budd EP which has one of the best usage of the word "motherfucker" in recorded history.

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #204 on: 21 Jan 2010, 02:49 »

I'm not even really going to try and review this. It is what it says on the label - 1.2 gigs or thereabouts of what Bleep considered the best music of 2009, and a lot of it is prety great. Something like 98% of it is at least electronica-leaning, and most of it is electronica of some sort - techno, house, dubstep, garage, italo, etc. If you're a indiefag, Animal Collective, Fuck Buttons, Klaxons, and Grizzly Bear ft. Michael "Fucking" McDonald all make appearances.

Bleep's 100 Best Tracks of 2009
Part 1
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http://www.mediafire.com/?m02lwt12hknPart 2
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http://www.mediafire.com/?mjrztkynweqPart 3
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http://www.mediafire.com/?xcblzmiaqnhPart 4
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http://www.mediafire.com/?ymoiwj14jomPart 5
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http://www.mediafire.com/?d5nwtyhzjzyPart 6
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http://www.mediafire.com/?znjm0riuomzPart 7
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http://www.mediafire.com/?yzwljez1f5m
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #205 on: 21 Jan 2010, 03:32 »

Rapeman

Holy cow, I used to have this on vinyl (minus the EP) as I had a girlfriend through most of  88 until early 89 who was a huge Rapeman fan.  I haven't thought about this group in years.   I now have Rapeman and Tupleo Chain Sex songs stuck in my head and am wondering what the hell ever happened to that girl.

I am also wondering what happened to the vinyl.  I will be checking the garage later.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #206 on: 21 Jan 2010, 22:25 »

here's an album from a band started by some kids i go to school with - they're very folk-y/old time-y, and put on some of the best shows i've been to.  they're called The Dapper Cadavers and if you're in the portland, oregon area then you should try to see them live.

The Dapper Cadavers - The Fall of the Dapper Cadavers
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http://www.mediaf!re.com/?flemd9rw4xx


I've been looking for this album for months now, and all I can come up with is this damned dead mediafire link from an inactive user.

Did anyone here download this album, and could possibly up it for me. It's drivin' me mad.
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StaedlerMars

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #207 on: 22 Jan 2010, 05:45 »

pantha du prince

this is quite ace. thanks!
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #208 on: 22 Jan 2010, 07:09 »

OK so I went into my local record store today and came out with this:

Steve Reid - Odyssey Of The Oblong Square


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This is an (apparently) rare-until-recently release from Steve Reid, recorded in 1977. For those who don't know who Steve Reid is, he's a free jazz drummer that's played with some absolutely incredible artists, such as Miles Davis, Sun Ra, Fela Kuti, James Brown and perhaps most notably and recently he's done a series of albums and tours with Four Tet.

As for the music, there aren't any reviews available so I'll try to explain it as best I can. If you've heard any free jazz before you'll have a rough idea of what to expect: twisting, polyrythmic grooves which lock in then collapse under their own weight several times in the course of the two - 16+ minute songs. Horns blowing themselves up to fuck, with other horns underneath providing backing and occasionally bubbling to the surface. This also features prominent congas and african percussion, adding a brilliant extra layer for Steve Reid to work off and making the music vaguely funky. There are parts that are almost danceable (almost), a first for any free jazz album I've heard (though I can't claim to be an expert). It has that sense of very talented musicians pushing themselves to the edge, occasionally spilling over but always eventually pulling it back in to a workable groove.

So yeah, I've listened to this a few times and it's pretty much fucking blown my brain to shit each time. Highly recommended.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #209 on: 22 Jan 2010, 09:18 »


Thighpaulsandra - I, Thighpaulsandra
disc 1 is corrupt.
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JD

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #210 on: 23 Jan 2010, 08:48 »

Trucker's Delight EP[2009]

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http://www.mediafire.com/?d3gzzzum0nyTrucker's Delight

You're welcome
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #211 on: 23 Jan 2010, 08:58 »

Maybe I should upload their full album huh?
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #212 on: 23 Jan 2010, 09:33 »

dude that video
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #213 on: 23 Jan 2010, 13:08 »

Flairs - Sweat Symphony[2009]

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http://www.mediaf!re.com/?mizod2hnylz
Also yeah Rapeman is awesome

Edit: Should mention trucker's delight is on here
« Last Edit: 23 Jan 2010, 15:06 by Zombiedude »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #214 on: 23 Jan 2010, 14:47 »

Cross-posting from the Industrial/Post-Industrial thread we have (sorry, it's not mediafire but megaipload.  hope that's okay.):
WaxTrax! Black Box: The First 13 Years (320kbps)

Anthology of the groups pertaining to Wax Trax! Records, from 1980 to 1993. This compilation commemorates the existence of its previous independent life to the purchase of its catalogue on the part of TVT Records.


