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[sambillini]

Ms John Soda  Notes and the like

If nothing on Notes and The Like rocks quite as hard as No P. or D.’s “Go Check,” the new album is still a more than satisfying follow-up to the 2002 debut by Stefanie Böhm and Micha Acher. The duo’s style hasn’t radically changed—the focus is still firmly on breezy electro-pop—but the sound is instrumentally bolder, with chamber strings adding supple depth to songs like “A Million Times” and “Line by Line.” Naturally, Böhm’s candy-coloured voice is the band’s signature element but it’s also a remarkably versatile instrument; note, for example, the contrast she so effortlessly effects between a distorted muffle and breathy whisper in “Sometimes Stop, Sometimes Go.” Throughout the album, the group reaffirms its love of New Order bass lines and sprechsang (“Scan the Ways”) while further perfecting its command of driving electro-pop (“No.One”) and poignant balladry (“Plenty Of”). Put simply, resistance is futile when dreamy hooks and Böhm’s sweet vocals work their infectious magic on cuts like “A Nod On Hold,” “Hands” and the beatific “A Million Times.” Fans of Lali Puna’s Scary World Theory and The Notwist’s Neon Golden could legitimately regard Notes and The Like as a natural complement.

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http://www.med!afire.com/download.php?lbioywmr2mw

[sambillini]

Spool   Spool

This is a fantastic summer album....I highly recommend it!

Spool is the collaboration between jhno (John Eichenseer) and John Ridenour, who met in Austin, TX in the early nineties. They played music together there in several bands, including the ground-breaking John Ridenour Cluster. jhno moved to San Francisco, where he helped sculpt the legendary ambient scene of the late nineties and early two thousands. John Ridenour moved to Chicago, where he joined the Aluminum Group, founded Card Table, and became famous. John and jhno realized that the musical vacuum of their separation was gnawing at their very souls, so they reunited in 1998 to record what would become the first, self-titled Spool record. Spool was signed by New Dog/World Domination, who released their debut CD to the extravagent praise of listeners and critics alike.

Riding the crest of this wave, they played various shows and put together a four-piece band to undertake the epochal Ambient Brunch Tour, with drummer Bryan Bowman (from the first Spool album), and Bay Area bassist John Christensen. While preparing for the tour, they recorded the basic tracks for a second Spool release. At the last moment, John Christensen left the project to embark on a life of great joy, and bassist Hillel Familant was brought in to complete the tour. This was the summer of 1999. After that, things more or less fell apart in various ways, and the second album was neglected while Spool pursued other music and other life processes.
During this interval, jhno wrote music software, played with the band Crater (with Scott Amendola and Nels Cline), and eventually moved to Europe. John Ridenour moved to Austin to complete his second solo CD (Goodbye Songs) and then to Urbana where he spawned.
Finally, jhno finished mixing Spool Saves the World between 2005/2006 in Germany. To the surprise and delight of hard-core SPOOL fans everywhere, the CD was finally released on Delicate Ear Records. The world continued to unfold.

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http://www.med!afire.com/download.php?xiqmjhnznnz

[scarred]

We don't hate comps here, right? I mean, the Merge one was fairly well-received. So here's another! It is pretty fantastic.

Live At KEXP, Volume 4 [2009]

KEXP (90.3 FM Seattle and KEXP.ORG) is proud to announce Live at KEXP Volume Four, the fourth compilation featuring KEXP's exclusive, live in-studio recordings and recordings from live remote broadcasts across the country. KEXP has a commitment not only to putting great music on the radio, but also to use the airwaves to connect musicians with the listeners. Live in-studio performances are an integral part of KEXP's programming and the Live at KEXP compilation series has become a highly anticipated release among listeners and an important source of operating revenue for KEXP.

KEXP hosted over 400 in-studio performances last year alone. (Check out the huge archive of performances available at KEXP.ORG). These performances ranged from local bands just starting out to more established, big-name musicians. The tracks on this compilation bring a different interpretation to each song, each artist and each genre of music. It is a reflection of the sound that KEXP brings to listeners' ears every day. KEXP would like to thank all the artists who donated their time and performances to this one-of-a-kind compilation.

Tracklisting:

1   Pela - Lost to the Lonesome
2   Vampire Weekend - A-Punk
3   The Scotland Yard Gospel Choir - I Never Thought I Could Feel This Way For A Boy
4   Sharon Jones & The Dap-Kings - Let Them Knock
5   The Helio Sequence - Can't Say No
6   The National - Start A War
7   Elbow - Grounds for Divorce
8   Angelique Kidjo - Salala
9   Yeasayer - 2080
10   !!! - Yadnus
11   Fleet Foxes - Oliver James
12   Atmosphere - Guarantees
13   The Hold Steady - Your Little Hoodrat Friend
14   British Sea Power - Down on the Ground
15   Les Savy Fav - We'll Make A Lover Of You
16   Arthur & Yu - Lion's Mouth
17   The Raveonettes - Aly, Walk With Me
18   Calexico - Cruel
19   Carter Tanton - Red Balloons
20   Rufus Wainwright - Going To A Town

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

[sambillini]

Craig Armstrong  The space between us

Craig Armstrong scored the sweeping string arrangements for Massive Attack's PROTECTION. It is therefore fitting that his debut album should see release through the Bristol band's Melankolic imprint. Nor should it surprise anyone that THE SPACE BETWEEN US is a veritable waterworks of strings, harps, and longing. To the classically trained Armstrong's credit, the album's resplendent romanticism never becomes soggy or overbearing. Even as the strings welter and arc in dizzy, heaven-bound spirals, a shadowing of spare downtempo electronics maintains an attractively lugubrious atmosphere.

THE SPACE BETWEEN US is mostly instrumental, though former Cocteau Twin Elizabeth Fraser graces "This Love" with a heart-stopping vocal turn. She blazes brilliantly against Armstrong's flowering backdrop, as does Paul Buchanan's Brian Ferry-like delivery of "Let's Go Out Tonight." Armstrong's gift for simple and sensitive melodicism surpasses the crass, tear-jerking histrionics in which many of his peers wallow. "Laura's Theme," "Glasgow," and Armstrong's original setting for ROMEO AND JULIET's oft-scored balcony scene prove him the equal of icons like Nino Rota and Frances Lai and suggest that cinema is Armstrong's true calling. Sure enough, Armstrong hit the silver screen in 1999 with his score for Jake Scott's PLUNKETT & MACLEANE.

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http://www.med!afire.com/download.php?ymuhhn4u2gk
I love this album

[sambillini]

The Beat    I just can't stop it

A ska classic!           ...everyone should have this

I Just Can't Stop It was a late arrival onto the checker- boarded scene, the Specials, Madness and the Selecter had all beat the (English) Beat to the punch, but luckily this wasn't a race. Besides, the band had already primed the pump with a trio of Top 10 singles -- the double A-sided "Tears of a Clown"/"Ranking Full Stop," "Hands Off She's Mine" and "Mirror in the Bathroom," their debut album followed hard on "Mirror"'s heels, picking up the latter two songs and "Full Stop" to boot. Two more of the tracks within set followed them onto the chart, later that summer on another double A-sided single -- "Best Friend" coupled with a dub version of "Stand Down Margaret"." So this was a hit filled set. And so popular were such songs as "Rough Rider," "Twist and Crawl," "Too Nice to Talk To," "Can't Get Used to Losing You" and "Whine & Grine," becoming such staples, that fans can be forgiven for assuming they too were released on 45. Intriguingly, "Losing You" came courtesy of Andy Williams, and highlighted the softer styling that would swiftly overtake the Beat. But "Rough" and "Whine" had solid ska credentials, both were Prince Buster hits, while "Jackpot" was one of slew of racing themed rocksteady smashes that drove The Pioneers too fame, The Specials had opened their own account with another -"Longshot Kick the Bucket"." And it was this sheer diversity of influences that set The Beat's sound apart from their compatriots. Their own compositions were heavily cultural in theme -- the radical cries to depose the prime minister on "Margaret," the slashing anti-violence of "Two Swords" and even more ominous and feverish "Click Click," through the cultural nihilism of "Mirror" itself. With a few softer love and lovelorn tracks taking some of the edge off. Stop was a stunning achievement, its driving, frenetic numbers grounded in punk's fury smashing into the loose-limbed grooves and melodies of rocksteady inspired songs, and banging head on into sweeter pop fueled pieces. The album remained on the British charts for a whopping eight months, eventually peaking at Number Three. Time has not diminished its glory, the songs remain hugely as their continued inclusion in the band's offshoot's repertoire have proved.

