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Author Topic: The M/F Thread 2009: The Quickening  (Read 732704 times)

JD

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The M/F Thread 2009: The Quickening
« Reply #3950 on: 11 Dec 2009, 23:11 »

Mariee Sioux - Faces in the Rocks[2007]

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pinkpiche

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The M/F Thread 2009: The Quickening
« Reply #3951 on: 12 Dec 2009, 01:51 »

Kurt Vile - Constant Hit Maker

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Kurt Vile - Childish Prodigy

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Talk Talk - Laughing Stock

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The M/F Thread 2009: The Quickening
« Reply #3952 on: 14 Dec 2009, 02:29 »

Freelance Whales - Weathervanes [2009]



Quote
Take one serving Sufjan Stevens, a half cup of Arcade Fire, and dashes of The Postal Service and Ra Ra Riot and you've got Freelance Whales. From this description, one might think they're too late too their own scene in embracing a more acoustic approach rather than today's popular electronics. This choice equally about budget as aesthetic, however; hailing from Brooklyn, they're well-known buskers who've only recently begun playing the area's smaller venues.

Using such atypical instruments as the harmonium, banjo, glockenspiel and waterphone, it's any wonder how they refrain from succumbing to a singular gimmick. They manage to make every song on debut Weathervanes a unique experiment in indie pop, even when their influences are unashamedly clear - "Broken Horse" is an errant, if earnest, take on Sufjan's folk-pop stylings.

Regardless of their roots, there's an authenticity here that can't be ignored. More importantly, there's an eerie, dreamlike naïveté that comes with the effeminate, wispy vocals. Combine this with the youthful bliss found behind the energetic arrangements and you get a deadly fusion of catchy pop hooks and moving instrumental swells that make you wish everything was simpler again. This is a group who've got their eyes set on the stars. I very much doubt we've heard the last from Freelance Whales.

This is a very good thing.

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oh my god so good hurghl burghl
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The M/F Thread 2009: The Quickening
« Reply #3953 on: 14 Dec 2009, 12:43 »

Freelance Whales - Weathervanes [2009]

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oh my god so good hurghl burghl

Oh my god, thanks so much for this.  They played in my area just the other day, and I was so pissed I had to miss it - the descriptions I'd heard of them had sounded amazing.
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The M/F Thread 2009: The Quickening
« Reply #3954 on: 14 Dec 2009, 18:52 »

Damn, that is some good music right there.
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FidelityCastro

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The M/F Thread 2009: The Quickening
« Reply #3955 on: 14 Dec 2009, 20:55 »


Alien City - Alien City [1979]



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"Alien City was composed over a period of five years. It is a song cycle of epic proportions centering around the incarnation of Celestial Visitors to this planet. They take youthful bodies with the soul mission of increasing the intelligence of the human race. Alas, in their compassionate endeavors they become trapped in the pernicious web of the world and their aim becomes warped and sarcastic. In taking mortal bodies they lose their reference point, their center of gravity, and they eventually become as depraved and stupefied as the very people they initially intended to illuminate. There is no story line; no characters are introduced. The work is arranged in four movements." - Liner notes

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I don't know what in the holy hell that review is talking about, but it's absolutely the only information I could find claiming to be about this. I don't know enough about this kind of music to speculate on genre, but I can tell you it is really really good. Maybe if you mixed David Bowie and The Clash and made it slightly hippy sounding, with some cool sound effects thrown around?

Oh, also...Freelance Whales are indeed "so good hurghl burghl"


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dignan

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The M/F Thread 2009: The Quickening
« Reply #3956 on: 15 Dec 2009, 09:45 »

Thanks for the Alien City. Love all of that private press 70s phreakadelia. The blurb above is from the original album insert. I found a bit more about that album elsewhere:

RDTEN1 (@ rateyourmusic.com) wrote
Quote
Hum, not sure what else to add to this baby ... Living in Seattle, Washington, Alien City was the brainchild of singer/multi-instrumentalist Jon Turnbow. Written and recorded over a five year span, 1979's "Alien City" is definitely different. Having listened to the album a dozen times, I'll readily admit to be totally confused by the storyline.  While the eclectic concept was certainly unique, Turnbow didn't have much of a voice. On the other hand, exemplified by tracks such as "Information Overload", "Older Men" and the instrumental "Suffer", he had a knack for crafting surprisingly catchy material.  I've read a couple of brief reviews that compare the effort to mid-career Bowie. That's not a bad comparison - think "Ziggy Stardust" era glam and you'll have a feel for much of the project.  Apparently a vanity project, the album's rather rare (500 copies were reportedly pressed), making it a growing collectable.  Just be forewarned that this collection isn't the easiest thing to sit through.

Not sure what this has to do with anything, but following the album's release Turnbow reportedly was briefly incarcerated in a mental institution.  He subsequently reappeared as a member of Strongbow (see separate entry).
« Last Edit: 15 Dec 2009, 09:46 by dignan »
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DrNil

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The M/F Thread 2009: The Quickening
« Reply #3957 on: 15 Dec 2009, 11:40 »

Here's a full (sort of) review on Alien City:

Quote
Originally released in a limited pressing of 500 copies, this album took five years to complete. That’s an absurd amount of time for a microscopically small, self-financed recording at any time — perhaps more so in the ’70s, when not everybody had the means of producing, pressing and distributing an album electronically like so many bedroom artists today. The man responsible for Alien City was a Seattle, WA native named Jon Turnbow, and his labor of love is actually a concept album. The concept is a little vague, it is described as “the Incarnation of Celestial Visitors,” but the message gets a bit lost over the course of the album.