Disc One:
1.1 1000 Homo DJs - Supernaut (Trent Reznor Vocal Version) 
1.2 Revolting Cocks - No Devotion (LP Version) 
1.3 Revolting Cocks - Beers, Steers & Queers (12" Version) 
1.4 Sister Machine Gun - Addiction (LP Version)   
1.5 Excessive Force - Violent Peace (LP Version)
1.6 The Young Gods - Envoye (12" Version) 
1.7 Pailhead - I Will Refuse (12" Version) 
1.8 Lead Into Gold - Faster than Light (LP Version)
1.9 Front Line Assembly - Digital Tension (LP Version) 
1.10 Mussolini Headkick - Your God is Dead (LP Version) 
1.11 Greater Than One - Now is the Time (LP Version) 
1.12 Pig - Shit for Brains (LP Version) 
1.13 Peter Hope & Richard H. Kirk - Cop Out (LP Version) 1.14 Wreck - Atomic Dog (LP Version) 
1.15 Strike Under - Elephant's Graveyard (12" Version)

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Disc Two:
2.1 Chris Connelly - Stowaway (LP Version) 
2.2 Chris Connelly - Come Down Here (LP Version) 
2.3 Coil - Love's Secret Domain (LP Version) 
2.4 Coil - The Snow (Answers Come In Dreams II) 
2.5 Clock DVA - The Hacker (LP Version) 
2.6 KMFDM - Virus (12" Version) 
2.7 KMFDM - Godlike (12" Version) 
2.8 Ministry - Every Day (Is Halloween) (Original 12" Version) 
2.9 A Split Second - Rigor Mortis (LP Version) 
2.10 Foetus - Butterfly Potion (12" version) 
2.11 Doubting Thomas - Father Don't Cry (LP Version) 
2.12 Cyberaktif - Nothing Stays (LP Version) 
2.13 Controlled Bleeding - Words (Of The Dying) (LP Version) 
2.14 In The Nursery - Compulsion (LP Version)

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http://www.megaupload.com/?d=AUCYPGYB
Disc Three:
3.1 PTP - Rubber Glove Seduction (12" Version)   
3.2 Acid Horse - No Name, No Slogan (12" Version)   
3.3 The KLF - What Time Is Love? (12" Version) 
3.4 Psykosonik - Silicon Jesus (Duality Mix) 
3.5 My Life With The Thrill Kill Kult - Cuz It's Hot (12" Version) 
3.6 My Life With The Thrill Kill Kult - Do You Fear (For Your Child) (LP Version) 
3.7 Laibach - Geburt Einer Nation (LP Version) 
3.8 Meat Beat Manifesto - God O.D. (EP Version) 
3.9 Fred Giannelli - Mindblower (EP Version) 
3.10 Psychic TV - I.C. Water (LP Version) 
3.11 Pankow - Me & My Ding Dong (LP Version) 
3.12 Divine - The Name Game (7" Version)

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #215 on: 23 Jan 2010, 17:33 »


Thighpaulsandra - I, Thighpaulsandra
disc 1 is corrupt.
I just downloaded and had no problems.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #216 on: 23 Jan 2010, 18:20 »

Made Out of Babies- The Ruiner

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http://www.mediafire.com/?3zm1jxy2im3
Noise rock/metal that is heavy and scary and sexy as hell.

Quote from: Pitchfork, I guess
Julie Christmas has one of rock's most versatile voices. Technical range does not necessarily equal emotional range, and Christmas is one of a select few who have both. Like Björk, Jarboe, and Diamanda Galas, Christmas can plummet within seconds from sweet nothings to feral growls. Even at her lightest, she retains an edge. Her voice is tart and taut, and her screams feel more like inevitabilities than conscious extensions of range. Unlike her counterparts in heavy music, who often replicate male roles, Christmas' presence is quite feminine; Babes in Toyland's Kat Bjelland comes to mind.

A vocal instrument as magnificent as Christmas' requires a suitable context. She has had problems finding one. Her main band, Brooklyn's Made Out of Babies, has been hit-or-miss. At best, they coalesce into fearsome heavy metal thunder. At worst, they devolve into aimless, plodding sludge. Christmas' other band, Battle of Mice, often has the same problem. Battle of Mice's last record, A Day of Nights, was musically earnest, lyrically honest, and virtually unlistenable. Christmas' projects have tended to over-emphasize her voice's abrasive side.

The Ruiner is the first record that truly harnesses Christmas' range. This is because it's the first that truly harnesses Made Out of Babies' range. Due to time constraints, the band's writing process fractured, with members working individually or in small combinations. This produced their most varied, nuanced record to date. For the first time, Christmas has a backing palette with colors to match. Guitars unspool jangly curlicues; drums and bass joust with the suppleness of Jesus Lizard. "Stranger" dangles eerie dewdrops of melody over abstract chords. The song perches precariously between dark and light, as Christmas lashes it with throat-shredding howls. "Peew" likewise plays with balance. Wordless cooings course over chugging riffs, which burst open with punishing percussive flurries. "The Major" recasts Björk as a doom metal diva, while "Invisible Ink" is a tour de force of melisma and major thirds à la Trent Reznor.

