Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Broken_Drum]

Oh Jesus ear-splitting Christ. Thank you so much for the Boards of Canada live stuff. I'm having to read a lot of shit at the moment before Uni starts in October, and music like this really helps. On that note, would anybody like Demos, A Few Old Tunes, Hi Scores, Peel Session, Twoism and the Unreleased Tracks Vinyl (all rareish stuff by BoC) I would be more than happy to oblige. Also, I'm thinking of putting My Bloody Valentine's discography. Anyone interested? x

I'm interested in these Demos you speak of, thanks.

[johnboy]

Do you know where I can get all the fabric's and fabriclives.  I'd give you my sister for such information.

 

fabriclive

Code: [Select]

http://www.rapidfind.org/upload/showthread.php?p=227329i know its rapidshare but its still a solid collection, with proper album art and song and artist info. big fan of fabriclive 29 by cut copy.

fabric

Code: [Select]

http://www.rapidfind.org/upload/showthread.php?t=61967

[KvP]

You wouldn't happen to be the eponymous jon101, would you?

[johnny5]

oh yay new deerhoof - offend maggie

Code: [Select]

http://www.mediafire.com/?znawzc4kdmg

[Pyrofyr]

It's rapidshare, but I figured some people might be interested. Perhaps...


Oasis - Dig Out Your Soul

This is down already 

I'll mediaf!re it, it'll be up in a few hours. I'd do it from here, but I'm at work <_>

[MrBlu]

Black Violin.

This... Isn't bad... Wow, I'm actually liking this... And I'm not one to listen to anything with a "Hip-Hop" label on it...

[Krylancello]

A re-up of the new oasis on mediafire

Code: [Select]

http://www.mediafire.com/download.php?njazhdwnmh3

[michaelicious]

oh yay new deerhoof - offend maggie

Code: [Select]

http://www.mediaf!re.com/?znawzc4kdmg

Uggggh I dunno if I should download it or wait a month uuugh.

[wespeakinmidi]

oh yay new deerhoof - offend maggie

Code: [Select]

http://www.mediaf!re.com/?znawzc4kdmg

Uggggh I dunno if I should download it or wait a month uuugh.

you can't be serious.

[Kyros]

oh yay new deerhoof - offend maggie

Code: [Select]

http://www.mediaf!re.com/?znawzc4kdmg

I can't get this to download, it's really really distressing.

[bangleblynn]

oh yay new deerhoof - offend maggie

Code: [Select]

http://www.mediaf!re.com/?znawzc4kdmg

Uggggh I dunno if I should download it or wait a month uuugh.

you can't be serious.

The college radio station I dj at got its copy today. So the official promo copies have been released. I was going to copy it, but it was already up here when I checked, so I didn't bother.

[ptownblazer]

oh yay new deerhoof - offend maggie

Code: [Select]

http://www.mediaf!re.com/?znawzc4kdmg

I have been looking forward to this album more than anything I can remember in some time.  Thank you!  I will actually get a chance to digest the new tunes before I see them live.  Excellent.  They start touring on the 3rd of October in LA and will be in the states until mid-November.  I highly suggest you find out when they are in your area and go see them live.  Oh, and whoever posted that Hilotrons album "Happymatic" a while back.  Thank you very much for that.  I'm just getting around to listening to it.  Fantastic.

Edit - I just realizd that I have been and am still looking forward to the start of the Trailblazers' season more than this album release, but music wise . . . you get my point.

[Tom]

Is it the real thing or a web-rip?

[Tom]

This one from pop apocalypse is still up and running. Seeing as I'm out of peak downloads I'll have to wait till tomorrow morning.

Code: [Select]

http://www.mediafire.com/?y1jo1mtdnbd

[johnny5]

figured you people on here would like this

Code: [Select]

http://www.mediafire.com/download.php?n2qnvjzqjnd

[moneymanmatt]

Jazzsteppa - Five (2008)

Oh shit! ... Phat!

Code: [Select]

http://www.med!afire.com/?53jyyuioyxk

[Catacombs]

A re-up of the new oasis on mediaf!re

Code: [Select]

http://www.mediaf!re.com/download.php?njazhdwnmh3

Thanks!

[wespeakinmidi]

is that oasis legit?  i don't think i've ever downloaded a tar file.

[Dimmukane]

It's just another kind of .zip file.  If windows doesn't open it, just go download 7-zip.

