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[Orcusmars]

Ramona Falls - Intuit (2009)

MySpace
"I Say Fever" (YouTube)

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Ramona Falls is beautiful. Seriously, check it out on Google Earth some time. A multi-tiered waterfall in a dark glen on the slopes of Mount Hood in Oregon, it's one of those endlessly photographable landforms that makes you want to be there any time you see a shot of it. As a sort of shorthand for the natural majesty of the Pacific Northwest, the name works well for Portland's Ramona Falls, aka Brent Knopf of Menomena and a huge cast of his friends. In fact, of the various Menomena side projects, this is the one that most matches that band in terms of both sound and quality, paying meticulous attention to sonic and compositional details to emerge with a record full of memorable surprises.

Sometimes it's just an unexpected element that mails a song all the way home, like the impromptu choir that suddenly emerges from the acoustic guitar and spaciously recorded drums of "Bellyfulla" or the unbelievably gorgeous violin part that shines like a vibrant light from the center of "Russia". The violin melody interacts with the chord sequence to grow more aching by the second and turns a decent song into one you can't forget. Knopf is piano player and programmer for Menomena, and he comes up with some wild stuff here, especially on "Always Right", where he sticks you with these bizarre, stuttering phrases for the odd-metered verses. It's offset by big choruses and a strange Eastern European-ish bridge with a carnivalesque atmosphere. More simple is "Boy Ant", a short piano instrumental with a sense of melody derived more from traditional European songs like "Edelweiss" than anything in contemporary pop sphere.

Any Menomena fan will recognize Knopf's voice, which is a delicate instrument-- it's not rangy, but he knows his capabilities and uses them. He gives himself a bit of electronic assistance on "I Say Fever", falling down a processing rabbit hole on the title refrain, which precipitates a sudden downpour of heavy guitar. Sleater-Kinney's Janet Weiss provides the song's pounding rhythmic floor, but Knopf's own piano gives it its funky stride. Knopf's solo songs share with Menomena an ear for contrast--"Going Once, Going Twice" swings between easy-flowing passages and lurching sections that build tension for the next rhythmic release.

Intuit, a word that nicely serves as a homophone for "Into It", works as a title for the album because it so neatly seems to describe the writing process-- very few of the odd shifts and unexpected turns in the songs sound contrived or forced. Down to the cover art, it feels like a strong echo of everything great about Knopf's primary band. There are no cut-outs or flipbooks, but Theo Ellsworth's elaborate, grotesque illustrations are worth taking in-- they're like a combination of Where the Wild Things Are, a fever dream, a pagan woodland ceremony, and a notebook doodle. The music is worth taking in, too, over and over again.

Dude holy shit this album is absolutely the best album to come out this year.

[Dimmukane]

Yeah, that music video was pretty fuckin' sweet, downloading now.

[JD]

P.O.S.-Never Better(2009)

(They gave it a 7)

Punk rock is a genre that was largely formed on the mindset that anyone should be able to express themselves musically, regardless of talent. Hip-hop traditionally lives and dies by skills, and it widely rejects the idea that anyone can pick up a mic and rock a stage without putting in hard work and sweat and dedication to their craft. Any artist that tries to fuse those two worlds has to be more than aware of how tricky a dichotomy that has to be; Minneapolis punk-rap artist P.O.S. alludes to this by claiming that his performing name stands for both "Promise of Skill" and "Piece of Shit." If that's too confusing, "Pissed Off Stef" works fine; it's Stefon Alexander's biggest unifying factor.

It could also be the biggest barrier to enjoying his work, even though Never Better-- the third solo album from the member of the nine-person Doomtree collective-- is P.O.S.' tightest album yet. Everybody's supposed to be high on hope right now, however guarded and pragmatic a hope that it is. But with a lead-off track ("Let It Rattle") that scoffs via repurposed Nas lyrics that "They out for presidents to represent them/ You think a president could represent you?", Never Better sets a confrontational tone that makes the album a potentially rough listen. But that bristling anger is subtly infused with a smart-assed insight and a thing for folding pop culture touchstones into unrecognizable shapes.

P.O.S.' lyrics have more in common with allusive free-spitters like Aesop Rock and Rob Sonic than, say, Gym Class Heroes-- giving you the gist of an idea while leaving you to try and calculate the deeper meaning in all the supposedly disjointed phrases ricocheting off each other. Some of the more intense lyrical moments, like "Grave Shovel Let's Go" ("They turning in they grave/ We dig 'em up and rearrange, aim/ Take 'em out the way they came") and "The Brave and the Snake" ("Slip through the sidewalk/ Skip to the hard part/ Tip to the card shark/ Rip through the rampart"), seem to run almost entirely on the fumes of some random-thought anxiety, threatening to drown out any first-listen comprehension with a barrage of aggressive internal rhymes and his meter-defying flow.

But the further you sink into it, the more sense it makes, and you're able to more clearly pick out the themes-- the recession rhetoric of "Low Light Low Life"; the post-trauma love story of "Been Afraid"; the fuck-what-they-think defiance in "Purexed". Worn ground, maybe, but the language makes it spark. And all that abstraction makes the matter-of-fact details in the autobiographical "Out of Category"-- which takes its titular hook from Lil Wayne's verse on Birdman's "Neck of the Woods"-- stand out a lot more starkly. When P.O.S. reminisces over his coming of age as a black punk rock kid, he captures the identity crisis vividly: "Found his kin, brothers at school think he tryin' to rewrite skin/ Others are fools, never seen some shit like him."

As far as the aforementioned punk/rap contradictions, you might wind up forgetting that there are any in the first place. There's still some nods to punk rock, lyrically (a quote of Fugazi's "Five Corporations" in "Savion Glover") as well as in the guest personnel (None More Black's Jason Shevchuk shows up to yowl all over the end of "Terrorish"). And "Drumroll (We're All Thirsty)", the most immediate, throat-grabbing track on the album, is some straight-up hardcore get-in-the-pit business that lives up to its percussive title. But the majority of the album fits a wider array of rockish hip-hop beats and hip-hop-influenced rock rhythms: "Savion Glover" rides on an uptempo combination of minimalist electronic percussion, splintered guitar chords, and rapidfire scratching, and there's a slick, borderline-pop sound to lead single "Goodbye" and deep cut "Low Light Low Life"-- produced by Doomtree members Lazerbeak and Paper Tiger, respectively-- that pushes it to the level of college radio's most crowd-pleasing indie-rap offerings.

From front to back, the album's an acquired taste, and even if it's not the big paradox that an album mixing punk ethics with rap virtuosity might risk becoming, it doesn't have a universal appeal, especially for heads leery of anything that might approach the misnomer of "emo rap." But P.O.S. knows this, and he's apparently come to terms with it: "We make our own and if they don't feel it, then we are not for them," he sings in "Optimist (We Are Not For Them)". And then, almost as an aside, he adds: "And that's cool." He could be all things to all people, but he succeeds when he remembers who he is to himself.

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[gospel]

Happy Halloween
Kid Congo & The Pink Monkey Birds – Dracula Boots (2009)

MySpace
"Rare as the Yeti" (YouTube)

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On his new album, DRACULA BOOTS, the legendary Kid Congo Powers returns to the psychedelic jungle with a stripped down, no frills set of volcanic songs. Kid, the premier voodoo guitarist for seminal sexy swampy bands like Gun Club. Nick Cave and The Bad Seeds and Cramps is a restless aesthete. He used his earlier solo efforts to explore vocals and mix genres but with DRACULA BOOTS, Kid comes back to his roots as a crackerjack guitarist playing the primitive music that inspired him; the raw sounds of garage and early Chicano rock.

It only made sense to record such glittering gems as Thee Midniters, I Found A Peanut, and Bo Diddley’s, Funky Fly in a high school gymnasium. He did this in a Midwest town called Harveyville with his nefarious Pink Monkey Birds. Bassist Kiki Solis from El Paso,TX. and Drummer Ron Miller from Macon,Ga. provided the southern soul sauce needed to fuel the engine of the rhythm train. Recording on a stage using the old PA system created a natural reverb, summoning the magic of a bygone prom interrupted by a juvenile delinquent rumble.

The original songs on DRACULA BOOTS go from loud, fuzzy biker rock of Hitchhiking to a greasy rump shaker groove of Bobo Boogie, from a scary movie soundtrack, La Llarona to The Meters having an acid flashback of Black Santa.

So sink your teeth into this hunk of wax and waste no time strapping on your DRACULA BOOTS. You will dance your way from the cradle to the grave, and beyond.

Cory Branan and Jon Snodgrass - s/t

"Girl Named Go" (YouTube)

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Jon Snodgrass and Cory Branan are 2 of my favorite songwriters on this planet. Jon, is known best for his roles in Drag the River and Armchair Martian, but earlier this year Jon Snodgrass released his brilliant, first solo album, “Visitor’s Band”. Cory Branan released 2 fantastic albums on Madjack records, “The Hell You Say” and “12 Songs” and has been working on album number 3 on a label to be announced. Know that when Cory releases that new album and tours around, he will become a household name in Alt-Country/Americana.

Jon and Cory have been friends for ages and after playing a number of shows together decided to record a joint release. Cory came out to Colorado to play a number of shows and while in town, the guys recorded this 7 song LP. There are 2 originals by Jon, 3 originals by Cory, and 2 covers (Solo in Soho by Phil Lynott, Wild One by Thin LIzzy). This release will be put out on vinyl and cassette only (that’s right, no CD and the cassette will only be available through mailorder). The first pressing of this record will be pressed out of an edition of 1,000 copies (500 on Sun colored vinyl, 500 on Moon colored vinyl)

Bop Ensemble – Between Trains

MySpace

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Three forces of nature meet in Bop Ensemble, a Canadian super-group featuring folk legends Bill Bourne and Wyckham Porteous, along with up-and-coming singer-bassist Jasmine “Jas” Ohlhauser. Combining Bourne’s grit, Porteous’ warmth, and Jas’ energetic devilry, the three manage to catch lightning in a bottle.

