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[DavidGrohl]

Just got through my first listen;  Wow, Ramona Falls was epic.

Thanks, whoever uploaded that.   

[E. Spaceman]

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http://www.mediafire.com/?nwhwnjb0tyt

As a fun followup to my last upload, this is James Murphy's (LCD Soundsystem) previous band.

[variable_star]

THE SWELL SEASON - STRICT JOY (2009) [MP3, 320kbps]

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http://www.mediafire.com/?jxh25unoonm

When Once hit theaters in 2007, Glen Hansard had already pursued international acclaim for more than 15 years with the Frames. Although popular in Ireland, the singer's music wasn't nearly as omnipresent in other countries until the movie's release, which catapulted former Frames tunes like "Falling Slowly" into the spotlight. The Once soundtrack was also a big hit, turning Hansard's side project with simpatico songwriter Markéta Irglová into a full-fledged, award-winning, globetrotting band. While playing international venues and attending industry award shows, the two attracted additional attention for their real-life relationship, which effectively replaced Once's semi-tearful conclusion with a storybook ending. Released two years after the film's release, however, Strict Joy finds Hansard and Irglová going their separate ways, choosing to end their relationship while remaining in the same band.

Hansard has used heartbreak for fuel in the past, and he keeps the blaze going throughout these 12 tracks. If the Once soundtrack was a bit spotty — its track list culled from a haphazard array of old Frames songs, Van Morrison covers, collaborative material, and musicians' own tunes — then Strict Joy shows what the Swell Season can do with a singular theme and a solid backing band, both of which contribute to the album's cohesion. Van Morrison's influence is still apparent, particularly in the '70s-styled soul of "Low Rising," but the singer/songwriter ambience that permeated Once's music doesn't carry as much weight here. Instead, Strict Joy devotes more concern to exploring the lush possibilities of Swell Season's sound, which now includes tasteful doses of strings, electric guitar, and overdubbed harmonies.

The results are quite often gorgeous, with songs like "The Rain" and "Wild Horses" building up to expansive, cathartic climaxes over the course of several minutes. Also striking are the performances by Markéta Irglová, who turns her fragile voice — an instrument that always seemed detrimentally self-conscious on previous albums — into something alluring on "Fantasy Man" and "I Have Loved You Wrong." It's testament to the band's vision that they remain focused despite such improvements; no amount of cinematic orchestration can change the fact that these songs are, after all, inward-looking tunes about heartbreak and personal struggle, and their lyrics resonate regardless of their wrapping paper. As a result, Strict Joy is a joy from start to finish, and few bands manage to mix intimacy and sweeping songcraft with such finesse. - Allmusic

[JD]

You are the man

edit
Though the file is named something completely different

[medicatesleep]

Ink & Dagger - Ink & Dagger (2000)

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http://www.mediaf!re.com/download.php?by3dzaag0n3
"Ink & Dagger are arguably the most underrated, greatest unheard band in rock and roll. While a critical overview of their work is much needed, I will attempt to simply convey how amazing this album is. This, the final self-titled work of Ink & Dagger transcends any and all boundaries in punk rock music or rock music or even just music. A blistering assault of riffs packed within riffs, layers of guitars and effects, this album is decades ahead of its time.
Ink & Dagger was mainly composed of Sean McCabe and Don Devore during its existence, and sadly Sean died shortly before this album was released. A tragic end to one of the most original and awe-inspiring voices rock music ever produced."
B.Carnahan

"This posthumous release was absolutely one the most important releases of 2000. As such, it flew relatively low under the majorities' radar. This record really defines the bands' evolution, just as each of their previous releases were giant leaps forward for punk rock. The first time I saw them was on their first tour in '96, in Tulsa. All they had was the Love is Dead 7". I was all over it, spreading the word, infecting the town. Fast forward almost ten years and I'm still recommending a record from the year 2000. Quite a few people were uncomfortable with this release when it came out. Don't let that deter you, you are a warrior on a mission. Get it."
Jeff Richardson

"This CD is the product of madmen. Sane people do not write music like this. I was awestruck the first time i heard this CD. It's hate and love lusting for one another in bed. I am scared to buy the other CD's because no way can they do better than Ink & Dagger. Everything is different now. I think I need to throw away the rules in my head about music and start over. It starts now and with Ink & Dagger. This is the greatest rock and roll record to come out in the last 50 years."
Anon Amazon user



I think that about sums it up.

[variable_star]

edit
Though the file is named something completely different

It's all correctly tagged, I only change the .rar filename so it won't get pulled.

[LazyFlies]

alrighty I havent posted anything here in forever but i thought this was worth sharing.....

Mars Agro-Technology Is A Dead Bird



So theirs no real review for this album yet since it just came out but its rather interesting...The best way I can describe it is as slowly paced indiepop with strong hooks and some well placed keyboards/synths/samples that add a sense of technological paranoia, I guess its a bit of a loose concept album...But it is a rather enjoyable listen all in all

heres a random blog review (http://indiemusicfinds.com/tag/mars-argo/)

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

[Mr. Tool]

Super recommended!

Lady & Bird - La Ballade Of Lady & Bird



Couldn't find a review since it's not out here in America, but this is some tremendous symphonic pop made by two excellent singers

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http://www.mediafire.com/?gonyoj0nmdj

[scarred]

Maps - Turning the Mind [2009]

James Chapman, aka Maps, is yet another British laptop electro one-man band, in the mould of Calvin Harris and Theoretical Girl. He comes from Northampton, got a Mercury nomination for his 2007 debut We Can Create, and, in a great many ways, has no distinguishing features in a UK pop landscape awash with arty 80s-influenced synth revivalists. Except for one thing. His second album is a masterpiece that stands with the best - Depeche Mode, Yazoo, the Normal - of the Mute label's electro-pop past.

Turning the Mind is inspired by a strand of behavioural therapy, pioneered by US psychologist Marsha M Linehan, which attempts to blend cognitive therapy with the "mindfulness" meditation techniques of Buddhism. Or, to put it crudely - Be Here Now. Being a fan of Jason Pierce's Spiritualized, Chapman has chosen to mix this heady Zen therapy theme with a cocktail of drug references. Add bitter break-up lyrics, a truckload of twinkly 80s synths, a sense of hymnal melody pinched from European classical music, whispery harmonies, and beats borrowed from 90s shoegazing indie and Balearic disco, and you have a record that sounds like Pierce, the Pet Shop Boys and Dutch trancemeister Tiësto getting head-shrunk while tripping on a beach in Ibiza. There's a song called Valium in the Sunshine, just to punch the point home.

In anticipation, perhaps, of accusations of being pretentious and drug-addled, Chapman gets his rebuttals in early on the sky-scraping single I Dream of Crystal: "Don't get me wrong/But you can't knock what you've never done ... So get the fuck off my case." From there, Turning The Mind switches between misery, joy and bursts of anger as its dozen beautiful melodies bathe you in honey. It's the best pop album about beating depression since 1983's Soul Mining by The The. Buy now, and avoid the winter rush for Prozac.

