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[ackblom12]

holy balls, this german propaganda swing is FASCINATING!

Seriously, I'm not sure why it took so long before I thought of uploading it. I must just hate sharing interesting things.

[johnny5]

my morning jacket - the tennesee fire (1999)

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http://www.mediafire.com/?0mjnwkju2wm

[Liberalkid]

Well for everyone who is tired of not being able to use Winrar.. try this cracked version.

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http://www.mediaf!re.com/?xlijlxlddem
Or if you prefer legal means try IZarc.. since it is freeware..

http://www.izarc.org/download.html

[bulldawg982]

where is the best place to start with tom waits?

[PunkHippie]

Good recommendations, Ben. I agree fully. Orphans, his recent 3 disc set (all new material too!) is an interesting cross-section of latter period styles.

For anyone who is a fan, be sure to check out the video of Tom's "press conference" for his upcoming tour at tomwaits.com. It's a stinkin' riot...

 

[doomspike]

I've been introduced to a great deal of new music by this thread, and it's time to repay! I was surprised and delighted to find that I actually have some music that hasn't been covered.

The 32-bit Handhelds - S/T

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http://www.mediaf!re.com/?qcbscjbo2yj
1. Fidel Casio: The 32-Bit Revolution
2. Systems Go!
3. Level 03
4. Flight of the Veritech Fighters
5. Let's Get Technical
6. Woodchuck to Grey Squirrel
7, Bonus Stage
8. 0400
9, Belmont's Requiem
10, Domo Arigato Mr. Miyamoto
11. Guitari 2600
12, Secret Ending
13. ADVENT

The 32-bit Handhelds, now sadly defunct, were just two simple men and their pet drum machine, making 80's video-game pop-rock. As atrocious as that last sentence sounds, this is an occasion where the gimmick isn't the point; everything just clicks together on this album, and the almost oppressive video-game references act as a catalyst, rather than a burden. If you can't be bothered to listen to the whole disk, check out "Domo Arigato Mr. Miyamoto." It's my favorite track, and a good index for the rest of the album. Also, if anyone enjoys this, I would recommend they buy it-- it's a CD-R that comes shipped in an old 3 1/2" floppy, and goes for $6.00, shipping included. It's on www.asaurus.org.

Afro Celt Sound System - Anatomic

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http://www.mediaf!re.com/?zqm1cutniwj
1. When I Still Needed You
2. My Secret Bliss
3. Mojave
4. Sene (Working The Land)
5. Beautiful Rain
6. Anatomic
7. Mother
8. Dhol Dogs
9. Drake

The Afro Celts are one of a few bands in the world music scene that have hit upon the idea of blending traditional African and Celtic melodies and instruments with strong dance influences (Baka Beyond comes to mind). But it is impossible to imagine any more perfect assembly of those themes than the output of this band. Ranging from being almost techno with Uillean pipes to oddly undefinable ballads to high speed jigs over a driving drumbeat, these musicians are exhaustive in the exploration of their fusion. This is the fifth album, and the newest. Once again, if you're pressed for time or just trying to quickly figure out if you'll like the band, I'd recommend the third track, "Mojave". It's ten minutes long, and it starts slow, but humor me and listen to the whole thing. It gives a good cross-section of the range of the band.

Bud Powell - The Complete Blue Note and Roost Recordings Disk 1

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http://www.mediaf!re.com/?bfit3dktdmi
1. I'll Remember April    
2. Indiana    
3. Somebody Loves Me    
4. I Should Care    
5. Bud's Bubble
6. Off Minor
7. Nice Work If You Can Get It    
8. Everything Happens To Me
11. Bouncing With Bud
13. Wail
15. Dance Of The Infidels
16. 52nd Street Theme
17. You Go To My Head
18. Ornithology
22. Un Poco Loco
23. Over The Rainbow

Jazz time. This set had an incredible number of alternate takes, but I've deboned it a bit, since I find them wearing. Anyhow, Bud Powell! Child prodigy, abused youth, student of Thelonius Monk, pianist, composer, genius, and troubled man. Bud Powell is a complexity that seems to get lost among all the other complexities in the Jazz field, but his impact and skill were undeniable. From reinstating the virtuoso handling of arpeggios and leaping scales that had lain dormant since Art Tatum, to inventing new left-hand chord-voicings that would subsequently bear his name, to composing complex and emotionally rewarding bebop, to just being an all-around badass musician, he strikes with an intensity not always found in jazz pianists. This disk is emblematic of his time at Blue Note: few jazz standards, several re-worked Monk tunes, and a copious amount of his own work, treated in either a jazz trio form (with drum and bass), or with only a few horns. A couple of stand-out songs on this album are "Bouncing with Bud" and "Un Poco Loco". The rendition of "Indiana" is also finely handled.