Noise-rock and metal comprise much of The Ruiner, but it's really the heir to PJ Harvey's Rid of Me. That record's Led Zeppelin-esque bombast (recorded by Steve Albini, who also engineered The Ruiner's predecessor, Coward) appears here in big, boxy drums and Christmas' dramatic vocals. Like Harvey, she sings, screams, and seduces all at once. In "Cooker", the words "Run, run for your life" repeatedly erupt from her throat like napalm. They feel like something Charlie McGee might have said in Firestarter before she set the world alight.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #217 on: 23 Jan 2010, 18:59 »

VA - Crazy Heart OST

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http://www.mediafire.com/?uzmt2zlajwm
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From the soundtrack to O Brother, Where Art Thou to his work on the Robert Plant/Alison Krauss collaboration, T-Bone Burnett is the top producer for country and Americana “event” recordings. His latest event is the soundtrack for current awards show darling Crazy Heart, co-produced by the late Stephen Bruton.

The two movies couldn’t be more different, but the soundtracks have some striking similarities. Like the O Brother soundtrack, the songs here are split among classic recordings, originals from contemporary artists and a spattering of material performed by the actors themselves. Songs like “Hello Trouble” by Buck Owens, “My Baby’s Gone” by the Louvin Brothers and “Are You Sure Hank Done It This Way” are classics in every sense of the word and should be a part of any country fan’s library. Added to that are tracks from Townes Van Zandt, Sam Phillips and Lightning Hopkins to represent the Americana side of the music.

Ryan Bingham, who also appears in the movie, chips in a couple of songs. The bouncy “I Don’t Know” is probably the most instantly accessible song that Bingham has ever recorded. There are two versions of it, with Bingham’s version trumping Jeff Bridges’ more laid-back take. “The Weary Kind,” written with Burnett, is deservedly getting the most notice, and the amount of awards it’s received have all but guaranteed it an Oscar nomination for Best Song. Perfectly suited to Bingham’s gravelly voice, the song captures the life of the hard-living troubled soul that’s central to the movie. More importantly, it stands on its own as a moving ballad, independent of any movie.

The bulk of the songs are left up to the vocal abilities of Bridges as main character Bad Blake. Bridges–who does have an album under his belt–has a warm, gruff voice with a bit of a soulful tinge to it. He’s ably backed by a band that’s more Americana than mainstream country (When was the last time you heard an accordion on country radio?), but the songs like “Hold On You” and “Fallin’ & Flyin’” are so instantly catchy that they might have become hits in the Outlaw Era. Bridges does a solid job on them, but the overall success of his songs are due more to the quality of the songwriters and the band than the singer.

The biggest surprise on the album is that Colin Farrell, who gets a song and a half on the soundtrack, could be a country star if the whole actor/international sex symbol thing doesn’t work out for him. His performance on “Gone, Gone, Gone” is better than most of the songs released by actual country singers over the past year.

Bruton, who had made a name for himself as a musician, songwriter and singer, died after a long bout with cancer in 2009. He co-wrote most of the original songs along with Burnett and a few others. It’s a fitting finale for a career that stretched more than 40 years and hopefully will shed some light on a man who spent too much of his career flying under the radar.

The Magnetic Flowers - What We Talk About When We Talk About What We Talk About

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http://www.mediafire.com/?mdcecnmngz5
Quote from: scenesc
The Magnetic Flowers, who have to be near the top of nearly anyone’s list of best bands in Columbia, recently released their excellent second full-length, and in doing so raised the bar pretty damn high for the rest of this year’s releases.

The band plays a kinetic brand of literate indie pop with disparate folk, cabaret and psychedelic threads. Featuring a surfeit of talent in its four vocalist line-up (all of whom seem to pop up in the background, singing multiple parts, on pretty much every song) and the songwriting talents of Patrick Funk, Jared Pyritz and Adam Cullum, the group is nonetheless more than the sum of its parts. When playing together, their music seems to drip with endlessly layered melodies, hyper-literate wordplay and song structures that seem to positively burst from the seams.

The new record, entitled What We Talk About When We Talk About What We Talk About [a play on the title of a Raymond Carver short story collection], sees the band delivering on the promise of their debut in spades, with potent versions of songs that have already become staples of their live show.

Opening up with the tribal thump of the band’s twisted adaptation of the traditional “I’ll Fly Away,” this scratchy, rough-and-tumble introduction still manages to immediately capture the essence of what makes the group so great: Every vocalist contributes to the layered sing/shout-a-long, with words and melodies offset to give the listener the feel of a tumbling, shambolic free-form exercise that magically makes perfect musical sense. Later the band will come full circle in a inverted, lush reprisal of the opening cut.

The first original on the record and a highlight of the band’s recent live shows is “Southern Baptist Gothic,” which showcases Pyritz’s spitfire vocal style that has gradually emerged from its near-mimic of Conor Oberst to become an assured, unique presence in its own right. This track also establishes the sonic template from which most of the songs on the record are derived from: interlocking electric and acoustic guitars, integral walking bass lines from Albert Knuckley, and over top of it all, the hyper-melodic keyboard lines (or accordion parts) provided by Cullum. Drummer Evan Simmons has his hands full just trying to keep all his bandmates together, but he still manages to give each song the dynamic tug and pull that keeps the listener on the emotional journey of the singer. Although the song features a lyric-heavy stream-of-conscious narrative, its power comes from the sheer confidence Pyritz exudes on the mic and the seemingly effortless fills and pick-ups the entire band engage in as the song sways from fast to slow and low to high across its five minute running time.