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http://www.med!afire.com/download.php?1z534mmdeem

[sambillini]

Kings of convenience    Versus

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http://www.med!afire.com/download.php?wmm2xj03zjl

[sambillini]

Kraddy/SOTEG   Blunted funk breaks 01

The artist known as Kraddy hails from Brooklyn NY and sets the pace with a truly twisted piece of electronic breaks. Think Tipper & Si Begg and you should get a rough idea of what this guy is all about. Godzilla ventures into territories new with some seriously competent production techniques, beats get turned, churned and edited into obscurity, with cheeky little samples squeezed in and pushed out to great effect. 'Son Of The Electric Ghost', turns in the remix still keeping in tune with the original but never quite pulling in as much power.

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http://www.med!afire.com/download.php?ykimnqezboy

[sambillini]

Cornelius   Point

had this on C.D but it got stolen...Loaded it onto my itunes minus track 8 which I thought didn't really work on the album...so now ya know so please don't complain! (rest of the album is fantastic IMO)

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http://www.mediaf!re.com/download.php?mymmvi5ztni

[sambillini]

Kraddy    the truth has no path

San Francisco producer/DJ Matthew Kratz is "known for his intuitive ability to carve beats out of the bits." A merry prankster of the nu breaks skool, he has the ability to be as cerebral as Aphex Twin or Squarepusher while maintaining a dancefloor sensibility with the skittery riddims of jungle, the divebomb bass of acid techno, and the dope flow of hip-hop. His songs showcase a razor-sharp skill with the cut and paste of digital composition as well as an uncanny turntable technique. On his debut full-length, Truth Has No Path, some pieces are reminiscent of the noir soundtracks of µ-Ziq or Amon Tobin (the chopped-hop of "Imminent Threat," the paranoid march of "New World Empire"), while others show his whimsical side (the bouncy glitch intro and infant squeals of "Lonely Electron," the found sample of "You hear that? You know what that is? That's a nice sound..." on "Faux Show," a remix of Ol' Dirty Bastard's "Shimmy Shimmy Ya"), the unifying element being his impeccable ability to let his handcrafted sounds, beats, and grooves shine through. ~ Brian Way, All Music Guide

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http://www.mediaf!re.com/download.php?0zyeznyzw2g

[scarred]

Sextuplepost. Wow. Is that a new record?

[sambillini]

Apparat   Walls

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http://www.mediaf!re.com/download.php?ninmmghmgjm

[sambillini]

Nalepa   Flatlands

LA-based electronic musician, multimedia artist and mad scientist collector Steve Nalepa combines deep dub bass, glitchy breaks, bioacoustic atmospheres and beautiful sinewave melodies to create his patented brand of ambient glitch dub.

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http://www.mediaf!re.com/download.php?zcwwjmatgnm

[the_pied_piper]

The Inara George album i have had for a while now and it is indeed excellent. She also sings as part of the duo The Bird and The Bee.

[bedhead138]

Magnolia Electric Co. - Josephine (2009)

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http://www.med!afire.com/?5det1tlzoty

For Josephine, the band teamed up again with engineer Steve Albini at his Electrical Audio Studios in Chicago, IL for what proved to be an emotional recording session. About halfway through Josephine, they report a noticeable shift in weight. A release of some kind, the kind that comes when you give up holding back the tears. Its a heavy kind of freedom coming to the forefront, an empowering sadness. And when chief Electrician Jason Molina delivers the line an hour glass... filled with tears and twilight from a friends dying day, the mood becomes clear. The band is on its heels, yes, but they are going to fight back in the only way they know how. Molinas concept album is an honest-to-God effort on the part of Magnolia Electric Co to pay tribute to the life and spirit of fallen bassist Evan Farrell (R.I.P. December 2007). Molina has said each tune is a good faith attempt to make real Evans hopes for the record. And in doing so, Evans spirit becomes part of the concept. The loss of Josephine becomes the loss of Evan. Molinas familiar lyrical allegories are still in tact. But here, in what is no doubt the strongest set of songs Molina has written since the inception of Magnolia Electric Co., those classic themes take on new meanings. Molina has approached the universal loneliness before, but never in such a focused, directed manner as found on Josephine.

01. O! Grace 3:27
02. The Rock Of Ages 2:42
03. Josephine 3:22
04. Shenandoah 4:36
05. Whip-Poor-Will 4:12
06. Song For Willie 2:20
07. Hope Dies Last 3:15
08. The Handing Down 3:32
09. Map Of The Falling Sky 3:41
10. Little Sad Eyes 4:13
11. Heartbreak At Ten Paces 2:03
12. Knoxville Girl 3:50
13. Shiloh 4:10
14. An Arrow In The Gale 1:20

[barista.babe]

here's some more lovely music that puts a twinkle in my eye. download it, love it and then hurry up and wash your hands before your father gets home because dinner is almost ready...

Amy Millan - Honey From The Tombs

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http://www.mediaf!re.com/download.php?mjmyj2omyzm
Jenny Wilson - Love and Youth

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http://www.mediaf!re.com/download.php?nlm3ntlgzj4
Ben Kweller - Sha Sha

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http://www.mediaf!re.com/download.php?u122l2kgzdh
Mother Mother - O My Heart

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http://www.mediaf!re.com/download.php?nuntmtnrod4
Mother Mother - Touch Up

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http://www.mediaf!re.com/download.php?tj0dz2ii40l
and the best for last...
Jill Barber - Chances

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http://www.mediaf!re.com/download.php?myjkwm5jnjz

If you believe they don’t write songs like they used to, here is new hope for old romantics. On her album Chances, Canadian chanteuse Jill Barber picks up the torch where the golden age of music left off. Barber’s unbridled love with the sounds of 50’s and 60’s jazz and folk is the flame that sets Chances afire. And her distinctive, smokey voice is the perfect instrument for a sound that is both instantly vintage and yet still affecting in today’s scene. Stepping away from her folkier past, Jill delivers an album of ten original, fully orchestrated songs that strongly evoke – and could themselves become - classics. From the moment you hear her sultry voice on the opening title track, you are transported to another time and place. The best songs ever written are the ones that somehow transcend time and fashion, this album does just that.To recreate the magic of a live orchestra, Jill enlisted producer and long-time collaborator Les Cooper. His gorgeous arrangements for a skilled backing band with a 10-piece string section were recorded live at The Glenn Gould Studio.