[wespeakinmidi]

It's just another kind of .zip file.  If windows doesn't open it, just go download 7-zip.

i have a mac, is it one of those downloads that i anxiously wait for it to finish, and then find out its for windows only?  haha

[Catacombs]

It's just another kind of .zip file.  If windows doesn't open it, just go download 7-zip.

i have a mac, is it one of those downloads that i anxiously wait for it to finish, and then find out its for windows only?  haha

I have a Mac too.  Download the Unarchiver, then that will open to reveal a .rar file, then open that and you have the files.  When you drag them into iTunes, the file names show up fine.  They were a bit out of order though.

[wespeakinmidi]

i guess it doesn't matter because that link won't download anymore?  it just keeps refreshing and the download won't start?  i've never had this problem before... damn.  i was looking forward to giving it a listen on my drive tonight.  if anyone else has a link or it uploaded, i'd appreciate it.

[DarkAvenger]

I guess I've lurked long enough so here you go, hopefully you like these:

No reviews or album art, because I couldn't find any, but I didn't look extremely hard.

Code: [Select]

http://www.mediaf!re.com/?be1zmmjqtwm
Will Sheff live at Cedar's Lounge

Code: [Select]

http://www.mediaf!re.com/?t4wwf4o4ggu
Okkervil River live at the 930 Club

Code: [Select]

http://www.mediaf!re.com/?xnylzw4zc3t
Okkervil River live at Schubas


If you can't tell, I really love Okkervil River

[Catacombs]

The new Oasis, once again.  All the tracks should be in order too.  (i even added a screenshot of what it looks like in my iTunes library.

Code: [Select]

http://www.mediafire.com/?sen900dcf44

[wespeakinmidi]

thanks catacombs! i appreciate it

[KvP]

Fabriclive 03 (DJ Hype)

Code: [Select]

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

Since opening its doors in 1999, London's Fabric nightclub proved that there was a U.K. audience (and a big one) looking for something other than the mainstream trance that was populating the clubs at the time. But rather than trying to peg down what that something might be, which in turn would just create another trendy glut over time, the wise programmers at Fabric decided to open the club up to an impossibly wide variety of music, from techno and tech-house to garage and even old-school hip-hop. This installment of the club's mixed-CD series covers the final element with a flare that seems extremely unlikely coming from a British DJ. Deadly Avenger lays forth a non-stop mega-mix of party jams stretching as far back as the Jackson 5 and reaching up to underground hip-hop revivalist Nextmen. But in fairness, Deadly Avenger should share the headline with French producer DJ LBR, whose three sampledelic bootlegs found on this disc bring Snoop Dogg and Prince into the mix. Purists might not take a liking to what might seem like "cheating" instead of true turntable skills, but if you don't hold such things sacred, then it would be hard to do better than this disc for an old-school celebration that doesn't rely on the obvious classics to rock the house.

Fabriclive 04 (Deadly Avenger)

Code: [Select]

http://www.mediafire.com/?mjyi20erjjt

What greets the eye on the track listing of Howie B's contribution to the Fabriclive series is less impressive than what greets the ear once the disc is heard, which is a testament to the man's mixing skills. In a mix of funky breaks and big beat, Howie B gives these tracks -- most of which have a cinematic flair to them -- plenty of breathing room and adds elements taken from other sources on top (some spoken word from Lydia Lunch, the crazy screams from Ennio Morricone's main title for Navaho Joe, etc.). Excepting the low-slung dub of Prince Far I's "Foundation Stepper" and the paranoid drum'n'bass of Blame's "Music Takes You," the track selections date from two years of the mix's release year and hit a peak with Howie B's own jittery, sped-up remix of Garbage's sexed-up "Cherry Lips (Go Baby Go)." As creative as this mix is, there's no denying that it lacks the musical depth and diversity of B's Another Late Night.

Fabriclive 05 (Howie B)

Code: [Select]

http://www.mediafire.com/?wmmeezi5gzt

Fabriclive 06 (Grooverider) Part 1

Code: [Select]

http://www.mediafire.com/?wjmk2mwzvywFabriclive 06 (Grooverider) Part 2

Code: [Select]

http://www.mediafire.com/?ztg2b3tkj4d

[ptownblazer]

OK.  So I'm sorry to waste your valuable time writing this, but you know when you hear an album and you feel like you need to shout about it's genius to anybody that will listen?  The new Deerhoof album "Offend Maggie". . . Holy.  Fucking.  Shit.  This album is so confident and the songs are so good.  I had high expectations for the album before listening to it.  They were so high, I was almost afraid to download and listen to it for fear of what I figured would be inevitable disappointment.  So I downloaded it and resisted listening to it that night, and I even resisted listening to it yesterday.  I finally caved in today.  I listened to it twice today while I was at work and I enjoyed it, but I was distracted and not fully engaged.  I still wasn't sure what I thought.  I just got the chance to close my eyes and put on my headphones and really hear it all the way through.  Album of the year in my book.  Easily.  My mind is officially "blown".  And now that I've raised your expectations to ridiculous heights . . . I mean, Offend Maggie totally sucks.  I wouldn't waste my time with it.  Deerhoof are so weird.  I hate her voice, and their songs are so schizophrenic.  I don't get what the big deal is.  