The best description one could give of Alien City would be “Ziggy Stardust” or “Aladdin Sane” era Bowie, a little more glam/prog, a little less punk, and a bit more out of left field. Reports indicate that Jon might have spent time in an asylum after recording this album. Unlike Stephen David Heitkotter — whose stunning album Heitkotter was posted here on Monday — hopefully he has since been rehabilitated.

Original copies included a lyric sheet. There are currently no plans for a reissue, but just like the Harbinger album yesterday and the Heitkotter LP on Monday, both of these lost gems deserve to be heard. Thanks again to Swan Fungus reader Viagra Falls for this recording — I can’t wait to see what else he uncovers for us to enjoy in the future.
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FidelityCastro

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The M/F Thread 2009: The Quickening
« Reply #3958 on: 15 Dec 2009, 13:22 »

Thanks for the extra info, you guys.
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gospel

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The M/F Thread 2009: The Quickening
« Reply #3959 on: 15 Dec 2009, 17:42 »

Bombadil – Tarpits and Canyonlands

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Tarpits and Canyonlands is a far leap from and, ultimately, above its predecessors for several reasons: First, it simply sounds great. Under the veteran oversight of Monroe, N.C., producer Scott Solter (The Mountain Goats, John Vanderslice, St. Vincent), Bombadil’s nuances shine brightly on the biggest screen they’ve ever seen. At times, the piano seems like it might spill out of the speakers, and James Phillips’ brilliantly busy drumming influences everything, like a caboose with something to say… Their kitchen-sink approach has begotten both poise and precision by demand, and the themes that geyser from the album’s every inch are presented and captured perfectly.

But what’s most inspiring might just be the words, or tales of resilience and resignation to survival: A marriage becomes a chance to test mettle. Suicide gets cast as a cheap alternative that hurts others more than it helps the dead. Life becomes an opportunity to lift someone up. That fits somehow, since four years ago, Bombadil, an ex-cover band trying to stake claim to a sound of its own, sounded like the kid-spit of the headliner, The Avett Brothers, who’ve since become one of the biggest things on American stages… But make no mistake: It sounds a lot like a breakthrough and a breakaway, a mature but charged statement from a band whose ideas, enthusiasms, abilities and emotions have finally found their nexus. These tunes are the sort of stuff adventurous chamber ensembles could tackle and indie kids can shout. Let’s hope, then, that the band’s temporary setback remains just that

Kenneth Pattengale – Speak!

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Kenneth Pattengale works outside—or at least on the fringes—of what the music industry might traditionally call its own. Over the last eight years, Pattengale has taken inspiration from the career paths of artists like Randy Newman, Elvis Costello and personal hero Joe Henry by exploring what it means to wear the differing hats of film composer, record producer and performing songwriter.

The music called into question is hard to classify. It runs the gamut from swamp music to rhythm & blues, lullaby to country & western, folk song to piano ballad and beyond. The songs take direction from the stories they tell, not necessarily held together by a clear musical style but by the authenticity with which the stories are told. Along with the artists that Pattengale looks towards for career inspiration, he hopes to follow Tom Waits, Gillian Welch, Chris Smither and Loudon Wainwright in their ability to conjure a unique American voice by transforming emotional experience into narrative.

Beginning with Downtown LA in 2001, Pattengale has independently released six full-length albums of original material. He has just finished recording a new collection of material entitled Speak! The record is to be released on December 1, 2009 independently through Pattengale’s own indie imprint Four Six Productions.

Pattengale spent 12 weeks at the beginning of 2007 writing and recording what would become the score for the German animated film Die Drei Rauber, which was produced by Tom Tykwer’s production company X-Filme. Shortly after, he started to perform his own material for live audiences in Los Angeles. “I hadn’t played live for almost four years. I was always scared of not having enough control over the performance environment, or lacking the textures only available in the studio. In many ways, working on the film—being collaborative in nature—forced a re-evaluation. It made me yearn to make a connection with people beyond what the recordings alone have to offer.” He continues to perform live sets of original material often in his native Los Angeles.

In addition to countless short films, two features and six albums, Pattengale has produced records for a varied group of artists, from hardcore sensation From First to Last for major label Interscope to rootsy Americana newcomers Matt Taylor and his Laurels for Pattengale’s own indie imprint. In 2009, Pattengale has continued producing work for macabre noir-baladeer Erich Von Kneip and pop-wiz Evan Vidar. It’s the balance between the three arenas Pattengale works within that drives his career. He explains, “Upon seeking advice from a hero of mine, I was urged to simply do the work that lay in front of me. I’ve found a tremendous personal and emotional success in following that advice—putting myself in situations that reward a hard work ethic and a healthy imagination but, above all, a commitment to honesty in your work.”

Pattengale holds a degree in history from the University of Southern California and “fights [himself] for elbow room among stacks of books, scraps, instruments & computers” in Los Angeles, California.

The Slew - 100%

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The Slew [Kid Koala & Dynomite D] - It's All Over (YouTube)
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The Slew: Forging the new chapter of rock. 100%: The iconic rock turntable experience.

What started as a soundtrack to a film never made has spun into an amps-at-11 turntable rock experience.