Bourne, who is cut from the cloth of a classic troubadour, was called by Texas songwriting legend Tom Russell “a shining light in the North American folk and roots scene.”

Porteous matches Bourne’s nearly legendary status and was called by Andrew Loog Oldham “Leonard Cohen meets Harry Dean Stanton, a warm, warm, performer whose voice is like a bottle of wine who has matured into a friend.”

Jasmine “Jas” Ohlhauser is the wild card of the bunch, an exuberant 25-year-old who also plays with the Edmonton band Lilys On Mars. With the addition of her dance theatrics, Bop Ensemble shows come close to performance art.

Each of the three is great on their own … together they’re something truly special.

Orba Squara – The Trouble With Flying (2009)

MySpace

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After securing national distribution, Orba Squara’s second release The Trouble With Flying will be released October 27; this is the follow up to 2007’s successful debut sunshyness. Mitch Davis, who performs as Orba Squara, finds inspiration for his natural free-flowing melodies from simple things in his life, like his collection of acoustic guitars, toy pianos, bells, and other instruments picked up at stores (including a sitar bought in Japan), flea markets, and given to him by friends.

Flying though reflects Mitch’s interest in growth for  Orba with a bigger, louder and more ambitious sound than sunshyness. While the debut was a conscious effort, according to Mitch, the songwriting and recording of Flying “just happened” almost immediately after the release of sunshyness. And while sunshyness was purposefully minimal, a sound described by Pitchfork as “indie-folk, like a hybrid of Iron & Wine and the Boy Least Likely To,” Mitch allowed himself to employ effects and amplification on the new material. He wrote, performed and recorded nearly the whole album on his own at his NYC studio, with the exception of the title track and “Tell Me,” which feature Billy Squier on vocals and guitar. A week after a fortuitous backstage meeting where Mitch handed his childhood rock’n’roll hero (“The Stroke,” “Everybody Wants You,” etc.) a copy of sunshyness, he and Squier began collaborating. In addition to the new record, Mitch has undertaken the ambitious, creative, and critically praised The Trouble With Flying web project found at www.orbasquara.com. The unique website (featuring design by Random Collective) presents the album as a road trip, with footage captured from the 10-day bus tour that Mitch, bandmate Zé Luis and friends took from NYC to Portland in early 2009. The adventure found its inspiration from the album’s literal theme of exploring what is often missed when flying, with beautiful photographs of local color, changing landscapes, performances in the streets, ribs and biscuits, and the long terrain between the coasts. Also on display are lyrics and journal entries while the songs from Flying provide the soundtrack to the 430-foot side-scrolling Flash document. Orba Squara had incredible success with licensing the songs from the debut sunshyness. Along with Apple’s selection of “Perfect Timing (This Morning)” as the theme for its worldwide TV iPhone® campaign, Frito Lay, Expedia, Saturn, Goodyear, and Sun Chips also used songs from the record. The single
“The Trouble with Flying” and a tongue-in-cheek cover of Lady Gaga’s “Poker Face” are available on iTunes now.

Magnolia Electric Co. - Daytrotter Sessions

Listen/Download individually

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[debaser]

Loving Ramona Falls, thanks

[bedhead138]

haven't been around for a bit so sorry if any of these have already been posted.

Killah Priest - Elizabeth ~ Mp3 V2 (2009)

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He's been called a prophet, an innovator, a poet; whichever you prefer, the emcee known as Killah Priest is certainly one of the most vivid lyricists in Hip Hop. Priest first entranced listeners on the classic track "B.I.B.L.E. (Basic Instructions Before Leaving Earth)" on GZA's seminal debut LP Liquid Swords. Since then Priest has continued to enthrall devotees of true Hip Hop with his lush imagery, graphic storytelling and razor-sharp rhymes. Now the Rap veteran and Wu affiliate returns with "Elizabeth (Introduction To The Psychic)". Priest delivers a solid full length of head nodders sure to satisfy Wu-Tang fans worldwide all while staying true to his spiritual side and his firm belief in the power of Hip Hop. "Elizabeth" is the first release on Priest's own Proverb Records. Production on "Elizabeth" is handled by frequent Killah Priest collaborator DJ Woool.

1. Intro – 3:01
2. Sword Clan – 2:15
3. To Be King – 3:18
4. The 7 Crowns Of God – 4:00
5. Drama – 4:12
6. Trapped – 3:15
7. Dead – 3:25
8. I – 4:27
9. Rise – 2:56
10. How Much – 2:06
11. Interlude – 0:18
12. Murdah Murdah At Dawn – 3:18
13. Let Us Pray – 2:42
14. Diagnose – 3:01
15. What U Want (huh) – 2:49
16. Color Of Murder 2 – 5:39
17. Jacob Never Died – 2:37
18. Confession Booth – 3:35
19. Be Careful – 3:12
20. Truth (Turn Off The Radio) – 3:27
21. Street Matrix – 3:


Spiral Stairs - The Real Feel (2009) ~ Mp3 V2

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After a pair of albums under the group nom de plume Preston School Of Industry, Pavement co-founder Scott Kannberg, aka Spiral Stairs, makes his bona fide solo debut with an October 20 LP/CD/digital album release of ‘The Real Feel’ (OLE 858). Following an extended sojourn in Melbourne, Spiral returned to Seattle rejuvenated at the end of ‘08, and commenced recording with a collection of pals including members of PSOI, the Posies, guitarist Ian Moore, Gersey, and Broken Social Scene’s Kevin Drew. Mixed by the Posies’ Jon Auer, this album is by far the most crafted and introspective of Spiral’s post-Pavement works.


In the words of associate Parker Gibbs, ‘The Real Feel’, “has a vibe similar to classic 70’s albums by Fleetwood Mac (’Then Play On’), Captain Beefhart (’Safe As Milk’), and guitar god Richard Thompson, not to mention Aussie psych rock icons Died Pretty. Comparisons aside, this is 100% Spiral Stairs rock, the same rock that made Pavement the most influential band of the 90″s (take that Hoobastank!) and the same strange, dischordant, playful and melodic Spiral Stairs rock that your parents loved.”

“This is indie rock at its best and brightest,” continues Gibbs, “with Spiral Stairs getting back to the basics that have made him a legend in his own mind and to all of the children willing to enter his home.” And on that somewhat troubling note, we’ll add the vinyl edition of ‘The Real Feel’ features a different running order and a limited edition bonus 7″

01. True Love 4:10
02. Call The Ceasefire 6:42
03. Cold Change 3:16
04. Subiaco Shuffle 5:20
05. Wharf Hand Blues 5:51
06. Maltese T 4:03
07. A Mighty Mighty Fall 4:55
08. Stolen Pills 2:27
09. The Real Feel 0:16
10. Blood Money 8:09
11. Ladies And Gentlemen 1:05


Ben Gibbard and Jay Farrar - One Fast Move or I'm Gone (2009) ~ Mp3 V0

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One Fast Move or I’m Gone: Kerouac’s Big Sur, a new album featuring 12 original songs composed and performed by Ben Gibbard and Jay Farrar of Son Volt - with lyrics based on the prose of Jack Kerouac’s landmark 1962 novel Big Sur - will be available on October 20th. One Fast Move or I'm Gone is a result of Ben and Jay having discovered a mutual appreciation for Kerouac's work while recording several songs for a feature-length documentary of the same name, also available on October 20th.

1. California Zephyr
2. Low Life Kingdom
3. Willamine
4. All In One
5. Breathe Our Iodine
6. These Roads Don’t Move
7. Big Sur
8. One Fast Move Or I’m Gone
9. Final Horrors
10. Sea Engines
11. The Void
12. San Francisco


Bonnie 'Prince' Billy & Brian Harnetty- Silent City (2009) ~ Mp3 V0
 

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Brian Harnetty is an Ohio-based musician, educator and artist, whose work involves typically overlooked elements of sound. Many of his pieces transform found materials- including field recordings, transcriptions, and historic recordings- into personal and often socio-cultural worlds. His music and installations have been performed and exhibited in the U.S. and Europe.

SILENT CITY is the follow-up album to his incredible '07 work AMERICAN WINTER (ALP181CD), which is rooted in recordings & transcriptions made available to Brian through a residency with the APPALACHIAN FOLK ARCHIVE (Berea, KY). The end-result often feels like a gently compelling collision of pure, real-deal "Holler Music" and the deftness of Morton Feldman.

Very much in the kindred-spirit, SILENT CITY features Will Oldham (Palace Brothers, Bonnie Prince Billy, Boxhead Ensemble) on vocals, and is a fascinating, compelling collaboration that mixes the last three centuries into one beautifully haunting, cryptic flow of idea-sound.

