Gamingforce Music Exposure Club™

Noisy Sins of the Insect - Discography
Genre: Screamo
Year: 2007
Label: Hugs and Kisses Records



1. Experiment 00
2. Experiment 01
3. Experiment 02
4. Cursed Day
5. Lora
6. An exit but it was useless
7. The place in the hope
8. Life on the pills
9. Open Arm's Revenge
10.There won't be a my life
11.Dear god, i do't feel alive
12.Dennis, i've got new shoes
13.Experiment 03
14.Experiment 04
15.The place in the hope (demo)
16.Cursed day (demo)
17.There won't be a my life (demo)
18.Dream connection between seat no 21 and seat no 44 (demo)
19.End of a love doesn't mean end of me but i love to kill myself because i listen noise (demo)
20.Simple death wish of a mental helpless during suffocation (demo)
21.Sad mad boss josh frei and his bitch wife in cihangir (demo)
22.My funeral in you and our memories (demo)
23.Life on the pills (demo)
24.Secret plan of the automatic suicide machine (demo)
25.Untitled

NSOTI were a Turkish band playing the (oft-misunderstood) genre of screamo. They weren't the most discordant, heavy or technically gifted band around, but their songs are good, and they play with real heart.

Also, this kind of screamo is about as far removed from that fringes-and-girl-pants-type of post-hardcore/screamo that bands like Alesana and From First to Last play.

Download

Cheers.

Manu Chao & Radio Bemba Sound System - Manu Chao & Radio Bemba Sound System
Genre: Reggae / Latin
Year: 2007
Label: Hugs and Kisses Records



DOWNLOAD LINK

1. Intro
2. Bienvenida A Tijuana
3. Machine Gun
4. Por Donde Saldra El Sol?
5. Peligro
6. Welcome To Tijuana
7. El Viento
8. Casa Babylon
9. Por El Suelo
10. Blood And Fire
11. Ezln...Para Tod@s Todo...
12. Mr. Bobby
13. Bongo Bong
14. Radio Bemba
15. Que Paso Que Paso
16. Pinocchio
17. Cahi En La Trampa
18. Clandestino
19. Rumba De Barcelona
20. La Despedida
21. Mala Vida
22. Radio Bemba
23. Que Paso Que Paso
24. Pinocchio
25. La Primavera
26. The Monkey
27. King Kong Five
28. Minha Galera
29. Promiscuity

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anyone who's caught Manu Chao and his band Radio Bemba Sound System at one of their live gigs will testify that the Parisian troubadour sure knows how to throw a party. I can corroborate that; I've seen him live twice and tonight it will make it three times. This live album draws on reggae, salsa, and Latin pop songs from his first two excellent solo albums (Clandestino and Proxima Estación: Esperanza) as well as joyous gems from his time leading the more punk-tinged Mano Negra. While the styles vary as often as the languages (Chao flits from Spanish to English to French as he translates his life as a global nomad into his music), the common thread is a sense of vitality and hope. From the uplifting reggae of "Bienvenida a Tijuana" to the African pop and salsa of "Casa Babylon," this album showcases Chao's role as the pied piper of multiculturalism, leading his crowd on a (literally) merry dance. And it's the crowd that really makes these 29 tracks come into their own. You can almost picture the mob waving, cheering, blowing whistles, shouting into megaphones, and generally having the wildest time this side of Rio Mardi Gras. A great flashback for those who have seen Chao live and a perfect introduction for recent converts.

OH. YOU WILL LEARN~

Ciao.

R. Crumb's Old Time Favorites: Gay Life In Dikanka

Year: 2000
Label: Bakhall
Genre: Folk music (old 78's)



I don't really have a review for this thing at all. If you liked the other comp that Ence posted you'll probably enjoy this. That's pretty all there is to it. A great compilation of hard to find singles from the '20s and '30s.