Lenny Breau and Brad Terry - The Complete Living Room Tapes Disk 1

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http://www.mediaf!re.com/?3lfopi4eg0z
  1. BLUES FOR CAROLE
  2. HOW HIGH THE MOON
  3. YOU NEEDED ME
  4. THE CLAW
  5. SECRET LOVE
  6. SWEET GEORGIA BROWN
  7. MY FOOLISH HEART
  8. I FALL IN LOVE TOO EASILY
  9. SEND IN THE CLOWNS
10. NINE POUND HAMMER
11. CANNONBALL RAG
12. FLAMENCO
13. IT COULD HAPPEN TO YOU

More jazz, and more obscure. Lenny Breau was a Canadian jazz guitarist, and a pioneer of the finger-style method of guitar playing. Kind of a combination of banjo plucking and flamenco expertise, it allowed him to play the bassline, the chords, and the melody all at the same time. The result is incredible. Brad Terry is a little-known clarinetist, and to my knowledge, this is his only recording. A player of great versatility, he covers the ballads, standards, and bebop (a rarity on the clarinet) in this set flawlessly, aided by a superb tone and a supremely natural improvisational style. The album was also recorded in his living room. Those are the only two instruments for the entirety of the album; the lack of a rhythm section beyond lenny's guitar creates a fluid, living sound, elastic with the freedom of the two to improvise off eachother. Notable are "The Claw", where Lenny tackles a 7-string and delivers mind-blowing orchestration of a bluegrass standard, and "Blues for Carole", which features Brad Terry doing the most competent improvised whistle solo I've ever heard.

Random - Bad Joke EP

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http://www.mediaf!re.com/?d3dj2m9tyqm
1. Sitges Savepoint
2. Micawber's Moan
3. Lightyears 500
4. Hux Flux Deluxe
5. Spontaneous Devotion

And finally, some chiptune. This is actually available for free under a Creative Commons license from 8bitpeoples.com, but I've uploaded it here for your convenience. Random is my favorite chiptune artist. His beats are fresh, his orchestration complex, his music moving. Not to mention it's almost entirely composed on the sound chip from an old game-boy. But gimmickry's not my style, and it is indeed something else that keeps me around. I could attempt to explain to you how awesome it is, but just listen to the album. The whole thing. There's only five songs. I guarantee you won't think it's a half-hour long. Fun fact: Random's first chiptune incarnation was as randomshitmotherburger.


I hope everyone enjoys all that. Please don't hesitate to point it out if I've done something wrong. Thanks again for all the music.

[valley_parade]

All this talk of Sigur Ros' new stuff, but no one ever mentions their debut!

Sigur Ros - Von

The heaps of praise during 2000 surrounding 1999's Ágætis Byrjun brought surprisingly little attention to Sigur Rós' first record, released in 1997. Remaining available only through the band's Icelandic label, it took some effort to obtain, but those who did get a copy probably found it to be just as adventurous as Agætis. Though darker and more fractured than the string-laden nooks of the follow-up, it's just as sprawling and outright bombastic. It's remarkable that such a young band would be this experimental at this stage in their lifespan, but the sheer breadth gets to be an albatross. Poking fun at '70s prog rock is just as easy as shooting at cement gargoyles on a suburban rooftop, especially when you're an indie kid or a fan of post-rock. But Sigur Rós makes Yes look like the Minutemen. Whittled down to 40 minutes, Von would be considerably more effective than it already is. As a mood setter, the 10-minute opening track really takes about three minutes to do what it needs, and a few other spots seem to drag on for the sake of sucking time. That doesn't prevent Von from being impressive, veering from Gavin Bryars-style aquatic minimalism to My Bloody Valentine-style dream pop. Varying states of isolationist ambience run throughout, whether evoking unrest or tranquil rest. You can practically envision a stray headboard floating through the Sinking of the Titanic-type passages, and the lush "Myrkur" comes from a planet where MBV's Kevin Shields and Kitchens of Distinction's Julian Swales are accorded the level or worship that Earth gives to Hendrix and Clapton. And then there's that voice, one of the most distinctly unintelligible voices since the Cocteau Twins' Liz Fraser. Boy? Girl? One would be hard-pressed to guess without liner notes. Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.

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

[imagist42]

So, I found this on the internets today, and according to Wikipedia, this leaked today:

Broken Social Scene Presents: Brendan Canning's Something for All of Us

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http://www.mediaf!re.com/?lirpnh2mwu9

This is fantastic. It slows down a bit more than I would like in the last few tracks, but there is some really wonderful stuff that is different enough from BSS's usual routine to justify putting Brendan Canning's name on it and calling it something else altogether. Preliminary favorites: "Hit the Wall," "Churches Under the Stairs."

[Ishotdanieljohnston]

Yeah I'm loving this myself.

[youthcant]

&&&

(since both are seven or so tracks, i upped them together. all in .mp4)

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http://www.mediaf!re.com/?nit3gzvvie1

from wiki wiki wild wild west: Astronautalis has been described as "if Beck were a decade or so younger and had grown up more heavily immersed in hip-hop,"with his rapping style noted for "blending styles of indie rock, electro, and talkin’ blues" with hip-hop, although his second album showed a turn towards a style close to shoegazer.

edited to prevent double annoy post:

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http://www.mediaf!re.com/?5mabdhlqirdsince i've stopped lurking, i have mainly uploaded obscure and local talents.  this is the last album of the bracket, a group i have seen a dozen times live and ended up befriending both of them.  The "both," makes up Cripple Lilies.  Best labeled as a coffee shop acoustic duo until the g/f & b/f group split in both ways.  Heavily influenced by Belle and Sebastian and Elliott Smith, this is the Cripple Lilies first and last full length album.  Its sad, happy, mellow and great for a rainy day and/or hangouts on humid porches.  enjoy.

[Oqtober]

Been lurking for a while. Haven't posted anything in over a month.

Justice - Cross



Good cheese.