Oh, I could write the exact same thing about "Dear Science," but I believe the rest of the internet has already done that.

[theoryC]

Ben Folds - Way to Normal

Code: [Select]

http://www.mediaf!re.com/download.php?3mzjjnzizqz
Don't see any good reviews around so you'll have to listen for yourself to see if it's good.

[DarkAvenger]

Latest Decemberists Single Series Leak

Code: [Select]

http://www.mediaf!re.com/?yznz5yjylj1
I already posted it in a thread made by Akeboshi but I decided to post it here. Obviously no reviews or album art to be found yet.

[pwhodges]

Carl Ruggles - Selected Works

Code: [Select]

http://www.mediaf!re.com/?vkmyy0vde0iCarl Ruggles was an American composer, little known, and hardly ever recorded or performed.  He wrote in a discordant style, atonal but not serial, and I have to say his orchestral works can get overbearingly portentous.  Angels and Sun-Treader are his best-known works, but I have most affection for the hymn setting, Exaltation, which was written in memory of his wife.  He completed only ten mature works, spending much time polishing them to his liking; and he was a prolific painter.

[exomni]

Hello happy music people. I would like to share with you a band that is awesome. This band is called Black Violin.


For those who wish to see just how awesome this is before downloading, click.

No offense, but this is absolutely terrible. At least the couple tracks I tried to listen to on last.fm.

Luckily, the link is giving me a mediaf!re error.

If you can't tell, I really love Okkervil River

Thanks a ton, probably my favorite band at the moment.

[kifsteve]

new deerhoof is down

[DarkAvenger]

Deerhoof re-up

Code: [Select]

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

So uh... Yeah... Amazing album

[wespeakinmidi]

i might just be rambling this because i'm drunk, but that new oasis album totally sucked me in.  i dig.

[Andrew Fleming]

Detektivbyran - Wermland

Code: [Select]

http://www.mediafire.com/?g3ljstxnxyl
Instrumental Swedish folk stuff.

[Krylancello]

The new Blackmore's Night album, Secret Voyage, released this summer.

Blackmore's Night is a Renaissance-inspired folk rock band led by Ritchie Blackmore (electric guitar and acoustic guitar) and Candice Night (lyricist and lead vocals).

The origins of the band lie in 1990 when Candice Night was working at a local New York rock music radio station. She first encountered Ritchie Blackmore, then with Deep Purple, at a football game in which he was playing. The two became romantically involved and discovered that they shared a passionate interest in the Renaissance.

After leaving Deep Purple in 1993 and recording the album Stranger in Us All in 1995, on which Night contributed backing vocals and some of the lyrics, Blackmore became interested in the idea of bringing Renaissance music to a contemporary audience. Night's personality and singing ability made her the natural choice as "frontwoman." In 1997 the pair were ready to launch the band, the name being a pun of their own names, and which would consist of themselves plus session musicians.

Code: [Select]

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

[Harun]

Klimt 1918 - Just in Case We'll Never Meet Again

aka when a bunch of Italian dudes who used to be or are currently in prog/tech/death metal bands make an indie/alternative album and actually pull it off

Code: [Select]

http://www.mediaf!re.com/?l8zvyfhcejv

[LittleKey]

klimt 1918 is good stuff. thanks =).

[bff]

Hello happy music people. I would like to share with you a band that is awesome. This band is called Black Violin.

Code: [Select]

http://www.mediaf!re.com/download.php?j32qzynycid


I am also enjoying this.



----------------
Now playing: Black Violin - Jammin'
via FoxyTunes

[michaelicious]

Animal Names - Ballet Bones

Code: [Select]

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

Led by Chris vanderLaan, a former member of Calgary melodic punk band the Buzzing Bees, Vancouver-based quartet Animal Names feature the sort of melodic but melancholy harmonies and mid-tempo, guitar-based rock songs that can only come from kids raised on Braid or the Get Up Kids. But, as demonstrated on their debut album, Ballet Bones, that’s far from a bad thing. Opener “Something and the Infinite Gladness” builds a slow navel gazer from vanderLaan’s matter-of-fact singing and playful guitar. Elsewhere, as on “Grinder Deluxxx,” the album kicks up the pace for some summery sing-alongs. “Plastic Castles,” the album’s centrepiece ballad, is a quiet acoustic track in the vein of Kind of Like Spitting. If you grew up with all-ages shows and early Smallman Records, you’ll find Animal Names’ fantastic debut especially exciting.