1. Night is, and Lights Are, The
2. Top Hat, The
3. Sinclair Serenade
4. Sleeping In the Driveway
5. "Well, There Are a Lot of Stories"
6. Silent City
7. And Under the Winesap Tree
8. It's Different Now
9. Papa Made That Last Verse Up
10. Some Glad Day
11. As Old As the Stars
12. To Hear Still More

[bedhead138]

Nellie McKay - Normal As Blueberry Pie (2009) ~ Mp3 256

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Nellie McKay’s gorgeously understated new album, Normal As Blueberry Pie, is everything a tribute record should be. McKay shows a genuine love and respect for her subject, not to mention a seemingly intuitive understanding of the long-forgotten appeal of singer/actress Doris Day—who, over the years, has become synonymous with the stodgy, overly sentimental schmaltz of the irony-free era from which she came, an era that seems to lie across the chasm of history, out of our reach. Backed by some fantastically talented jazz musicians, McKay bridges this gap, breathing life into Day’s out-of-vogue material; giving old standards a new sense of purpose that transcends nostalgia and makes them feel at home in the modern world. She tackles both popular and obscure Day-delivered numbers—written by legends like George and Ira Gershwin, Rodgers and Hammerstein, Burt Bacharach and Hal David, Johnny Mercer, and Antonio Carlos Jobim—with an endearing earnestness, a hushed grace, and a blustery voice that’s like a crisp autumn wind rustling the last brightly colored leaves from the trees in Central Park. It’s the freshest these songs have sounded in years

1. The Very Thought of You
2. Do Do Do
3. Wonderful Guy
4. Meditation
5. Mean to Me
6. Crazy Rhythm
7. Sentimental Journey
8. If I ever Had a Dream
9. Black Hills of Dakota
10. Dig It
11. Send Me No Flowers
12. Close Your Eyes
13. I Remember You
14. I'll Never Smile Again


Piano Magic - Ovations (2009) ~ Mp3 V2

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Ovations comes as the tenth official album release from Glen Johnson's Piano Magic, and it finds the band considerably raising their game. Ovations feels like the fullest realisation yet of the sound Piano Magic have been persuing over recent albums, marrying classic underground indie sounds from the eighties with an orchestral level of pomp and bombast. After all these years you can finally hear something approaching genuine crossover potential in Piano Magic's music; you'd have to say it's more a case of the times having caught up with Johnson and co. rather than vice-versa. 'The Blue Hour' is like a collision between Joy DIvision and late-eighties 4AD - in fact, Brendan Perry and Peter Ulrich of Dead Can Dance make appearances on the record, providing an extra air of resonance. It's not all about retro alternative rock stylings however, and on pieces like 'March Of The Atheists' you'll hear myriad Eastern instruments sporting harmonies to match, while 'On Edge' maintains the band's engagement with electronics, launching into rapid-fire machine rhythms and searing, epic guitars.

1. The Nightmare Goes On (4:39)
2. March Of The Atheists (4:50)
3. On Edge (3:38)
4. A Fond Farewell (4:27)
5. The Blue Hour (5:42)
6. Recovery Position (4:19)
7. La Cobardia De Los Toreros (3:15)
8. You Never Loved This City (4:08)
9. The Faint Horizon (6:27)
10. Exit (3:51)


Mae - (a)fternoon EP (2009) ~ Mp3 320

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1. Good (a)fternoon
2. Over & Over
3. The Fight Song (Crash and Burn)
4. In Pieces
5. The Cure
6. Falling Into You
7. Communication
8. (A)fternoon in Eden


Ra Ra Riot - Can You Tell (2009) ~ Mp3 V2

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1. Can You Tell (Album Version) 2:40
2. Run My Mouth (RAC Mix) 3:41
3. Dying Is Fine (Tom Campesinos! Mix) 3:50
4. A Manner To Act (Live At Daytrotter) 2:53
5. Can You Tell (2006 Demo) 3:09


Tegan & Sara - Sainthood (2009) ~ Mp3 V2

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Tegan and Sara's sixth studio album - Sainthood - addresses secular themes of devotion, delusion, and exemplary behavior in the pursuit of love andrelationships. Inspired by emotional longing and the quiet actions we hope may be noticed by the objects of our affection, Sainthood is about obsession with romantic ideals.

In the service of relationships we practice being perfect. We practice our sainthood in the hope that we will be rewarded with adoration. As we are driven to become anything for someone else, we sometimes become martyrs for our cause.
Love, like faith, can never be held in an individual's hands. But the story of a great love affair - especially one that is unrequited or has ended too soon - can be woven like scripture or a bedtime story. And so the themes of Sainthood are tied together by this simple title, borrowed, with great respect, from the lyrics of the Leonard Cohen song 'Came So Far For Beauty.'

1. Arrow 3:06
2. Don't Rush 2:44
3. Hell 3:25
4. On Directing 2:46
5. Red Belt 2:11
6. The Cure 3:22
7. Northshore 2:04
8. Night Watch 2:33
9. Alligator 2:42
10.Paperback Head 2:38
11.The Ocean 3:06
12.Sentimental Tune 3:23
13.Someday 2:57


Atlas Sound- Rough Trade EP (Logos Bonus Disc) ~ Mp3 320

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Ahead of the record's release on Monday (October 19), Logos - Bradford Cox's next round of ethereal pop genius as Atlas Sound - has been revealed as Rough Trade Shops' Album of the Month for October, with the record available with a bonus disc of alternative versions of album tracks and a batch of previously unheard material.

The limited edition disc is available for free when ordered through Rough Trade and gives a further insight into the delicate ambient pop of the Atalantan's solo project away from his pursuits as part of Deerhunter.

1. 'Ruben' (Traditional)
2. 'Criminals' (Electronic Version)
3. 'Kid Klimax' (Acoustic Version)
4. 'Reminder' (Previously Unreleased)
5. 'I Know I Will Escape' (Previously Unreleased)
6. 'Nightwork' (Previously Unreleased)

[bedhead138]

Joss Stone - Colour Me Free (2009) ~ Mp3 V2

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After several delays, Joss Stone is back with her fourth album ‘Colour Me Free’ next month, as released on Monday 2nd November. Joss wrote and recorded the follow-up to 2007’s ‘Introducing Joss Stone’ at Mama Stones (a live music venue owned by her mum), and worked with producers Jonathan Shorten and Conor Reeves.

The singer also worked with a number of guest collaborators on the 12 songs, including US rapper Nas, Jeff Beck and Raphael Saadiq (scroll down for the tracklisting). According to Stone, ‘Colour Me Free’ is a very raw sounding record, as she explains: “I kind of woke up one morning and wanted to make an album.”
“It’s very, very raw. It’s a bunch of musicians, writers and myself, and we’re just jamming, basically.” Joss added. “This time, the album was not dictated or forced, it was an organic process where each musician was given the freedom to create their sound.”

“I co-produced this record; it’s an honest and accurate representation of where I am as an artist and person right now. I am really proud of the music and excited to have people finally hear the songs.” The lead single from ‘Colour Me Free’ is ‘Free Me’, as released on 8th November.

1. Free Me
2. Could Have Been You
3. Parallel Lines (Ft. Jeff Beck and Sheila E)
4. Lady
5. Y and 20
6. Big Ole Game (Ft. Raphael Saadiq)
7. Governmentalist (ft. Nas)
8. Incredible
9. You Got The Love
10. I Believe It To My Soul (Ft. Dave Sanborn)
11. Stalemate (Ft. Jamie Hartman)
12. Girlfriend On Demand


Devendra Banhart - What Will We Be (2009) ~ Mp3 256

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Nobody comes to a Devendra Banhart record for trenchant insight into the human condition. "All my thoughts are hairs on a wild, wild boar," he muses here on "Chin Chin & Muck Muck." Instead, Banhart's albums offer ashram-appropriate guitar strums, trippy-hippie tone poetry and, if you're lucky, at least one tune where he sings from the perspective of a rodent. What Will We Be has all that (check out "Rats"), plus a wee-hours piano-bar ballad and a driving soul-rock jam with more Tom Petty than Vashti Bunyan in it. A big improvement over 2007's ho-hum Smokey Rolls Down Thunder Canyon, it's also the most consistently satisfying full-length he's made.

Fans of Banhart's outré tendencies might be surprised that this is also his first major-label disc; after all, he doesn't really seem like the compromising sort. Yet, working alongside producer Paul Butler (from the U.K.'s A Band of Bees), Banhart actually flourishes with a little direction: In the catchy campfire singalongs "Angelika" and "Goin' Back to the Place," his appealing eccentricity gains potency when it's packed into more compact forms, while "Baby" and "16th & Valencia" shimmer with a newfound professionalism. What Will We Be sags toward the end with a handful of snoozy acoustic shuffles and a wack-ass impersonation of the Doors. But mostly, it clicks. Maybe wild boars can be broken.

1. Can't Help But Smiling
2. Angelika
3. Baby
4. Goin' Back
5. First Song For B
6. Last Song For B
7. Chin Chin And Muck Muck
8. 16th And Valencia Roxy Music
9. Rats
10. Maria Lionza
11. Brindo
12. Meet Me At Lookout Point
13. Walilamdzi
14. Foolin'


Sufjan Stevens - Enjoy Your Rabbit (2001) ~ Mp3 320

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Sufjan Stevens' second release, Enjoy Your Rabbit, is a vast departure from the pan-ethnic folk of his debut. Using almost no exterior samples, Stevens crafts an electronic, all-"instrumental" song cycle based on the symbols of the Chinese zodiac. While working within these considerably narrower confines, he still maps out a wide musical territory by using each symbol as a mode, each one exploring different textures and tempos and, in the process, evoking a surprising array of moods. At times eerie and ominous like a backwoods Autechre, other times sounding like more club-oriented fare, Stevens sometimes trades in bloops and bleeps for oblique glitches and crackles, but the underlying guiding principle is wide-eyed exploration that fills nearly every track with a sense of playfulness. Enjoy Your Rabbit never gets too serious, although at times it's very intense. Many tracks even have some sort of musical pun working just under the surface; for instance, "Year of the Horse" is by far the longest, clocking in at over 13 minutes, and "Year of the Ox" has a regular, heavy thudding beat.