[bedhead138]

Animal Collective - Summertime Clothes EP (2009)

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http://www.mediaf!re.com/?zw5ewnhimmy
1. Summertime Clothes (Dam-Funk Remix)
2. Summertime Clothes (Leon Day AKA L.D Remix)
3. Summertime Clothes (Zomby's Analog Lego Mix)


The Most Serene Republic - ...And the Ever Expanding Universe (2009)

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http://www.mediafire.com/?1jnkynmomyy

Out of the serenity of Milton, Ontario returns their most ambitious export, the young sextet known as The Most Serene Republic. Their third full-length, …And The Ever Expanding Universe is due for release July 14 on Arts & Crafts. Produced by Dave Newfeld (Broken Social Scene, Super Furry Animals, Los Campesinos!), …And The Ever Expanding Universe shows The Most Serene Republic confidently striding forward with a more mature, diverse and exhilarating sound.

With two acclaimed albums and an EP already under their belts, these just now 24-year old musicians have already been performing together for a half-dozen years. Very much a product of their wide ranging personalities, the band is led by Ryan Lenssen’s classical piano and obsession with musical history, never mind his obsessive attention to detail, and singer/lyricist Adrian Jewett’s Joycian stream-of-conscious lyrics and larger then life stage personality. The entire band’s excellence with their instruments is undeniable and is proven both live and on album.

1. “Bubble Reputation”
2. “Heavens To Purgatory”
3. “Vessels Of A Donor Look”
4. “Phi”
5. “The Old Forever New Things”
6. “All Of One Is The Other”
7. “Patternicity”
8. “Four Humours”
9. “Catharsis Boo”
10. “Don’t Hold Back, Feel A Little Longer”
11. “No One Likes A Nihilist”

[KvP]

Venetian Snares - Filth

"DON’T FUCK WITH THE FILTH!" - Grant Morrison

The early reaction to Filth, Aaron Funk’s 16th proper album under the name Venetian Snares, was inexcusably harsh. For those only paying attention since 2005’s critically lauded classical breakcore exploration Rossz Csillag Alatt Született, it’s understandable that one would expect the Venetian Snares stamp to grace only the most ballistic drill ’n’ bass and horrifyingly intelligent jungle on the market. Instead, Filth takes a brave turn towards melding VSnares’ aggro breaks with his more subtle, drawn-out Last Step persona, a project he developed to unleash pure acid techno. Consequently, the glitch-crazed unbelievers started a revolt against this somehow less-complicated direction before it was even released, but this rebellion was about as justified as the second Gulf War.

For the longterm fan, however, the direction explored on Filth is far from unexpected. Aside from the Last Step albums, "Kyokushin" and "Flashforward" from 2008’s Detrimentalist presupposed this acid/jungle fusion with their raunchy 303 lines and bleepy space atmosphere. "Poo Yourself Jason" also went there on his last record, pooling acid synths with old-school pop samples, and traces could be also found in the closing "Miss Balaton" progressive downtempo epic. The appearance of the most exciting and gnarly acid record of all time is indeed baffling, but then again, I have been a Venetian Snares mind-controlled sex slave for many years now. I have come to anticipate a limitless variety of alien autopsy child kill torture giraffe rape, and Filth is a bold thread in that rich tapestry.

Keeping with the album title, most of the tracks have brutally perverse names, like "Chainsaw Fellatio," "Splooj Guzzlers," and "Pussy Skull." Also keeping with the title, these excursions into the darkest depths of acid bring more distortion and spine-breaking beats to the genre than witnessed in a dozen Luke Vibert or Ceephax records. Its sound is unnerving and uncomfortable, groundbreaking in its field, and yet it is the most accessible Venetian Snares record he has released since the critically lauded Hungarian album. At the very least, the song structure is focused on logical albeit extremely intelligent beats. I mean, the man’s favorite time signature is 7/4, so one can only expect so much, and this album makes it seem like a completely normal pace to dance to.

"Deep Dicking" sets the tone for Filth. It begins with pure digital distortion, quickly introducing an up-tempo beat, over which the feedback forms into a downward cycling 303 melody that squelches and snarls in just the right nipple-tweaking way. Following that, "Crashing The Yogurt Truck" takes essentially the same downward melodic progression, but fills it out with a colorful assortment of sounds, more bloops, bleeps, classic synthetic noises, and a little Speak & Spell action. It’s not all techno variations, though. "Chainsaw Fellatio" bends the 303s around a disjointed dubstep beat so unruly it could make Burial rethink his gangsta samples, while "Kakarookee Hates Me" rolls along to mega BPM gabber turf. I’m pretty sure we don’t want to guess why Kakarookee, Funk’s cat, took a dislike to him. In any case, you’ll be hard-pressed to find two tracks in the entire Venetian Snares catalogue that are built the same way, let alone on this record.

Regardless of genre, Filth has a place in Venetian Snares’ trajectory, and is every bit as intricate, insane, and intensicore as anything else he’s ever released. Trying to hang a definitive genre classification on this guy for anything he’s ever done is like taking a Rorschach inkblot test. There is a reason why his press releases are written like this:

    Venetian Snares, aka Pants Geronemo, aka Buttercock Lesbummer, aka the biggest retard on earth, has once again turned his toilet fantasies into something you can buy at the store, shove in your whore mouth and puke up thru a glory hole into a stranger’s gaping anus. Financing the dubstep scene since 2005, Venetian Snares has somehow again, not bothered to make anything remotely like a Benga record from 3 years ago, instead reaching deep down into the bottomless pit of electronic genres gone by and digging out acid techno for a thoroughly humiliating raping of the sound. This is the shittiest acid record ever made! Venetian Snares actually covered his 303s with his own feces and twisted the knobs with his rock hard cock! At one point he even taped a 303 to a prostitute and kicks the shit out of her legs.

So, why is this press release written like this? Because Aaron Funk is a certifiable genius and off his nut (he’s probably a pervert too, but what superstar isn’t?). He is to Pendulum what Eminem is to Asher Roth. Pendulum takes years between their albums, and they aren’t a third as complex or menacing as this record. Venetian Snares took 10 months to release Filth, and that was a long wait for him. You can’t judge his albums by expectation. Each album requires new aesthetic criteria, and under this light, Filth is easily one of his best yet.

1. Deep Dicking
2. Crashing The Yogurt Truck
3. Labia
4. Mongoloid Alien
5. Chainsaw Fellatio
6. Kimberly Clark
7. Calvin Kleining
8. Kakarookee Hates Me
9. Splooj Guzzlers
10. Pussy Skull

I'm meh on it.

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http://www.mediafire.com/?yqn2ykmjtmi

Venetian Snares - Detrimentalist

Beats do strange things to the body. House, funk and disco massage you into a communal, orgiastic groove. Hip hop can be a strut or a stroll, but either way, it's about the gait, an obsessive masculine focus on how the music carries itself. Jungle, though, took beat science all the way into the realms of the bionic, exploring the margins of what's possible to move to without missing the beat, losing your cool or tying yourself in knots.

Throughout the 90s, BPMs rose as inexorably as oil prices. The techstep of Panacea and Ed Rush hit so hard it skirted the line between pleasure and pain, a weird interzone of cold, rushing exhilaration. When electronica tricksters such as Aphex Twin and Squarepusher got in on the act, the speed of the beat trickery became pure slapstick. Venetian Snares have kept the junglist faith for the last decade and continue to push the envelope even weirder, chopping the breaks up so fiercely the only (ir)rational response is a an all-consuming hysteria, hitting a feedback loop where your reality check begins to check out, and rave becomes raving mad.