Another highlight, and the soulful center of the record, is the emotionally wrought “Northern Lights,” a ballad that exquisitely captures the jumble of confused thoughts and concerns that make up the average twentysomething’s psyche. The song, centered around a few simple guitar chords and a mournful accordion melody, is a coming-of-age song pushed ahead ten years, addressing all of the insecurities, demands and questions that life holds once you are actually suppose to start living it. It’s a beautiful, touching anthem that has the power to strike a chord right in the heart of the band’s intended audience.

Another song of note, “Talk Talk Talk Talk,” is Cullum’s first turn at lead vocals for the band and where the record’s title is pulled from. Whereas Cullum rarely shows the kind of restraint and control of the two frontmen, but he makes up for it by putting his all into every lyric he utters, from breathless exhalations to uninhibited hollering. The song is allusion-heavy, with provocative twists on both T.S. Eliot and Raymond Carver and ironic name-checks of Donnie Darko and Charles Bukowski. The song is built on a jazz-like vamp that suits the poem-song approach the band takes with it. It aims to be a “Love Song of J. Alfred Prufrock” for the modern-day hipster set, and hits it fairly well on the nose.

The album ends with “Reprise,” a wholly different adaption and take-off of the gospel number of the beginning. The original take is the shortest and most minimalist song on the record, with the band sounding slightly unhinged. The reprisal is the longest and most sonically lush, with every vocalist aiming for their tenderest performance. Chants of “Hallelujah” are repeated over and over with the upmost sincerity. It is the perfect way to end this roller coaster of a record, with a band utterly at peace after the musical, lyrical and emotional twists and turns that precede it.

On the whole, this is an impressive record that clearly draws upon much of the national indie scene of the past ten or fifteen years, yet forges a unique identity for this seriously talented group. However you feel about the state of music, locally or nationally, you should feel proud to have a band like Magnetic Flowers making music in your town.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #218 on: 23 Jan 2010, 20:06 »

Made Out of Babies- The Ruiner

I've had this album for a while now, it is so good. 
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #219 on: 24 Jan 2010, 12:14 »

Smackin' Isaiah - The Champagne of Bands... We Know Sexy

The amazing melodic hardcore/punk rock band A Wilhelm Scream from New Bedford used to be known as Smackin' Isaiah.  This is one of the EPs they put out under that moniker before the 2003 change.  This is while they were still developing the wonderful sound they currently employ.
Code: [Select]
http://www.mediafire.com/?wsdjgk0bno0(Track 6 is a little wonky.  I may try going into Audacity and fixing it up)
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #220 on: 24 Jan 2010, 12:22 »

Is that band where you got your name?
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #221 on: 24 Jan 2010, 16:03 »

Smackin' Isaiah - The Champagne of Bands... We Know Sexy

The amazing melodic hardcore/punk rock band A Wilhelm Scream from New Bedford used to be known as Smackin' Isaiah.  This is one of the EPs they put out under that moniker before the 2003 change.  This is while they were still developing the wonderful sound they currently employ.
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http://www.mediaf!re.com/?wsdjgk0bno0(Track 6 is a little wonky.  I may try going into Audacity and fixing it up)



thank you sir!  a decent quality version of this is something i've been looking for for ages!  and btw, the songs on this are apparently outtakes from "the benefits of thinking out loud," or so i heard.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #222 on: 24 Jan 2010, 16:48 »

No problem.  But, It's actually not such good quality.

Is that band where you got your name?

Yes.  Yes it is.
And the little text-y thing under my pic is from a song on a later album from them after they changed their name.
My avatar is unrelated.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #223 on: 24 Jan 2010, 19:33 »

And now for something completely different...

Seriously, one of the greatest rap albums of all time.  1991s O.G.  dropped at a transitional period in hip-hop. 

Yo! MTV Raps was busy exposing millions of suburban white kids to acts like N.W.A. every afternoon after school.  Hair metal and synth pop was dying, and no one was sure what was going to fill the void.  Faith No More,  Alice in Chains, and others were taking the music on the radio in a whole new direction.  For gods sake, there was a Public Enemy/Anthrax/Sister's of Mercy tour!   Nirvana's Nevermind and Pearl Jam's 10 didn't come out until late summer.  The summer that the first Lallapalooza tour kicked off.  Suddenly everybody went from being a Warrant fan, to a Rollin's Band fan.   Strange times indeed.  Though on the cusp on the grunge age, nobody knew what it would be that would claim the attention of that particular generation of American youth.  It came close to being Ice-T and his brand of rap.

Already  a well known emcee, O.G. really displays Ice's lyrical ability all the way through the album.  Still full of himself, still bragging about what a tough guy he is and how many women he's fucked, Ice also matures on this album and speaks intelligently about social injustice, about race relations, about abused children, and about how being in the ghetto isn't really all that great.  He also introduces Body Count to the world, which was a hell of a brave thing for him to do at that time, even if it ultimately wasn't so well executed.  (His cover of Black Flag's Police Story on a tribute album is brilliant.  But I digress...)

Really smart lyrics, with samples of Black Sabbath and Led Zepplin  mixed in with the standard James Brown/Funkadelic fare of the age, that show he's not nearly the one trick pony many of his contemporaries were/are.   