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http://www.mediaf!re.com/?d1q0nx9mbiy


Bexar Bexar - Haralambos



From AllMusic:

Bexar Bexar's debut album on Western Vinyl is 15 songs of instrumental ambience and gentleness, open and clear and delivered well. Reminding the listener of the finer moments from such artists as Mum and Tortoise, the songs flow together so smoothly that the album is over before you realize it. Bexar Bexar can definitely pull the senses in, evoking memories of sunny autumn afternoons or lazy Sunday mornings snuggled underneath layers of warm blankets. The music is composed of mild electronic sounds, mellow guitar tones, upbeat loops, and a good deal of ambience is noted on Haralambos, as well. And whether feelings generated from the songs are akin to the stark melancholy of looking upon a freshly fallen snow or the hopeful joy of waking to a fresh autumn day, this is one hell of a great album.

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http://www.mediaf!re.com/?iowtb4utx1g

[bulldawg982]

seBADoh - III



90's lo-fi. first listen to the first four tracks. if you don't like those, don't waste your time.

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

[imapiratearg]

Is that the same Sebadoh as Lou Barlow's solo project?  'Cause if it is, it should be a totally awesome record.

[michaelicious]

Sebadoh wasn't a solo project, dogg.

[imapiratearg]

Hm, I was under the assumption it was.  Then it's just another band Lou started when he left Dinosaur Jr. for a while, right?

[Jackie Blue]

Sebadoh is the band Lou was in after he was kicked out of Dinosaur Jr.  And for my money, at least up until Bakesale, they were a much better band.

[Kat]

Beth Rowley - Little Dreamer

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her space        /BethRowley

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http://www.mediaf!re.com/?xhcjmc2hu4j

[Ballard]

Sebadoh is the band Lou was in after he was kicked out of Dinosaur Jr.  And for my money, at least up until Bakesale, they were a much better band.

That said, it originally spawned as a solo project when Lou felt he didn't have enough creative control in Dinosaur Jr.

[Jackie Blue]

That said, it originally spawned as a solo project when Lou felt he didn't have enough creative control in Dinosaur Jr.

No, you're thinking of Sentridoh.  Sebadoh was formed with Gaffney, and later Lowenstein.

[Ballard]

No, Sentridoh was formed as a response to the popularity of Sebadoh, hence the name. Perhaps "solo project" was the wrong choice of words but Sebadoh was originally formed by Lou when he felt overshadows by J Mascis Dinosaur Jr.

[Jackie Blue]

I'm not disputing the Mascis vs. Barlow thing, I am just saying that Sebadoh was equally Barlow's and Gaffney's, as is plainly evidenced by the radically different style of Gaffney's many songs on the early Sebadoh albums.  Barlow didn't form Sebadoh as a solo project, period, there is no way to get around that when you consider how many Sebadoh songs he didn't write during the early years of the band.

[mikebulko]

also, i LOVE audiobooks and the like.  i have thoroughly enjoyed all of the spoken word and audiobooks that I have downloaded from this thread, i say go for it.

i should try to get my ex to post some of hers, shes has probably got tons.

[bulldawg982]