The only problem I have with this review is that it seems to suggest that kids being raised on Braid and the Get Up Kids is a bad thing. Braid is maybe my favourite band

Anyway, this band is great! They are lots of fun. Go Canadian music go!

[DarkAvenger]

Rules:

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

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

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

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

Also, please do NOT request albums.

Repost the rules at the top of each new page.

[Tom]

Bound Stems - Appreciation Night

Frantic and all over you from the moment the first song kicks in, Appreciation Night is a schizophrenic journey into the already diametric minds of the Bound Stems. The album slips back and forth between a variety of styles, tempos, peaks, and valleys as if the Stems stuck their hands, blindly, into a cocktail of meds and designed a record based on the emotional ups and downs they experienced. It’s a rollercoaster, not only from one song to the next, but also from one movement to another, trapped within the confines of the same song.

Drummer and co-producer Evan Sult has said that he walked around Chicago during the making of Appreciation Night, recording the sounds of the city’s inhabitants. Like the band’s hometown, these songs are laced with labyrinths of conflicting characters and sounds. Guitarist/vocalist Bobby Gallivan’s lyrics often extend beyond the first person, shifting into numerous narratives and expositions, representing an extended family, a community, or even a region. We move through neighborhood avenues, the interiors and exteriors of homes and relationships; the presence of other speakers and singers in the mix diffuses Gallivan’s singular “voice,” which is sometimes a shared lead with multi-instrumentalist, Janie Porche, and at other times is the whole band chanting its way to a song’s climax. Field recordings, too, pop up in the nooks of the album, during songs and in between them, thickening the impression of place and presenting the notion that this album -- its songs and characters -- exists in a tangible world with tangible human noise and not just inside the studio thrashes of guitars and drums. This place is familiar, or at least that’s the intent.

Introductory track“Appreciation Night” is a collage. In less than thirty seconds we hear an old-timey honky-tonk piano and horns, an airport (or train? or bus station?) terminal voice welcoming us to Chicago, an airplane landing (or taking off?), another voice welcoming us to a show, an audience in a bar (or a school house? or a town hall?) counting down: one-two-three-four, the band, all the while, in the background, warming up their instruments before descending into the opening licks of “Andover.” “School kids with their families and, like hell, their mothers try to be on time / Bless this earth, my soul the universe, it’s often big enough to leave me out, ” Gallivan sings, guiding us into the fray of neighborhood imagery with Porche’s voice echoing him in the background. The opening lines establish Gallivan’s tendency to reveal both a personal narrative and grand snap shots of the city streets, his lyrics working as short story, memoir, and document. He continues, “I was born into a dream, she woke me up at dawn, now my suitcase is gone / Morning symphony, my neighbor cried, the neighborhood is used up / We kicked them out.”

Several songs on Appreciation Night work like “Andover,” that is, a series of geographical images and personal reflections (often relationship-driven) are conjured up by the words, and then, following some interesting musical transitions, a repeated phrase, lyrically or musically, emerges in tandem with the theme to help ground us when we come back to a song and unfold its meaning inside repeated listens. On “Andover,” the band peaks with Gallivan’s insistent, chanted lyric: "We’re headstrong, we’re headstrong, we’re headstrong, it’s our fault, it’s our fault, it’s our fault." This is a slogan that foreshadows the album’s scope, somewhere between forced dichotomy and natural diversity.

Elements of Modest Mouse and Wolf Parade surface in the Bound Stems, in Gallivan’s jerky vocal delivery, the pairing of shouting with sung vocals, and the band’s love for anthemic musical passages. With endless levels of layers in each track, the Bound Stems are more claustrophobic than their influences, even more so than the layered trip that is The Moon and Antarctica (2000), and their songs are deceptively “prog,” often defying verse-chorus traditions and simple time signatures. In fact, the stop-start versatility of the rhythm section is on-point. Sult and bassist, Dan Radzicki, are able to turn angular stomps into post-rock grooves (or vice-versa) at the drop of a hat. They rarely stay in one place for long and their slippery nature is crucial in shaping the face of the record. Gallivan and guitarist, Dan Fleury, are keen on playing catchy single note lines as songs build and kicking in with full-on chords for their most passionate sections. They milk that climax.