01. Year of the Asthmatic Cat
02. Year of the Monkey
03. Year of the Rat
04. Year of the Ox
05. Year of the Boar
06. Year of the Tiger
07. Year of the Snake
08. Year of the Sheep
09. Year of the Rooster
10. Year of the Dragon
11. Enjoy Your Rabbit
12. Year of the Dog
13. Year of the Horse
14. Year of Our Lord


Leonard Cohen - Live at the Isle of Wight 1970 (2009) ~ Mp3 V0

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On August 31, 1970, Leonard Cohen was scheduled to play the third Isle of Wight Festival. The conditions were not optimal. While 100,00 tickets or so had been sold, there were nearly 600,000 in attendance. Fans overran the island to see and hear the Who, Miles Davis, Jimi Hendrix, and many others over five days. Given the gatecrashers, things got ugly and violent. Some acts were booed from the stage while others were pelted with projectiles; fires were set — even the stage got torched during Hendrix's performance. Murray Lerner, the award-winning documentary filmmaker who had been commissioned to capture it all, packed up his gear. Thank goodness he stayed.

Leonard Cohen, was 35, had two albums under his belt with a third on the way. He was scheduled to play after Hendrix, right in the middle of the chaos. Organizers tried to find a replacement piano for the one that had been burned — he was asleep in his trailer when he was awakened at 1 a.m. An unkempt Cohen took the stage without hesitation at 2 a.m in a safari jacket and jeans over his pajamas, along with the Army — producer Bob Johnson on organ, piano, and guitar; Elkin "Bubba" Fowler on bass and banjo; fiddler Charlie Daniels; guitarist Ron Cornelius; and vocalists Corlynn Hanney, Susan Mussmano, and Donna Washburn. Cohen opened with a story about a man at a circus asking people to light a match so they could see one another; he requested that from the rowdy crowd. Some granted it early, many more later. Lerner instinctually reset a camera just before his performance and got most of Cohen's show, the vibe of which transformed the festival's last day.

It's all here on CD and DVD from Legacy. Cohen played songs from his first two albums, debuted a few — including "Suzanne," from the forthcoming Songs of Love and Hate — recited poems, and told stories. He offered personal confessions about being in a cheap hotel, trying to pick up a blonde woman in a Nazi poster while coming down from a speed run; he talked of friends who committed suicide because they had no one to talk to; and shared effortlessly, politely, and honestly without artifice or "showmanship." In other words, the qualities he has become known for throughout his career.

The CD captures the entire performance in nearly pristine sound. The hits (of the time) are here, the banter is here, and the entire performance by the band is so special it will leave the listener utterly satisfied. Whether it's "So Long Marianne," the poem "They Locked Up a Man," the stellar reading of "The Partisan," or the chilling version of "Famous Blue Raincoat," this is top-notch Cohen. The DVD is imperfect, but that's alright; it is still essential viewing artistically and historically. What Lerner captures is utterly magical, and not to be missed. His sense of timing is impeccable, his taste unassailable. Since he hastily reset his gear, there is one camera instead of three, but it hardly matters. He captures the essence of what happened, he understood instinctually what was going on on-stage and with the crowd, and he portrays that throughout the gig. The concert is interspersed with brief interviews with eyewitnesses Judy Collins and Joan Baez; but their input is unnecessary and self-serving. Kris Kristofferson's first person commentary, however, is wonderful, because it is journalistic and simple, without nostalgic interpretation. Cohen is not present as a commentator, which is unfortunate, but this is only a small complaint, really. This is one CD/DVD package that is so complementary, its pieces are inseparable.

1. Introduction
2. Bird On The Wire
3. Intro to So Long, Marianne
4. So Long, Marianne
5. Intro: “Let’s renew ourselves now...”
6. You Know Who I Am
7. Intro to Poems
8. Lady Midnight
9. They Locked Up A Man (poem)/A Person Who Eats Meat/Intro
10. One Of Us Cannot Be Wrong
11. The Stranger Song
12. Tonight Will Be Fine
13. Hey, That’s No Way To Say Good¬bye
14. Diamonds In The Mine
15. Suzanne
16. Sing Another Song, Boys
17. The Partisan
18. Famous Blue Raincoat
19. Seems So Long Ago, Nancy


Inara George - Accidental Experimental (2009) ~ Mp3 V0

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http://www.mediaf!re.com/?0kzwmd5tyot

Some of the songs on The Accidental Experimental have been with George for some time, including a few which would become source material for “An Invitation.” Working closely with producer and frequent collaborator Mike Andrews (Donnie Darko, Grey Boy All-Stars) they have outfitted the “Accidental Experimental” with a mixture of baroque pop, experimental folk, and romantic balladry that fans of both her solo work and band efforts will immediately find familiar and essential

1. Surprise
2. Accidental
3. Can’t Say No
4. Bomb
5. Dirty White
6. Bottlecaps
7. Right as Wrong
8. Oh My Love
9. Where to Go
10. Captured
11. Greedy


Dirty Projectors - Temecula Sunrise EP (2009) ~ Mp3 320

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The EP will feature Temecula Sunrise and Cannibal Resource, two tracks taken from their recently released and critically acclaimed album, Bitte Orca. The EP also contains two exclusive, previously unreleased tracks recorded as part of the album sessions – Ascending Melody and Emblem Of The World – featuring the band’s signature rhythms and stunning singing.

01 – Temecula Sunrise
02 – Cannibal Resource
03 – Ascending Melody
04 – Emblem Of The World


Sufjan Stevens - A Sun Came (2004) ~ Mp3 V2

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The debut disc from this former member of the folk group Marzuki and sometimes Danielson Famile contributor stakes out some wide musical and thematic territory. Although it was recorded on four-track, it transcends the confines of lo-fi and can even seem sonically overambitious at times. Exploring a terrain that can only be called pan-ethnic folk, A Sun Came begins with Celtic overtones before traveling east in a global musical study. Indian, Middle Eastern, Far Eastern, American folk, and instruments ranging from banjo and sitar to oboe and xylophone (most of which are played by Stevens) — it's all found here in some form or another, which would be a bit disorienting if not for Stevens' often personal lyrical turns and the wide-eyed indie rock vibe that permeates the songs no matter where they may roam. Also, short spoken word pieces are sprinkled across the album, snippets which on one hand sound like field recordings but are in actuality personal anecdotes and reflections from friends, blending further the multicultural music-lesson feel and the introspective, singer/songwriterly tunes — a nice effect. Highlights include "Demetrius," which takes a Sonic Youth-inspired guitar riff, rides it to the British Isles for some pan pipes, then onward to a Moroccan opium den, and "A Loverless Bed," which is a beautiful, reverb-laden ballad turned noise freak-out.

1. We Are What You Say
2. A Winner Needs a Wand
3. Rake
4. Siamese Twins
5. Demetrius
6. Dumb I Sound
7. Wordsworth's Ridge (for Fran Fike)
8. Belly Button
9. Rice Pudding
10. A Loverless Bed (Without Remission)
11. Godzukie
12. Super Sexy Woman
13. The Oracle Said Wander
14. Happy Birthday
15. Jason
16. Kill
17. Ya Leil
18. A Sun Came
19. Satan's Saxaphones
20. Joy Joy Joy
21. You Are the Rake


Xiu Xiu & Parenthetical Girls - Morrissey / The Smiths (2009) ~ Mp3 320
 Sorry, no cover art.

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http://www.mediaf!re.com/?y3ay1zjgtzm

It doesn't get much more obvious than this, does it? Two like-minded experimental pop groups - who share a great deal of personal history and an unhealthy, often frustrating obsession with the works of one Steven Patrick Morrissey - come together to cover a couple of songs. Why hasn't this happened already? Is there an emoticon for "duh"? Because, well, duh!

But sometimes first thought really is best thought. Take, for example, this particularly choice split, right? Celebrating the first half century of our beloved Bigmouth, acclaimed Moz acolytes XIU XIU completely eviscerate one of Morrissey's most effective paeans to righteous self-loathing - the punishing, Gameboy-composed assault of solo weeper "I Am Hated For Loving".

Likewise, you've got Portland, Oregon's premiere pantywaists PARENTHETICAL GIRLS appearing here perhaps at their ballsiest — embracing the muted violence of early, under-represented Smiths masterpiece "Handsome Devil".

If only all things could be this simple.

01 Xiu Xiu – I am hated for Loving
02 Parenthetical Girls – Handsome Devil

[bedhead138]

Nirvana - Live at Reading 1992 (2009) ~ Mp3 V2

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Nirvana's stage-annihilating performance at the UK's Reading Festival on August 30, 1992-- the one where Kurt jokingly came out in a wheelchair-- has been bootlegged to oblivion but it's getting an official, remastered release.

01.Breed [03:12]
02.Drain You [03:38]
03.Aneurysm [04:35]
04.School [02:43]
05.Sliver [02:06]
06.In Bloom [04:36]
07.Come As You Are [03:36]
08.Lithium [04:22]
09.About A Girl [02:52]
10.Tourette's [01:51]
11.Polly [02:49]
12.Lounge Act [02:37]
13.Smells Like Teen Spirit [04:45]
14.On A Plain [03:00]
15.Negative Creep [02:52]
16.Been A Son [02:13]
17.All Apologies [03:10]
18.Blew [03:20]
19.Dumb [02:32]
20.Stay Away [03:33]
21.Spank Thru [03:07]
22.The Money Will Roll Right In [02:17]
23.D-7 [03:44]
24.Territorial Pissings [04:30]


Molina and Johnson - S/T (2009) ~ Mp3 V2

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

Here's a new album from Jason Molina of Songs: Ohia and Magnolia Electric Co. teamed up with Will Johnson from Centro-Matic and South San Gabriel.