Four and a half years ago, Eric San (aka Kid Koala) and Dylan J. Frombach (aka Dynomite D) started working on a rock record. The pair, who met on the Beasties Boys tour in 1998, had been approached to soundtrack a documentary feature film. The film was eventually abandoned, but with Mario C on board for mixing, San and Frombach were already deep into the psych rock-influenced score and there was no turning back.

Teaming up with Chris Ross and Myles Heskett, the former rhythm section of Grammy Award-winning band Wolfmother, The Slew set out to put together a full-blown rock band experience to do justice to the material in a live setting. And justice was served: The truly excessive six turntables, drum, bass, keyboard and wall of amps that made their way across North America this October made for a full-on raw, pummeling rock experience. The Slew bring punk rock attitude back to the turntable unlike anything you’ve ever heard.

The Slew’s album, 100%, was given away online ahead of the tour, and limited quantities were made to sell at the gigs. Due to overwhelming post-tour demand,100% is now hitting record stores, distributed by Koala’s longtime record label, Ninja Tune. Backstage rumors suggest more shows and new material from The Slew may emerge at some point, but for now, enjoy 100% in all its rock excess.

Megafaun - Gather, Form & Fly

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“Plant that flag on solid ground,” advise the members of Megafaun on their second album, Gather, Form & Fly. The trio– comprised of brothers Brad and Phil Cook and Joe Westerlund– sing that admonition repeatedly, in boisterous unison, yet they have no intention of taking such advice, at least not musically. In fact, since the disbanding of their previous band DeYarmond Edison (with Bon Iver’s Justin Vernon), they have celebrated the joys of shaky foundations, creating ingeniously ramshackle folk rock that combines acoustic instruments and mountain harmonies with obtuse sound collages, meandering song structures, and abstract passages featuring the most psychedelic banjo imaginable. As if to illustrate this point, they’ve even designed the album cover so that it works either as a square or as a diamond, the subtle shift of landscape revealing new ambiguities.

“Solid Ground” kicks off with a dirty guitar riff and a walking bass line, unfolding as a formally repetitive blues. This type of structure– the same line three times, followed by a new fourth line– is perhaps the most solid ground in rock, yet Megafaun make it slippery by adding a squealing solo whose feedback emanates not from a guitar, but from a closely mic’ed blues harmonica. Near the end, the casual midtempo groove threatens to fall apart as the instruments break stride, but Megafaun manage to keep it together. Averse to predictability and sentimentality, the band is restless with established forms, yet instead of subverting blues and folk traditions, they upend them. Their ends are deconstructive, not destructive.

This tendency, however, made their 2008 debut, Bury the Square, sound frustratingly divided, as if the band’s divergent musical urges had been compartmentalized and overthought. It was as though they had all the pieces, but were unsure how to fit them together. Gather, Form & Fly improves dramatically on that release, integrating musical styles more organically and confidently to play up the contrasts between them. “Solid Ground” segues seamlessly into the múm-like “Darkest Hour”, which turns water droplets into a rudimentary melody before morphing into waves crashing on a beach and finally settling into a thunderstorm backdrop for splices of a hymnal roundelay. Similarly, “Impressions of the Past” begins with a shuffling intro that never coalesces into a vocal-based song. Instead, it’s 10 or 12 different songs before the vocals enter in the final minutes, and even then, they sound like just another instrument in the mix. The song doesn’t present a fully formed memory but, as its title suggests, a series of memory traces– brief, bittersweet, and impossible to hang on to.

Megafaun’s songs change shape constantly– a thrillingly mercurial quality that makes Gather, Form & Fly a headily absorbing, occasionally unsettling listen. Despite their musical wanderlust, the trio remain firmly rooted in the Appalachian foothills, enamored with folk traditions and pastoral airs. The album opens with “Bella Marie”, a gossamer overture featuring guitar, piano, and a violin so closely mic’ed you can hear the friction of the bow on strings. Joe Westerlund’s clattery percussion on “The Process” can’t disguise its chicken-coop soul, and Christy Smith, of Nola, North Carolina’s the Tender Fruit, duets on “The Longest Day”, a delicate country number that floats along on tender banjo and guitar strums. The buoyant melody of “The Fade”, perhaps the most instantly accessible song here, recalls locals the Kingsbury Manx as the Cook brothers sing about the death of their grandfather and the tragic shortcomings of memory: “It’s been a year,” they sing together, “and now I fear the fade is on.” (Trivia: That’s him on the CD and etched into side four of the vinyl.)

Moments like that lend Gather, Form & Fly its warmth and accessibility, despite the intentionally shaky foundations of songs like “Guns”, which begins with one of their best moments: “All we’ll ever be, all we’ll ever need,” the trio sing together, with a mix of triumph and forlornness, before ominous rumblings dislodge their vocals from the emphatic guitar strums and drown them all in gentle noise. Rather than blanch the song of its momentousness, that spectral coda makes it all the more meaningful, as if they’ve just stepped from a sunlit clearing into dark woods. While some listeners may grow weary of such insistent drones, and while it’s tempting to read these tendencies as opposite extremes, ultimately there are no simple dichotomies in these songs, no easy distinctions between written and improvised, concrete and fluid, organic and synthetic. All the sounds and ideas emanate from the same sources and desires, and the prismatic contrasts between them illuminate this intriguing and heartfelt album.