ICE-T   O.G.   Original Gangster.



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The "wink wink" Thread 2010: This Time It's Personal
« Reply #224 on: 25 Jan 2010, 11:09 »

Made Out of Babies- The Ruiner

Awesome
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #225 on: 25 Jan 2010, 16:44 »

The Alphabet - Scarlet Starlet [2009]



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The group formerly known as Pretty Balanced may have changed their name, but their music's still the same eclectic combination of classical instrumentation, vocals, and electronics. Led by Judith Shimer (of the Sneaky Mister), The Alphabet has crafted a crisp half-hour of an album, their most focused (and most accessible) yet.

I hesitate to compare them to any other artist, because doing so would imply a lack of originality not only on my part but on theirs. The fact that their closest musical relatives are somewhere between the punk cabaret of the Dresden Dolls and eccentric piano chamber rock of Regina Spektor doesn't help their case. Ultimately, The Alphabet have done something thought by many to be impossible - crafted an entirely unique, stylized brand of music that you'll either love or hate.

Fans may find Scarlet Starlet a little lacking - its running time amounts to a little over half of Conical Monocle, and it includes 3 different versions of the same song - but it's still an indelible part of their catalogue. Like Pyramiddd's Jupiter, it's more of a mini-album, but no less essential for fans and newcomers alike.

"Prosthetic Face"
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #226 on: 25 Jan 2010, 16:59 »

Just noticed the rules weren't posted at the top.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #227 on: 26 Jan 2010, 04:40 »

A few albums here.

Maggot Brain by Funkadelic



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A pretty decent semi funk album. The first track alone is worth the download. Rolling stone loathed it when it was first released, so that counts for something at least.


Cosmic Slop by Funkadelic



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Another Funkadelic album, and a damn good one at that, I personally think that it is their best. A lot more solid and consistent than their previous work


Last and definitely least Philosophy of The World by The Shaggs



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Recently featured on octopus pie, this music is truly terrible, I mean really really bad. The kind of band that really puts all the nickelback/whatever  hating into perspective. It makes Brokencyde look technically competent.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #228 on: 26 Jan 2010, 07:21 »


Last and definitely least Philosophy of The World by The Shaggs



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Recently featured on octopus pie, this music is truly terrible, I mean really really bad. The kind of band that really puts all the nickelback/whatever  hating into perspective. It makes Brokencyde look technically competent.

The sad part -- that's not a joke album cover, that's actually them!

On the upside -- as horrible as the music is, I can hear the seed, the kernel, of '90's indie music to come. Considering this mess was from IIRC 1969, The Shaggs were way ahead of their time.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #229 on: 26 Jan 2010, 18:07 »


Sunshine: Music From The Motion Picture (2008)
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http://www.mediafire.com/?wzg40mncnxySo after a year of legal disputes this was finally released on iTunes. Underworld wrote a couple beautiful ambient tracks ("Capa's Last Transmission Home" & "Mercury") and close the record with a pinch of industrial/noise. John Murphy ain't no slouch either. Just listen to the "Adagio In D Minor" tracks; they're as epic as they come. Highly recommended even if you're not into soundtracks.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #230 on: 26 Jan 2010, 18:55 »

Did that just become available? I have a version of the soundtrack that I thought was the complete one, but now I'm not so sure...
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #231 on: 26 Jan 2010, 20:28 »

Novels - Untitled



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Novels is:
Graham Wright - Tokyo Police Club
Luke Lalonde - Borne Ruffians
Will Currie - Will Currie and the Country French
Dean Marino - Ex~po
Jason Sadlowski - Jay Sad


From the "band":
Quote
In January of 2009, five of us locked ourselves away in Chemical Sound Studios in Toronto with the goal of writing, arranging, and recording an EP from scratch in one marathon session.  When we stumbled out the door in the wee hours of the next morning, we found ourselves with what we're now calling NOVELS.

Indie bands write songs combining very traditional formats (country, doo-wop, 1940s girl group, etc.) with Brooklyn/Montreal low-lit apartment party sentimentality. 
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #232 on: 27 Jan 2010, 09:48 »

John Murphy I wanna have your babies!!!



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The "wink wink" Thread 2010: This Time It's Personal
« Reply #233 on: 27 Jan 2010, 18:59 »



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The "wink wink" Thread 2010: This Time It's Personal
« Reply #234 on: 27 Jan 2010, 19:03 »

Dang, I'm right in the middle of uploading that. And at 66MB it looks like you've got the VBR as well. My existence is so redundant.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #235 on: 27 Jan 2010, 19:21 »

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

I LOVE ELUVIUM I LOVE YOU GUYS I LOVE YOU
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #236 on: 27 Jan 2010, 19:33 »

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.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #237 on: 28 Jan 2010, 06:54 »

Surfer Blood - Astro Coast
hah im not sure how to do album art and review thing so i posted these.
check it out awesome album


www.mediaf!re.com/?in2vnmtzym0


http://pitchfork.com/reviews/albums/13844-astro-coast/
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #238 on: 28 Jan 2010, 08:57 »

Tom Moulton - A Tom Moulton Mix [2006]