"Consider the collective catalogs of these two prolific masters of the new American folk songcraft: Magnolia Electric Co., Centro-matic, Songs: Ohia, South San Gabriel. Now, let's just be honest. A little bit of artistic ego and one-upsmanship can serve a greater purpose. In this collaboration between Jason Molina and Will Johnson, each seem to hold the other's talents to the fire and elevate both performance and creativity. In the friendly sharing of ideas, Molina and Johnson become two poets' poets in a workshop to craft a singular, searing elegy

01. Twenty Cycles To The Ground ( 3:07)
02. All Falls Together ( 2:21)
03. All Gone, All Gone ( 3:53)
04. Almost Let You In ( 3:25)
05. In The Avalon / Little Killer ( 3:22)
06. Don't Take My Night From Me ( 1:49)
07. Each Star Marks A Day ( 3:41)
08. Lenore's Lullaby ( 5:23)
09. The Lily And The Brakeman ( 2:35)
10. Now, Divide ( 2:54)
11. What You Reckon, What You Breathe ( 5:49)
12. For As Long As It Will Matter ( 2:58)
13. 34 Blues ( 2:52)
14. Wooden Heart ( 3:33)


Norfolk and Western - Dinero Severo (2009) ~ Mp3 256

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Norfolk & Western frontman Adam Selzer has a great pair of ears, the kind people will pay serious money to make professional use of.

Selzer's "day gig" revolves around his partnership in Type Foundry Recording studios, the small, well-regarded North Portland music emporium responsible for albums from artists ranging from Spoon and M. Ward (in whose backing band Selzer serves) to the Decemberists (Selzer's bandmate, Rachel Blumberg, was once the drummer) and Thao With the Get Down Stay Down. All have tapped into Selzer's talent to breathe new life into their music.

Selzer also has spent the past decade helming his own band, Norfolk & Western, whose trademark sound is a sepia-toned Americana that toggles between simplicity and intelligence, often pulling off the mean feat -- in a manner similar to the Band -- of embodying both characteristics simultaneously.

On Norfolk & Western's sixth full-length album, "Dinero Severo" (loose Spanish translation: "Severe Money"), Selzer sticks to what he does best: straightforward piano-based melodies spiked with guitar skronk. The tunes sometimes take the shape of a Dream Syndicate-like talking blues ("Whippoorwill Song"). Others are oddities whose melody and structure resembles radio-ready power-pop ("So That's How It Is," "This Is a Number 5"). It's a nifty trick, one that highlights the band's overflowing surplus of craft and Selzer's many gifts as bandleader, writer/arranger, and, of course, there's those golden ears.

1. Hiding Home
2. Opinion
3. Turkish Wine
4. Every Morning
5. The Long Goodbye
6. Future Mother
7. Whippoorwill Song
8. Not For Good
9. So That’s How It Is
10. Angel Feet
11. This is a Number 5


Yeasayer - Ambling Alp (2009) ~ Mp3 320

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This is the first single from Yeasayer's new album, Odd Blood, to be released February 9, 2010. The single comes out on physical media November 3, 2009 but is available for digital download from their website immediately. Visit http://www.amblingalp.com/ for more information.

1. Ambling Alp

[JD]

Good lord

[Koremora]

That new Yeasayer single is goddamn incredible. New album should be the tits.

[StaedlerMars]

Good lord

[valley_parade]

Yeah bedhead, calm down a little bit.

[JD]

Piano Magic - Ovations (2009) ~ Mp3 V2

PiaMagOva.zip: CRC failed in Ovations\04 - A Fond Farewell.mp3. The file is corrupt

[pogonrudie]

NONE OF THESE FILES ARE ACTUALLY CORRUPTED, GET A NEW EXTRACTING PROGRAM.

Jesus.

[Scarychips]

Shit, pogonrudie. Calm down a bit.

[JD]

Fine

[Harun]

The Devin Townsend Project - Addicted

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http://www.mediafire.com/download.php?ijnyk2xgykw

[David_Dovey]

YESSSS

[Dimmukane]

Man, that Ramona Falls was good.

[scarred]

Jesus fuck I leave this thread for one weekend and this is what you leave me. Good thing I'm unemployed so I have time to listen to all this music I don't pay for.

[KvP]

Legion of Two - Riffs

Here’s one record you can judge by its cover. The colossal sound on Legion of Two’s debut album Riffs is so ‘industrial’ you can almost trace the cables from those spindly pylons back to the turbine room of some imposing power plant. It sounds like metal, but it’s no head-banging power chord onslaught – rather it sounds like sheet metal being hit, scraped and battered into shape. It’s a cast iron album called Riffs that doesn’t really have any actual riffs, or even guitars or vocals. It’s also smeared in dubstep, glitchy electronica and visceral drone rock, and it might be the heaviest thing you’ll hear this year.

The plant workers are Decal producer Alan O’Boyle and percussionist David Lacey, big players on Dublin’s underground techno and improvised music scenes who fittingly unleashed Legion of Two at the Dublin Electronic Arts Festival last October. Since then, a few snatched MySpace live clips and tantalising song snippets have stirred up an online buzz – and they’ve delivered on the promise with an album that’s as dark and challenging as anything else on Planet Mu.

O’ Boyle’s trademark may be sleek electro and techno, but the shimmering cymbals, hissy feedback and rusty metallic whining on opening track ‘Intro (Starbound)’ is at once a serious departure from Decal’s floor fillers. It’s the pounding live drums and sampled percussion that hammer home Legion of Two’s mission statement though. Riffs is like Future Sound Of London’s Dead Cities after a nuclear holocaust, a rare electronic album with a coherent sonic theme – albeit one of dystopian urban decay.

The six-minute epic ‘And Now We Wait’ takes a corroded cityscape and concocts a wall of noise around rattling shutters, distant alarms, stabby rave motifs and malfunctioning electronics. ‘Palace (Dub)’ sounds like a rewired Blade Runner soundtrack if Vangelis lost the tender to Godflesh or Ministry; its breathy synth pad intro soon smothered in a molten lava bassline, seismic drums and claustrophobic 8-bit sci-fi loops. It also hints at ‘vocals’ buried in the mix, with twisted wailing that’s barely audible through a busted shortwave radio – ghosts in the machine, trapped under fizzling live wires and shards of scrap metal barely soldered together.

But it’s not all gravelly electro basslines and slabs of white noise. Delicate fractal synths act as pinholes of sunlight through acid rain clouds on ‘Legion of Two’, and the xylophone and woodblock effects on ‘Turning Point’ build up to a lush techno finale that Orbital would be proud of.

While the album as a whole is a slow, rumbling beast, the tempo drops even further after ‘(Interlude) ABC’, with its snatches of tinkering keys and a kid’s warped alphabet recital. There’s more space to breathe on Riffs’ cavernous dubbed-out second half. ‘Handling Noise’ is a creaking shipwreck of a track, with echoes of metal barrels slamming against each other in the hold until it descends into a cacophony of drills and squalling woodwind. ‘It Really Does Take Time’ is a dark dub masterpiece, with its panning echo chamber effects, wobbly bassline and sonar bleeps. It also has one of the album’s few ‘riffs’, a slithery low-end synth line that coils around a haunting vocal loop.

With nine tracks spanning an hour (three weigh in over the 10-minute mark), Riffs’ triumph is its relentless sensory overload. It’s not zeroes and ones programmed by algorithms – there’s nothing virtual about Legion of Two’s sound. And as the final track ‘Cast Out Your Demons’ spirals off in a dense fog and wailing sirens, you realise Riffs hits the spot because it’s an electronic album with its live wires and short circuits still showing, a towering noise factory that’ll trap you once you clock in.

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http://www.mediaf!re.com/file/zgtwqlfwjf2/Lgn o 2 - Rfs.rarAn odd release for Planet Mu. The live drums in particular make it sort of post-rocky at times, but for the most part it resembles some of the more aggressive cuts off of the Nine Inch Nails instrumental album Ghosts, with a harder edge, cross-pollinated with Tobacco here and there. Recommended.



Jesu - Opiate Sun EP

The EP might be the ideal format for Justin Broadrick's music, regardless of his alias. Whether he's trying to erase your head via concrete-slab guitars in Napalm Death, reduce techno to a series of clockwork hammerblows with Final, or massage your pleasure centers with neo-shoegaze in Godflesh, Broadrick's music has a laudable singularity. The three-or-four-song dose mainlines his all-consuming mood of the moment without the potential dilution of trying to fill up a CD.

Broadrick claims to be channeling his long-unused (or presumed non-existent) pop instincts via Jesu, and the band's DNA always has too much of hard rock's cathartic oomph and pop's peaks and valleys to pass for ambient. But Jesu's extended-players like Silver, Lifeline, and now Opiate Sun do seem to bring out Broadrick's more memorable riffs and choruses. If nothing else, they foreground those riffs and ringing climaxes in a way that the hour-plus ebb-and-flow of Jesu or Conqueror isn't designed to do.

Opiate Sun isn't as good as the all-over bodiless sparkle of Lifeline, which may be the best non-collaborative release in Broadrick's unwieldy discography. It's more of a Jesu sampler, a four-song distillation of the band's major modes, with some of Broadrick's most accessible, ingratiating songwriting-- radio-ready if not for the tempos and the fuzz.

"Losing Streak" and the title track are more or less arena alt-rock at a snail's pace, almost cuddly and triumphant enough to be a Foo Fighters single, or maybe Probot if Dave Grohl had drafted Kevin Shields instead of Lemmy. (Plus, I swear, a hint of slow-motion southern rock grandeur in "Losing Streak"'s mid-song solo.) "Deflated" is one of those oxymorons Jesu do so well-- the angelic dirge-- with bass skirting doom metal while the guitar auditions for some early-1990s Creation Records A&R dude. "Morning Light" really is doom, the only out-and-out metal tune here, skewed only by Broadrick's multi-tracked sad-dude vox. Add it all up and (more or less) you've got Jesu.