“Excellent News Colonel,” the most intriguing song on the album, begins with the sounds of Porche talking to the engineer in the studio. As Gallivan and Fleury interlock a pair of dreamy guitar lines, the drums roll in and Porche sings, “I’ve fallen for someone in New York / It’s something that I hadn’t expected / But I think that it’s so much better for us both… / I still hope you find the time to write.” The music slides into a different place, becoming darker for Gallivan’s vocals, “I’d like to talk and convince you to come to Chicago because you’re welcome here love… / We’ve seen the rise and fall of a family, in just two blocks it’s been too much talking.” The music changes again, moving into an uplifting romp. With a bouncy drum track and hand claps behind them, Gallivan and Porche share the lead, uniting until the song’s close.

The mini-song soundscapes, stitched in between the more traditional songs and filled with various voices, help build the communal atmosphere of the record. “Pulling On Pigtails” is an entrancing forty-second groove built on a loop of a Porche vocal sample. On “Fire, Burglary, Flood,” a man talks of selling life insurance as a post-rock instrumental lingers beneath his dialogue. “Book of Baby Names,” another track of dialogue layered over an instrumental, blurs the line between reality and fiction: it sounds like this could be any given man off the streets of Chicago reading from his diary or book of poetry, but the performance-like delivery hints that the Bound Stems are recording this “true scenario” in the studio, having written the story themselves, from scratch.

With the constant presence of field recordings and dubiously manufactured scenarios, Appreciation Night judges “reality” in the simplest of terms. Sult’s tape recording, take-it-to-the-streets approach recalls the classic silent film, Dziga Vertov’s 1929 Man With A Movie Camera, in which a Russian filmmaker wanders Russian cities capturing the stories, the lives, deaths, repetition, and cycles, of the quotidian. More accurately, the film gives the feeling of a man wandering the streets when, in truth, the production involved concise planning, visual trickery, and highly conscious editing. Like the film, this music captures some honesty of living in a city through hidden architecture. The music and the stories imbedded in the lyrics feel quite real -- "these are our lives, this is our city" -- but the final product has been so carefully constructed and edited that one can’t help but question the truth in the “real” aspects of the album.

At forty-seven minutes and fifteen songs, the sonic complexity of Appreciation Night makes it a demanding listen; the very nature of these shape-shifting tunes requires sharp ears. The first time I heard it, I was washing the dishes in the kitchen and it sounded like noise in my living room. It grew on me as I typed on my laptop in the coffee shop. Now it succeeds pretty much anywhere, as a whole or in pieces, as confusion or as razor-sharp moments of lucidity. Sult remarks, “We tried to get as weird as we could get without being alienating.” Appreciation Night is certainly not alienating. With its full palette of great riffs, compelling lyrics, short but catchy grooves, and various field sounds that may or may not reflect a basically understood reality, the record is heavy, but impressively intriguing and accessible, and as such, well worth our time

Code: [Select]

http://www.mediafire.com/?4mkuzxgndkm
Bound Stems - The Family Afloat

Since their inception, Chicago's Bound Stems have shown that they have the ability to write great guitar pop, but they've always wanted to do more, to add layers of complexity and tension to their catchy songs. The band's first full-length, Appreciation Night, mined a lot of charm from the clutter, though its few more linear songs stood taller than the rest. Follow-up The Family Afloat is more earnestly committed to making pop out of these tricky, occasionally incongruent parts. It's in the same carefully-cultivated messiness of their debut, but it seems to strike a better balance: The production shines, the transitions are more careful and the interludes more purposeful, the vocals are fuller and more confident, the hooks swing harder, and there's even a distinct theme. The opening track makes a trip to San Francisco sound better than Disney World, but the rest of the songs come to terms with putting down roots.

That opener, "Taking Tips From the Gallery Gang", puts Bobby Gallivan's voice right up front, with ephemeral layers of guitar fading in and out underneath. It has a typically unpredictable arrangement, but with a newfound anchor. "Happens to Us All Otherwise," meanwhile, might be the group's catchiest and most direct pop song yet, bursting with jangling guitars and innocent, pleading vocals. "Passing Bell" and "Palace Flophouse and Grill" return to the lurching, unpredictable rhythms of their previous album and EP, but Gallivan and singer Janie Porche are far less tentative vocalists and can better carry the song. (Porche only gets a bewildering, borderline angsty solo spot on "Palace"; she steps up when needed on Family Afloat, but mostly avoids the spotlight.)

In a catalogue where mood is as important as songwriting, the placid piano track "Clear Water & Concrete" has some of their prettiest and most compelling textures yet. (It's also a welcome shift to a more meditative tone, as the band hardly takes a breath to let their hooks land at this point.) "Cloak of Blue Sky" has the city imagery Bound Stems often trade in and more of the affable shuffle that seems to be their rhythmic comfort zone. "Winston" is an even better shift in tone, with acoustic strums, a few banjo plucks, and atmospheric keyboards that are beautiful, affecting, and put together with impossible care.