Disc 1
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1.   Eddie Kendricks - Keep On Truckin           
2.   Al Downing - Ill Be Holding On           
3.   Bt Express - Peace Pipe           
4.   Don Downing - Dreamworld           
5.   Patti Jo - Make Me Believe In You           
6.   Clara Lewis - Needing You           
7.   South Shore Commision - Free Man           
8.   Camouflage - Youve Got The Power           
9.   Andrea True Connection - More More More           
10.   Detroit Emeralds - Feel The Need In Me           
11.   Orlando River Sound - Moonboots           
12.   Mfsb - Love Is The Message           
13.   Udell - Wont You Try           
14.   Grace Jones - La Vie En Rose           
15.   Isaac Hayes - Moonlight Loving           
16.   The Lover - Lip Service

Quote
Tom Moulton is both a legend and an anomaly in the dance music scene. Arguably the inventor of both the remix and the 12" single, it'd be hard to pick a figure more important in breaking ground with regards to the way dance records are actually made. However, his lack of direct involvement in the discotheque scene that he helped provide a musical foundation for has kept him from the Legend status bestowed upon Larry Levan, Frankie Knuckles, Ron Hardy, Walter Gibbons, et al. Never a DJ, not even much of a dancer, Moulton actually had an intense dislike for clubs. What he loved (and loves) is music, with a purity and a passion rarely seen even amongst those for whom it is their life's work.


Taken from a much longer stylus review, found here. http://www.stylusmagazine.com/reviews/tom-moulton/a-tom-moulton-mix.htm

I honestly can't recommend this compilation enough, I haven't come across a record so purely enjoyable in a very long time. Please do have a listen.

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #239 on: 28 Jan 2010, 10:08 »

Listen to this man, the version of Love Is The Message is specially fuckin' superb.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #240 on: 28 Jan 2010, 21:32 »


Elevator Music Vol. 1

Quote from: Drownedinsound
UK-bred dance variants tend to be magpies, marked by a cheeky tendency to beg, borrow and steal where necessary: witness hardcore’s breakbeat-driven rewiring of imported house and techno sounds, the clipped rasta soundbites of jungle or dubstep’s procurement of dub reggae’s expansive headspace. Indeed, what’s proving to be the most interesting facet of the current explosion in as-yet-undefined bass music – future garage? funkstep? flexstep? – is its typically promiscuous nature. The likes of Untold, Brackles, Shortstuff and Roska craft tracks that shamelessly incorporate elements of every major dance trend of the last 20 years. The result has been a surprisingly swift reconfiguring of dubstep’s DNA, unifying each disparate strand into a willfully awkward hybrid - and one that stubbornly resists categorisation.

The people at Fabric tend to be on the ball when it comes to these things. Attempting to keep up with developments in a scene where the majority of tracks only see vinyl release is an expensive business, and Fabric's Elevator Music Volume 1 compilation can take credit for acting as both a welcome primer for newcomers and an impressive collection of unreleased material for devotees.

If any one producer can take more credit than any other for the injection of a welcome sense of fun into dubstep’s darker regions, it’s Untold. His contribution here, ‘Bad Girls’, picks up where his recent ‘Flexible’ 12-inch left off, paring away the softer elements of the Gonna Work Out Fine EP until all that’s left are sheer edges: grimy bursts of bass and a melody played out on a misfiring glockenspiel. He’s also the closest the scene’s come to nurturing a true individual - after wrapping dancefloors in ‘Anaconda’s serpentine coils, he’s fast honed a signature sound that lands somewhere in the sparse hinterlands where classic house meets early Wiley.

Indeed, despite typically being mentioned in the same breath as dubstep, the common traits shared by many of the tracks on Elevator Music owe at least as much to grime. If forward-thinking releases in the past year from the likes of Joker, Tempa T and Terror Danjah have gone some way towards showing that there’s life left in that genre beyond dodgy electro collaborations, Shortstuff’s clipped eight-bar stylings and the blitzkrieg bass of Doc Daneeka’s ‘Drums In The Deep’ suggest it’s still a region ripe for plundering.

But if typically urban influences ground Elevator Music’s better-established names, the ghosts of house and techno prove to be the glue that binds together the lesser-knowns, from Hot City’s bassline-style sliced vocals to Julio Bashmore’s spacey Europhilia. It proves a potent brew - on ‘Pistol In Your Pocket’ Hackman takes London’s emergent funky sound and runs amok, lashing layer upon layer of tropical colour like a four-dimensional Jackson Pollack, and Xxxy’s noirish ‘Sing With Us’ is animated in Sin City greyscale, complete with sudden splashes of cell-shaded red.

But best of all is Mosca’s tack-sharp contribution, which ought to immediately elevate him toward the kind of wider attention currently being enjoyed by Joy Orbison. ‘Gold Bricks, I See You’ is far better than anything Orbison’s yet put his name to, a masterclass in melancholy euphoria that builds in three successively greater stages - shapeshifting from warm house pulse to supple, spacious garage, before a burst of brass and vocals evacuates the space where your brain was comfortably resting. So it goes.