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FidelityCastro

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The M/F Thread 2009: The Quickening
« Reply #3960 on: 15 Dec 2009, 20:29 »

Euphoria - A Gift From Euphoria [1969]



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"This album -- which was "produced in Hollywood, Nashville and London by Messrs. Watt and Hamilton" (aka Hamilton Wesley Watt and William Lincoln) -- is today considered a cult classic among those who find themselves trekking across the West Coast rock tundra, circa 1969. Psychedelic country-rock, folk-rock, and bluegrass -- abetted by lushly downcast orchestral arrangements and the occasional sound effect -- are combined here in a heady and confident manner. The opening track, "Lisa," is a sweeping orchestral piece which is eventually brought to a resounding end with the crash of a tympani drum. Then, the listener is abruptly hustled into a barrelhouse bluegrass-style romp, "Stone River Hill Song," which wouldn't sound too out of place on an album by Dillard & Clark, or, perhaps, even the Grateful Dead. Banjos, tack piano, and fuzz guitars collide in "Did You Get the Letter," which veers into Beatlesque White Album territory -- replete with backward guitars, cuckoo clocks, TV audience laughter, gunshots, explosions, someone speaking in Vietnamese, crying babies, and various sonic effluvia -- before returning to the song's main theme. Whispered vocals and a regal harpsichord elevate the stately and sublime "Lady Bedford." "Sunshine Woman" (covered in 1971 by Bernie Schwartz on his fantastic solo album, The Wheel) is another of the album's more memorable moments. It ends with a suicide note to the "World" and existence itself ("I hope we meet again someday"). In fact, it seems fair to point out that much of the moody lyrical content herein seems to be about drug use and acts of suicide. There's no real dross or dead weight on this overlooked work of ambitious scope that reveals the considerable talents of its two songwriters/producers. Originally released by Capitol, this album remained out of print for many years until it was reissued on CD by See for Miles in 1996." -- Bryan Thomas, AMG
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KvP

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The M/F Thread 2009: The Quickening
« Reply #3961 on: 15 Dec 2009, 21:31 »

That sounds pretty good. Strong boarding.
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ADRIAN WOODHOUSE

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The M/F Thread 2009: The Quickening
« Reply #3962 on: 16 Dec 2009, 03:55 »

KNERTZ LABEL SAMPLER/COMPILATION

sounds like:  anticony / nerdy


a label sampler of the knertz collective with new tracks from fnessnej, oskar ohlson and other knertz artists.






pt.1
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pt.2
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www.knertz.de

www.myspace.com/knertz

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Scandanavian War Machine

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The M/F Thread 2009: The Quickening
« Reply #3963 on: 16 Dec 2009, 10:25 »

oh shit yeah
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Also I would like to point out that the combination of Sailor Moon and faux-Kerouac / Sonic Youth spelling is perhaps the purest distillation of what this forum is that we have yet been presented with.

A Wet Helmet

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The M/F Thread 2009: The Quickening
« Reply #3964 on: 16 Dec 2009, 11:40 »

Every now and then I am kind of shocked by what's not in this thread.  The following is one of those things.

Meshell Ndegeocello



Despite the fact that we were both running around DC at the same time, the only time I've seen her live was in Manhattan not far from the Chelsea Hotel.  That was about the time of the release of this album, which is why I chose to post this one instead of her latest.   Interesting stuff, to say the least.