1. Too Tight Rag -- E.E. Hack String Band (USA, 1929)
2. Old Folks Shake -- Clifford Hayes' Louisville Stompers (USA 1929)
3. Operators Reel -- Don Messer & His New Brunswick Lumberjacks (Canada, c. 1930)
4. Selection Of Irish Marches -- Louis E. Quinn's Shamrock Minstrels (Irish, 1933)
5. Scotch Broth -- Cardiff Banjo, Mandolin & Guitar Band (Welsh, 1934)
6. Jala La Cadena -- Los Jardineros, Dir. of A. Catala (Puerto Rican, 1930)
7. Pelasverdes Bambuco -- Estudiantina Jorge Añez (Mexican, c. 1932)
8. Roses D'Automne-Valse -- Fredo Gardoni & Son Ensemble (French, c. 1930)
9. Jämtlands Polska -- Evert Sahlberg & Bernhard Svensson (Swedish, 1930)
10. Kinnekulle Schottis -- Hjalmar Peterson's Hobo Orch. (Ukrainian, 1927)
11. Cigonai -- Budrik's Radio Orchestra (Lithuanian, 1930)
12. Gay Life In Dikanka -- Kornienko's Ukrainska Orch. (Ukrainian, 1927)
13. Kirno -- Zigeuner Orchestra Tanasse Codolban (Hungarian, c. 1930)
14. Chorni Ochi -- Orchestra Vilna Ukraina (Ukrainian Jewish, 1927)
15. Les Jour Gais Ont Passé -- A. Scriabine & Ses Cosaques (Russian, c. 1930)
16. Sirtos Politikos -- Orch. Salonikos Arapaki Kiryakithis (Greek, late '20s)
17. Bachraf Kurdi Mouhayan -- Orch. Oriental, Dir. of Agop Kanouni (Turkish, mid '30s)
18. Yeghso Jan -- Nishan Keljikian with Gulazian's Orch. (Armenian, 1927)
19. Karajfil Te Zgjodha -- Kol Matija (Albanian, 1931)
20. O Rawazaha-Quadrille -- Andrianary Ratianarivo Orch. (Madagascar, 1930)
21. War Song -- Tuareg Tribe, field recording (West African, late '30s)
22. Song Of Zambesi-Rumba -- Merry Blackbirds Orchestra (South African, mid. 1930s)
23. Cold Winds Come From My Lovers Place -- Zinat Begum (Hindustani, c. 1940)
24. Raukawa -- The Tahiwis, accomp. by The Rythmic Three (Maori, New Zeland, 1930)

Get It

Cheers.

Menomena - I Am the Fun Blame Monster
Genre: Alternative
Year: 2003
Label: FILMguerrero



1. "Cough Coughing" – 3:20
2. "The Late Great Libido" – 4:59
3. "E. Is Stable" – 5:17
4. "Twenty Cell Revolt" – 4:05
5. "Strongest Man in the World" – 5:35
6. "Oahu" – 5:18
7. "Trigga Hiccups" – 4:02
8. "Rose" – 2:58
9. "The Monkey's Back" – 8:52

Spoiler:

Pitchfork:

There's hardly a bolder statement you could make about your band's penchant for innovation than writing software specifically to aid your own distinctive compositional style. This is what Brent Knopf did; his program is called Deeler, and it allows his band, Menomena, to improvise short ideas and use them as the building blocks for broad, loop-based compositions which they then learn to play live. The method borrows most obviously from hip-hop and glitch, and you can pick up slight traces of both in the band's sound, but this music is distinctly pop-oriented, and reasonably traditional where its core melodies are concerned.

The album opens with an accelerated, processed drum roll and then busts out into the aggressive rhythmic assault of "Cough Coughing". Drummer Danny Seim and bassist/guitarist Justin Harris can cut it up like nobody's business, and for some large portions of the song, it's just them sparsely making a groove happen, with vocalist/multi-instrumentalist Knopf's quivering piano occasionally rising like the ghost of an old ambient house record. The song's midsection is a series of head-spinning leaps and cuts through myriad textures, with Knopf resting on a tense piano melody.