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http://www.mediaf!re.com/?nmdytm4meyd

[pogonrudie]

So fucking pumped for that Maps album. You're my hero.

[David_Dovey]

Ink & Dagger - Ink & Dagger (2000)

Oh nice. I picked up The Fine Art of Original Sin (it might've even been from The Hardcore Thread) and really enjoyed it. Sir, you are truly a bringer of the goods.

[kwintpod]

GREYMACHINE-disconnected(2009)

Industrial heaviness with members of Jesu and Isis
http://www.youtube.com/watch?v=0qaVWr7o158
ptI

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http://www.mediaf!re.com/download.php?1howllnnzhjPtII

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http://www.mediaf!re.com/download.php?mzj4zmjinh0
Enemite-Wuyuan (The Necrolatry)(2005)

Chinese dark ambient, pretty interesting traditional instrumentation and the occasional vocals
http://www.youtube.com/watch?v=EPr0h2VlUVU

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http://www.mediaf!re.com/download.php?ffzjynvv3ng

[TheFuriousWombat]

I present to you StickLips "It is Like a Horse, it is Not Like Two Horses," the rather brilliant debut album by the seriously talented Johanna Warren. Only 20, Warren's music is incredibly mature both in composition and lyrics for someone so young. Drawing influences that shift from, at various times, Joanna Newsom's multi-movement tracks off Ys, to an almost Thom York-ian electronic solo project to name only two, Warren's debut album, just released (and available on itunes and amazon. Please consider buying it!!) sets itself apart from the pack of female driven acoustic indie pop in some substantial ways. JP Nocera backs up Warren's acoustic guitar and voice with an array of guitar driven effects, haunting blips and bleeps, subtle siren calls, thunderous fuzz, and more, often adding a certain degree of ghostly beauty, another layer of depth. Give her stuff a listen at myspace first: http://www.myspace.com/sticklips (give a few songs a try, they're all rather different) and try out the download here:

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http://www.mediafire.com/?mymwwyhjztwand then buy it if you like it!


Tracklist:
1. Bedding Wells
2. Know Your Blows
3. Cattleships & Bruisers
4. Fighting a Liar
5. We'll Have all the Hags Flung Out
6. Birch Bark
7. Talking
8. To Shake a Tower
9. At Least
10. Our Shoving Leopard
11. I Must Mend the Sail
12. Longyearbyen

12 tracks, 1 hr. 1min 48 sec.

[JD]

Rad

[JD]

Cats on Fire-Our Temperance Movement[2009]

Don't look now, but one of the best British indie bands of the decade isn't from Britain at all. At least not strictly speaking. Cats On Fire's passport pin them as Finnish nationals, but the band's sophomore set, Our Temperance Movement, pins the band as long-lost sons of The Smiths, Felt and Pulp. Scandinavian indie-pop traditions be damned: Cats On Fire are the sort of pop act any Anglophile on this side of the Atlantic should be watching.

The band doesn't change its tack on Our Temperance Movement from its approach to 2007's debut effort, The Providence Complains (review) (Marsh Marigold). Why would it? Wrapping up that wonderfully conflicting mix of jangly, sunny mornings and hints of morose, drizzly afternoons, Our Temperance Movement flirts with the same spirit as the Marr/Morrissey collaborations, and singer/guitarist Mattias Björkas' handsome, confident delivery carries the power of everyone from Morrissey to Jarvis Cocker. Swells of acoustic guitar intertwine with electrics for pure bed-sit pop bliss that recalls a million independent bands before Cats, and the band's reliance upon pop fundamentals doesn't just cut through the waves of indie-pop fashion, but grounds it as basic great music. Who but the most picky fan can complain about a return to such solid form?

With the recent demise of The Lucksmiths, Cats On Fire serve to stand as primary defenders of the old-school indie pop flame. It burns bright throughout Our Temperance Movement. It's nothing but classic pop mastery in "Letters from a Voyage to Sweden," as a steadfast acoustic guitar holds down rhythm duties as an electric sings blithely, with Björkas sings about smarmy misbehavior below decks. "Garden Lights" could easily be mistaken for a light pop number with its competing bass and guitar melodies -- like XTC with an extra guitarist on hand -- if you don't catch the subtleties of the lyrics, a story about mislaid drunken vengeance and arson. "Never Sell the House" is a maudlin number pushed forward by droning organs in its background, and "Lay Down Your Arms" and "The Borders of This Land" are a near-perfect blend of sugar melodies and restraint.

Cats On Fire cornered the market on British indie rock. It wasn't too hard: The band's blend of '80s and '90s influences that spans your record collection polished its chops, and Britain's sagging pop culture did the rest. Finland, welcome to the (musical) Empire.

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http://www.mediafire.com/?jmoyimezm0o
Sort of like Burning Hearts, except it sounds a bit more like Spring music.

[pogonrudie]

Cats On Fire are pretty great for a band that sounds exactly like The Smiths.

[bedhead138]

Dashboard Confessional - Alter the Ending (2009) ~ Mp3 V2

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Disc 1 - http://www.mediaf!re.com/?zygyezvjh2q
Disc 2 - http://www.mediaf!re.com/?bnmkmzdzda2

Deluxe two CD edition includes a bonus CD that contains acoustic versions of the album's 12 tracks. 2009 release, the sixth studio album from this Alt-Rock outfit lead by Chris Carrabba. Alter The Ending is the official follow-up to
2006's gold Dusk And Summer. The album was produced by Butch Walker, noted for his work with Weezer, Fall Out Boy and Pink, and co-produced by Adam Schlesinger (Fountains of Wayne). Features 12 tracks including the first single 'Belle of the Boulevard.'

Disc 1/2
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1. Get Me Right 3:15
2. Until Morning 3:44
3. Everybody Learns From Disaster 3:33
4. Belle Of The Boulevard 4:02
5. I Know About You 3:07
6. Alter The Ending 3:24
7. Blame It On The Changes 4:11
8. Even Now 2:43
9. The Motions 4:02
10.No News Is Bad News 3:54
11.Water And Bridges 3:36
12.Hell On The Throat 3:10

Disc 2/2
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1. Get Me Right (Acoustic) 3:13
2. Until Morning (Acoustic) 3:31
3. Everybody Learns From Disaster (Acoustic) 3:22
4. Belle Of The Boulevard (Acoustic) 4:11
5. I Know About You (Acoustic) 3:03
6. Alter The Ending (Acoustic) 3:08
7. Blame It On The Changes (Acoustic) 4:01
8. Even Now (Acoustic) 2:39
9. The Motions (Acoustic) 3:57
10.No News Is Bad News (Acoustic) 3:56
11.Water And Bridges (Acoustic) 3:33
12.Hell On The Throat (Acoustic) 2:54


Tor & Sufjan Stevens - Illinoize (The Remix) ~ Mp3 320


Album

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http://www.mediaf!re.com/?g4jydn5lr0y
Instrumentals

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http://www.mediaf!re.com/?vznwh0mtwnc

Illinoize is a free remix tape put together by Montreal-based producer Tor, sampling songs from multi-instrumentalist and indie hero, Sufjan Stevens. Tracks are sampled from his 2005 LP Illinoise, as well as 3 of his other albums, 'A Sun Came', 'Seven Swans' and 'Songs for Christmas', blending Sufjan Steven's acoustic guitar, piano and horns with MC's Aesop Rock, Big Daddy Kane, Gift of Gab (Blackalicious), C.L. Smooth, Outkast, Brother Ali, and Grand Puba.