Closing track "Sugar City Magic" begins with a staccato guitar line that's more in line with the pensive math-rock that the band toyed with in their earlier, pre-Flameshovel days, though it soon shifts perspectives by handing off the baton on vocals to get a more layered view on the family in the lyrics. For all their ambition, there are still moments on Family Afloat that feel forced-- more "Look what we can do!" instead of simply, "Look what we do well." Yet Bound Stems have the rarefied ability to make that mess sound gorgeous, as if all were in its right place even when it's held together by chewing gum in some spots.

Code: [Select]

http://www.mediafire.com/?ttqwdwkoqty
Guided by Voices - Under the Bushes Under the Stars

Songwriters who are lucky enough to come up with 10 great melodies in their lifetime must hate Robert Pollard, the 38-year-old former fourth-grade teacher who, like the porno actor Ron Jeremy, does effortlessly what the rest of his brethren pursue to the point of frustration. Guided by the same voices that spurred strings of magical notes from the Mersey Beat poets of the '60s as well as the staccato insurgence of punk in the 70s, the prolific Pollard and his band have been tossing out colorful hooks since 1986 with the frequency and precision of fly-fishermen.

Under the Bushes is GBV's 24th fresh-from-the-basement release. The band has endured the low-fi tag because its records sound like they're being played on a turntable with a fuzz-covered needle. But more important than the raw sound quality is the accessibility and spontaneity that four-track recording affords GBV. Stunning tracks like "Cut-Out Witch," "Underwater Explosions" and "Bright Paper Were-wolves" sound as if they were recorded while the passion was still flowing and scribbled notebook paper was still lying on the floor of the rehearsal space. The band has actually graduated to a 24-track studio, but Pollard's voice still clings like a shy child, and Tobin Sprout still sounds like he strings his guitar with screen-door wire.

With lyrics that sound cut and pasted from a book by the Brothers Grimm, Pollard's two-minute tunes aren't fragments so much as full compositions that say plenty in a short period of time. On "Big Boring Wedding," he sings, "Pass the word: The chicks are back," in a '70s art-rock voice that brings to mind Pink Floyd and the Who's Quadrophenia, and the song perfectly conveys the vapidness of the scene that Pollard is surveying. On "Look at Them," the choppy power riffs and Pollard's flushed, vein-bulging delivery can't conceal a melody so strong you can lean against it.

Under the Bushes searches for something new in the pop-rock ruins and finds that the quest is the thing. "I can't tell you anything you don't already know," Pollard sings above a gorgeous acoustic guitar on "Acorns and Orioles." But one hopes he'll keep trying.

Code: [Select]

http://www.mediafire.com/?modydwzydmm
Guided by Voices - Bee Thousand

Late in Bee Thousand, Guided by Voices singer/songwriter Robert Pollard provides a skeleton key to his remarkable music. "I am a pharmacist, prescriptions I will fill you," he sings, "potions, pills and medicines to ease your painful lives." It's no empty boast – the stately little hymn "I Am a Scientist" and the 19 other sublime songs on this album possess just such restorative powers.

GBV's seven previous albums (released in limited editions on minuscule indies) were brilliant, but Bee Thousand is a tour de force by a good old-fashioned American basement genius. A rotating group of thirtysomethings based in Dayton, Ohio, Guided by Voices mine familiar territory: classic English pop rockers like the Who, the Kinks and the Beatles, albeit filtered through latter-day Beatlemaniacs like Cheap Trick and Robyn Hitchcock, as well as lo-fi avatars like Daniel Johnston and Pavement.

The group is clearly guided by those voices, but the band name also goes a long way toward identifying the surely ethereal source of their inspiration as well as underscoring the way Pollard's vocals drive the moving, indelible melodies. An irresistible English folk drone weaves throughout the record, as in the jingle-jangle mournfulness of "Queen of Cans and Jars," singer and guitarist Tobin Sprout's exquisite "Ester's Day" (co-written with Pollard) and the uncannily long-lined melody of "Smothered in Hugs."

Recorded on a four-track machine, Bee Thousand sounds like a favorite bootleg or a beloved old LP whose worn grooves now reveal only a blurry jumble. Amp hum, sniffling musicians and creaking chairs all inhabit the mix, but the homespun production only underlines the strength of the songs – lo-fi or not, there's no denying an astonishing rush of guitar-pop glory like "Tractor Rape Chain."