this is copied from the sebadoh myspace... its long, but... yea...
Here's how Sebadoh began... -Eric Gaffney January, 2006 I'd been playing drums since '77 and some guitar at home since around 1980 and always starting bands for fun and recording, learning to play, writing lyrics, and home recording since 1981. I met Lou in '83 at local hardcore shows. We were both in bands. In my senior year at Northampton High, Dinosaur practiced at Spaces For Rent off 5 + 10 North and I used to stop by frequently, was their first fan, and went to their early local shows. Lou bought my "Gracefully Aging Hippy Soloists with Fountains Turned Backwards" (collaboration with the late Charles Ondras) tape in 1986 and we then exchanged tapes, and I agreed to back him up for a few shows and recording. I then booked 3 shows for Sentridoh at Smith and Hampshire Colleges, Lou with ukelele, and me on various percussion in January, 1987. (we opened for Loneliest Christmas Tree) That summer, I brought the "Weed Forestin" tape to give away as a bonus with the 2nd Dinosaur LP at Main Street Records. We collaborated on "The Freed Man," the first (30 minute) tape the next summer, I made the tape cover, duped a bunch one by one, and sold it for $1 in a box with Dr. Seuss art at Main Street Records in Northampton. We sent a few around... Lou sent one to Sonic Youth. I mailed one to Thalia Zadek with a dried spider in a plastic bag. Gerard Cosloy reviewed it for Conflict, after which we singed to Homestead for 3 records in early 1989. We did a few split-singles, (Sonic Life, Magic Ribbons Box set) then "The Freed Man." LP and everything else. I invited Jason to live at my house a few months before "The Freed Man" was released. We met Jason sometime after he called us up on the phone during one of my college radio shows; I had just played a cassette of a local band "Dissident Voices," which turned out to be Jason's band. I said something over the air about the sound quality, so Jason called in and I spoke with him for the first time, then handed the phone to Lou while I cued up records. A full year before we all got together at my space, I had been playing drums for a band and had a show at a Smith College dorm. I brought Lou along. Jason was playing his 1967 multi-colored Ludwig drumset barefoot, with "Dissident Voices." The singer of the band (death rhino/oat pearl/oat meal) I was drumming for was hiding in the basement because he wasn't allowed on campus. After Jason's set, I polled the girls in attendence and asked if they wanted to hear a band, (which was Lou, Jason, and myself) or the DJ? They voted for the DJ. That's the true story of how Sebadoh, the band, originally began. It just took awhile to get us all together and comfortable. I started the band at my house, Summer '89 and booked all of our first shows until 1990 when Lou moved to Boston. The first record featuring Jason was a live (Katina's) recording of one of my songs with Jason on drums, on the Vertical single. We recorded the Oven is My Friend 5-song single for Silt Breeze in the summer of 1990, some demos, and worked on songs for III. "Gimme Indie Rock" was out first studio recording in January, 1991. We had performed only ten times (Sheehan's, N'ton, hall show, Chicopee, Katina's, Hadley, Hampshire College, Middle East, Cambridge, The Moon, New Haven, Space at Chase, NY...) by the time we recorded III at Ft. Apache in March, 1991, fulfilling our Homestead contract for 3 records. We went on a four week tour after III was released, a week of it with Firehose; Mike Watt, George Hurley. A year after recording III we we had an offer to sign with Columbia Records, then went with Sub Pop, and released "Smash Your Head on the Punk Rock" (my title, of course) in the U.S. on green vinyl and CD, along with "Rockin' the Forest" (20/20) in the U.K., then "Sebadoh Vs. Helmet" (another title i came up with during a Bob Weston mixdown session in the summer of 1992) a few months later, the first record on Domino. We put out both those EP's on one record, vinyl and CD, on City Slang in Europe. We spent 1992 playing one off shows in Amsterdam, London, and Sacramento, (with Pavement) while accumulating tons of press in 1992, esp. Melody Maker, N.M.E. We played the west coast for the first time, a tour from Southern California (San Diego, Whisky in L.A., Long Beach, Davis and Chico, and San Francisco, CA.) up to Vancouver, B.C., had our rental van stolen in Seattle, when Lou dropped the keys with the plate number outisde the venue, resulting in the loss of my best clothes including a very cool and colorful 70's shirt with an ecology + anti-pollution theme, along with a cassette tape Beck handed to me at our show in Long Beach a few days before. We spent the summer recording in Amherst/Hadley (near U-Mass football stadium) and in a Somerville basement with Bob Weston and Peter prescott's drums (Mission of Burma) and recorded half a dozen more songs in Berlin for "Bubble & Scrape." At the end of the year we toured the U.K. (with The Wedding Present) and Europe with Sonic Youth and Pavement in Germany and a show in Prague. "Bubble & Scrape" (another of my fanciful titles) was released in April, 1993 and sold 10,000 copies in the first week upon release. We played a record release show at The Paradise in Boston, followed by a U.S. tour (w. Polvo on a few shows) a European and U.K. tour (inc. Glastonbury) then played Lollapapoolza 2nd stage w. Tsunami, Free Kitten, Thurston Moore from New Orleans to Los Angeles, where we played for the Whisky a second time. The last show I played (on drums) with Sebadoh was in Seattle with Peter Buck standing motionless in the back of the room. Cut to November, 2006 first band practice in 14 years, III reissue released July, 2006 (Domino Records) Reunion Tour February 26 to April 17, 2007... 35 shows... 29 states...grossed $127,000 in shows + merch...$70,ooo in expenses. Cut to June 2007... Eric plays six shows in New York City and Brooklyn in 19 days... solo acoustic... 1 with jason on drums... 3 with jeff halpin on drums... Lou is on the road with Dinosaur...Jason on tour with Fiery Furnaces... February 2008... Upcoming Europe/UK tour April-May 2008 » Tuesday 22nd Apr Roisin Dubh Galway, Ireland » Wednesday 23rd Apr Whelans Dublin, Ireland » Friday 25th Apr Classic Grand Glasgow, Scotland » Saturday 26th Apr Manchester Academy 3 Manchester, UK » Sunday 27th Apr Concorde 2 Brighton » Monday 28th Apr Trabendo Paris, France » Tuesday 29th Apr Handelsbeurs Gent, Belgium » Wednesday 30th Apr Vera Groningen, Holland » Thursday 1st May Pumpehuset Copenhagen, Denmark » Friday 2nd May Debaser Medis Stockholm, Sweden » Saturday 3rd May KB Malmo, Sweden » Sunday 4th May Festsaal Kreuzberg Berlin, Germany » Monday 5th May Babylon Istanbul, Turkey » Wednesday 7th May Koko London, UK The original full line up of Lou Barlow, Jason Loewenstein and Eric Gaffney perform their 1993 classic album - Bubble and Scrape. www.dontlookbackconcerts.com » Friday 9th May ATP vs Pitchfork Festival Camber Sands Holiday Park, West Sussex, UK 1. a complete discography is available at http://www.sebadoh-and-suchlike.com/

[Jackie Blue]

Let's not have the talk about Our Band Could Be Your Life again.

Please.

[Ballard]

No need to scare him off, Jackie.

[KickThatBathProf]

Less talk, more uploady.  Here, I'll start:

Blue States - Nothing Changes Under the Sun

Andy Dragazis, aka Blue States, creates an organic, electronic mini-symphony on Nothing Changes Under the Sun. Both Dragazis' choice for a band name and the album's title describe the release perfectly. Dragazis employs lo-fi, fuzzy synth sounds to create peaceful, relaxing instrumental soundscapes, interlaced with skittering breakbeats and layers of tension. Echoes of Ennio Morricone-style Western motifs float around randomly, as Dragazis approaches melodies, discards them, and returns to them on later tracks. It seems unusual, but Nothing Changes Under the Sun sounds like an imaginary Vangelis score for a Sergio Leone spaghetti Western. The album is not necessarily a compelling listen from start to finish, but it's the kind of album where one's interest hits peaks and valleys as Dragazis weaves in and out of warm, organic sounds. It's also an album that grows on a listener; it might appear lazy or overly repetitive until repeat listens unravel the jazzy, subtle sound treats. When Dragazis deploys samples, they're always impeccable and entirely in tune with the surrounding music. Standout tracks include "Arion," a song of moody, buzzing genius; "Spit and Soar," which reaches toward the creepy textures of early DJ Shadow and Unkle; and "Elios Therepia," a song that recalls the ragged, broad-vista cool of David Holmes' Bow Down to the Exit Sign and Death in Vegas' The Contino Sessions. "Cherio Manou" collects many of the album's finer ideas into what sounds like the song Squarepusher's been trying to create his entire career. Nothing Changes Under the Sun is as loaded with passion as Dragazis is loaded with talent. It's an album worth deciphering, as it releases bountiful rewards.