Elevator Music’s real success is that it vindicates the notion that the music emerging from this axis is more than just dancefloor fodder. Innovation is driven by group interactions and friendly one-upmanship, rather than by any one producer. Anyone’s only as good as their last release - a forceful creative motivation, and one which makes each track on here as rewarding in this context as in a longer mix. It’s probably a bit early to be throwing around ‘compilation of the year’ accolades in January, but Elevator Music Volume 1 has thrown down one hell of a gauntlet. It’ll take some beating.

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Ministry - With Sympathy

Quote from: Rolling Stone
Like so many synthesizer-based dance bands, Ministry doesn't do anything you haven't heard before. The rhythm tracks, sprinkled with Latin effects à la Thompson Twins, are built around the same synthesized bass lines that have been filling dance floors since the disco era. The instrumental tracks recycle the same burbles and beeps that you hear on Yaz or Berlin records, while occasionally relying on guitars and saxophones for additional weight, like Heaven 17. And vocalist Al Jourgensen even manages the same nasal delivery and, from time to time, fake upper-class accent as Marc Almond of Soft Cell (an especially odd touch, considering that both Jourgensen and the other half of Ministry, Stephen George, hail from Chicago).


But this lack of originality is hardly worth complaining about, because Ministry manages to do something many far more innovative bands neglect: they write catchy dance songs. "Work for Love," which preceded the album as a twelve-inch single, proved that George and Jourgensen were canny enough arrangers to get mileage out of a melody without running it into the ground. "Effigy," "She's Got a Cause" and "Say You're Sorry" offer more evidence of the duo's writing ability. Jourgensen's sturdy melodies can stand on their own; a ballad like "Say You're Sorry" packs no less punch than a steamer like "Effigy." Nor does it hurt that Jourgensen's singing is charged with anger, passion and glee–real emotions instead of the vocal posturing so common in synth-pop. In all, With Sympathy provides the valuable service of demonstrating how well synth pop's mannerisms worked before they solidified into cliché.

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Julian Fane - Our New Quarters

Quote from: Dusted Magazine
Technology changes everything. For instance, technology made it possible for Julian Fane to trade stocks minute-by-minute on the NASDAQ from Vancouver, just like the big boys at Morgan Stanley's proprietary trading desk...though maybe minus the cigars. Then technology also made it possible for him to say, "Fuck day trading...I want to make music full time," turning the same computer firepower into a home recording studio. He made underground electronic music under pseudonyms like Aardvark Interface and Taoist Blockade, then released his first full-length Special Forces in 2004. It was a completely solo, home-produced effort that drew comparisons to Radiohead and Sigur Ros. Now with Our New Quarters, his sound has grown even more lush and orchestral, embellished with grand sweeping crescendos and achingly melancholy acoustic breaks.

All of which is maybe a roundabout way of saying that Julian Fane's second album Our New Quarters doesn't sound like a bedroom recording...not at all. It's large in scale, immaculately produced and extravagantly ambitious.

The album starts in restrained frenzy, its title track opening with a furious build of vibrating electric guitar and, underneath, a nearly placid series of guitar chords. Fane's voice - and this is where most of the Radiohead comparisons come from - is high and a bit thin. The cut sounds completely organic and rock-based, though supernaturally clean and clear; it's high-end, producer-driven rock music, very similar to the kinds of sounds that Bono and Thom Yorke pay tens of thousands a dollar a day to record. "The Moon Is Gone" plays the same tricks but with even better results, building arena style climaxes out of heavily reverb'd vocals and synthy, Cure-like keyboards. Only a certain dreamy indistinctness keeps it from sounding completely live and collaborative; it the best big rock song on the disc. "Among the Missing," late in the album, shoots for the same grandeur, but doesn't quite achieve it. The climaxes feel forced and distorted, the soft romantic string intervals too sweet.

Other cuts are more overtly electronic. "New Faces" is built on a cool, minimal techno-beat, skittering over piano chords and synthesized sound washes, while "Youth Cadet" has an eerie, not-quite-naturalistic sheen to it, a slush of cymbals rasping over something that sounds like a calliope crossed with steel drums. "Rattle"'s heavy beat spits and stutters, machine-like, a much-needed brace to Fane's high, drifting vocals.

There is one song that fits reasonably well into the bedroom recording genre. The lovely "Downfall" strips down to just piano and Fane's keening, emotionally expressive voice. Fane does amazing things with technology...and he's even pretty good without it.

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« Last Edit: 28 Jan 2010, 21:34 by KvP »
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #241 on: 29 Jan 2010, 09:15 »

So breakcore is this genre of music that is basically really hard to listen to unless you're on uppers and in a club where there are about a hundred other people all jumpin-up-and-down-facing the dj like a group of wacked-out zombies and the music is blasting at you at volumes that are definitely unhealthy.

Some time ago, in Belgium, this little organization called Breakcore Gives Me Wood started to organize parties in abandoned lots and squats to let people enjoy breakcore music in all peace. These are regularly attended by massive amounts of people and are quite rad.