allmusic says:  
Quote
Say what you will about bassist, songwriter, singer, bandleader, and arranger Me'Shell Ndegéocello, any box you attempt to put her into is not possibly big enough to hold her creativity and restless, unwieldy aesthetic vision. On "The Sloganeer: Paradise," a tune in which she equates the bland, complicit nature of blindly living modern life with committing suicide, she sings: "To know me is to know I love with/My imagination." It's a summation of her entire career thus far, and this album furthers that notion exponentially. The World Has Made Me the Man of My Dreams is Ndegéocello's debut for Decca; it is wilder than Cookie: An Anthropological Mixtape, or her last recording, The Spirit Music Jamia: Dance of the Infidel. The latter set was a project that indulged her love of postmodern jazz and engaged in improvisation. She directed an ensemble that included Oliver Lake, Don Byron, Jack DeJohnette, Kenny Garrett, Ron Blake, Brandon Ross, Lalah Hathaway, Cassandra Wilson, and others. It walked a line between tight song-oriented material and longer jam-based tunes, and she didn't really sing on it. That's remedied here, and her sultry, smoky voice is heard on virtually every cut. Musically, this albums walks through walls. There are funky soul tunes whose backdrops are full of psychedelic music that would make the latter-day Jimi Hendrix smile in delight (think the material from Cry of Love). There are jazz-oriented tunes that slip toward pop, folk, and whole-tone folk songs. The lyrical content engages spiritual concerns and carnal love more often than not in the same song. And while she once more employs a wildly diverse collection of collaborators that include everyone from Ross and Lake to Pat Metheny, Oumou Sangare, Robert Glasper, Mike Severson, Daniel Jones, Doyle Bramhall, David Gilmore (not the one from Pink Floyd), James Newton, and Graham Haynes, she also cut two songs ("Evolution" and the bonus cut "Soul Spaceship"), playing all the instruments herself. So what does it sound like? The future arriving fully formed on the doorstep. It opens provocatively enough with noted American Muslim teacher and Islamic scholar Shiek Hamza Yusuf reciting the predictions of Mohammed to a backwash of Ross' guitar and ambient sounds. (Yusuf was the man who appeared with George W. Bush after 9/11 and denounced the attacks and all religious violence, and is working for a return to Islamic sciences as well as assisting Western governments in understanding Islamic culture and Muslims.) It moves into a rock & roll dreamscape called "Sloganeering: Paradise" awash in keyboards, a drummer playing drum and bass breaks that would make Prince jealous. "Evolution" is a spaced-out psychedelic dirge with few lyrics and a sound field worthy of Hendrix (and indeed her guitar playing is influenced in that direction). The sci-fi jazz of "Virgo," with Lake, Newton, and trombonist George McMullen, hovers and floats in vanguard space before turning into a dreamy pop song with acoustic guitars, synth washes, and samples but is held together with a gorgeous melody and vocal performance (and contains a funky little solo by Lake on alto saxophone). "Shirk" is a gorgeous spiritual duet between Sangare and Ndegéocello with Hervé Sambe and Metheny on acoustic guitars. Metheny also appears on "Article," the following cut with a guest appearance by Thandiswa Mazwai singing with Ndegéocello, but this time out she pops that bass of hers in response. It's a dizzying cut with shifting rhythms and textures, and call-and-response vocals that feel more like counterpoint as different sonic and textural motifs move across the front of the tune. All this and the record is just over halfway. The deep spirituality at work here has been present in Ndegéocello's work arguably since the beginning, but it has become more pronounced in recent years. That said, the beautiful and poetic expressions of desire as it encounters both flesh and the divine are soulful, without pretension or artifice. "Michelle Johnson" is a freewheeling exploration of electronic outer realms, tough guitar, and bass-heavy funk, with killer drum kit work by Deantoni Parks and hand percussion by Gilmar Gomes. The sonic treatments by Scott Mann and Chad Royce are all structure to fill the space around the artist's basslines and expressive belly-deep voice -- and you can be the judge as to which Michelle Johnson she's speaking of here. "Solomon" is among the most beautiful songs this woman has ever written. It is presented in a painterly way, illustrated and framed inside a warm bubbly electronic backdrop that gives way to languid melody, a spine-moving bassline that grooves low and slow on this futuristic soul lullaby. The official album closes with the completely out-to-lunch "Relief: A Stripper Classic," which is the true missing link between urban soul, heavy metal, and slow, downtempo funk -- all of it with a pronounced hook and refrain. "Soul Spaceship" is the place where Sly Stone, Amp Fiddler, and Millie Jackson meet in a big bass sci-fi wonderland presided over by Rick James and Teena Marie! The basslines and synth lines are huge, drum machines abound and skitter, and all the while Ndegéocello and Sy Smith make a beautifully grooving mess with the vocals. Ultimately, The World Has Made Me the Man of My Dreams, with its irony, sincerity, seeming contradiction, and elliptical paradox, is the most expansive, complex record yet released by this always provocative artist. It will take more than a single listen to warm up to, but once you actually take it in, it will be one of her recordings you go back to over and again because while it gives up its secrets slowly, it gives the listener something new each time too. Wild, visionary, and marvelously tough, this is a groover that will turn you inside out.

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« Last Edit: 16 Dec 2009, 11:43 by A Wet Helmet »
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JD

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The M/F Thread 2009: The Quickening
« Reply #3965 on: 16 Dec 2009, 22:46 »

Alessi's Ark - Notes From The Treehouse[2009]

Quote from: BBC
Equal measures Morcheeba, Corinne Bailey-Rae, Laura Marling and Bat For Lashes: enter London singer/guitarist Alessi Laurent-Marke and her whimsical lounge LP Notes From The Treehouse.

Breathy, folky, dreamy, pretty music bursts out of your speakers as 18-year-old Alessi begins with Magic Weather. Its peculiar lyrics, feathery harp and Alessi's impish melodies are the perfect introduction to this quirky acoustic star.

The Horse continues with the fairytale theme: just 2.14 minutes short, it may end abruptly but the message of unavailable love is delivered sweetly.

Sweeter still is Over The Hill with its simple ''I love you'' hook, layered guitars and wispy hints of adultery: ''It's just a shame that from the very beginning you’ve always been her man''.

It is at this point that you realise this cutesy-sounding, buttery bringer of folk fairytales isn't so angelic as she seems. Puppy dog eyes, yes, but don't all mistresses flutter those?

Still, older-than-her-years Alessi excels when coupling these gripping tales with her eccentric vocal and happy-go-lucky melodies. Venture too far to the left, however, and quirky becomes try-hard.

Constellations, for instance, aptly floats off into outer space; lost on many mere mortals. The Asteroids Collide - with its Bjork tribute band vibe - is also way too weird for the average ear.

Still, these cuts are in the minority and are easily outshone by a plethora of gorgeous melodies (Hummingbird, in particular, haunts and excites). What Alessi's Ark has achieved with Notes From The Treehouse is an accessible, magic box of acoustic tricks for that all-important wider audience.
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The Horse
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The M/F Thread 2009: The Quickening
« Reply #3966 on: 17 Dec 2009, 12:57 »

So this was posted towards the beginning of the year but I am going to re-post it for three reasons:
 (1) The original post link is no longer valid.
 (2) The first time it was posted, it was done by a user whose only post was this album and therefore probably didn't catch much attention.
 (3) It is an amazing album.

The National Lights - The Dead Will Walk, Dear (2007)
Genre: Folk with very dark lyrics



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Quote
"THE NATIONAL LIGHTS explore the graceful, folky traditionalism of acts like Iron & Wine and Sufjan Stevens, but behind their quiet sound lies more sinister subject matter: obsessive love, jealousy and a killing. Songwriter Jacob Thomas Berns writes songs about small American towns, rivers and fields and falling in love, but his towns hide secrets, the landscape hides graves."