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http://www.mediafire.com/?duf2jxynmmi
Tortoise - TNT

Expected by many to continue leading the post-rock brigade into a new fusion with dub and electronics, Tortoise instead turned yet another corner with their third album, TNT. Adding guitarist Jeff Parker to cement their musicianship as well as their connections to Chicago's fertile jazz/avant-garde scene, the band returned with a record of post-modern cool jazz, only slightly informed by the dub, Krautrock, and electronics of Millions Now Living Will Never Die. It shows from the first few seconds -- a lazy, slightly free drum solo frames a few tentative guitar chords and some teased effects, before the band kicks in with a holds-barred jam that encompasses a tremulous solo from trumpeter Rob Mazurek. With engineer/mixer/drummer John McEntire and company adding only a few post-production frills to the mix -- and those so complementary and subdued that they rarely even sound like effects -- TNT comes off as a surprisingly organic record. The evocative Spanish-style guitar on "I Set My Face to the Hillside" plays over an assortment of playground sounds, while "The Suspension Bridge at Iguazú Falls" deconstructs a classically angular Tortoise groove and re-emerges with an evocative, deeply affecting groove over shimmering vibes and precision guitar lines. There are plenty of nods to post-rock touchstones like Krautrock ("Swing From the Gutters"), dub, and minimalism ("Ten-Day Interval"), but Tortoise hardly sounds like a difficult band here. Instead of forcing studio experimentation to become an end to itself, the band mastered -- with a single, deft statement -- the far more difficult lesson of making technology work for the music.

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http://www.mediafire.com/?mgl0ziizhvm

[plyphon]

Very, very nice Instrumental Trip/Hip/Hop/...  kinda 'entroducing' like... but i dont like to compare artistic expression 





Dday One – Heavy Migration [2008]

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http://fx.o3000.ru/mebi17/DOHM08.rar


i may be reupping this...but its large and will hurt

[gumbyskater248]

ARRRTTHHHUUURRRR RRRRUUUSSSEEEELLLLLLLLL


RADDDDD

[coldenginelogic]

Seabear - The Ghost That Carried Us Away

Seabear tackles the same gentle pop of Belle & Sebastian and Math & Physics Club but with more vim and vigor than the former and less of the faux-English pretensions of the latter. Instead, you get a wonderfully delightful and refreshing album that will enchant the sweater and All-Star-wearing kids from coast to coast.Three Imaginary Girls


lo-fi neo folk which at times sounds like a more upbeat elliot smith being backed by a downer drugged Man Man
its a bit repetitive over the course of the album, but I imagine plenty of people would like this

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http://www.med!afire.com/?awml9yd90mn
Four major Philosophers have the kernels of their thought explained and revealed in 90 minutes a piece

Spinoza was an outcast in 17th-century Holland; as a Jew, he faced opposition from the Christians, and as a radical thinker who attacked not only the scientific but theological authority of the Pentateuch (the first five books of the Old Testament), he was shunned--excommunicated, even--by the Jewish community. Left to his own devices, he crafted a pantheistic philosophy based on the premise that God and the universe are one and the same, so that to harm others is ultimately to harm oneself. As Strathern writes, it has "a compelling beauty unequaled in the history of philosophy." (Although, in order to get to that level of brilliance, Spinoza had to write his share of clunkers, including one book that Strathern describes as "reducing Descartes' delightful and lucid style to a rubble of almost impenetrable mathematics.")

"Schopenhauer was a nasty piece of work, but his writings are immensely endearing." While never quite demonstrating how his philosophy "is the first since Socrates to be imbued with the entire personality of the man who propounds it" (though the sampling of excerpts in the back of the book certainly helps), Strathern does convey both Schopenhauer's prickly nature and its contradictions with the ascetic renunciation of the material world that he propounded in his writings. He also demonstrates how that asceticism was influenced by a "questionable use" of Eastern philosophical texts, and how his work would similarly inform that of philosophers like Nietzsche, Freud, and Wittgenstein.

"Probably the easiest introduction to existentialism you'll ever find, Sartre in 90 Minutes manages to produce an intellectually credible--and slyly humorous--summary of Jean Paul Sartre's life and work in just over 70 pages. Paul Strathern ably shifts from descriptions of the open relationship between Sartre and Simone de Beauvoir to analyses of the contributions of Heidegger and Kierkegaard to Sartre's belief that life is what you make it. The jokes tend to be cynical and snarky in tone; after the publication of Being and Nothingness, for example, "word soon began to spread from the few who actually read the book to those who wished to talk about it as if they had." The philosophical exegesis, however, is spot on, the equivalent of a very good college lecture by an instructor who genuinely wants to make sure students understand the material. If you're at all interested in Sartre and existentialism, pick this book up for a quick, painless introduction."