So Opiate Sun is both the most recent fix for Jesu addicts anxiously awaiting album número tres, and an easy-access jump-on point for not-quite-yet-fans. Opiate Sun's heavy enough to act as gateway drug for those who still know Broadrick only as the guy behind Godflesh's decade-long bad day (if such creatures even exist). It will please the post-'gaze guitar-texture freaks who cream on contact with sonorous feedback. And it's memorable enough to hook those one-and-done consumers of the album-abjuring age. Not bad for four songs.

— Jess Harvell, October 30, 2009

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http://www.mediaf!re.com/?yznz3dd4tey


Terror Danjah - Gremlinz (Instrumentals 2003-2009)

I’ll be honest - coming from the north west of England, grime totally passed me by; apart from the occasional transmission which broke through via the mainstream (Dizzee Rascal ‘I Luv You’, for example), it didn’t really penetrate deepest darkest east Lancashire. On this flimsy basis, I had the music neatly pigeonholed as a basic, functional sound – constructed in a Bow council flat using Music 2000 for the Playstation, for the sole purpose of being MCed over by a shouty youth in a baseball cap. Luckily, this compilation has come along to prove me utterly stupid and wrong. Granted, there are tracks on here (‘Frontline’, ‘Stiff’, ‘Crowbar 2’ amongst others) that do fulfil that role, but they do so with no little amount of style; blending high energy (not hi–nrg, that’s something quite, quite different) electronic drums and some tricky edits with utterly concussive levels of bass pressure, leaving plenty of space for MCs to do their thing.

 

However, it’s when Mr Danjah (possibly Terry to his friends) ushers the MCs to one side and lets the music do the talking that things step up a notch or three. I was surprised to note just how much you can hear the influence of some of the tracks here on the music that is slaying underground clubland in 2009; compare, for example, the laser-guided synth riffing of ‘Hyperphonix’ with the Brackles release on Applepips ‘Get A Job’, or the slinky alien P-funk of ‘Zumpi Hunter’ with the Purple Wow crew’s output. I think ‘Zumpi Hunter’ is my favourite track on the CD - I pretty much guarantee that you will have that synth hook stuck in your head for weeks after hearing it. Also worth a mention is ‘Green Street’ which splices an almost funky-esque drum workout with glistening melodic flourishes and big bad bass, whilst ‘Planet Shock’ is a cheeky remoulding of the bodypopping 80s electro classic that would appear to be a stone cold club rocker.

 
Although it could probably have done with leaving out a few of the more functional tracks, the compilation offers a fascinating and comprehensive snapshot of a producer that is not well known and a musical style that is oft ignored. I’d say that those who might have previously written grime off – like me - but are into Joker, Brackles or indeed any of the new wave of synth freaks

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http://www.mediaf!re.com/?k2yznolztkl


5 Years of Hyperdub

Beatportal.com user Yield Load thinks "dubstep is wicked music, but I didn't know how your suppose to dance to it." The grammar's not there, but the idea is: Dubstep-- the nocturnal, claustrophobic subgenera of British electronic music that emerged from garage and 2-step-- is descended from dance music but doesn't sound like it's made for dancing. The tempos feel slow, the mood is usually threatening, lonely, or both. If there's any movement I can imagine going comfortably with dubstep, it's what Three 6 Mafia's DJ Paul rapped about on "Side 2 Side", and the standard step at indie-rock shows worldwide: "I'm in the club posted up, got my arms folded... twistin' my body from side to side."

Of all the videos of dubstep dancing I clicked through online, two stick out in my mind. One is by an overweight teenager in what is likely his parents' living room, a decorative ship's lifesaver on the wall between what appear to be illustrations of the seaside, a large desktop computer at one end of the room, an open door leading to a yard on the other. A track by the producer Skream comes on, and he starts to move his fists up and down like a child banging steadily on a table, taking very deliberate steps across a carpet. That's it. The other is of two men, one black and one white, dressed in suits, dancing in some kind of white, computer-generated void, as the names of their dance steps flash across the bottom of the screen. My favorite is called "Lost in the woods (with bewildered stare)". I don't know if the comedy was intentional. Either way, it's a sign that dubstep has reached a particular position of cultural importance: hundreds of thousands of people are watching a suburban kid dance to it on YouTube.

Hyperdub is usually cited as dubstep's most prominent and progressive label, but it's hard to even call most of their releases dubstep, strictly speaking. They've released off-centered hip-hop (Flying Lotus), brooding chill-out music that recasts the chill-out room as a bunker (Kode9 & the Spaceape), and misfit rave music (Zomby). Hyperdub's sound isn't dubstep, it's urban noir in the 21st century, or at least how the 21st century looked in 1970s science fiction: A procession of florescent signs over an empty street. 5: Five Years of Hyperdub-- their first CD compilation-- has the tall task of trying to anthologize the label without making it seem like they've run out of ideas. Their solution is sensible: One disc of new material; one disc of classics.

Like any label compilation, 5 functions as a kind of mission statement: Here's what we've done; here's what we do. Most of the music on it sounds made for the head, not the feet. In a way, it's like a modern analog to Warp's 1992 compilation, Artificial Intelligence, whose sleeve was a picture of an empty armchair in a living room-- electronic music that has a place in the home.

Describing his music to The Guardian in 2007, the producer Burial said, "I want it to be like a little sanctuary. It's like that 24-hour stand selling tea on a rainy night, glowing in the dark." His two albums, Burial and Untrue, have more in common with Massive Attack and ambient music than anything you'd hear at a club. Zomby, on the other hand-- whose Where Were U in 92? sounded like jungle and drum'n'bass chewed up by a Game Boy-- described his daily routine to XLR8R magazine as "lots of rolling joints" and "eating some chicken-based dish à la carte." These guys aren't public faces, they're lost in the crowd-- they're people spacing out in their living rooms, alone. Burial's identity was secret for two years after he started putting out records. Zomby will be photographed only while wearing a mask.

Anyone familiar with Hyperdub-- or dubstep in general-- will know most of the classics disc. That's the point. One of the label's first singles-- Kode9 & the Spaceape's bloodless cover of the Specials' "Ghost Town"-- doesn't even have a beat behind it; it floats. Burial shows up twice, once with "South London Boroughs", once with "Distant Lights". There's Zomby's nightmarish "Spliff Dub (Rustie Remix)", whose sampled vocalist sings, "One spliff a day keep the evil away," over a track of 8-bit garbage and what sounds like synthesizers in a deep fryer. (The music captures weed's paranoia more than its elation-- I mean, is it supposed to make me like pot or fear it?)

The word "classics" has a kind of accelerated, lax definition in dance music, and some of the tracks on the second disc are from as recent as earlier this year. The heaviest is Joker's "Digidesign", a spacious, bone-simple piece of 80s-style R&B based around a handful of acidic countermelodies, so elegant it almost plays like a jingle.

The first disc-- the new one-- is good, but doesn't hold up to the classics. Those expected to bring it, as it were-- Burial, Zomby, Joker, Flying Lotus-- do, just not in any revelatory ways. Of the bunch, Zomby is probably the most satisfying because he's so hard to pin down: "Tarantula" doesn't sound exactly like anything he's released before, and his most recent single, "Digital Flora"/"Digital Fauna" doesn't sound like "Tarantula". I was never sold on Quarta 330's chiptune routine, nor on Kode9's music either-- their new contributions roll off. The only track that actively perplexes me is Black Chow's "Purple Smoke", whose junkshop hip-hop beats are the most brainlessly retro flourish on the whole compilation, and whose come-hither Japanese vocalist confuses sexy with corny. Minor complaints. Hyperdub deserves this: They've reshaped the little world they work in, and they've reached out to a wider one-- whether that world dances or not.

(pt.1)

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http://www.mediaf!re.com/?mv0ymemhzmt(pt.2)

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http://www.mediaf!re.com/?izhmwjtqmmoGood stuff here even if you don't actually like dub music -- Hyperdub's about as close as you come to the real thing in the dubstep scene these days.

[KvP]

Vitalic - Flashmob

It took Vitalic's Pascal Arbez-Nicolas over four years to follow up OK Cowboy, but then he's never been a particularly speedy producer. After all, his debut album featured singles that were nearly a half-decade old by the time they appeared on the full-length. Even if Flashmob's title feels a little dated, suggesting mid-2000s trends a few years after they peaked, the same can't be said about its music. While the electro foundations of his sound remain the same after more than a decade, these tracks are sleek and innovative -- proving that Vitalic spent the years between OK Cowboy and this album uniting everything he learned making groundbreaking singles like "Poney" with what's been going on since his last album. While there are more than a few cuts that are classic Vitalic, all masses of synths and hard-edged beats (see the sunny expanses of "See the Sea " and the interstellar closer, "Station Mir 2099"), he's not afraid to change things up, most strikingly on Flashmob's singles. The title track is particularly bonkers, using vocals and synths that get higher and swifter until they blur into streaks, giving the impression of going faster and faster even though the actual beat stays rock-solid. It may be as (aptly) flashy and immediate as, say, Justice, but it also has an artfulness that is all Vitalic. He also uses disco's influence in similarly unexpected ways, permeating the album with the style's spirit rather than rehashing its clichés. "Terminateur Benelux" piles on the handclaps, cowbells, and breakdowns, but balances them with a wittily sinister bassline that borrows from Belgian rave; "Your Disco Song"'s whip-cracking beat and 8-bit synths sparkle and crunch like a shattered mirrorball. "Poison Lips" is even more unusual, transforming Vitalic's vocal program Brigitte into a breathy, glitchy Donna Summer replicant surrounded by swirling pads. He explores Flashmob's surprisingly delicate side more deeply on "Still"'s icy, Moroder-esque atmosphere and fluttering vocalizations, and on the gorgeous "Second Lives," which boasts a melody so lovely it feels like a classical piece given a radical spin on the dancefloor. Even with tracks like "Chicken Lady," which is equally kinetic and goofy, Flashmob is some of Vitalic's most artful, even subtle work. It may or may not be as profoundly influential as OK Cowboy, but it's just as engaging and even more cohesive.