1. Star of Wonder / None Shall Pass (f. Aesop Rock)
2. Dumb I Sound / ATLiens (f. Outkast)
3. John Wayne Gacy Jr. / Specialize (f. Pete Rock & CL Smooth)
4. The Tallest Man / I Like It (f. Grand Puba)
5. Kill / Any Type of Way (f. Big Daddy Kane & DJ Premier)
6. Night Zombies / Talkin' My Shit (f. Brother Ali)
7. The Dress Looks Nice On You / Make You Feel That Way (f. Gift Of Gab)


Mickey Newbury - 'Frisco Mabel Joy (1971) ~ Mp3 256

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http://www.mediaf!re.com/?dnyzzqt4trh

Newbury jumped from Mercury to Elektra and in 1970 recorded the second of his amazing trilogy that concluded with Heaven Help the Child. Produced by Dennis Linde, a songwriter, and recorded at the same converted garage studio (Cinderella Sound) It Looks Like Rain had been made, 'Frisco Mabel Joy adapts its title from a song on the previous album. Once again, texture, atmosphere and above all mood and mystery were the central tenets of what would become Newbury's trademark sound. The album opens with Newbury's arrangement of what he called "The American Trilogy," a suite containing three songs that have their origin in the Civil War. If this sounds familiar, it is: Elvis Presley made a much more bombastic version of this the centerpiece of his Vegas shows. Newbury's version, full of soft strings, guitars, Charlie McCoy's haunting harmonica bleeding into a muted brass section, is full of drama and pathos. 'Frisco Mabel Joy moves into an entire series of songs that talk of dislocation, emptiness and endless searching through regret, remorse, and ultimately acceptance and resignation. And Newbury's vocal abilities are just astonishing. He has a different voice for literally every song. It is tempting to write about every single song here, but it would be fruitless; Newbury's tunes are so slippery and mercurial. They shift shape and disappear into a puff of smoke the minute you think you have them pinned down. And if the stories and arrangements aren't enough to confound the listener, the melodies, all of which have their roots in country music, are so much more deceptive, they turn in on themselves and extend each measure with complex phrasing and mode changes.

1 American Trilogy (4:50)
2 How Many Times (Must the Piper Be Paid for His Song) (5:48)
3 Interlude (1:44)
4 Future's Not What It Used to Be (4:14)
5 Mobile Blue (2:48)
6 Frisco Depot (3:38)
7 You're Not My Same Sweet Baby (3:46)
8 Interlude (1:05)
9 Remember the Good (2:57)
10 Swiss Cottage Place (3:10)
11 How I Love Them Old Songs (5:30)
12 San Francisco Mabel Joy (5:17)


Norah Jones - The Fall (2009) ~ Mp3 V0

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

"The Fall" is the new studio album by American singer-songwriter Norah Jones. Jones' official website has stated that she "has taken a new direction on the The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partner Jesse Harris. King also helped Jones put together a new group of musicians to perform on the album, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer)". Jones has also revealed the cover artwork for the album, which features a portrait by photographer Autumn de Wilde.

01. Chasing Pirates
02. Even Though
03. Light As a Feather
04. Young Blood
05. I Wouldn't Need You
06. Waiting
07. It's Gonna Be
08. You've Ruined Me
09. Back To Manhattan
10. Stuck
11. December
12. Tell Yer Mama
13. Man Of The Hour


The Killers - Live from the Royal Albert Hall (2009) ~ Mp3 V2

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http://www.mediaf!re.com/?jmmtfineyiz
1. Human
2. This Is Your Life
3. Somebody Told Me
4. The World We Live In
5. I Can't Stay
6. Bling (Confession of A King)
7. Shadowplay
8. Smile Like You Mean It
9. Losing Touch
10. Spaceman
11. A Dustland Fairytale
12. Sam's Town (Acoustic)
13. Read My Mind
14. Mr. Brightside
15. All These Things That I've Done
16. Jenny Was A Friend Of Mine
17. When You Were Young

[SirJuggles]

I honestly did not think Dashboard Confessional was still making music. Nonetheless, thank you.

[gospel]

Neil Landstrumm – Bambaataa Eats His Breakfast

MySpace

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

A funny thing about Neil Landstrumm’s music: it used to get filed, in genre-crazed dance shops at any rate, under ‘wonky’, which referred to off-kilter, glitchy techno producers largely listened to by those entrenched in the scene. A few years on, the Scotsman has kept his ears open to the roughest dubstep and neo-rave tackle, fed it into his machines, and now he’s on the fringes of the new wonky, which has nothing to do with the other one. Wild! Anyway, this half-hour of chiptune-electro glee, shimmering dub melody and breastplate-shattering low end is both an ideal introduction to Landstrumm’s killer dancefloor skills, and a companion piece to last year’s ‘Lord For Ł39’ album.

This may be my intermittent, shameful pop indulgences rearing its head like a bad case of herpes. Yet, for some reason, I've got the bug for this artist.
Marina and The Diamonds

MySpace

Marina and the Diamonds, really just Marina Diamandis (the Diamonds are the fans), was born in Wales to Welsh and Greek parents in 1986, although she has often claimed to be from Ancient Greece. After dropping out of four different music courses at four different universities, Marina decided to make her own way in music, and began writing her own unique brand of left-field pop songs under her new stage name. Early on, she claimed that her inspirations were Britney Spears and Gwen Stefani -- who she often covered at live gigs -- but her songs have a soulful edge pointing to a deeper source of influence.

Her piano/keyboard-driven songs vary from melancholic ballads to out-and-out glam-pop, but her unique voice and melodic style are omnipresent in her music. Essentially a solo artist, Marina wrote the bulk of her early material alone, arranging it for a band to ensure her live shows carried the full energy of her studio recordings. Quick to distance herself from comparisons to the rest of the female solo artists who broke through in 2009, Marina was also open about voicing her opinions on more established musical peers including Lily Allen and Kate Nash. In interviews she often showed a dislike of being grouped together with other emerging artists, especially when she had nothing in common with them except gender. The variety in her music made it hard to classify or pigeonhole, and comparisons were made with artists as diverse as Regina Spektor and Elvis Costello. The startling "cuckoo!" refrain of "Mowgli's Road" and the introspective balladry of "Obsessions" could not be more different, but it was the ever-present charm in Marina's music that brought her cult success in the early part of her career.