"The first great Romantic the obsessive searcher and promoter of himself was one of the major thinkers leading to the French and then American Revolutions. Orphaned from his mother as a small child he made his way from his native Geneva to the then center of civilization'in Paris. On the way he promoted ideas, ' the pristine state of nature' ' the corruption brought to mankind by civilization'( Man is born free and is everywhere in chains) ' the centrality of subjective feeling in understanding the world' ' the need for social equality in the education of women' 'the social contract' that changed European mankind's way of thinking about itself. Strathern tells the story of Rousseau's not particularly noble life ( he and his former washerwoman, later wife's five children were put out to foundling homes at infants) including the story of his unusual sexual journey with a great deal of humor and wisdom.
This is a good introduction to one of those truly rare people, one who actually did help change the course of history."


One folder with separate folders for each plus covers -I have gone back to rar files since that seems the preferred majority method-if you zip lovers have trouble with a  rar shoot me a pm I will upload the file with 7zip for you.  I have access to almost all of these philosophy books so if there is others of intrest to anyone do not hesitate to ask

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http://www.med!afire.com/?mi8s4gnrwny

[MiltonHorton]

Birdie - Some Dusty (1999)

Comparisons between Birdie's Some Dusty and the music of Saint Etienne are inevitable: not only are both bands entrenched in their deep affection for the melodic grandeur and romantic melodrama of vintage girl-group pop, but Birdie's Debsey Wykes and Paul Kelly both used to serve as auxiliary members behind Sarah Cracknell and company -- not just a reference point, but a direct lineage. Wykes' roots run much deeper than that, however -- she previously served as a member of the wonderful if sadly unknown Dolly Mixture; moreover, Some Dusty is unrepentantly retro in ways the postmodern restlessness of Saint Etienne would never allow; boldly referencing the greatest of all British pop singers (Dusty Springfield) in its title and conjuring the sophisticated majesty of the greatest of all pop composers (Burt Bacharach, of course) in its warm, slinky grooves, the album evokes a simpler, better musical era with uncommon acuity. Any one of the disc's highlights (the first three tracks, "Laugh," "Dusty Morning," and "Let Her Go," respectively, are all particularly splendid) wouldn't sound at all out of place on a '60s girl-group retrospective -- compliments just don't come much higher than that.

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http://www.mediaf!re.com/?lt0izwzzbzb
Drop Nineteens - Delaware (1992)

Acclaimed upon emergence as the American response to the U.K.'s shoegazing trend, the Drop Nineteens weren't totally following in that particular vein, though it was clear that they were the first of many American bands who had played Spacemen 3 and My Bloody Valentine releases to death. Combining that version of blissout with a dollop of late-'80s indie/college rock, the quintet on its first album created a sometimes excellent, sometimes generic effort of politely queasy guitar overdrive and gentle melancholia. Lead guitarists/vocalists Greg Ackell and Paula Kelley made for a good (if clearly Kevin Shields/Bilinda Butcher-inspired) front team, the latter's singing the more distinct but the former's generally more prominent, if flatter. The presence of third guitarist Motohiro Yasue promised more crunch and drive than was actually apparent, but there's no denying the general presence of agreeable fuzz, especially noticeable on Delaware's highlight, the lengthy, lovely roil and zone of "Kick the Tragedy."

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http://www.mediaf!re.com/?dvodhz9bb0j
Brideshead - In and Out of Love (2002)

German indie poppers Brideshead made their American debut with this retrospective 2002 disc on Shelflife Records. The trio of vocalist Martin Nelte, guitarist Zwen Keller, and bassist Paul Engling were joined by three different drummers on the album, including Daniel Kubsch, Rahoul Anders, and Kai Reinhardt. The band's optimistic and warm twee pop style is immediately evident on the opening track, "Same Story Different Day," with Nelte's vocals dancing on top of the band's summery instrumentation. The pace rarely slows down, and when it does, like on "Books & TV" and "Present Time," the tempo is still warm and inviting. The sixth track, "Books'n'bossa," is, not surprisingly, full of bossa nova influences. The album's love theme is evident on tracks like "Swinging Love," "If You Could Love Me" (a cover of the Edwyn Collins track), and "When I'm in Love." The band also re-recorded the previously released "No Answer" for the Shelflife release. The piano-led instrumental "Morning" closes out the 14-track disc. The band's whimsical and stylish approach, and their near-perfect execution, certainly sets them apart from other European indie pop acts. The band proves it's not a one-trick pony with a dizzying variety of instruments throughout, including synthesizers, piano, cello, violin, and trumpet. The songs on the disc were recorded during different eras of the band, in 1997, 1999, and 2000.

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[MiltonHorton]

where is the best place to start with tom waits?

My favorite Tom Waits album is:

The Heart of Saturday Night (1974)



His second album. Full of brilliant imagery and piano and horns, and I love his voice. Drunk on the Moon, Please Call Me Baby, San Diego Serenade, Shiver Me Timbers, the title track, are all great songs. But really, there's not a weak song on the album.

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http://www.mediaf!re.com/?ez7pjmajj2n
Small Change (1976)




A beautiful record if for no other reason than because of the song The Piano Has Been Drinking (Not Me). (Not to mention the Tom Waitsian version of Waltzing Matilda in Tom Traubert's Blues.)

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

[yipinglim]

That Bexar Bexar album is awesome.