As with Big Star, the beauty of GBV's music cocoons – and so triumphs over – its own root sadness, like an oyster building a pearl around an irritating grain of sand. In the jubilant climax of "Echos Myron," Pollard's voice radiates a downright heroic melancholy as he sings, "And we're finally here/And, shit, yeah, it's cool," and then can't help but add "or something like that."

Even if the lyrics sometimes read like mad-libs ("I met a nondairy creamer explicitly laid out like a fruitcake," Pollard sings on "Hot Freaks"), they always play to Pollard's strong point, which is precisely where rock itself excels – combining music and words to produce a distinctly third impression that's complex, unnameable and yet startlingly vivid. But the real miracle of Bee Thousand is that it not only celebrates the power of rock music, it also embodies it. "I am a lost soul/I shoot myself with rock & roll," Pollard sings on "I Am a Scientist," "but nothing else can set me free."

Code: [Select]

http://www.mediafire.com/?fmldjd1m3mz
You Were Always - Ghost Lanes [E.P.]

If You Were Always’ 2007 debut EP, Since You’ve Been Gone, was like a gentle breeze in the falling leaves surrounding autumn’s trees, then their sophomore effort, Ghost Lanes is almost – almost! - like a summer storm with some gusts of rain going left-right instead of straight down. Ghost Lanes offers the same slowcore meets mellow indie as its predecessor except this time the band sounds louder, more comfortable, and much more confident on these five tracks. Earlier, singer/guitarist Cam Houser sounded sad, vulnerable, and afraid; now he sounds a little less sad, a little madder, and a lot less intimidated by whomever and whatever broke his heart.

On Ghost Lanes’ opener, “All The Books I Read”, the band sound energized (for another type of band, this song might be the “slow song”; for You Were Always, it’s a rolling opening tune complete with Cam having a brief guitar moment) with Aubri Hughes keys sounding like a Cars outtake – only slower. It’s a great teaser of what might be lurking in their inner most rock and roll hearts.

These moments of almost rocking pop up throughout the EP; on “Running Red Lights” and the closer “Clockwork”, Topher Hyink once again drums with a little more force and purpose and Houser’s guitar work becomes a little more determined. In particular, “Running Red Lights” might qualify as the most unabashedly rocking song in the group’s catalog and it’s a gem completely with a snaking synth line that reels the audience in.

For fans of the band’s softer debut, fear not: it’s there throughout. The second track of Ghost Lanes, “Wine Out Of Coffee Cups”, features more beautiful harmonizing between Houser and Hughes, Hyink’s subdued drumming, and Tim Faehnle’s pulsing basslines. The difference is that this time, instead of just rolling over and playing quiet, the guitars build, Hyink hits the skins a bit harder, and Cam – minus Aubri for a moment – sounds like he might want to scream. Just hope he doesn’t scream too loudly, because it’ll ruin the impeccable late night beauty that he and his band continue to craft and polish.

Code: [Select]

http://www.mediafire.com/?mzyljyzwczn
Okay guys, I do know that requests are frowned upon here but for the life of me I can't find Rooms You've Never Seen Before by Gulf of Mexico. I've tried like a billion  different legal and illegal resources and the record label that it was released on is now defunct. I'd be very grateful if anyone here could upload it for me. Here's a review if anyone's unsure about what I'm talking about.

[KvP]

Bound Stems - Appreciation Night
Bound Stems - The Family Afloat

yussssss

[Tom]

No problem.

[valley_parade]

Hey, a new Dungen album!

Dungen - 4

While Tio Bitar saw Gustav Ejstes relinquishing some of Dungen's instrumental duties to other musicians, specifically guitarist Reine Fiske, 4 is the closest he's come to employing a full-time band. The Swedish frontman confines himself to the piano and microphone this time around, only taking occasional stabs at flute and violin, while bassist Mattias Gustavsson and drummer Johan Holmegard join Fiske in creating Dungen's sonic stew. As before, the band brews up a mix of psychedelic rock, free jazz, and other vintage genres associated with mind-expansion and counterculture ideals. The folk influence that peppered earlier releases isn't as prominent here, however, having been replaced by a newfound emphasis on piano. The instrument lends new, softer textures to several songs, especially when combined with washes of woodwinds and strings. "Marleras Finest," in particular, mixes piano-fueled jazz with vintage elevator music, sounding like something that would've piped through the speakers of a 1960s dentist's office after a laughing gas leak. Elsewhere, the bandmates turn their amplifier knobs to the breaking point while pummeling through a series of improvised psych-rock freakouts. "Samtidigt 1" is a freewheeling guitar showcase taken from a jam session -- it fades in and fades out, seemingly stretching on for hours on either side of the recorded snippet -- while "Samtidigt 2" reprises the same approach several tracks later. Holmegard peppers his percussion with Mitch Mitchell-styled fills, and Fiske fills every inch of space with slashes and stabs of crunchy, distorted guitar, aptly earning his keep as the band's second-in-command. There are well-crafted songs here, too: "Mina Damer Och Fasaner" begins like a Brill Building ballad before settling into a bass-boosted groove, and "Det Tar Tid" finds room to showcase Ejstes' talent for stacked vocal harmonies. In short, 4 offers a cross-section of the band's catalogue, mixing the structure-based songs of Tio Bitar with the instrumental workouts of albums like Ta Det Lugnt. Ejstes' fiddle playing is certainly missed, but that's a minor complaint from an otherwise top-notch effort.