But it's not all highwire-act dynamics and ADD jams: I Am the Fun Blame Monster also brims with mood, a dark energy and sense of direction permeating every song. "The Late Great Libido" is a perfect testament to this, with its rivers of bubbling piano, droning sax and frenetic drums. The track is a not-too-distant cousin of Blur, but it does things in ways most bands would never dream of, bursting in the middle with thundering guitar melodies, building itself up in increments, snapping to silence and back, and sending each verse up differently than the one before. Harmonies float in on beautiful beds of piano in one instant, chase away tinkling glockenspiels the next, and then retreat altogether, yielding the field to pianos and heavily delayed drums. Elements you thought had disappeared for good resurface in new contexts with new meanings. You'll never get it all on the first listen, but there'll be no shaking that melody; Menomena could have a huge hit on their hands-- at least at the college level-- if this track finds its way into the right mitts.

Surprises like the ones in "The Late Great Libido" are packed tightly into every song: guitars crash in only to anticipate silence, pianos weave through minefields of modular percussion, and Knopf's pleasing tenor runs a gauntlet of processing and fading to deliver what are fundamentally very basic melodies. "E. Is Stable" springs from a simple guitar line, repeatedly building up and breaking down, while "Strongest Man in the World" feels light until Knopf's hand reaches to the bottom octave of the piano and anchors the song to a sinister bass figure.

Essentially, the band's process of building from small blocks enables them to put endless variations on each basic section of their songs-- introducing a pulsing organ and a plaintive piano separately, for instance, and then heaving them together in multiple combinations later in the song. Even the vocals are, by and large, just another module to be played with, disappearing for minutes at a time and reemerging with choruses just as you begin to grow accustomed to their absence.

Suffice to say, Menomena are a hugely creative band, and with I Am the Fun Blame Monster, they've managed to make an album that's extremely accessible yet entirely unconventional. The thing that drew me to the album in the first place was the crazy artwork, which features a flipbook of four photos and very little other information, save that the disc's title is an anagram for "the first Menomena album." It's just one more subtlety that exemplifies the depth of detail apparent on this record.

-Joe Tangari, October 22, 2003

Download

Ciao.

Atreus - Underneath the Grey Firmament
Year: 2005 (I think, can't remember)
Genre: Funeral Doom/Noise/Industrial

1. Awakening in a Strange, Dark Place
2. Recollecting the Night Before
3. A Bell Tolls in the Distance
4. A Funeral Procession Trudges Past
5. The Grey Firmament Breaks

Yes, another one of my releases. Kinda old, but I thought it deserved a mention in this thread. Blatantly computer-based funeral doom with elements of noise and power electronics. I guess this review described it best:

Quote:

Industrial doom at its bleakest and ugliest..not to mention slowest. Sounds like a funeral procession for an ancient robot race in the far, far future...on a distant sludge infested planet.

Very trance inducing, gets under your skin...slowly...and stays there.

Mostly instrumental, but it works great that way.

yes, I'm quite proud of that review

Download

Cheers.

I upped this for wvlfpvp but figured there might be a greater interest, so here we are.

Legacy of Dissolution (Earth Remixed)

Year: 2005
Label: No Quarter/Southern Lord
Genre: Drone

Spoiler:

Remix album of the original sludge-rockers Earth, featuring contributions from Autechre, Mogwai, Jim O'Rouke, SunnO))) and Russell Haswell. For a long time most famous for having sold Kurt Cobain THAT gun, Dylan Carlson's Earth were initially derided for their impenetrable rock fug and slow-motion riffs that made them stand out amongst their Sub Pop peers. However time has been kind to Earth and slowly (but surely) their sound has come to be appropriated by a new generation of sonic experimentalists ranging from the Sphere and Southern Lord labels through to their most natural heirs; SunnO))). First to the table is Mogwai, who add layers of blister-pack guitars and waves of rimy feedback to Earth's 'Teeth Of Lions Rule The Divine' and in doing so instil the original with a less suffocating atmosphere which will broaden its appeal considerably. Next up is Russell Haswell who (along with O'Rouke and Broadrick) plunder the now out of print 'Phase 3: Thrones and Dominions' for his punishing take on (wait for it) 'Tibetan Quaaludies (Waveset Sloth Mix)', whilst O'Rouke opts to mug you with a pretty start and a heavy weight end that'll have you reaching for the Anadin. Possibly the oddest mix on the album comes from Autechre who choose to ditch any remnants of their Warp output and instead season the original with barely discernable variations, delicately augmented drums and the sort of subtle manipulation that indicates that the pair have a respect for Earth that they have seldom shown any of their peers in previous remixing work. The kings of dronecore SunnO))) don their black capes and skull rings for the closer to deliver a colossal chunk of doom metal. Ace.