"The Dead Will Walk, Dear is a hushed, beautiful song cycle that, upon close listen, is actually a disturbing series of songs about a river and some girls who have been killed and dumped into it. Yeah, old fashioned murder ballads cleverly disguised as songs of love lost. Songwriter Jacob Berns may sound innocent enough, but the dude’s got a serious dark side."

And check out the pitchfork review, makes me love it even more.
Quote
Sick, sick, sick. That's what this album is. Oh sure, it sounds pretty, with its gentle, mostly acoustic arrangements, whispery vocals, and other folkish whatnot, but wait a second. All those references to grinding bones and eating flesh and burying things aren't metaphors or poetic turns of phrase-- they're actually about killing people, eating them, and burying them. Songwriter and principle vocalist Jacob Thomas Berns sounds musically well adjusted, but I get the feeling he was the kid who worried his eight grade English teacher with disturbing journal entries about sexual violence and cold-blooded murder.

See the rest of the review
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The M/F Thread 2009: The Quickening
« Reply #3967 on: 18 Dec 2009, 08:19 »

Dude, that P4K review wasn't kidding. That Jacob Berns is one sick fuck.
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The M/F Thread 2009: The Quickening
« Reply #3968 on: 18 Dec 2009, 10:57 »

Shall download it when I get home
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The M/F Thread 2009: The Quickening
« Reply #3969 on: 18 Dec 2009, 12:26 »

Fucking love that album. Southern goth maybe? awesome
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The M/F Thread 2009: The Quickening
« Reply #3970 on: 18 Dec 2009, 14:14 »

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I am re-upping this it didnt work last time think its fixed someone let me know please
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The M/F Thread 2009: The Quickening
« Reply #3971 on: 18 Dec 2009, 16:22 »

Boris - Heavy Rocks (2002)



So Sean needs some Boris learnin' and I'm posting this great Boris album to do just that.

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[22:49] Quietus: I'm personally imagining a white supremacist locked in his basement, furtively listening to Parliament on headphones
[22:49] Quietus: "Oh, lawd, why must them coons rock me so"

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The M/F Thread 2009: The Quickening
« Reply #3972 on: 18 Dec 2009, 16:25 »

Quality poster you are
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The M/F Thread 2009: The Quickening
« Reply #3973 on: 19 Dec 2009, 01:37 »

FLEET - review[2007]
Electronicy Post Rock

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The M/F Thread 2009: The Quickening
« Reply #3974 on: 19 Dec 2009, 06:35 »

Strongest possible boarding, Reed.
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The M/F Thread 2009: The Quickening
« Reply #3975 on: 19 Dec 2009, 08:53 »

The Austerity Program- Black Madonna



Two guys from New York with Travis Bean guitars and a drum machine. Sounds like an even more pissed-off version of Shellac.

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The M/F Thread 2009: The Quickening
« Reply #3976 on: 19 Dec 2009, 10:23 »

So Sean needs some Boris learnin' and I'm posting this great Boris album to do just that.

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Incidentally, my name is Sean, and this is the first Boris album I've ever listened to.


And it is the TITS.
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The M/F Thread 2009: The Quickening
« Reply #3977 on: 19 Dec 2009, 10:33 »

SUCCESS
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The M/F Thread 2009: The Quickening
« Reply #3978 on: 19 Dec 2009, 11:04 »

Woooooo Boris!!!

\o
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[22:49] Quietus: I'm personally imagining a white supremacist locked in his basement, furtively listening to Parliament on headphones
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The M/F Thread 2009: The Quickening
« Reply #3979 on: 19 Dec 2009, 11:06 »

I still need to make Ryan listen to Boris. He honestly had no clue who the fuck you were talking about, Reed.
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The M/F Thread 2009: The Quickening
« Reply #3980 on: 19 Dec 2009, 11:35 »

o/
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The M/F Thread 2009: The Quickening
« Reply #3981 on: 19 Dec 2009, 17:54 »

no no thats when yr giving a high five not to high five backed.

so basically you are now that kid who is like yeah guys high five and everyone else is like huh what awesome shit already happened you missed out dude go home.

have not spun boris yet quit yr celebrating.
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The M/F Thread 2009: The Quickening
« Reply #3982 on: 19 Dec 2009, 19:10 »

Sean: The expert on internet high fives
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The M/F Thread 2009: The Quickening
« Reply #3983 on: 19 Dec 2009, 19:11 »

Zombiedude is just upset because he's now this guy:

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The M/F Thread 2009: The Quickening
« Reply #3984 on: 19 Dec 2009, 19:12 »

From now on I will punctuate my posts with a high five.

o/
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The M/F Thread 2009: The Quickening
« Reply #3985 on: 19 Dec 2009, 19:21 »

You have to say the words "high five," too, preferably bold and in all caps.
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The M/F Thread 2009: The Quickening
« Reply #3986 on: 19 Dec 2009, 19:32 »

scarred knows a lot, since he used to be that guy.
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The M/F Thread 2009: The Quickening
« Reply #3987 on: 19 Dec 2009, 20:32 »

You have to say the words "high five," too, preferably bold and in all caps.
whatever man

o/
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The M/F Thread 2009: The Quickening
« Reply #3988 on: 19 Dec 2009, 21:02 »

I honestly wonder how long I can keep this up though.