Detrimentalist! is certainly every bit as crazy as the title suggests, but crucially, producer Aaron Funk (apparently his real name, but who knows) has a connoisseur's touch in distinguishing the much-sought-after nuttiness from simple, everyday cheese. The album borrows mainly from the stark palette of ragga jungle, but spunks its soundboy samples across the stereo spectrum with the verve of Jackson Pollock. In any one tune, or even any one bar, the snare drum riffs can evoke anything from a machine gun barrage or remorseless robotic fighting machines to simple, silly pleasures such as a card stuck in your bike spokes or ten pins being skittled by a fourteen pound ball. The marvellously named 'Poo Yourself Jason' is stuffed with pure, mindless fairground fun, with greasy Sly And The Family Stone organ hits and James Brown grunts all competing for your ever decreasing attention span. 'Koonut-Kaliffee' is a mini masterpiece of panic-core junglism, letting martial arts film dialogue and stuttering breakbeats circle each other warily like Bruce Lee and Chuck Norris in The Coliseum.

Some of the sampledelic humour fall a little flat, but these kind of absurdist gags are like pizza " when it's good, it's great, and when it's bad, it's still pretty much OK. 'Sajtban' is loveable despite (or perhaps because of) its utter ridiculousness, with sample edits as rough and ready as the jump-cut visual humour of Rentaghost, interpolating singalong TV themes and an endless procession of early 90s rave piano runs.

You'd have thought Aaron Funk, and indeed the ravin' massive itself, would have long grown out of this kind of nonsense, and admittedly about 20 minutes of Detrimentalist! is probably about as much as you can stand without risking permanent psychological harm. But the silliness of Venetian Snares can't hide his rabid inventiveness, and he's surely the only junglist who can convincingly evoke the cold-blooded physical assault of ragga and the sheer incongruity of The Goon Show in adjacent moments. And perhaps it's a truer reflection of what it's really like to be on a dancefloor than the smooth grooves of disco and house " physical possession one moment, and wondering at the sheer wondrous silliness of what you're doing the next.

I like this one better.

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http://www.mediafire.com/?ntduuzdl5e4

IAMX - Kingdom of the Welcome Addiction

When it comes to music, there are times we all discover diamonds in the rough - hidden treasures for the ear that are so pristine, so lush and so near-perfect, that you want to share it with the world. Such a diamond is Kingdom of Welcome Addiction, the third album by Berlin based IAMX. The evolution of IAMX, lead by masterful minstrel and fashion chameleon Chris Corner, began with the dazzling, sexually-charged electro-pop debut Kiss+Swallow, later followed by the dark, guitar-driven dance beats of The Alternative. For their third outing, IAMX once again evolves, taking the heart and soul of its predecessors, yet this time ditching their traditional dance-rock beats and going for a more epic, personal, and therapeutic sound. This is definitely Corner's most personal and mature work to date.

 

"Nature of Inviting" is a strong, dance rhythm opener, and the most Kiss + Swallow-ish the album is going to get, but next up we're knocked to the floor with title track, "Kingdom of Welcome Addiction." It's here when we get hit with a metamorphosis and wall of sounds, not to mention strong vocals by Corner. In "Tear Garden," it sounds as if the band ditched all keyboards and synths and went for piano and nice, strong percussion, resulting in some sort of ethereal lounge number you just want to snap your fingers and sing along to. One of the album's finest moments is "I Am Terrified"-a haunting and gripping ballad of pain and addiction. It's here where Corners evokes a large amount of emotion as the song builds up to an epic climax featuring powerful vocals by Corner. "I am terrified/ I think too much/I get emotional when I drink too much/I buy every cry, because I don't trust," he sings.

 

"Think of England" is the guitar anthem of the album that's very reminiscent of ‘90s era U2, only better. Those underwhelmed by the latest Depeche Mode album might dig "An I For An I," a gritty and distorted electro-rock number that sounds like something Martin Gore and David Gahan should be going for. Things come to conclusion in a bittersweet sort of way with the moving and fragile "Running." It's here where Corner displays his tender side and evokes a massive sense of vulnerability and emotion. It's one of those songs that sweeps you up, pierces you, then gently heals you only to do it all over again with each listen. One could argue that this is IAMX's best album, but comparing Kingdom to Kiss + Swallow and The Alternative is like that old saying, comparing apples to oranges. Either way, like its title suggests, this album will certainly become an addiction for anyone who takes a listen. If this album should ever awaken the deaf ears of The Recording Academy, it would most certainly deserve a Grammy nomination.

If you liked IAMX's previous albums you'll like this. If you've never heard him, he's sort of like Depeche Mode, I guess? Very vampy and dramatic electropop.

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http://www.mediafire.com/?mw5m52ywziy

[KvP]

Plaid - Heaven's Door OST
Came out last month, no real reviews that I can find, but it sounds like Plaid, which is to say, it is melodic / ambient electronica that features a lot of acoustic instrumentation. I like it a lot.

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http://www.mediafire.com/?yvidzoh1ikj

[meanwhile]

PHOTEK        ni ten ichi ryu (two swords technique) single




           


           

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http://www.mediaf!re.com/download.php?tmm2oiz2zqz         

LOVE this song.

[meanwhile]

Loco Dice - 7 Dunham Place (2008)



Deep minimal techno with some nice atmospheric sounds. Reminds me of Burial mood-wise.

sample: http://www.youtube.com/watch?v=F6HR9hgcoQA

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http://www.mediaf!re.com/?tkmznh5tzmu

Svarte Greiner - Knive (2006)



Very unsure of how to classify this, some mix of ambient/doom/field recording/classical/ominous noises. Even though it can be pretty abrasive, I find it very soothing overall and think it goes well with hangovers/drugs/sleep.

sample (patience required): http://www.youtube.com/watch?v=_j3CSH_ZsTM

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http://www.mediaf!re.com/?znd5cunyccl

[bedhead138]

from someone who was just whining about a lack of heavy, comes something REALLY not heavy, I just think its a cool listen....

I really dont know what to call this.... electronic/pop/enya shit???

Code: [Select]

http://www.mediaf!re.com/?sharekey=fea9199455c4493ae7ba8e3c6e11ce20bcedac8d516943a75be6ba49b5870170

luckily, I think this Amazon customer gives a decent description...

By M. Wilcox "elvendil"
This is an album I've been waiting for Amazon to get back in stock for months, and finally got my hands on only this week. If you like smooth synth tracks, trancey beats, and luscious female vocals then this album is one for you. It is extremely smooth, and very beautiful - similar in vein to Delerium offerings, but less dance orientated. It features vocals from eleven different ladies and goes for that 'top of a mountain, sweeping camera shot' sort of beauty, rather than the downbeat melancholy aspect that might be expected (especially considering the lyrics). At once very relaxing and oddly invigorating, it's very easy to get lost in the musical sound-scape on offer. The pedigree of tracks on offer helps to ensure that no one can be singled out as 'the best', and the lyrics throughout are second to none, this is poetry set to music. It also has some of the nicest package art I've seen in a long time. The only slight criticism of the album would be that it's almost in danger of feeling a little over-produced.

Highly recommended to anyone with a taste for excellent female vocals. Here you get eleven extremely good ones.

if this link doesnt work right leeme know so I can fix it. mediaf!re was getting "differantly-abled" with me!

the sharekey gives people access to your whole folder...just so you know...

[KvP]

Capitol K - Sounds of the Empire

Sounds of the Empire sees Capitol K making tweaked-out electronic sound collages that bristle with as much ear-pleasing melody as they drip with innovation. Kristian Craig Robinson and Cliff Harris weave loads of ringing synth sounds with layers of more traditional instruments and sound effects toward a most moody atmosphere. Songs like "People" boom with heavy bass and crash and stutter via dark samples. Unlike knob-twisting peer Luke Vibert, who plays with samples and electronics in a similar yet lighter way, Capitol K never lets their samples get out of hand. Capitol K's samples add crazed depth to the songs, rather than acting as elements toward some catchy goal. The album attacks fiercely at times. "People" is again a good example; after four minutes of interesting dabbling, the duo deploy an armada of evil drum'n'bass madness. One of Capitol K's best traits is that they're not afraid of pop hooks. Many of their dark electronic contemporaries can't claim that characteristic in their music. "Lagoon" is so fragile and gentle in its acoustic foundation that it threatens to turn into a New Order song at any second. The vocals on "Janome Home" are a brilliant change of pace, as the song achieves the blissed-out state Leila was attempting with Courtesy of Choice. One imagines Tim Burgess singing to music by Bjork. "Jump off the Box" comes like a more subtle Orbital. The album works on many levels; songs sound warm and inviting while still having raging, ominous souls. Bubbling cacophony rarely sounds this compelling. Sounds of the Empire is a stunning, confident debut which is full of riveting, accessible electronic artistry.