Her first single, "Obsessions/Mowgli's Road" was issued by indie label Neon Gold in the U.S., also home to electro-indie Americans Passion Pit, and was followed later in 2009 by The Crown Jewels EP, which contained three new songs, including an electronic remix of fan favorite "I Am Not a Robot." After playing the exhausting British festival circuit in the summer of 2009, Marina briefly retired to the studio to polish off her debut album, The Family Jewels, before quickly hitting the road again in late 2009.

Marina and the Diamonds – Obsessions[/img]

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http://www.mediaf!re.com/?ydyw0z3oyyt*FIXED*

Marina and the Diamonds - The Crown Jewels

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http://www.mediaf!re.com/?vqwmlghzz5k
Shilpa Ray & Her Happy Hookers– A Fish Hook An Open Eye

MySpace
MV (YouTube)

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http://www.mediaf!re.com/?jryqnodmk55

New York’s Beat the Devil long stood out on the indie music scene, and not just because it was the lone drums-bass-harmonium trio. It was frontwoman Shilpa Ray’s distinct voice, along with her harmonium playing (sort of an accordion played on a table, imported from Europe to India in the nineteenth century and popularized there), which was the band’s signature. As bassist Mishka Shubaly (now of Freshkills – QRO live review) put it in an independent documentary about the band, “Shilpa Ray sounds like Shilpa Ray… and no one else.” Now operating solo, Ray’s baritone bellow stands out even more – but is it special, or any good? No, no it isn’t.

Beat the Devil had been a somewhat divisive band on the New York music scene, loved by a few, but loathed by many, especially as they most often opened for other bands, and the audience for the headliner wasn’t prepared for or interested in what Beat the Devil was trying to do (they were received – and played – much better when headlining – QRO live review). They were kind of that stereotypical ‘critic’s choice’ band, the kind of act that seemed to find favor with critics because they had a ‘weird’ hook & seemed designed to shun the mainstream. All of that has apparently gone to Ray’s head, as she ditched the other two-thirds of Beat the Devil to go solo with a backing band, Her Happy Hookers. Their debut record, A Fish Hook An Open Eye, is what you didn’t like about Beat the Devil – only more so.

Mostly, that’s Ray’s voice. Her baritone bellow-yell is certainly not usually heard, but maybe that’s because no one wants to hear it. There might just be a reason that centuries of music have passed over the sound of a woman sing-yelling in a low register, just the way male voices done in a high-pitched tone are only used as a joke (Tiny Tim, Alvin & The Chipmunks…). It’s hard to describe, but think of when Daphne Zuniga is imprisoned in Mel Brooks’ classic Spaceballs, and ‘sings’ “Nobody Knows the Trouble I’ve Seen” (the bass voice is obviously dubbed in from a male singer). Think of that, but of a woman actually trying to do it.

A harmonium is popular – at least in India. But its exotic roots aside, Ray’s harmonium isn’t that special, as it mostly just sounds like an accordion or weak organ. And it isn’t even delivered with the kind of energy one finds in polka, or sadness as in cabaret, but it’s just… there. Sometimes on A Fish Hook, Ray actually lets Her Happy Hookers add something, but that something usually either isn’t noteworthy in its own right (like the garage-road beat to “Coward Cracked the Dawn”, or full-on girl-garage – including fifties garage-guitar solo – to the following “I’m Not Frigid… Yet”), or can even detract further: the spastic drumming in the verse of “I Only Have Eyes For You” is nauseating, and the lame grandeur of “What the F**k Was I Thinking?” only heightens Ray’s poor qualities.

The catchy backbeat & tones of “Filthy & Free” is the only real ‘good’ addition to Ray’s work on A Fish Hook, but even there, the song just become catchy backbeat & tones – dragged down by Shilpa Ray. Far more exemplifying of the record are the opener & closer, “Beating St. Louis” and “Looking For Mr. Goodbar”, respectively. The over-bellow & un-special harmonium is right there in front of you to start on “Beating”, at least letting the many who don’t like it a chance to quickly stop the record. “Looking” (not going to denigrate the fines folks in St. Louis & at Mr. Goodbar by shortening those song titles to their names…) is stripped to just Ray’s voice & instrument; it’s everything that’s not special & not good about Shilpa Ray & A Fish Hook An Open Eye.

Various Artists – Legends of Benin

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http://www.mediaf!re.com/?cyi0kij21on

“It’s funk, but refracted through a slightly bizarre prism. This music from Benin, recorded in the ’70s, is definitely funky, and you can hear the American influence — El Rego is a James Brown wannabe at times, although his band is looser — but it’s also strongly African in thought and execution. This excellent compilation focuses on four productive artists from the period, each of whom has his own take on the Benin sound, like different facets of a whole. The music of Antoine Dougbé flows, powered by guitar and percussion (just like all the bands here) and with some explosive brass and dynamic guitar work on “Honton Soukpo Gnon.” Gnossas Pedro can take a poppier approach — “Dadje Von O Von Non” wouldn’t have sounded out of place in the Hot 100 in the 1960s — but all of them can get rootsy under the Western influence. Imagine the Chambers Brothers crossed with the Super Rail Band and a touch of Fela Kuti and you have a rough approximation of the groups here, with Honore Avolonto very African on the percolating “Tin Lin Non.” But what unites all the music here is a strong, thick groove, soulful and deep, with El Rego’s “Djobime” particularly explosive. The men themselves are true characters, with professions ranging from brothel owner to voodoo priest. All in all, it’s a storming collection and a very in-depth look at a time and place that’s been ignored for far too long.”

Mountain Man - s/t

Listen/Download individual tracks (Band Camp)
"Animal Tracks" (YouTube)

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http://www.mediaf!re.com/?oyky3nwquym

Mountain Man is a group of three young women- Amelia Meath, Molly Sarle, and Alex Sauser-Monnig- who sing with or without Alex’s guitar. It is incredible what they are able to do with their voices- they have huge ranges, great precision, and a frighteningly smooth blend.

It’s impossible to pinpoint what they are doing, each song is like this beautiful lattice sphere. They weave in and out of eachother – only the most careful inspection will reveal that they often switch their positions multiple times in one phrase. And although their songwriting is influenced by the comfortable history of American folk, there is something very vibrant and new about the compositions.

There’s a fragile balance between the three very different styles and personalities in these three young women. They are all songwriters, and having all three approaches with the same treatment on the same album is really satisfying. There is Alex’s guitar based songs, with deep, slow moving roots. Amelia, writing for voices alone, creates rising complicated lattice structures. Molly also writes for guitar, but with space for more weight, drama, and tension.