o/
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The M/F Thread 2009: The Quickening
« Reply #3989 on: 20 Dec 2009, 15:34 »

stop
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[20:29] Quietus: Haha oh shit Morbid Anal Fog
[20:29] Quietus: I had forgotten about them

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The M/F Thread 2009: The Quickening
« Reply #3990 on: 20 Dec 2009, 15:38 »

He already stopped like 12 posts before you said that.
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The M/F Thread 2009: The Quickening
« Reply #3991 on: 20 Dec 2009, 15:54 »

I guess nobody really likes that guy huh
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The M/F Thread 2009: The Quickening
« Reply #3992 on: 20 Dec 2009, 19:45 »

Haha, I always thought that was someone slapping their cheek with their mouth open in an "o" of shock.

o/
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The M/F Thread 2009: The Quickening
« Reply #3993 on: 20 Dec 2009, 22:13 »

Some things I have been listening to:

The Very Best - Warm Heart Of Africa[2009]
Afro pop

Quote
There was a David and Goliath quality to the simultaneous performances that closed out the 2009 Pitchfork Music Festival. Against the Flaming Lips' grid-draining light show and extravagant confetti budget, the Very Best pitted a grinning guy in a rakishly cocked plaid hat, a stocky Euro-hipster with a console-laden table, and a couple of head-wrapped backup singers. The crowd seemed thin and politely engaged during the first song. By the last, the audience had swelled considerably, and everyone was bouncing up and down-- a sea of genuinely happy faces. That's the simplest and most important thing about the Very Best. Their enthusiasm is contagious.

The group debuted last year with the superlative mixtape Esau Mwamwaya and Radioclit Are the Very Best. The Malawi-born singer ran a secondhand shop in London, where he met Etienne Tron of Radioclit (Tron is French; his partner Johan Karlberg is Swedish). Radioclit's prior work had leaned heavily on grime, Miami bass, crunk, and other aggressive genres; they dubbed their style "ghetto-pop." But with the Very Best mixtape, they turned from dark, druggy hedonism to effervescent productions that blended Afropop-laced originals with mixes of M.I.A. and Vampire Weekend. It was feel-good music that felt fresh and healthful, just like Mwamwaya's voice. He sang ebulliently in Chichewa, English, and other languages, and the foreignness of the words only cleared the way for the life-affirming feeling that shined through them.

Warm Heart of Africa, the group's official debut, rises to the high standard set by the mixtape, from which only two tracks are held over: "Kamphopo", where Mwamwaya swaggers through sun-streaked Architecture in Helsinki samples, and a dance mix of "Kada Manja", with added drums and some of its strings gathered up into a loping rhythm. A couple of guest stars also return. Ezra Koenig of Vampire Weekend duets with Mwamwaya on the title track, which will probably be the first song on the album that knocks out most listeners. "The boys move fast/ You should take it slow," they advise coquettishly, in an irresistible hopscotch cadence, over splashes of sampled guitar and hand percussion. And M.I.A. appears on "Rain Dance", panting and purring over a taut drumline, in one of the album's few respites from blaring melody. This sense of continuity with the mixtape is bolstered by the fact that some of these songs are so immediate you'll swear you've heard them before, like "Julia", which sounds like some kind of sublimely cheerful G-funk.

Radioclit deserve a lot of credit for keeping the vibe upbeat but diverse: Whether they're cooking up a snap track with pizzicato accents on "Yalira", pinging 1980s synth-pop on "Chalo", tropical dreams on "Angonde", or kwaito-inspired pulses on "Ntdende Uli", they stay out of Mwamwaya's way, using small and tactile rhythmic embellishments to give him extra kick-- always lively, never cluttered. Which is smart, because Mwamwaya is a scene-stealer, for the uncomplicated reason that he sings like an angel and takes evident pleasure in doing so. On "Zam'dziko", his voice weaves in and out of itself, adorned only with sporadic drum claps. For Mwamwaya, a hot beat is always nice, but pretty much optional. The album's biggest asset has to do with his presence, and it's hard to put a name to-- "spiritual generosity" sounds too grand, but that's what it feels like.

Some people tend to get up in arms whenever African music gets mixed up with Western genres-- as if they haven't always been in a dialogue, like how marabi is related to American jazz. The Very Best inspired me to learn more about some of the genres they employ, and if you do the same, that's great-- but an Afropop primer isn't what Mwamwaya's about here. In drawing lines between older African genres, like highlife, and newer ones, like kwaito, and then linking those to international pop styles of various eras, Warm Heart of Africa pictures a glittering web of connectivity where national and cultural boundaries dissolve. People care about socio-cultural chin-stroking; music does not. This record simply wants to be heard, by whomever will listen and enjoy. There's no cynical play for authenticity, no implication that Afropop is somehow piously cordoned off from Western music. It's a true global-pop album, and a hopeful template for things to come.
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Captan, obvio - Die Captan, obvio Die![2009]
Psychedelic punk/rock

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http://www.mediaf!re.com/?25qgmf0monjTheirspace

Bonaparte - Too Much[2008]
Dance Punk

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Radio 4 - Gotham![2002]
Dance Punk