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

Capitol K - Roadeater EP

With an impressive debut album under their belts already, Roadeater takes the campaign nationwide. Opening track Pillow is as close to a pure pop song as they've got so far. It's got an annoying 'singing in the bath' type vocal, but what hooks you in is the neat Cornelius cut-up style of the backing, with its breezy tune and slashed around synth sounds. There's more to come, as Naxxar and Superheroes wield eastern scales and super-heavy rhythms, which put me in mind of Flowers of Romance-era Public Image Ltd. Closer Big Submarine (Polaris Mix) is awe-inspiring - bone-rattling drums intorducing a huge Suicide drone and a sackfull of chaotic electronica. A great finish to a good EP: turn on Capitol K.

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

Capitol K - Island Row

Rating: 9.1

The latest effort from London's one-man Capitol K outfit is an elegant stylistic cocktail that mixes indie pop and IDM (let's say the "I" stands for "independent") without compromising either. The hybridization of rock and electronic genres has become a fairly tired musical formula over the last several years, but 26-year-old Kristian Craig Robinson executes with such precision and innovation that Island Row leaves even the seasoned listener slackjawed and struggling for comparisons.

K's music draws from a broad pool of influences, indicative of his geographically scattered childhood. Maltese by birth, he divided his early years between Dubai and Borneo, coming eventually to Britain for secondary school. There, Robinson encountered American indie bands like Fugazi and Sonic Youth, who inspired him to start his first band. His background gets a bit hazy beyond that point, but his music suggests that, somewhere along the line, he ate loads of psychotropic chemicals, picked up a few Rephlex records and bought himself a Dictaphone. All these jumbled elements of his past echo forcefully in his work, and more evenly on Island Row than any of his previous outings.

Capitol K's recording legacy dates back to 1998, when he released a self-titled 12" on Elf Cut Records. Two of the four tracks from that record made the cut for his full-length (the absolutely astounding Sounds of the Empire) on Mike Paradinas' Planet µ imprint the following year. Of that album, Mike writes (and I concur), it "is still one of the best debut albums I have heard." You might even care to scratch the word debut.

Material from these early releases hints only cautiously at Robinson's rock-n-roll leanings. The follow-up Roadeater EP, issued in early 2000, signaled a shift toward a more balanced mixture of vocals, samples and strumming. And Island Row carries the torch-- four of the 11 songs here have proper lyrics, and nearly all feature a bit of guitar-work.

Still, the prevailing theme here is production; the inane, carnival-esque noodlings reminisce of Mouse on Mars, while the occasionally caustic drum breaks recall tunes from Autechre's Gescom side-project. But Capitol K brings so much of his own flavor to the table that likening him to either of those musicians would be misleading.

Exoticism becomes a key theme in Robinson's work-- not the token ethno-techno exoticism of Talvin Singh or Badmarsh & Shri, who intersperse dull drum loops with unimaginative sitars and tablas, and earn credit for "fusing" different genres. It would be more appropriate to say today's world beat musicians layer different genres, always conscious of which sounds belong to the East and which belong to the West, and scarcely exploring any middle ground.

Capitol K breaks this mold, and stakes out a bit of sonic territory somewhere in between. Reversed drum loops bounce between Eastern and Western time signatures, while Robinson's candid falsetto brings urgency to even the most saccharine lyrics. Out of context, many of the lyrics seem puerile, which is probably what makes them so damn effective. It wrenches even my calloused heart to hear K innocently cry the chorus of the opening track, "Heat." "I'd like to know/ If you like the cold/ 'Cause when we meet/ I'll bring the heat." On paper, it reads like a nursery rhyme, but the latent angst beneath Robinson's voice tells a more frustrated story-- one of a lost passion.

"Pillow," which also made an appearance on Roadeater, seems the most readily accessible song of the lot. Even while treading through bubblegum turf, it manages to retain its edge and subtlety, thanks to Robinson's production trickery. But gems lurk in the album's darker corners as well. "Monster," as the name might suggest, can be at times difficult and abrasive, matching heavy guitar distortion with esoteric Eastern melodies. Other honorable mentions include "Breakers," "Lion Anon" and "Forgotten Duffle Coat," on which K collaborates with friend Leafcutter John.

The album loses points for two reasons, the most legitimate being that a handful of the tracks feel disjointed. Capitol K's transitions tend to be remarkably smooth, but there are several on this album (particularly on the songs "God Ohm" and "Is It U?") that it seems he might simply have handled better. The second complaint I'm obligated to lodge against Island Row is a reprimand for the Prince cover, "Dance On." Robinson admits he intended it as a joke, but thanks to American copyright laws, that joke prohibited Americans from importing this brilliant record for nearly four months. I could have done without the inconvenience, especially for this lackluster song.

I hope I've done this album justice, but it's tough to tell when so many terrible albums receive so much critical lip service. If my generic praise leaves you with the impression that Island Row is generic music, do yourself a favor and dig up some MP3s. These songs deserve to be heard.

Julian Fane - Our New Quarters

For this follow-up to his acclaimed Special Forces album, Vancouver-dweller Julian Fane has placed far greater emphasis on more conventional song structures than its predecessor, with vocals taking a central role at every turn. Fane’s voice bears more than a passing resemblance to that of Thom Yorke, and the Radiohead frontman’s solo outing, The Eraser provides an obvious reference point. But while Yorke’s album was an exercise in minimalism (by his standards at least) Our New Quarters positively exudes epic ambition. The title track sets the tone, with its quietly dramatic Sigur Ros-style post-rock, only for subsequent tracks ‘New Faces’ and ‘Youth Cadet’ to introduce shattered electronics and rasping beats. All these elements are distilled to greatest effect on ‘The Moon Is Gone’, the most successful marriage of Fane’s song craft and electronics here. Almost as good, the neon synths and fiery beats (sounding like they’ve been lifted straight off Bjork’s Homogenic album) of ‘Rattle’ provide another highlight. However, the haunting piano chords and whispered falsetto on ‘Downfall’ suggest Fane is at his most powerful when he switches his electronic gadgetry off and plays it straight. It’s absolutely magnificent stuff, managing to sound profoundly emotive without resorting to histrionics.

Code: [Select]

http://www.mediafire.com/?5jyzdnzzlzy

[pulpfiction21]

Well since this page has turned into one of the best pages in a long time, I figured I better throw down something.

Wintermute - Robot Works (2009)
The most recent album that I have fallen in love with. There is not a single song on this album that I skip. I would think if you enjoy Foals, you might like this as well. Great if you just want some super catchy Indie music.

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

Wintermute are the perfect kind of band for Oxford-based label Big Scary Monsters. Playful and somewhat cutesy, with their riffs brazenly cheerful, it looks like their debut release is going to find a comfortable home among the label that put records out from the likes of Blakfish and Tubelord.

The moment you press ‘play’ an immediately jaunty guitar riff, that is unmistakably Foalsian in style, explodes out of the speakers. But within ten seconds, it’s all change and the high-tuned guitars have already shifted to plains anew, all the while taking as much inspiration in its funky groove from the likes of the Chilli Peppers as it does with all these pop-math-rock bands that are increasing in numbers by the day.