Code: [Select]

http://www.mediaf!re.com/?wxl9gjjx0ed
4/5 from AMG, 7.6 from Pitchfork.

[Daft pun]

Ladyhawke - Ladyhawke

Code: [Select]

http://www.mediafire.com/download.php?5195zcn0ymy

[FreshJive787]

thank you muchly for the new dungen good sir

[Metope]

Electric President - Sleep Well

Code: [Select]

http://www.mediaf!re.com/?bdnj2ldmmdm

[bbqrocks]

Thank you Adam Fleming (a page back) for Wermland.

[Broken_Drum]

Board Up The House by Genghis Tron


   1. "Board Up the House" – 5:54
   2. "Endless Teeth" – 1:47
   3. "Things Don't Look Good" – 3:35
   4. "Recursion" – 2:08
   5. "I Won't Come Back Alive" – 6:34
   6. "City on a Hill" – 3:26
   7. "The Whips Blow Back" – 2:07
   8. "Colony Collapse" – 4:01
   9. "The Feast" – 1:56
  10. "Ergot" – 1:14
  11. "Relief" – 10:47

Part 1

Code: [Select]

http://www.mediaf!re.com/?b9cpcqydvoa
Part 2

Code: [Select]

http://www.mediaf!re.com/?udyg1aallzy
Genre: Cybergrind/ Experimental Metal/ Mathcore/ Electronic

Genghis Tron will completely reprogram the way you think about heavy music. Board Up The House, their second full length album, is the closest I’ve heard any band get to achieving a successful and original fusion of technical metal and electronic music.

Sure, plenty of other bands have mixed the two, but not with the degree of craft and care used here. Genghis Tron are not just another iteration of the industrial formula, where [sampled percussion] plus [distorted guitars] plus [vitriolic anger] equals [protest]. Nor is Board Up The House some second-rate attempt to breathe new life into extreme metal by sprinkling it with some novelty extras.

Board Up The House is a synergy – it is greater than the sum of its parts.

The principle difference is that Genghis Tron have obviously taken the time to fully explore the potentials and limitations of the instruments they use. In the same way that guitar music was advanced by experiment and innovation, Board Up The House is the sound of a band finding the far edges of themselves and then pushing hard against the walls.

The result is a staggeringly fresh sounding album where intricate riffs stolen from death metal are played by synth patches, and synth riffs are played by guitars. The pace varies from frantic grindcore road-drill snare attacks to stark minimal pulses of electronic kick drum, by way of robotic military tattoos and glitchy Escher loops of sound.

Genghis Tron can turn about on a sixpence, with full-bore thrash dropping into a nearly ambient segue for two brief bars before exploding back into action. There’s a yin-yang of intensity and understatement pulling back and forth, producing dynamic tension that other bands would kill for, force and space perfectly balanced.

Board Up The House has a bleak atmosphere, despite the rich furnishings. Song titles like “Things Don’t Look Good” and “Colony Collapse” seem fitting in these times of environmental decline, and “I Won’t Come Back Alive” has the epic yet tragic tone of a suicide note from innocence.

The closing song on Board Up The House is the astonishing ten minute dirge of “Relief”, sounding like nothing less than a funeral hymn for the death of an entire planet, a lament for a promising species that overreached itself in ignorance. It’s doom-laden, full of an almost smothering weight – the hand of fate resting heavy on the shoulders of history.

I could write pages and pages about Board Up The House if I let myself – there’s just so much to talk about. But talk is cheap, and time is short. You’ll just have to take my word for it that Genghis Tron have produced what could well be one of the most important and groundbreaking albums of the decade. Board Up The House is a masterpiece, and a must-hear for any fan of heavy music.

Probably my favourite album of '08 so far.