They also released a breakcore compilation a while ago called Breakcore Gives Me Wood:

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Edit: Also, I am digging that new Eluvium.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #242 on: 29 Jan 2010, 15:35 »

Zombie Zombie - A Land For Renegades [2008]



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French indie-electronic duo inspired by Krautrock and John Carpenter horror soundtracks, and with a penchant for vintage synthesizers. Really fucking rad stuff. The link below is one of the coolest music videos I've ever seen. (Hint: it's John Carpenter's The Thing done in stop-motion with G.I. Joe action figures.)

Youtube: "Driving Down This Road Until Death Sets You Free"



Etienne Jaumet - Night Music [2009]



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Etienne Jaumet is 1/2 of Zombie Zombie and his first solo full-length is a lot more haunting and sinister. The first track is a 20-minute opus of creepifying synthesizer builds and ominous saxophones (yes that's right motherfucker, saxophones).

Youtube: "Entropy"



jj - jj nº3 [2010]



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If you pay attention to the indie music scene at all, you've probably at least heard of jj. The reclusive  Swedish duo made waves with their debut, jj nº2, and now they're back with what seems to be a more subdued sophomore release - although this might be because they're no surprise to anyone anymore. Either way, jj nº3 is just as addicting as its predecessor. But if you didn't like jj's unique brand of Balearic pop before, chances are this won't change your mind.

Youtube: "let go"
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #243 on: 29 Jan 2010, 15:46 »

holy shit that zombie zombie video is fucking amazing. i'd even go as far as to say palatial, whatever that means. seriously, The Thing was one of my favorite movies as a kid and that video just blew my mind back in time.

downloading that album right now just because of that frikkin awesome video.
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #244 on: 29 Jan 2010, 19:07 »

Man, you weren't kidding about that Zombie Zombie video...phenomenal. Downloading, post-haste!
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The "wink wink" Thread 2010: This Time It's Personal
« Reply #245 on: 29 Jan 2010, 19:13 »

That Etienne Jaumet was sent to our radio station months ago. A good Detroit throwback.
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OMG DICK JERK

ruyi

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #246 on: 29 Jan 2010, 23:09 »



Harold Johnson Sextet - House On Elm Street

Quote from: Dusty Groove America
A killer album! The Harold Johnson Sextet were an incredible little LA soul jazz combo during the late 60s. Johnson was a very soulful pianist, and he had a heavy soul style that was similar to Ramsey Lewis' Cadet work -- but which was also tinged with the lyricism of Horace Silver, and the emerging modal sound of Stanley Cowell. This first session by the group was originally issued on a small label, became a local hit, and was picked up by the Revue label for national distribution. It's got an incredible sound, and is very very catchy. The band features Johnson's piano in a very strong lead -- plus flute, alto, and tenor. Billy Jackson plays a hard rolling conga behind the whole thing -- and tracks include "House On Elm Street", "Watts '67", "Something Mellow", and "Yeah Uh Huh". A great one -- and one that we never stop grooving!

Code: [Select]
http://www.sendspace.com/file/4etn32
(FLAC)
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valley_parade

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #247 on: 29 Jan 2010, 23:17 »

That sounds too funky not to download, Cathy.

(but do you have something smaller than FLAC? I'll be up til 5 AM at this rate)
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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:

A Wet Helmet

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #248 on: 30 Jan 2010, 07:58 »

Man, you weren't kidding about that Zombie Zombie video...

Glue stick ice cores are awesome.
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geodescent

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The "wink wink" Thread 2010: This Time It's Personal
« Reply #249 on: 31 Jan 2010, 17:22 »


Sunshine: Music From The Motion Picture (2008)
Code: [Select]
http://www.mediaf!re.com/?wzg40mncnxySo after a year of legal disputes this was finally released on iTunes. Underworld wrote a couple beautiful ambient tracks ("Capa's Last Transmission Home" & "Mercury") and close the record with a pinch of industrial/noise. John Murphy ain't no slouch either. Just listen to the "Adagio In D Minor" tracks; they're as epic as they come. Highly recommended even if you're not into soundtracks.


I went through hell to get this album. Even researched the proper order of the tracks so they match the order played in the movie.
If you want the tracks to play as matched to the movie order, here is the track listing to achieve such:

Code: [Select]
01 - Welcome To Icarus II (John Murphy)
02 - Capa's Last Transmission Home (Underworld)
03 - Mercury (Underworld & John Murphy)
04 - Kanada's Death (Part 1) (John Murphy)
05 - Kanada's Death (Part 2) (Adagio In D Minor) (John Murphy)
06 - Searle Finds The Crew Of Icarus I - Floating Free - Searle's Last Blast (Underworld & John Murphy)
07 - Freezing Outside - Harvey (John Murphy)
08 - Trey's Fate (John Murphy)
09 - Pinbacker Slashes Capa (John Murphy & Underworld)
10 - Corazon Finds The Seedling (Underworld)
11 - Cassie Searches - Dead Corazon (John Murphy & Underworld)
12 - Freezing Inside - Mace (John Murphy)
13 - Capa Suits Up (John Murphy)
14 - Sunshine (Adagio In D Minor) (John Murphy)
15 - Capa's Jump (John Murphy)
16 - Distortions (Underworld)
17 - Capa Meets The Sun (To Heal) (Underworld)
18 - Peggy Sussed (Underworld Riverrun Version)
19 - Avenue Of Hope (I Am Kloot)
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