The whole album is a fairly erratic, convoluted affair, with angular guitar lines sounding like the poppier offshoots of an Omar Rodriguez-Lopez album. ‘Ask A Stupid Question’ toys with the fine line between whimsical experimentalism and much angrier, angsty elements, and even the slower parts maintain an essential pulse to keep the foot tapping.

http://www.sonicdice.com/2009/04/15/album-review-wintermute-robot-works/#ixzz0IPVppdRj&D

And thanks to whoever posted the new MAgnolia Electric and the new Most Serene Republic.

[Mr. Tool]

Not music, but well worth a listen.

Dave Attell - Hey, Your Mouth's Not Pregnant

Code: [Select]

http://www.mediafire.com/?uydczyu2yoo
Single mp3 of a 50 minute set.

[bedhead138]

Spinal Tap - Back from the Dead (2009)

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http://www.mediaf!re.com/?t4iqwzzyn2k

In 2009, when Back from the Dead was released, it was impossible for any listener to not be in on Spinal Tap's joke, so it's fitting that this is their first release to play as pure comedy, an album that doesn't even attempt to pass itself off as a rock record. The concept is this: a reunited Tap — hence the name Back from the Dead — celebrates the 25th Anniversary of This Is Spinal Tap by launching an unplugged (and "unwigged," meaning Christopher Guest, Michael McKean, and Harry Shearer do not don the hairdos of Nigel Tufnel, David St. Hubbins, and Derek Smalls) tour, releasing the movie on BluRay and revisiting their old songs in the studio, adding five new songs, and recording "Jazz Oddyssey" for the first time, splitting it into thirds and scattering it throughout the album. "Sex Farm" is given a funky revamp, and "(Listen to The) Flower People" now sounds like Ziggy Marley, but those are the exceptions to the rule: the rest are straightforward remakes of the original recordings, right down to how "Gimme Some Money" has a Liverpool swing and how "Big Bottom" is driven by a farting synth bass riff. The only difference is, the production is clean and pristine, the band is precise and punchy, laying bare the joke, for better or worse. Some listeners may find this approach riotous, since the humor is pushed right toward the front, while many may miss how their original recordings blurred the lines between real rock and fantasy. This hurts Back from the Dead most on the remakes, all of which pale next to the originals, but the surprising things about the album is that all the new songs are top-notch, eclipsing the often forced Break Like the Wind, and striking the right balance between parody and real rock & roll. They're the reason to hear Back from the Dead, which otherwise is just a tad too satisfied with its own humor for its own good.

01 - Tonight I'm Gonna Rock You Tonight             
02 - Back From The Dead                             
03 - (Funky) Sex Farm                               
04 - Rock & Roll Creation                           
05 - Jazz Oddyssey I                                 
06 - Gimme Some Money                               
07 - Rock & Roll Nightmare                           
08 - Heavy Duty                                     
09 - America                                       
10 - Jazz Oddyssey II                               
11 - (Listen To The) Flower People (Reggae Style)   
12 - Hell Hole                                   
13 - Big Bottom                                     
14 - Celtic Blues                                 
15 - Jazz Oddyssey III                               
16 - Warmer Than Hell                               
17 - Stonehenge                                     
18 - Short & Sweet                                   
19 - Cup & Cakes


Wye Oak -The Knot (2009)

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http://www.mediaf!re.com/?ozjxjtz3y3j

The new album from Baltimore’s Wye Oak will be available on July 21st. The Knot was written and recorded by Andy Stack and Jenn Wasner in their living room. The band started as a basement project with the duo recording demos together and soon expanded to include tours of America and Europe. The NY Times’ Jon Pareles described Wye Oak’s live performance, “Wye Oak segued thoughtful roots-tinged rock into richly overwhelming textural excursions.”
A set of songs that sway, stretch, and scream while always reaching outward for personal connection. As ever, Andy Stack's production layers his own multi-instrumental arrangements over Jenn Wasner's woozy compositions, but musically, too, things sound more precise. There's less squalling feedback than before, but lingering violin and pedal steel bring out the droning Americana that has always informed Wye Oak's sound.

[edwinalink]

the sharekey gives people access to your whole folder...just so you know...

yeah i know, but mediafire was being retarded, and wouldnt give me the link for sleepthief.

though angry machine and B!tcrush have already been posted here... so, um... yeah,

I still cant get the darn sleepthief only link to show up.

[Tehz]

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.

[snakes]

Animal Collective - Summertime Clothes EP (2009)

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http://www.mediaf!re.com/?zw5ewnhimmy
1. Summertime Clothes (Dam-Funk Remix)
2. Summertime Clothes (Leon Day AKA L.D Remix)
3. Summertime Clothes (Zomby's Analog Lego Mix)


The Most Serene Republic - ...And the Ever Expanding Universe (2009)

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http://www.mediaf!re.com/?1jnkynmomyy

Out of the serenity of Milton, Ontario returns their most ambitious export, the young sextet known as The Most Serene Republic. Their third full-length, …And The Ever Expanding Universe is due for release July 14 on Arts & Crafts. Produced by Dave Newfeld (Broken Social Scene, Super Furry Animals, Los Campesinos!), …And The Ever Expanding Universe shows The Most Serene Republic confidently striding forward with a more mature, diverse and exhilarating sound.

With two acclaimed albums and an EP already under their belts, these just now 24-year old musicians have already been performing together for a half-dozen years. Very much a product of their wide ranging personalities, the band is led by Ryan Lenssen’s classical piano and obsession with musical history, never mind his obsessive attention to detail, and singer/lyricist Adrian Jewett’s Joycian stream-of-conscious lyrics and larger then life stage personality. The entire band’s excellence with their instruments is undeniable and is proven both live and on album.

1. “Bubble Reputation”
2. “Heavens To Purgatory”
3. “Vessels Of A Donor Look”
4. “Phi”
5. “The Old Forever New Things”
6. “All Of One Is The Other”
7. “Patternicity”
8. “Four Humours”
9. “Catharsis Boo”
10. “Don’t Hold Back, Feel A Little Longer”
11. “No One Likes A Nihilist”

Hey, thanks much! I've been waiting for the Most Serene Republic release and was not actually aware of the Sumertime Clothes EP.

Haven't posted in a long time, and as my interests have been tweaked a bit since then, i've discovered a new obsession. If you are unaware of this band, you should probably give this a listen. I'll admit that I was a skeptic at first, but have become a fanatic since. It's great classic rock/punk inspired music with passionate storytelling lyrics yelled in your face by someone who sounds shockingly believable. Also, it is a plus if you are a fan of Springsteen, but you should be open minded and listen even if you are not because, in my opinion, they are only superficially similar. I saw that this album has not been posted yet, so...digest:

The Hold Steady - Separation Sunday

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http://www.mediafire.com/?5qyz2nitmnd

[scarred]

Vampire Weekend + Ra Ra Riot form a side project.

Wait, what?

Discovery - LP (2009)

Fans of bookish, polo-shirt'd, sea-breezed Ivy League indie-pop, get ready to get your party on. Or, um, something like that. It's time to discover Discovery. That's the side project of Vampire Weekend's keyboardist/arranger/producer type, Rostam Batmanglij, and Ra Ra Riot frontman Wes Miles. Where their main bands 'whose respective debut discs, Vampire Weekend and The Rhumb Line, were two of 2008's best albums' play preppy, jangling, twee tunes, Discovery do something distinctly different.