Ola Podrida – Belly of the Lion

MySpace
"Your Father's Basement" (YouTube)

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

"Cinematic scope" gets too many close-ups in critic-speak, but 35mm perspective comes naturally to Ola Podrida leader David Wingo. The Dallas native and longtime Austinite first garnered national praise after scoring the acclaimed indie films of director and close friend David Gordon Green, most notably All the Real Girls and George Washington (see "Vision and Focus," Screens, Nov. 12, 2004). The latter soundtrack was released in 2002 on local label Emperor Jones.

Wingo does his best work in scenes, crafting imagistic snapshots over a Hill Country backdrop, combining Iron & Wine's dusty lore with the breathy melancholy of Nick Drake. What's not said is often as important as what is, an uncertain anxiety lurking in shadowy details. This deceptively complex balance of atmosphere and tension made Ola Podrida's eponymous debut one of the sleeper hits of 2007.

"With soundtracks, the director already has an idea for the emotion for a certain scene or the mood, and I have to approach it with the end result in mind," relates Wingo, who recently moved back to Austin after a stint in Brooklyn. "Now that's just etched into my process."

That much is evident on Ola Podrida's sophomore effort and Western Vinyl debut, Belly of the Lion, due Nov. 10. The album was written and recorded late last year in his Brooklyn apartment between session work for Gentlemen Broncos, the new comedy from Napoleon Dynamite director Jared Hess that premieres at the Paramount Theatre on Thursday, Sept. 24, as part of Fantastic Fest.

Belly of the Lion, on which Wingo plays every instrument except a few drum tracks, should push Ola Podrida into the thick of indie rock's folk awakening. It puts a rural twist on modern dream pop, at times recalling Pink Floyd's Wish You Were Here spun at half-speed and steeped in the nocturnal 1990s haze of Trance Syndicate's slow-core movement. In fact, American Analog Set's Andrew Kenny was a touring member of Ola Podrida when the then-quintet swooned Central Presbyterian Church at South by Southwest 2008.

"It's a guitar record for sure," Wingo enthuses. "I've been having some fun plugging in effects pedals again."

Malcolm Holcombe – For the Mission Baby

MySpace

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

For The Mission Baby is as honest and gritty as it gets. The messages herein come from a place deep within Holcombe and oozes out through his gritty vocals and bluesy musical approach. Joined by heavyweights like David Roe (upright bass), Lynn Williams (drums), and the multifaceted Tim O’Brien and you’re standing on firm ground. Add in the harmony vocals of fellow artists Siobhan Maher and one of my favorites, Mary Gauthier, and you can’t lose.

And Holcombe doesn’t. Bursting out of the gate with the plodding “Bigtime Blues,” the artist bites off his lyrics with gusto, charging them with energy and down home passion. You can almost hear the booze being poured. An Appalachian tale is told through the story of “Hannah’s Tradin’ Post” while “Leonard’s Pigpen” bring a compelling blues/folk jam to bear with some great dobro work by Jared Tyler.

“You Have It All” is one of the album’s highlights, offering up the image of one who’s always struggling with the idea that “I ain’t got what I want it’s never enough,” ultimately coming to the conclusion, “There’s a taste in my mouth bitter as gold/ I cant swallow the blues and keep my eyes closed/ Well the cat ate the bird he’s grinnin’ for sure/ Buzzards flyin’ low bringin’ a cure.”

Holcombe wisely follows that track up with the levity of “Short Street Blues” which segues nicely back into more introspective themes with the faith questions of “A Bigger Plan” and the heartbreak of the title track, strangely contrasted with a jaunty backdrop. “Another One Gone” slows the tempo again and showcases some nice fiddle work from O’Brien while “Doncha Miss That Water” keeps the pace steady.

“Straight and Tall” is another album highlight, finding Holcombe seemingly channel a bit of Dylan for this understated near prayer. Holcombe sings: “A warm shirt for the cold/ A lil’ food to fill the void/ So kindly make your plans/ Use my back and arms/ Make me straight and tall.” “Whenever I Pray” is a lovely ode to small-town country life that would make Wendell Berry proud and album closer, “Someone Left Behind,” offers up a snippet of hope without offering easy answers. It simply makes you wishing there was more.

Malcolm Holcombe is a guy that has lived the life, has been down and out, and has seen his way to some sense of light. The songs contained on For The Mission Baby and keen snapshots and reflections on those times and experiences and are well worth experiencing yourself. If you’re looking for honest music, look no further. Holcombe’s your guy.

[spoon_of_grimbo]

listening to the Ink & Dagger album that medicatesleep posted back there - it's a bit of a headfuck and i honestly can't decide if i like it or hate it, but it's intrigued me enough to order it off amazon and give it several more listens...

[JD]

Cats On Fire are pretty great for a band that sounds exactly like The Smiths.

Naw man, these guys are time travelers. This music was actually recorded in the Jurassic park era, only to be discovered by archeologists recently.

[pogonrudie]

That explains a lot.

And I wasn't interested in that Norah Jones album until I read that Marc Ribot plays on it. Downloading now.

[KvP]

Neil Landstrumm – Bambaataa Eats His Breakfast

Excellent. I didn't want to have to buy this one, as I think Landstrumm's on the low end of the Planet Mu quality spectrum. But the little snippets of this album I've heard have been good.

[JD]

Wrong code on the first Maria and the diamonds

[kwintpod]

Mouse on the Keys-An Anxious Object(2009)

Experimental Jazz project from Japan, many Post-Rock influences
http://www.youtube.com/watch?v=JH7o2ZlUK8w

Code: [Select]

http://www.mediaf!re.com/?m1jmvmymmmz

[Rubin]

Danish electropop, quite good electropop at that.
Theese girls (and one guy) just their first EP, and it is quite promising.
I have uploaded this here:

Giana Factory - Bloody Game EP

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http://www.mediaf!re.com/?mmzkmnmninm
Here they are, reviewed on pitchfork:

Though fronted by the sister of Sharin Foo, Giana Factory shares little else with the stylized neo-garage of the Raveonettes. Instead, this Danish troupe specializes in frozen cold, electronic minimalism, heightening drama through an eerie starkness. "Bloody Game" is little more than pulsing bass and ricocheting keystrokes, as Loui Foo recites the lyrics with clinical dispassion. "You better open my chest with a knife/ Check if my heart beats for you/ And if it doesn't, then do what you need to do," she intones. The remove in her voice seems far from accidental. In this tale of love gone wrong, she gives up so much of herself to her lover, so much control, that she quite literally ceases to be. It's a chilling, albeit engrossing, account best observed from a distance.