[Lwize]

Birdie - Some Dusty (1999)

Is there something unusual about this disc? It's selling for $238 used on Amazon.com!!!

http://www.amazon.com/Some-Dusty-Birdie/dp/B00004YNVH/ref=sr_1_3?ie=UTF8&s=music&qid=1212592908&sr=1-3

[mikebulko]

So, I found this on the internets today, and according to Wikipedia, this leaked today:

Broken Social Scene Presents: Brendan Canning's Something for All of Us

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http://www.mediaf!re.com/?lirpnh2mwu9
I am downloading it right now.

Since we're all enjoying Brendan Canning right now, I figured I'd put up the rest of the BSS stuff:

Broken Social Scene Presents: Kevin Drew's Spirit If...

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http://www.mediafire.com/?imdt9m3duyn
Broken Social Scene - To Be You And Me EP

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http://www.mediafire.com/?ijxeizmy2tl
Broken Social Scene - Broken Social Scene

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http://www.mediafire.com/?txyzzcyis0y
Broken Social Scene - Bee Hives

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http://www.mediafire.com/?3d4jm04xjmy
Broken Social Scene - You Forgot It In People

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http://www.mediafire.com/?m3m9lt5t19t
Broken Social Scene - Feel Good Lost

Part 1

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http://www.mediafire.com/?w1fxytnxbmwPart 2

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http://www.mediafire.com/?tlnmdx7xx4u

[TheFuriousWombat]

So I don't know where to post this but here seems like a good place. This is a message from Brendan Canning on the Arts and Crafts website:
"It has come to my attention that an unmastered version of my album has been leaked through the internet. With the retail release being six weeks away, I've decided to correct the situation by releasing the album digitally myself, because I can. So this is for all you early birds who just couldn't wait for July 22nd. But you know, it won't be like going to your favourite record shop and getting a copy in your hot little hands, or sitting in your basement downloading it to your iTouch phone while playing Grand Theft Auto, it merely corrects the situation that is...a messed up version of my record floating around on the internet, and this is not how I wanted my record to drop. Believe me, this is not a minor situation. We're talking recall here folks...With all of this in mind, please note: 'Something for all of us...' will be available at all fine retail and digital outlets in North America July 22nd with some additonal artwork inside and slightly later for the rest of the world."

So yeah, apparently what we're hearing is an unfinished product.

[imagist42]

We Are Scientists - With Love and Squalor

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http://www.mediafire.com/?1tlmp3c1blm
Search me for being behind the times but I just came across these guys and this album is great. Very solid indie rock somewhat in the vein of DFA1979 with a dash of LCD Soundsystem-esque dance-punkery. Here's the AMG write-up:

While Keith Murray (vocals/guitar), Chris Cain (bass), and Michael Tapper (drums) don a nerdy math-chic look, their glossy indie rock sound is all style. With Love and Squalor marks the band's major-label debut release for Virgin. Sure, fans of Bloc Party, the Killers, the Rapture, and Franz Ferdinand will most likely take to this snazzy 12-song set; however, We Are Scientists offer one element that the rest of the pack does not: more substance than shtick. With Love and Squalor is accessible enough for mainstream alternative rock fans, but also slick enough for those indie rock loyalists who still worship the Smiths. Album opener "Nobody Move, Nobody Get Hurt" highlights the band's sexiest side with chunky guitar hooks and a flirty, danceable chorus. Murray's nervy vocals are a near match for Gene's Martin Rossiter as he croons, "My Body is your body/I won't tell anybody/If you want to use my body/Go for it." Some might think their introduction is a bit brash, but We Are Scientists immediately succeed in keeping cool and cockiness parallel. "This Scene Is Dead" and "Callbacks" curve around punky, fist-pumping rhythms while "Worth the Wait" and "The Great Escape" toy with art rock aesthetic. Unlike the Killers' Hot Fuss, With Love and Squalor is not a pretentious package. We Are Scientists come off well in being both snide and playful. Finding that balance is what makes With Love and Squalor a solid debut.

[MiltonHorton]

Birdie - Some Dusty (1999)

Is there something unusual about this disc? It's selling for $238 used on Amazon.com!!!

http://www.amazon.com/Some-Dusty-Birdie/dp/B00004YNVH/ref=sr_1_3?ie=UTF8&s=music&qid=1212592908&sr=1-3

I don't know why this one is so $$; Amazon has several for sale at reasonable prices.

http://www.amazon.com/gp/offer-listing/B000025A05/ref=dp_olp_2

[Jackie Blue]

PSYCHEDELIC GOTH SURF ROCK
from NEW ZEALAND



KING LOSER - YOU CANNOT KILL WHAT DOES NOT LIVE

A collection of songs recorded between '92 and '95, before their first proper album which I will upload later if anyone likes this.  For my money, the cover of Grateful Dead's "Morning Dew" on here is even better than Einsturzende Neubauten's, and their take on the Dick Dale classic "Misirlou" is wonderous.

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http://www.mediafire.com/?xm4bxyzm1md

[Tom]

I would very much like some more of this music from Australia's unofficial 7th state.

[Proper House]

For any Animal Collective fans, here's a treat.  It's an Avey Tare side project with Eric Copeland of Black Dice.

Terrestrial Tones - "Dead Drunk"

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http://www.mediafire.com/?3xzuonznmda

[johnny5]

new Dr. Dog.

horrible name, pretty decent indie pop band.