Taking inspiration from the chromed-out gleam of modern R&B production, Batmanglij takes charge of sinuous keyboards, boinging beats, and massive synth crashes; approximating disposable pop fodder with an expert ear. Miles who normally spends his lyrical time making bibliophilic connections to e.e. cummings and Virginia Woolf sings simple refrains in a near-falsetto that's pitched even higher by the obligatory autotune. It's brightly-colored, saturated-sounding, fluttery electro fluff that's stylistic lightyears away from Upper West Side Soweto.

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http://www.mediaf!re.com/?gmdw4j0mxmx
At first, I was iffy on it... but it's growing on me pretty quickly. At the very least, it makes an impression.

[sambillini]

The Jean Paul Sartre experience   Love songs (1986)



...from flying nun.

The debut album by this '80s New Zealand rock group is an exceptional -- if short -- affair from the Flying Nun stable that brought such ahead-of-time wonders as the Chills and the Tall Dwarfs. While the label may be best known for a signature sound, that of melodic and inventive guitar-based pop of the sort the dB's, early R.E.M., and Yo La Tengo were dealing in. The Jean-Paul Sartre Experience sound veered closer to the U.K. indie sound of the Loft, Felt, and late Wire. Simple melodic songs played with a subtlety and control on a par with Brian Eno's reduced minimalism -- while keeping a folk simplicity to all of the songs -- this album has a low-tech ambience by necessity feel that is the common inimitable charm of '80s Kiwi pop. On later albums the group employed more corrosive distortion and amplitude to challenge their peers Bailter Space and Straightjacket Fits -- and even went to the large American indies Homestead and later Matador although only peaked at the threshold of underground status in America. Love Songs is a quirky yet accessible introduction to an inspired '80s group. And if fans were to compare the dates on this album and a 1990s release by, say, Belle & Sebastian, they might be left scratching their heads as to what they were missing way back circa 1988.

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http://www.mediaf!re.com/download.php?fzjmw5eywkd

[sambillini]

The Chills   kaleidoscope world

Kaleidoscope World is the Chills' essential document, although it's not an album but a collection of tracks from early- and mid-'80s EPs, singles, and compilation cuts. Perhaps that's not surprising: the Chills are more skilled at crafting interesting odds and sods than sustaining interest over the course of an album, where their somewhat monochromatic approach tends to drag things down. The influence of Syd Barrett/early Pink Floyd is stronger on these early tracks than it would be on subsequent releases, both on the easygoing sing-along numbers and the more experimental outings. The highlight (of both the album and the Chills' career) is their New Zealand hit single, the haunting "Pink Frost."

[Richie Unterberger, allmusic.com]

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http://www.mediafire.com/download.php?d5y0ydiykha

[Catacombs]

The Hold Steady - Separation Sunday

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http://www.mediaf!re.com/?5qyz2nitmnd

I'm pretty sure I posted this about 30 pages ago.  Either way, if you haven't heard this album yet, it's fantastic.  I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.

[whatdoiget000]

The Hold Steady - Separation Sunday

Code: [Select]

http://www.mediaf!re.com/?5qyz2nitmnd

I'm pretty sure I posted this about 30 pages ago.  Either way, if you haven't heard this album yet, it's fantastic.  I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.

Just fyi...Separation Sunday is their second album. Boys and Girls in America is their third.

[snakes]

I'm pretty sure I posted this about 30 pages ago.  Either way, if you haven't heard this album yet, it's fantastic.  I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.

Yeah, that's right i guess you did. No big deal. I only searched the band name, and it didn't show up, but it did just now for the album title. I can up their first album sometime today if anyone is interested.

[Catacombs]

The Hold Steady - Separation Sunday

Code: [Select]

http://www.mediaf!re.com/?5qyz2nitmnd

I'm pretty sure I posted this about 30 pages ago.  Either way, if you haven't heard this album yet, it's fantastic.  I recently picked up their second album, I'll throw this up later this afternoon, though it's nowhere near as good as Separation Sunday.

Just fyi...Separation Sunday is their second album. Boys and Girls in America is their third.

I always thought it was their first, and Almost Killed Me is their second? 

EDIT: AllMusic also tells me I'm wrong.  I dunno why I always thought it was this way 

[Mr. Tool]

I don't know if I have much (or any) pull around here regarding my tastes in music, but regardless I'm just going to say that this album is highly recommended.

Deastro - Moondagger

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http://www.mediafire.com/?jtjhzzmmyht
I know Keeper's was posted in the thread before, but that was a compilation of demos/singles. This is Deastro's official debut album, and it's just fucking fantastic.

Deastro's Moondagger starts with a song, "Biophelia," that is reminiscent of what the Postal Service might sound like if they were crafting a soundtrack to a Mega Man video game. The one man band from Detroit ain't 8-bit though, it's not even close. In fact, the video game-ish quality gives way to a more pop sound by the second track, and they only make sporadic appearances throughout the rest of the album.

Deastro just doesn't seem to be content to playing one type of synthesizer-based rock, it seems like he wants to dip is toes in many. While I am quick to draw on the Postal Service comparison, I could probably also throw out names like Depeche Mode or countless other 80s synthpoppers. Yeah, we've heard the revival before, but somehow Deastro still manages to sound fresh. Maybe it's the fact that he does draw from multiple influences or maybe it's because he backs it up with a full band. Whatever the reason, Moondagger is a one of those records that everyone is going to end up loving.

[edwinalink]

that sleepthief was like slumber,

in the sense that because of the genre, i expected to hate it...

but its really quite good.

anyhoo... those links have pissed me off too much, so I killed them...

 so I'm gonna try something in a few hours....

its not a bad listen.. though!

[sambillini]

O.k...heres some more kiwi music for you chaps and chapettes!......All 80's

Tall dwarfs   Hello cruel world

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http://www.mediaf!re.com/download.php?hdl44yy3hm2
Able Tasmans   Cuppa tea & a lie down



Part1

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http://www.mediaf!re.com/download.php?ggzy2mdnwnn
Part 2

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http://www.mediaf!re.com/download.php?umhuycj5cqv
The Clean   Anthology

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http://www.mediaf!re.com/download.php?ynmzmznntfo
The Kiwi Animal   Mercy

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http://www.mediaf!re.com/download.php?btmitjm4jwd

   
The Kiwi Animal demonstrated how New Zealand breeds some of the most charming pop bands since Lou Reed left The Velvet Underground and The Pastels learned to play their instruments…Xpressway unveiled some of the more ugly and vicious beasts in sheepskin…The Kiwi Animal, if nothing else, proved that Aotearoa harbored at least one stunningly beautiful acoustic-folk band in 80s. If only you had known.

Enjoy.

[ADRIAN WOODHOUSE]

MINNAARS - MINNARS EP

soundslike:

foals / dartz!



pretty catchy if you ask me.

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http://rapidshare.com/files/236641788/minnaarsEP.rar.html

[Trevlordyte]

Hey this is my first post, but here is some twee/ psych pop stuff from 1988, if you like Pale Saints you'll like this.

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http://rapidshare.com/files/162410508/14icedbears_14icedbears.rar

[edwinalink]

I give up... SCREW YOU MEDIAF!IRE! 

[Trevlordyte]

Code: [Select]

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

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http://www.mediafire.com/?u3jgod0nhyt
Enjoy!

[Elk]

Department of Eagles have the kind of convoluted, meandering backstory that could squash a less compelling band. Before he joined Grizzly Bear in 2004, Daniel Rossen was splicing together samples and bits of unearthed sound with his NYU roommate, Fred Nicolaus; the duo's collages were released, in 2003, as Department of Eagles' eerie, twittering debut, The Cold Nose. That record was followed, in 2006, by a remix album and preceded by a series of vinyl-only singles, under the name Whitey and the Moon UK (also the original title of The Cold Nose). Not long after its release, Rossen partnered with Ed Droste and Grizzly Bear and the Department of Eagles project was put on hiatus-- until late 2007, when the DOE duo, now enlisting contributions from Rossen's Grizzly Bear brethren Chris Bear and Chris Taylor, began recording again.