BUT REMEMBER
As with all such young bands, they aren't really making any money, so here's the link for the EP on iTunes store:

http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?id=330485343&s=143458

[KvP]

The Gasman - 001

THE GASMAN – 001 (self release) - Cut up electronics and expensive atmospheric keyboard ambition from the rather mysterious Gasman - Aphex Twin, Rephlex, Speedranch, Squarepusher, Plexi squelchy oddness meets the more obtuse atmospherics of Tomita or even the ambient classical cathedral stretching side of Cardiacs (The Gasman has recently been providing in between band atmosphere on the recent Cardiacs tour). The sounds and textures can be a little relentless, but hey, if your head is the right place then and strange electronic squelch that soothes rather than attacks is your thing then this is rather good.

I can't find a better review than that. As far as I'm aware this album isn't sold electronically, and the physical discs are limited to a run of 500. I had it imported. Basically it's weird electro with a lot of looped and altered classical elements. And lots of reverb.

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http://www.mediafire.com/?jmnrtngyy3u

Bibio - Ambivalence Avenue

Boards of Canada's 2005 album, The Campfire Headphase, included a song called "Chromakey Dreamcoat" that sounded like guitar loops playing on a wobbly phonograph. You have to wonder if this was a shout-out to their li'l homey Bibio, who cut three records for Mush from the whole cloth of this idea. Like his idols, he filled his electro-acoustic music with antiquated cultural products and nature sounds-- things that are beautiful because we've less and less use for them. But he lacked range, his wavering loop-collages falling into two categories: those informed by the sprightly forms of British folk, and those that were nearly formless.

Bibio released Vignetting the Compost just five months ago, and it seemed to cement his status as a pleasant one-trick pony. So it's shocking how utterly and successfully he rewrites his playbook on this Warp debut. I actually have to eat a little crow. I wrote of Compost that Bibio had a "thin, modest voice that verges on anonymity," and suggested that he should favor atmosphere over songcraft. This seemed justified: The more the songs approximated pop structures, the less interesting they became. But on Ambivalence Avenue, Bibio proves that he actually can sing and produce memorable arrangements. He used to make FX blurs with traces of pop and folk; now he inverts that formula with bracing clarity.

The results are fantastic and diverse: The title track weaves bouncing vocals through crisp guitar licks and bouncy flutes; "All the Flowers" is a fey folk gem; the dreamy "Haikuesque (When She Laughs)" is better indie-rock than many indie-rockers are making these days. Summery anthem "Lovers' Carvings" coasts on crunchy, gleaming riffs and upbeat woodblocks, and the autumnal "The Palm of Your Wave" is simply haunting. It's hard to believe that these inspired, moving vocal performances are coming from the same guy who recorded moaning ambiguities like "Mr. & Mrs. Compost". Occasionally, you'll hear a little tremble in the strings and go, "Oh right, this is Bibio," but mostly, detuned atmosphere has been replaced by silky drive.

While these songs are a quantum leap for Bibio, they still reasonably project from the foundation he's laid. But there's no accounting for the remainder of the album, which finds him paddling the uncharted waters of hip-hop, techno, and points outlying. "Jealous of Roses" sets lustrous funk riffs dancing between the stereo channels as Bibio belts out a surprisingly effective Sly-Stone-in-falsetto impersonation. "Fire Ant" spikes the loping soul of J Dilla with the stroboscopic vocal morsels of the Field; "Sugarette" wheezes and fumes like a Flying Lotus contraption. The music feels both spontaneous and precise, winding in complex syncopation around the one-beat, with subtle filter and tempo tweaks, and careful juxtapositions of texture (see the arid, throttled voices scraping against the sopping-wet chimes of "S'vive"). Many songs taper off into ambient passages that have actual gravity, gluing the far-flung genres together. It's the kind of seamless variety, heady but visceral, that few electronic musicians who aren't Four Tet have achieved.

While Ambivalence Avenue is an excellent album by any measure, Bibio deserves extra credit for venturing outside of his established comfort zone. He began his musical career trying to emulate Steve Reich and Boards of Canada on no-fi equipment. He was fascinated by the physicality of media-- of degrading tape and malfunctioning recording gear. And he was interested in the natural world, letting the sounds of streams and rainshowers stand in for his own personality. Having depleted these ideas over the course of three solid albums, he's put them aside to do nearly the opposite. Ambivalence Avenue moves the focus from the flaws of media to their capacity for precision, and takes fewer cues from nature than from the urban sounds-- including Dilla and Madlib-- that Bibio admits discovering in recent years. By jettisoning a limiting aesthetic, he reveals his abilities to be startlingly vast, and one of our most predictable electronic musicians becomes a wild card.

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http://www.mediafire.com/?xdi2zmmnm5d

[valley_parade]

That Ola Podrida album's missing the first track.

[KvP]

Bibio - The Apple and The Tooth

Bibio's Stephen Wilkinson had a banner year in 2009. He rang it in with Vignetting the Compost, an album that seemed to beckon spring with its delicate, pastoral electronics, then took his music several steps forward with that summer's Ambivalence Avenue, which was as dazzling as it was eclectic. Wilkinson closed the year with The Apple and the Tooth's hybrid of new songs and remixes by similarly wide-ranging artists who found plenty of ways to push Ambivalence Avenue's tracks in even more far-flung directions. Some remixers hone in on the album's anything-goes feel: Clark, whose fearless sound clashes feel like a major influence on Bibio, takes the already hyperactive "S'vive" to another level of brilliant fragmentation, using sudden stops and starts, layers of dreamy analog synth, and crashing electronic noise to rework the song so drastically it feels like a suite of mini-remixes. Letherette's transformation of "Lover's Carvings" from a folky guitar vignette into a soulful, bottom-heavy slow jam is even more radical, even if it's not as shocking. Other artists tap into Ambivalence Avenue's reveries. Lone doesn't tamper much with the hippie bliss of "All the Flowers," only adding filtered electronics and crunchier beats to its chiming harmonies, while the Gentleman Losers' take on "Haikuesque" somehow makes the song even more nostalgic. Bibio himself contributes a remix as well, the lovely, chamber pop-ified "The Palm of Your Wave," but The Apple and the Tooth's new tracks are more interesting. Ambivalence Avenue's mix of sunny folk-pop and challenging beats and textures continues on the title track and "Rotten Rudd," even if neither is quite as jaw-dropping as the songs from that album. "Bones and Skulls," however, is a standout that proves Wilkinson's songwriting is growing ever more effortlessly graceful as it segues from a breezy melody into a moodier piano and guitar coda. Even if The Apple and the Tooth is more a summation of where Bibio was in 2009 than another bold step forward, it's still a very enjoyable look back on his artistic growth that year.

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http://www.mediaf!re.com/?ylu0mzezmyy

And some compilations from the Boomkat online store. 14 tracks for the price of 7. I still have an Acid compilation I need to upload. The titles pretty much explain them. The "Dynamic Steppers" one is pretty good.