Dr. Dog - Fate (Advance, 2008)

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*“Fate is the record Dr. Dog were destined to make, a timeless yet contemporary distillation of the band’s open-armed, big-hearted sound taken to new heights of craft and creativity. Inventive, magnificently realized, and absolutely irresistible, the Park The Van Records release sees the Philadelphia-based quintet filtering the gamut of American popular music into its own idiosyncratic brand of blue-eyed, dilated-pupil soul. Songs like “Hang On” and “Uncovering the Old” delve deep into the mysteries of life and love, offering bittersweet and buoyant reflections into the very nature of our human condition. As ever, Dr. Dog makes magic from an enduring pop palette of intricate harmonies, shape-shifting melodies, and ramshackle audio ingenuity – all presented through the band’s slightly skewed and utterly individualistic outlook. As the title makes plain, Fate was fueled by la forza del destino. Dr. Dog allowed the winds of fortune to carry them towards making an album they came to see as a uniquely conceptual work, though they are careful to point out the amorphous nature of that notion. “We realized pretty early on that the songs tied together,” says the other half of the band’s voice, singer/songwriter/bassist Toby Leaman. “We didn’t really know how – and I’m still not completely sure – but we know they do.” (Due out July 22)

[Skupski]

first post!
figured some of you would be interested in this:

Coldplay - Viva La Vida Or Death And All His Friends

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http://www.mediaf!re.com/?ncinoxn7emj

[RedLion]

Oh boy.

[Albatron]

So I'm going to see these guys again soon, realized there was none of it here.

Infected Mushroom - The Gathering

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http://www.mediafire.com/?skjbhmmyfz2
not my favorite album but it's they're first and still one of the best; it was the only one under 100mb and I'm being lazy today. I'll upload Classical Mushroom and others soon. Anyway, these guys are Israeli psychedelic trance and hella awesome.

From all music:

Mining Israelian Goa trance of its hottest intensities, Infected Mushroom remain one of the Middle East's biggest international cult successes. Erez Aizen's cheap background in obsessed bedroom computer tinkering had led him into and out of a number of crude dance efforts, and when a mutual friend suggested he should get together with Amit Duvdevani, a trash metal fan who had just returned from an aborted career path in India, the two found enough in common to surreptitiously explore the rising psychedelic trends pouring out the nation's clubs. The results -- 1998's The Gathering, which was heavily inspired by the surreal ambient dance of Simon Posford, X-Dream, and Transwave, and 2000's Classical Mushroom, an aggressively melodic trance LP that broke the European, Japanese, and American markets -- elevated Infected Mushroom to one of Israel's key trance producing duos.

[imagist42]

first post!
figured some of you would be interested in this:

Coldplay - Viva La Vida Or Death And All His Friends

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http://www.mediaf!re.com/?ncinoxn7emj

Um, guys, I dunno about the rest of you, but I am finding this surprisingly interesting. I thought they might have been heading more in the right direction with the new single (Violet Hill, not the title track) and then I listened to the first few tracks here... I'm kind of impressed, for Coldplay anyway.

EDIT: Also, "Yes" with the hidden track--freaking awesome.

[youthcant]

Um, guys, I dunno about the rest of you, but I am finding this surprisingly interesting. I thought they might have been heading more in the right direction with the new single (Violet Hill, not the title track) and then I listened to the first few tracks here... I'm kind of impressed, for Coldplay anyway.

EDIT: Also, "Yes" with the hidden track--freaking awesome.

Brian Eno for you.

[imagist42]

Perhaps. But it also seems like the band has matured ever so slightly since the far more pretentious X&Y, coming to grips with themselves. And I can definitely hear them reaching around the world for new cultural influences in their songwriting--tribal Africa, the Far East, and especially Latin America and Spain. I don't think Brian Eno is entirely responsible for the quality of the songs.

That said, "Strawberry Swing" is extremely disappointing, especially considering it was one of the last songs written and added to the record. I thought we were past that sort of crap, guys. 

Brideshead - In and Out of Love (2002)

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http://www.mediaf!re.com/?zt5ygazkedm

Dr. Dog - Fate (Advance, 2008)

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http://www.mediaf!re.com/?ns5ithyydd9

Been listening to both of these. Really awesome. I've been getting my indie pop on a lot recently and these are just the fresh blood I needed. (I also downloaded that Seabear record, but haven't gotten to it yet. Hoping it's good too.) I will return the favor with Sprites, a lovely little folk/electronic/nerd (any combination of the three at various times) pop band whose records I don't have on my computer at the moment but will soon.

[orangepeas]

thank you for the infected mushroom. i <3 you

[coldenginelogic]

Words fail to describe how effing great this is-regardless of genre snap this up-sure to leave you in awe
proper thanks go to the original uploader/encoder

 "Whoreknob" says:

This is Django's penultimate session ( he died two months later )...

He's playing electric on this session - lightning fast at times and insanely clean!

This session is sourced from a CD-R rip (I ripped it myself, using Nero 7) of a Factory Pressed CD entitled "Django Reinhardt / Pêche à la Mouche - The Great Blue Star Sessions 1947-1953" (these cuts are from Disc 2). I've re-numbered the tracks (see EAC log if you care).

I've uploaded these tracks because I think they're unbelievable - I'm sorry about the CD-R source...
Please note the lineage if you upload this anywhere else.
Of course, if anyone has a copy of the actual set let me know - I'll delete this torrent...
Until then - this MUST be heard! Enjoy...

Read mode: Secure
Utilize accurate stream: Yes
Defeat audio cache: Yes
Make use of C2 pointers: No

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http://www.med!afire.com/?dnmkq3mjv2y

[Lwize]

The new Coldplay is better than expected. A few of the songs even move closer towards the "Radiohead Zone" where Coldplay started off.

Not sure I'll buy the CD, though. I haven't listened to X&Y since I bought it.