So if you dig Grizzly Bear, you will maybe like this.

Department of Eagles - In Ear Park

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http://www.mediaf!re.com/?vzxad4om0my
Department of Eagles - The Cold Nose

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http://www.mediaf!re.com/?xnvtoogtcnn
Edit: Why the hell not:

Grizzly Bear - Veckatimest (2009)

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

There is an unbelievable clarity of sound and vision to Veckatimest: vocals (a duty shared by all band members) are sharper and more complex, arrangements are tighter, production is more venturous and lyrics more affecting. Having opened the creative dialogue at such an early stage, Grizzly Bear was able to realize these 12 songs together as a band, making it their most collaboratively compositional album to date.
This yielded an unexpected mix of material that feels more confident, mature, focused and most of all, dynamic. From songs like 'Dory' (a gracefully psychedelic, ever-evolving work),'Ready Able' (a synth-y opus, and one of four songs that boasts string arrangements by composer Nico Muhly) and 'Foreground' (a plaintive, vocal-driven send-off, and one of two songs to feature choral arrangements also by Muhly) to more resounding pop songs like 'Two Weeks' (an other-worldly doo wop featuring backing vocals from Beach House s Victoria LeGrand) and 'While You Wait For the Others' (a triumphant and melodically cacophonous pop masterpiece), Veckatimest is an album of the highest highs and lowest lows an unbelievably diverse collection of songs that celebrates the strength of each band member, and the power of the whole. It was well worth the wait.

[Down623]

Vampire Weekend + Ra Ra Riot form a side project.

Wait, what?

Discovery - LP (2009)

Fans of bookish, polo-shirt'd, sea-breezed Ivy League indie-pop, get ready to get your party on. Or, um, something like that. It's time to discover Discovery. That's the side project of Vampire Weekend's keyboardist/arranger/producer type, Rostam Batmanglij, and Ra Ra Riot frontman Wes Miles. Where their main bands 'whose respective debut discs, Vampire Weekend and The Rhumb Line, were two of 2008's best albums' play preppy, jangling, twee tunes, Discovery do something distinctly different.

Taking inspiration from the chromed-out gleam of modern R&B production, Batmanglij takes charge of sinuous keyboards, boinging beats, and massive synth crashes; approximating disposable pop fodder with an expert ear. Miles who normally spends his lyrical time making bibliophilic connections to e.e. cummings and Virginia Woolf sings simple refrains in a near-falsetto that's pitched even higher by the obligatory autotune. It's brightly-colored, saturated-sounding, fluttery electro fluff that's stylistic lightyears away from Upper West Side Soweto.

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At first, I was iffy on it... but it's growing on me pretty quickly. At the very least, it makes an impression.

I simply cannot stop listening to this. Absolutely awesome.

[Trevlordyte]

I give up... SCREW YOU MEDIAF!IRE! 

What's mediaf!re doing that is making you upset?
I never have any issues.

[bedhead138]

Nadja - Numbness (2009)

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Part 1 - http://www.mediaf!re.com/?tnm4cjznjjz
Part 2 - http://www.mediaf!re.com/?zxjyyz2yzhy

Nadja is a duo of Aidan Baker (guitar, vocals, drums, piano, flute) and Leah Buckareff (bass, vocals, violin) from Toronto, Canada. Their sounds have been called ambient doom music that combines elements of metal, shoegaze, ambient, post-rock, experimental, and neo-classical. They have released numerous albums on such labels as Alien8 Recordings, The End Records, and Conspiracy Records and have toured extensively throughout the world including appearances at noted festivals like Roadburn, FIMAV, and SXSW.

Numbness is a special collection of tracks, compiled by Nadja themselves choosing shoegaze-oriented tracks among their vast previous titles. Most of the tracks were originally released on very limited vinyl or rare compilation albums. Among the 6 tracks, total time of over 70 minutes, there are two vocal-centered tracks which reveal the influence of My Bloody Valentine. The last track "Numb" is an amazing 21 minute drone noise track as if synchronizing dark psychedelia of Mono and Mogwai. A perfect compilation for Nadja beginners to Nadja freaks. Packaged in a special cardboard sleeve in black ink. Just Awesome!

1. Veil of Disillusion 8:07
2. God Rest Ye Merry Gentlemen 8:21
3. Long Dark Twenties (Slightly Extended 7 Version) 8:21
4. Alien in My Own Skin 11:47
5. Time Is Our Disease 13:25
6. Numb 21:11


1) Veil of Disillusion--originally released on Shadows Infinitum compilation (Crucial Bliss 2004).
2) God Rest Ye Merry Gentlemen--originally released on The
Holiday Masterpieces compilation (Blod Records 2004).
3) Long Dark Twenties (slightly extended 7 version) originally released on 7 (Anthem Records 2008).
4) Alien in My Own Skin--unreleased.
5) Time Is Our Disease--originally released on Infernal Procession...3-way split with Atavist and Satori (Cold Spring Records 2008).
6) Numb--originally released on Base Fluid net release (Foreshadow Productions 2007).

[gospel]

Magnolia Electric Co. - Josephine (2009)

http://i42.tinypic.com/242sn5v.jpg

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http://www.med!afire.com/?5det1tlzoty

After absorbing this album, I am seriously recommending it.

[Trevlordyte]

1 "Marble House (Radio Edit)"
2 "Marble House (davidandrewsitek's KNIFEHORSE Remix)"
3 "Marble House (Planningtorock Remix)"
4 "Marble House (Emperor Machine Vox Edit)"
5 "Marble House (Rex the Dog Remix)"
6 "Marble House (Booka Shade Remix)"

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

Psapp- Buttons and War ep (Isan remix)

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http://www.mediaf!re.com/?1ckdcmmkm0t

[edwinalink]

I give up... SCREW YOU MEDIAF!IRE! 

What's mediaf!re doing that is making you upset?
I never have any issues.

I've been trying to get this sleepthief album to work for like 3 pages, and no matter what I do, it either doesnt take it at all, or takes it. then makes you download each song separately... using that whole sharekey thing...

i mean, its a 92. something MB  RAR. it shouldnt be so difficult! GAH! i give!

[Elk]

Here's some Hawk and a Hacksaw.

A Hawk and a Hacksaw is a band from Albuquerque, New Mexico. The band mainly consists of percussionist Jeremy Barnes (formerly of Neutral Milk Hotel) and violinist Heather Trost (formerly of Foma). The music is mostly instrumental, usually centred around Jeremy’s accordion. There are occasional unintelligible vocals, shouts and cheers, although the latest album, 2006’s The Way The Wind Blows, has more vocal pieces.

When playing live, Jeremy plays many of the instruments himself simultaneously; strapping bells and drumsticks to his body enables him to play percussion while playing accordion. He has recently been accompanied by Heather Trost, who joined him on his recent tour with The Olivia Tremor Control.

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A Hawk and a Hacksaw - A Hawk and a Hacksaw

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http://www.mediaf!re.com/?nlbsgxia3na
A Hawk And A Hacksaw - Darkness At Noon

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http://www.mediaf!re.com/?hneytim2qyo
A Hawk And A Hacksaw And The Hun Hangar Ensemble

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http://www.mediaf!re.com/download.php?0yyfnv2dj5y
A Hawk And A Hacksaw – Délivrance

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http://www.mediaf!re.com/?dmen2jzdgj2