14 Tracks Re-Wiring UK Garage

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http://www.mediaf!re.com/?aoywmnd32hy
14 Tracks From Dynamic Steppers

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http://www.mediaf!re.com/?ywunmn2mmgm

[bedhead138]

Johnn Mayer - Battle Studies (2009) ~ Mp3 V0

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http://www.mediaf!re.com/?mhjhlzlmkoz
1. Heartbreak Warfare
2. All We Ever Do Is Say Goodbye
3. Half Of My Heart
4. Who Says
5. Perfectly Lonely
6. Assassin
7. Crossroads
8. War Of My Life
9. Edge Of Desire
10. Do You Know Me
11. Friends, Lovers Or Nothing


The Fiery Furnaces - Take Me Round Again (2009) ~ Mp3 320

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http://www.mediaf!re.com/?zj5cwiy3dmi

Take Me Round Again: The Friedbergers cover the Friedbergers.

The Fiery Furnaces have been reworking, rearranging, and rewriting their songs live since they first started touring in 2003. They have taken this practice one step further on their new record, Take Me Round Again. Recorded separately this past July in Michigan and New York, Matt and Eleanor each recorded 6 songs that originally appeared on I’m Going Away. All that remains the same are the words.

Eleanor: “I’ve gotten into the habit of rewriting songs Matt has written, just as a way of practicing and singing at home. Originally, I had wanted to record a folk-style record called Eleanor Friedberger sings the songs of the Fiery Furnaces. I thought it would make a nice greatest hits record, but reworking I’m Going Away before it even came out seemed a lot more exciting.”

Matthew: “After asking people to send us their re-write of I’m Going Away before having heard it [http://www.thefieryfurnaces.com/site/deaf-descriptions/], I thought we owed it to them to make an actual alternate version of the record. And not just leave all the new arranging for live shows.”

01 – I m Going Away – Matthew Friedberger
02 – I m Going Away – Eleanor Friedberger
03 – Keep Me in the Dark – Eleanor Friedberger
04 – Cut the Cake – Eleanor Friedberger
05 – Even in the Rain – Eleanor Friedberger
06 – Drive to Dallas – Matthew Friedberger
07 – Keep Me in the Dark – Matthew Friedberger
08 – Ray Bouvier – Eleanor Friedberger
09 – Cups Punches – Eleanor Friedberger
10 – Take Me Round Again – Matthew Friedberger
11 – Cut the Cake – Matthew Friedberger
12 – Staring at the Steeple – Matthew Friedberger


Vic Chesnutt - Skitter on Take-Off (2009) ~ Mp3 192

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http://www.mediaf!re.com/?eytjinytk3o

Vic Chesnutt has recorded with many different people for all kinds of labels, but he s never made an album like his debut on Vapor Records. Chesnutt s first two releases were produced by R.E.M. s Michael Stipe, and from there he was featured in the PBS documentary Speed Racer and his songs were recorded for Sweet Relief II: Gravity of the Situation. A wide range of artists including Garbage, Madonna, Smashing Pumpkins, R.E.M. and Live all covered Chesnutt originals. He has recorded with other groups like Widespread Panic and Lambchop and musicians as varied as Bill Frisell and Fugazi s Guy Picciotto. Chesnutt recently performed on Cowboy Junkie s Trinity Revisited, with others and over a dozen different releases of his own. Skitter On Take Off allows Vic Chesnutt to create his most dramatic album yet, recording devastating songs like Rips in the Fabric and Dick Cheney live with no overdubs. This album becomes a unique addition to his history, and allows the singer songwriter the chance to collaborate with an important influence. I m honored to work with Jonathan Richman. Over the years he s taken me under his wing and mentored me in a very meaningful way, truly shaping me into the songwriter and performer I am today. And it is an ongoing process. Chesnutt and Richman s work together is one for the ages.

Black Rebel Motorcycle Club - Live (2009) ~ Mp3 V0

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Disc 1 - http://www.mediaf!re.com/?jzmw2y1tmmy
Disc 2 - http://www.mediaf!re.com/?tdn1nhitt1z

2 DVD set includes bonus live audio CD

The DVD features over two hours of live concert footage from three sold out shows in Berlin, Dublin and Glasgow. The footage documents the end of the band s 2007 tour in support of Baby 81, their most recent full-length release. The live audio was mixed by BRMC s own Peter Hayes and the gritty cinematography keeps the band s music front and center while viewers experience the show both from the stage and from the audience s perspective.

Over ninety minutes of unadorned, intimate behind-the-scenes footage is captured on the second bonus DVD along with additional performance footage. Viewers accompany BRMC as they record songs from Howl, see the making of the Weapon of Choice video, and witness inspired, impromptu off-stage performances.

The package is rounded out by a bonus audio CD featuring 14 songs from the concert film and a gorgeous 48-page booklet of previously unseen backstage and candid photos of the band.

Disc 1
01 Berlin
02 Weapon Of Choice
03 Rise Or Fall
04 666 Conducer
05 Ain't No Easy Way
06 Weight Of The World
07 Stop
08 All You Do Is Talk
09 Red Eyes And Tears
10 As Sure As The Sun
11 American X
12 Spread Your Love
13 Love Burns
14 Mercy
15 Dirty Old Town
16 Promise
17 Six Barrel Shotgun
18 Whatever Happened To My Rock And Roll
19 Punk Song
20 Fault Line
21 Took Out A Loan
22 The Show Is About To Begin
23 Heart And Soul


Disc 2
01 Weapon Of Choice
02 Rise Of Fall
03 666 Conducer
04 Ain't No Easy Way
05 Berlin
06 Red Eyes And Tears
07 Love Burns
08 Mercy
09 Dirty Old Town
10 Promise
11 Six Barrell Shotgun
12 Spread Your Love
13 Took Out A Loan
14 Whatever Happened To My Rock'N'Roll (Punk Song)

[gospel]

Wrong code on the first Maria and the diamonds

Fixed. Thanks.

Code: [Select]

http://www.mediafire.com/?ydyw0z3oyyt

[gospel]

That Ola Podrida album's missing the first track.

Strange. Here's a different copy.

Code: [Select]

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

[Mr. Tool]

Death - ...For The Whole World To See

Pitchfork 7.1
No matter how extensively technology's all-seeing eye attempts to catalog every rock recording ever made, Drag City's recent stream of reissues keeps unearthing uber-obscure excellence at a steady clip. After resurrecting 70s folk singer Gary Higgins and early 80s punk polymath JT IV (John Timmis IV), the Chicago-based label brings us Death, an all-black punk/hard-rock trio from Detroit (not to be confused with the 80s speed-metal band). Comprised of brothers David, Bobby, and Dannis Hackney, the band started out in 1971 playing R&B but switched to rock after hearing the raucous proto punk of their neighbors the MC5 and Stooges. That incarnation lasted only a few years and seven songs, and after balking at Columbia Records' demand for a name change, the band relocated to Vermont and reinvented themselves as a gospel rock group.