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http://www.mediafire.com/?t1znyw22zhh

[StaedlerMars]

Yes.

Edit: No! extraction failed!

[JD]

Funny, it extracted fine for me. Mostly anyway

[KurtMcAllister]

Yeasayer - Ambling Alp Single

Code: [Select]

http://www.mediaf!re.com/?mdjkym2mwo1
Yeah, I know this was uploaded this page, but this features the two remixes and the instrumental that are on the 12".

Track listing:
1- Ambling Alp
2- Ambling Alp (DJ /rupture and Brent Arnold Remix)
3- Ambling Alp (Memory Tapes Remix)
4- Ambling Alp (Instrumental)

[scarred]

Mostly anyway

haha

edit: damn, after the first 3 tracks it failed to extract for me too.

[JD]

It extracted all but track 4 for me.

[StaedlerMars]

Yeah, the first three tracks were fine. But no matter, I found it somewhere else on google. I just didn't know it existed.

[scarred]

Guys guys guys -


Helios - Unreleased, Vol. 1 [2009]

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http://www.mediaf!re.com/?wd4wzmnztoy
!!!!!!!!

!!!!!!!!!!

[kwintpod]

^
Omge!

Burning Star Core-Challenger(2008)

http://www.youtube.com/watch?v=c73Kq0jwaeM
January 28, 1986 was one of those dark, tragedy-stricken days in American history, for on its tenth mission, in front of live television cameras, NASA space shuttle Challenger broke apart soon after its launch. Many might still remember the images of the Challenger coming apart at the seams, a completely devastating yet eerily majestic remembrance of lives and aspirations exploding in cascading plumes of exhaust and smoke.

The new album by C. Spencer Yeh’s Burning Star Core project bears the same name as that ill-fated space shuttle, and it finds itself working towards a similar pathos. Opening track "Challenger" is a prime example, setting the tone and immediately bringing to mind Brian Eno’s Music For Airports. But this venture could be more aptly dubbed Music For Space Stations: relying on softly shifting tones and a repeated high-frequency blip intermittently ringing out, Yeh depicts a relatively calm scene, only to be devastated with racket around the three-minute mark. Screeching noise disrupts the consonance, as if offering up a sacrifice, beholding the magnificent to be ritualistically destroyed by its preternatural dichotomy.

Indeed, Spencer makes it clear from the beginning that Challenger is a composed work rather than an improvised one (as his usual wont), and it’s made even clearer as this compositional method returns throughout the album. In fact, Yeh frequently adopts this formula on this album, in which the song starts off quietly, builds into a transcendent soundscape, and is then counterbalanced by some sort of dissonance. "Mezzo Forte," for instance, centers around Yeh’s voice looped in staccato patterns over one another, until a cosmic stuttering orchestra of “uh”s accumulates. A mesmerizing Satie-like piano line is added, but like the opening track, "Mezzo Forte" undergoes the ritualistic process whereby beauty is built up and subsequently destroyed.

Elsewhere on the album, "Hopelessly Devoted" features Hair Police member Trevor Tremaine supplying cascades of Jew’s harp on a really deep track with plenty body-vibing resonance, as "Un Coeur En Hiver" (translation: "A Heart in Winter") starts off with snippets of conversation and field recordings of what sounds like the din of late-night garbage pickup and rusty, swinging gates. Meanwhile, On "Mysteries of the Organ," Yeh busts out his trademark violin, with some swelling, attack-delayed organ — slightly reminiscent of an instrumental Burzum piece — and a violent assault on the piano.

Although not necessarily a "challenger" because it is one of Yeh’s more difficult works, the album instead challenges the listener into thinking more deeply about the nature of consonance and dissonance, and how it is enforced in the modern music scene. He’s playing with our relationship between aesthetics and emotion, making it easy to be reminded of, say, the Challenger space shuttle painting an epic canvas in the sky. The album’s cover art (by Robert Beatty of Hair Police/Three Legged Race) only adds to the tension: a Monty Python-esque burst of Technicolor springing forth from a crack in a gray, featureless celestial body surrounded by a similarly dreary universe.

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http://www.mediaf!re.com/download.php?juznh2fkein

[sean]

Lana Avacada - 3 song demo thing whatever

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http://www.mediafire.com/download.php?mzjyzb5vmzt
basically think this town needs guns style mathy shit + midwest emo energy + gruff vocals. so awesome.

[lolvstein]

I've lurked around here long enough, I feel like I should give back some music. Not sure if anyone's interested in these records but here is goes.
Arthur Russell - Love Is Overtaking Me


 

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http://www.mediaf!re.com/file/hy2mey2t1tg/Love Is Overtaking Me.zip
 

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http://www.mediaf!re.com/file/tcmymjjjman/Love Is Overtaking Me2.zip
Meanderthals - Desire Lines
[img width= height=]http://www.urb.com/uploads/reviews/cd_reviews/Meanderthals_Desire_Lines_SmallTown_SuperSound.jpg[/img]

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http://www.mediaf!re.com/file/gjgolngjyel/Meanderthals.zip
DeYarmond Edison - Silent Signs

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http://www.mediaf!re.com/file/zreyxdwdlmq/DeYarmond Edison.zip

Justin Vernon - Hazeltons
[img width= height=]http://4.bp.blogspot.com/_L2JfzomABrE/SaFW-D6006I/AAAAAAAAA6I/LMoqfNyrBls/s320/hazeltons+justin+vernon.jpg[/img]

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http://www.mediaf!re.com/file/5fieoycmy2q/Hazeltons.zip

[lolvstein]

Did I do something wrong in my post?

[Scandanavian War Machine]

yes, but only slightly.

put your links inside the [code] tags like this: [code] LINKSSSS [/code] and you'll be legit.

[lolvstein]

Thanks!!

[the_pied_piper]

Don't worry about replies to your music, if you like it post it, there will be at least somebody who will find out about these artists from these uploads. 

[Sanyo815]

Random stuff

Fred Neil - Bleecker & MacDougal (1965)

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

Given the late Fred Neil's near mythic reputation as a songwriter, singer, environmentalist, and recluse, the reissue of his 1965 album Bleecker & MacDougal is of historic importance. But rather than being an artifact of the man who wrote "Everybody's Talkin'," "Other Side to This Life" (which appears here), and "Dolphins," this album is made of the material that gave Neil his enigmatic presence. This is a highly evocative and emotionally charged set of material, nearly all of which Neil composed. The lineup on the album was similar to his previous outing with Vince Martin, and featured John Sebastian on harmonica, Felix Pappalardi on bass, and guitarist Pete Childs (who also played dobro and electric on the date -- the latter was heresy for a folk record), with Neil playing 12-string. The pace of the set is devastating, from the greasy blues of the title track to the strolling darkness of "Blues on the Ceiling," the jug band stomp of "Sweet Mama," and the balladic heraldry of "Little Bit of Rain," a dynamic Tim Buckley would bring his own magic to as he emulated it a few years later. In addition, there's the tough Chicago blues meets California swagger of "Country Boy," which Mike Bloomfield and Paul Butterfield would perfect two scant years later. "Other Side to This Life" is its own elegiac painting in sound, with glistening dirge-like textures caressed by Neil's baritone. The tough, battered "Travelin' Shoes" is an early example of folk-rock with a big accent on the word "rock." Yet, on the album's lone cover, a gorgeously wrought and multi-textured rendition of "The Water Is Wide," Neil added spare, haunting jazz overtones to the arrangements, transcending the folk coffeehouse prison the song had been encased in for a decade. In fact, if one listens to Bryter Layter by Nick Drake, it would be easy to hear the connection. The album closes with the winding dobro that sparks "Gone Again," underlining the album's feeling of rambling transience and willful acceptance of both the graces and hardships life offers. In 13 songs, Neil transformed the folk genre into something wholly other yet not unfamiliar to itself, and helped pave the way for an entire generation of singer/songwriters who cared as much for the blues as they did for folk revival traditions. This is -- more so than his fine compilation The Many Sides of Fred Neil or his debut Capitol album, Tear Down the Walls -- the Fred Neil record to have.

Brainticket - Cottonwoodhill (1971)

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http://www.mediaf!re.com/download.php?mmjtl2y5zwy

BRAINTICKET's debut album is perhaps one of the most psychedelic recordings of all time (and also one I do enjoy). Led by Swiss keyboard wizard Joel Vandroogenbroeck, BRAINTICKET will space you out beyond belief. "Cottonwood Hill" is loaded with acid laced guitar solos, heavy forboding organ screeches and loads of psychedelic influenced lyrics and vocals. The uninitiated should recognize that the title song BRAINTICKET Part 1 & 2 does have a major repetitive chorus which although I find perfectly psychedelic may trouble others out there. Like all good prog rock, BRAINTICKET explore a vast array of music here and move from funk-like beats to heavy west-coast acid-freaked-out psychedelia. To sum it all up is to simply say that if your into the psychedelia then BRAINTICKET is your long lost grandfather.

Prefuse 73 - Everything She Touched Turned Ampexian (2009)

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

Everything She Touched Turned Ampexian is album number five for Prefuse 73, aka Guillermo Scott Herren. With 28 tracks lasting a total of 48 minutes, it sounds like the future on fast forward. Picture a mixtape mash up of psychedelic hip hop with only the briefest of pauses for breath.