Quote
2002 should be remembered as being a fine year for American groups bringing their British '80s influences bang up to date and relevant again. So whilst Liars capture the essence of Gang Of Four, Interpol tackle Joy Division and this year's Jesus And Mary Chain are Black Rebel Motorcycle Club, Radio 4 aim for The Clash's post-'London Calling' phase. It's another ambitious step to take and one which should provide many pitfalls but once again it's another brave and successful excursion. With vocals recalling the vitriol of Mick Jones and a sustained melodic intensity 'Gotham!' is another post-punk exemplar. 'Our Town', 'Dance To The Underground' and 'Save Your City' are driven, urgent anthems which sound a rallying cry for the disenfranchised. Perhaps even more satisfyingly, 'Struggle' and 'Pipe Bombs' re-enact The Clash's experimental dubbing techniques. Purists may scoff that this music is unoriginal but it would be foolish to moan when some of this revivalist material has a level of consistency which surpasses the original work.
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The Broken West - Now Or Heaven[2008]

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« Last Edit: 22 Dec 2009, 22:10 by Zombiedude »
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The M/F Thread 2009: The Quickening
« Reply #3994 on: 21 Dec 2009, 02:44 »

The Field Mice - For Keeps



Sounds like: Twee meets shoegaze, they're quite fond of each other and things seem to be getting serious but it just wasn't meant to last. Twee likes to think it has grown though.

Quote from: AMG
What turned out to be the only full studio album the Field Mice released was also nothing less than a quietly triumphant masterpiece. Building on the strength of its string of great singles while keeping its own particular character and mood, For Keeps -- a sly and sharp title, given how many of the band's songs reflected both love's creation and dissolution -- found the five piece full of gently impassioned creativity. It could be the subtle funk wah-wah guitars on the opening "Five Moments" or the blissout psych droning of "Tilting at Windmills," but writing the Field Mice off as simple twee pop types would be a hard task for anyone after a listen to this album. In the end, the group stood apart from all the early '90s scenes swirling around it to make its own mark. Davies' softly cool vocals, winsome without being cloying, brought both greater variety and range of emotion to the songs. Wratten's still in fine voice, and together their duets work perfectly, almost defining the form that many other bands clearly inspired by them would take. On his own Wratten experiments with his voice, adding flanging to the just-epic-enough guitar build of "This Is Not Here" and elsewhere piling on the echo and other tricks for fine variety. The subtle musical nods all over the map fit the band's impressive range of influences, while avoiding drowning in them. There's the hint of late-'50s/early-'60s tearjerker drama in "Star of David," for instance, heightened by the sharp growl of the guitars against the slow, building punch of the drums. In the end it's the Field Mice, but it's a much more accomplished and intriguing Field Mice than the band's detractors (and possibly many of its followers) would ever give it real credit for.

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The M/F Thread 2009: The Quickening
« Reply #3995 on: 21 Dec 2009, 02:46 »

Also,

Quote
Rules:

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

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

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 200mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

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

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

Repost the rules at the top of each new page.
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The M/F Thread 2009: The Quickening
« Reply #3996 on: 21 Dec 2009, 13:33 »

Midlake – The Courage Of Others (2010)

MySpace
Acts of Man / Rulers Ruling All Things (YouTube)
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we are pleased to announce our forthcoming album, “THE COURAGE OF OTHERS” will be released FEB 1st, 2010 in the UK and EUROPE, and FEB 2nd, 2010 in the US. we have a few tour dates scheduled below, with many more to be confirmed and posted shortly. we thank you all for your patience and support and we are looking forward to seeing you all next year.

Guano Padano - s/t

MySpace
GUANO PADANO featuring ALESSANDRO ALESSANDRONI (YouTube)
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Alessandro Steffana released his debut solo album to much acclaim on Important a few years back Since then he has worked as a member of Mark Ribot’s Ceramic Dog project as well as Mike Patton’s Mondocane.

Guano Padano, assembled by Alessandro Stefana, features guests Alessandro Alessandroni (renowned whisteler of the immortal Ennio Morricone western soundtracks), Gary Lucas (Captain Beefheart/Jeff Buckley guitarist), Chris Speed (clarinet player with Tim Berne, Uri Caine, John Zorn etc.) and, last but not least, the legendary Italian singer Bobby Solo

Guano Padano’s music is a kind of road movie, unfolding between the scorching asphalt of Highway number 4 and the juicy smells of the peasant festivals so common in the Pianura Padana. It’s a dreaming mixture of rock, psychedelia, folk and country, jazz improvisations and Morricone hints. Alessandro “Asso” Stefana and Zeno de Rossi started to work together some years ago while playing in Vinicio Capossela’s band, of which they are still steady members. For this trip they are joined by Danilo Gallo, a double bass player with a dark, meaty, gutsy style, who has shared with Zeno various adventuresmerged in El Gallo Rojo collective, one of the most interesting experiences of Italian underground and independent jazz

Los Campesinos! – Romance is Boring (2010)

MySpace
There Are Listed Buildings (YouTube)
>> FIXED <<
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Quote
Los Campesinos! are proud to announce the title and track listing of their forthcoming album. ‘Romance Is Boring’ will be released 1st February 2010. through Wichita Recordings. The single ‘There Are Listed Buildings’ which is currently available exclusively on the band’s UK tour dates, will precede it, on the 2nd November 2009.
« Last Edit: 21 Dec 2009, 18:21 by gospel »
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The M/F Thread 2009: The Quickening
« Reply #3997 on: 21 Dec 2009, 14:39 »

Is the LC! leak legit?
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The M/F Thread 2009: The Quickening
« Reply #3998 on: 21 Dec 2009, 14:49 »

yup
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The M/F Thread 2009: The Quickening
« Reply #3999 on: 21 Dec 2009, 14:49 »

track 14 is corrupt though
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