...For the Whole World to See, recorded in 1974, requires more ballpark adjustments than your average reissue. For one, most bands today fusing breakneck punk with arena rock bombast do so under a massive cloak of irony, and are commonly shunned (c.f. Electric Six). Making matters worse, Death espouses earnest political views while walking that tightrope. Luckily though, there's enough stylistic diversity and ahead-of-time knick-knacks on the album to prove Death more than just fanboys fawning over Kick Out the Jams and Raw Power.

Leaning heavily on pregnant pauses and choppy two-note melodies, opener "Keep on Knocking" confirms the rock+punk arithmetic of the band's mission statement. The other six tracks don't play out so predictably. "Let the World Turn" starts out in a Pink Floyd-style haze of reverberated guitars and detached vocals before igniting into a frenzied speed punk chorus. The ho-hum AOR verses of "You're a Prisoner" collide with a doomsday refrain straight out of an Ozzy Osbourne nightmare, while "Freakin Out" stands the test of time as the band's most innovative song here, anticipating the jittery pop punk that'd soon arrive from the UK.

The album falls short of a diamond-in-the-rough-caliber discovery, but considering these seven songs are the remains of an aborted 12-song full-length-from a band that reinvented itself every three or four years, For the Whole World holds up well alongside, say, concurrent Blue Oyster Cult or New York Dolls albums. This is the kind of reissue that re-instills faith in today's frustrated rockist, the listener whose fidelity gets tested by a rogues gallery of calculating rock revivalists every year. Armed with profound musicianship and the bona fide origin story so many less interesting bands' press kits grasp for, Death comes across as extremely likeable despite gleefully ripping off all the obvious influences.

Code: [Select]

http://www.mediafire.com/?vjn5o2tmwmm

[barista.babe]

Eisley - Fire Kite EP (2009)

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http://www.mediaf!re.com/?2nuynyj4o41
Recently upped this for a friend, figured I'd share it with you people.

I used to love Eisley (despite the fact that bands that are also a family sort of freak me out) and this EP made me fall in love with them all over again.

Obviously the stand out track is Ambulance. I've been there before...in fact, I'm pretty sure we've all been there before.

[ADRIAN WOODHOUSE]

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[/quote]


i really don't support that death in june is posted here, 'cause i am no friend of people who fancy with fascism and its asthetics.

[Mr. Tool]

JOSH fucking HOMME + DAVE fucking GROHL + JOHN PAUL fucking JONES =

THEM CROOKED VULTURES

Code: [Select]

http://www.mediafire.com/?mwzv2yynz1d

[pogonrudie]

[Blue Kitty]

It keeps telling me song 5 is corrupt

[Mr. Tool]

I have no idea what might be wrong. I haven't tried to download it myself but it is my link.

Here's track 5

Code: [Select]

http://www.mediafire.com/?zn41ygzwjgm

[E. Spaceman]

Regarding Death In June. While their lyrics and imagery do sometimes refer to fascism (specially the 3rd Reich). I do not think  that DI6 is a fascist band. They are a band that is fronted by an openly homosexual man who was part of Crisis, a staunchly anti-fascist band, who played the first DI6 show at an anti racism rally, who has worked with several jewish people in his works, who was a member of the International Marxist Group, who has performed in Israel.

Code: [Select]

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

Rose Clouds of Holocaust is my favourite Death In June album

[KvP]

I present to you StickLips "It is Like a Horse, it is Not Like Two Horses,"

Yo dawg track 12 ain't coming out.

Guys I got in touch with an upload bloggin' pal of mine and he says that mediafire is consistently fucking up his uploads. Maybe that's why we're constantly experiencing track corruptions? I'd think that would have more to do with the zipping program but that wouldn't explain the sudden preponderance of errors.

[scarred]

It's probably a ploy to get more people to upgrade to Mediaf!re Pro or something. But yeh, it's getting kind of annoying.

[JD]

I didn't want to complain about that because I thought Pogonrudie would break out the dreaded capslock again.

[edwinalink]

If you go to the Emilie Autumn forums, and "USE CAPS LOCK LIKE THIS" its a bannable offense. it really is...

though moreso in the chat.

[pogonrudie]

Speak of the devil...

Tor & Sufjan Stevens - Illinoize (The Remix) ~ Mp3 320


1. Star of Wonder / None Shall Pass (f. Aesop Rock)
2. Dumb I Sound / ATLiens (f. Outkast)
3. John Wayne Gacy Jr. / Specialize (f. Pete Rock & CL Smooth)
4. The Tallest Man / I Like It (f. Grand Puba)
5. Kill / Any Type of Way (f. Big Daddy Kane & DJ Premier)
6. Night Zombies / Talkin' My Shit (f. Brother Ali)
7. The Dress Looks Nice On You / Make You Feel That Way (f. Gift Of Gab)

Is there anyone I could get a re-up of the bolded track? It keeps extracting corrupted for me. Thanks!

[kwintpod]

Nest-Woodsmoke(2003)

folk/ambient
Both pianists, there is little wonder that after exploring a plethora of musical styles, the two find themselves most at home writing traditionally structured pieces, with the ivories a major element throughout. Their music demonstrates clearly the innate ability the two have for song writing, borrowing from the world of film soundtracks and contemporary classical composers to craft delicate instrumental compositions.

Alongside their favoured instrument can be variously heard the plucked strings of the Welsh harp, violins, woodwind instruments, field recordings, percussion and a heady dose of mind wobbling effects. From the time Nest began writing together, one purpose was clear; to produce beautiful music free of pretense, and they do it exceptionally well.
http://www.youtube.com/watch?v=FZJCQbOiczc

Code: [Select]

http://www.mediaf!re.com/?nyme0ujmndt

[KvP]

Warp20 (Unheard)
A collection of unreleased tracks from the Warp label, in celebration of their 20th anniversary. Unlike their covers compilation these are mostly big names, for Warp anyway (Boards of Canada, Plaid, Autechre, etc.)

01 - Boards Of Canada - Seven Forty Seven
02 - Plaid - Dett
03 - Autechre - Oval Moon (IBC Mix)
04 - Elecktroids - Elecktroids Bonus Circuit
05 - Clark - Rattlesnake
06 - Plaid - Sam Lac Run
07 - Nightmares On Wax - Mega Donutz Dub
08 - Nightmares On Wax - Biofeedback Dub
09 - Flying Lotus - Tronix
10 - Broadcast - Sixty Forty
11 - Seefeel - As Link

Code: [Select]

http://www.mediafire.com/?jld0cqwzieh

[scarred]

Damn, I was about to post that.

That Nest album that got swallowed by the pagebreak is quite good so far.

Them Crooked Vultures might've been the most boring thing I've heard all year.

[JD]

says the guy who posted owl city

[scarred]

Hey, I like my QotSA as much as the next guy, but TCV is like slowcore Era Vulgaris.

And Era Vulgaris was terrible.

Edit: also fuck you guys Owl City is hella rad bro *unf unf*