After three short switchback tracks, NoNo is a restful patch of crooned breathing. However, it's only 14 seconds long and over before you know it. Straight after Herren serves up an intense slice of stop start beats – appropriately titled Punish - that ends with violin wails and multi-tracked voices.

There's a scene in the 1976 film The Man Who Fell To Earth in which David Bowie's lost alien sits surrounded by a huge bank of televisions, all tuned to different channels. The cacophonous result isn't that dissimilar to first impressions of this album. It feels like it’s necessary to focus on individual moments to get a sense of what's happening, but those moments are succeeded by so many other shard-like sounds that it can feel like a challenge to keep up. Surrender is probably the best strategy. The only alternative otherwise is flight.

The other 70s reference is Dan McPharlin's cover - a Roger Dean homage mixed with just a dash of Studio Ghibli. The otherworldliness of the image further underlines the sense of a world gone mad from sensory overload.

It wouldn't be a Prefuse 73 album without some lovely beats under the ever-changing soundscapes: the fleeting Get Em High, the clockwork skronk of No Lights Still Rock and the stoned Regato are high points. Everything She Touched Turned Ampexian may be a challenge, but it's one well worth facing.

and my favourite album of the year

Soap & Skin - Lovetune For Vacuum (2009)

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http://www.mediaf!re.com/download.php?zm3wznuzvuq

Don’t let the soft, scented domesticity of Anja Plaschg’s stage moniker or album title fool you; ‘Lovetune for Vacuum” is a mournful Frankenstein of a record – a young woman attempting to come to terms with the often twisted depths of her own feelings by imprisoning them within a fortress of ticking shutter sounds and mandrake violins. With a beguiling voice pitched somewhere between Anthony and Karin Dreijer Andersson (Fever Ray/The Knife), 18 year old Plaschg (who grew up on a rural pig farm in her native Austria) cuts an emotionally bruised, shadowy figure on her extraordinarily precocious debut.


At the heart of the record is a shy, elegantly mechanical android, that ticks and whirrs with the sounds of typewriters, camera clicks and children’s toys, gradually expanding and dominating with each song. On the childlike ‘Cry Wolf’, it cowers reticently behind a background of Múm style vocals and a naïve flute, but gathers strength by ‘Turbine Womb’ (the lyrics can be a little sci-fi Sylvia Plath, but impressive for a second language) to sound like Optimus Prime doing the ballet; indeed, Plaschg’s strengths reach far beyond the stereotype of the quirky musical ingénue to join Peter Broderick, Hauschka and Max Richter as part of the exciting European scene of young classical protégés, such is her impressive piano work. Come the penultimate track, ‘DDMMYYYY’, the machine is fully-fledged, as industrial and aggressive as Leila or any of Richard D James’ Warp brethren as it drowns out a woman’s crazed histrionics – it’s no surprise that both Fenessz and DJ Koze have remixed her.

In parts, this is a terrifying record, and you can only imagine what it’s like to be her parents – an unpredictable raven haired pearl looming from the shadows of farmhouses in her press photos, even crouched naked amongst the pigs; with tortured scientific lyrics about the Greek daemon of death (‘Thanatos’, not dissimilar to the rousing layered vocals of Electrelane’s ‘The Valleys’) through to the slightly sixth form poetry words of ‘Extinguish Me’ (“I search in snow, in vain / For your footsteps’ trail / I have to kiss them / With my scalding tears”) and childhood pain (‘Spiracle’). It’s not always a pleasure to listen to, particularly as the tangle of piano and icy church intonations of ‘Fall Foliage’ rumble into that familiar elegant clunk of clockwork and whirrs, but it’s to her credit that she rides the motif through to the end of the record, and proves its worth – her bleak electronic dystopia could easily soundtrack Watchmen or similar. If this is how she sings ‘Lovetunes…’, heaven help us when she turns her pen to less starry-eyed subject matter.

[JD]

Say Anything-Say Anything(2009)

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

Clocking in at 46 minutes -- nearly half the running time of 2007's In Defense of the Genre -- Say Anything's fourth album is both trim and tuneful, with Max Bemis devoting more focus than ever to the tightening of his quirky, unchained pop songs. "Focus" is a relative term, of course; the frontman still finds time to run wild throughout this disc, rearranging conventional song structures like Picasso and sampling from multiple genres -- emo, rock, punk-pop, R&B, even doo wop -- with greedy glee. The choruses boast stronger hooks this time around, though, which lends heft to Say Anything's musical mish-mash, and the band's willingness to break rules is what makes this album so refreshing. Arriving at the tail-end of 2009, a year in which most emo-pop was compressed, polished, and wholly indebted to Top 40 radio, Say Anything is as unpredictable as they come, boasting 13 tracks that sound dangerous and delicious at the same time. "There are babies with guns beheading their friends in shopping malls around the world, yet somehow the Kings of Leon still have time to write songs about girls," Bemis sing at the beginning of "Mara and Me," adding "I don't suck much less" in a guttural scream. It's this combination of self-loathing and pop culture critique that fuels most of the album, and Bemis distances himself from his contemporaries by briefly embracing their tricks -- the palm-muted guitar chords, the "whoa oh oh" background vocals, the dramatic delivery -- before turning them on their heads, whether that means adding pizzicato strings to "Do Better" or circus-styled keyboard to the aforementioned "Mara and Me." This is an impulsive album, an odd piece of work that manages to be puzzling without alienating the listener.

I have a couple of other things to upload, I just wanted to get this out of the way.

[JD]

Also Soap & Skin is interesting, thanks for the upload.

[JD]

Alright, here they are

Broski-Jortch

[No album cover that I'm aware of]

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

Out of Allentown, PA right near where I go to school, comes Broski, the sister of a blog reader named Emily. Broski is self described as "Music for driving away from your girlfriend's house" and it's pretty fitting. The four track EP is just a two-piece set of Mitch on guitar and Jordan on drums, but the simplicity isn't a bad thing. Mitch plays some choppy quick catchy rifts with a definite emo influence. They recently played with My Heart To Joy which is what I'm digging right now so that's a plus. I was going to try relate them to a Cap'n Jazz spin-off band, but they are like an upbeat version of all of them combined. My only critique which is kind of a major turn-off for me normally is the lack of vocals. I'm a big fan of music with something to say and a good voice to say it. Despite this, I enjoyed listening to Broski, and I look foward to seeing how they develop.

Tree Sounds-Naps

[none for this either]

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http://www.mediafire.com/?mlioz2jm2zj

Tree Sounds used to go by Molly Sunday but now she plays lo-fi ukulele under a new name. Since it's just one girl, it's a pretty simple sounding album, but nonetheless it's full of a lot of ukulele strumming, claps, and fun lyrics. The "band" name is kind of fitting, because it makes me want to go outside and go fishing and climb trees.

The Sarcastic Dharma Society-Other People's Songs

[what do you think?]

The Sarcastic Dharma Society or pretty much just Matthew J. Vuksinich for the most part shot me an email asking me to listen to his work and tell me what I think. This local artist from the thriving music scene of Portland, Oregon has some real talent. Whenever I get emails from people with music to listen to especially if it's their own, I never have high expectations.

WRONG! I was simply blown away when I opened up the files he gave me which consisted of covers of some of my favorite artists. These are the likes of Andrew Jackson Jihad, Why?, The Beatles, Bright Eyes, and Mt. Eerie which I just recently got into.

The album consists of 10 songs all being covers of artists that I love from the start. Some of my other favorite tracks are "Don't Let Me Down" by The Beatles and "Shit On My Heart" by a local Portland band known asMeyercord.

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http://www.mediafire.com/?onldwh2d42n

[Zingoleb]

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

You Say Party! We Say Die!- Danskwad EP (2004)

[SWOON! at My Gravitas]

I've long been mooching off this thread, so I figure it's about time to share some of the scant few albums I've got that haven't already been posted here.  Let me know if it's not up to snuff.

Blut Aus Nord- Memoria Vetusta II: Dialogue With the Stars

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http://www.mediafire.com/download.php?my3d2fywn3y
It's atmospheric black metal.  Probably my favorite black metal album to be released this year.

YOB- The Great Cessation

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http://www.mediafire.com/download.php?0zw03kwmaxk
Heavy, heavy, HEAVY psychedelic doom.

[scarred]

So I've been trying to listen to other songs off of that new Vitalic record, but I always just end up listening to "Poison Lips." Over and over again.

[E. Spaceman]

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http://www.mediafire.com/?y1intiltyzz

This is the actual physical release, containing the track and the a capella

[pogonrudie]

Thanks a ton for the LCD Soundsystem.

[kwintpod]

Blood Axis & In Gowan Ring-Witch Hunt-The Rites of Samhain(2001)

Folk
Witch-Hunt: The Rites of Samhain is a recording of a 1999 live collaboration of Blood Axis and In Gowan Ring, performing as Witch-Hunt
http://www.youtube.com/watch?v=c99XyIcpSWQ

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http://www.mediaf!re.com/download.php?ayonygtndzc
Death in June-But What Ends When Symbols Shatter?(1992)

neofolk
http://www.youtube.com/watch?v=sRzou2Qy5Y4

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http://www.mediaf!re.com/download.php?jnm2ntymehj

[Mr. Tool]

Washed Out - High Times / Life Of Leisure




Two EP's clocking in at a combined 37 minutes of lo-fi electro-pop brilliance. You're welcome.

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

[David_Dovey]

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http://www.mediaf!re.com/?y1intiltyzzThis is the actual physical release, containing the track and the a capella

hagluagblgl

[Old Sebastian]

Washed Out - High Times / Life Of Leisure

Two EP's clocking in at a combined 37 minutes of lo-fi electro-pop brilliance. You're welcome.

Thanks for this, I've been looking for it for a WHILE.