Tracks:
1. Teeth Of Lions Rule The Divine
2. Tibetan Quaaludes
3. Thrones And Dominions
4. Coda Maestosa In F(Flat) Minor
5. Harvey
6. Rule The Divine (Mysteria Caelestis Mugivi)

Get It

Ciao.

Title: 木之内みどり★BEST (Midori Kinouchi - Midori Kinouchi ★ BEST)
ASIN: B00005OLR3
Label: ポニーキャニオン (Pony Canyon)
Year: 2001
Genre: J-Pop



Megaupload Link < - - - - - - > Sendspace Link

1. めざめ
2. あした悪魔になあれ
3. ほほ染めて
4. おやすみなさい
5. 学生通り
6. グッド・フィーリング
7. 東京メルヘン
8. ジュ・テーム
9. イマージュ
10. 走れ風のように
11. 横浜いれぶん
12. 無鉄砲
13. 一匹狼(ローン・ウルフ)
14. ターン・テーブル
15. いじっぱりな私
16. 硝子坂

Here we have another of those J-Idol compilation CDs I happened to have dowloaded and repackaged to make it more accessible (someday I'll get the actual thing and rip it myself, but this will do for now). Here, we get to hear the output of Midori Kinouchi's rather short career as a J-Pop singer (1974 to 1978). Compared to other idols at the time, she wasn't one of the brightest stars, but she still managed to make a name for herself with her slightly breathy and sultry voice which appeals more to the mature J-Pop fans (as opposed to Nana Okada in the previous entry I put up who espoused the "cute" image). She came onto the music scene in 1974 at age seventeen and scored a hit with あした悪魔になあれ (Ashita Akuma Ninaare), a mod-pop number that was fitting to mid 60s American pop. Her style would change towards slower numbers like 東京メルヘン (Tokyo Fairytale) in 1976 and ジュ・テーム (J'taime) in 1977 that fused Japanese musical sensibilities with contemporary Western instrumentation, notably the use of the slide guitar style that would be more at home in Nashville than in Tokyo. Her biggest hit in 1978, 横浜いれぶん (Yokohama Irefun) with 無鉄砲 (Recklessness) riding in its wake, capped her career and she bowed out of music to pursue other avenues. She may not be one of the most notable singers, but her sound is nice, overall pleasing, and the songs are great for those who like to hear something that isn't teen-oriented.

Cheers.

Today I present a few of my favorite albums ever, that you probably haven't heard of before. Also a plug for my friends' record label. Lets go!


The Prayers and Tears of Arthur Digby Sellers - The Mother of Love Emulates the Shapes of Cynthia
Year: 2005
Label: bu_hanan collective
Genre: Indie

Tracklist
01 the eventual intimate of so much nostalgia
02 concerning lessons learned from the aliens
03 rotation of crops
04 archaeopteryx
05 ammunition for a bolt action heart
06 above the waves
07 cannot eat better not sleep
08 the slow decay of some radio afterglows
09 disposable drummers in disposable bands
10 ontothanatological
11 raise up, you celestial choirs
12 the sad lives of the hollywood lovers

Review
Frequently compared to Bright Eyes, there is one key difference between the two artists; This one doesn't suck. I found this album by sheer coincidence while working at a used music store. It was tucked away in the back, in with the compilations and other undesirables. I instantly liked it the moment I heard the first track. If there is a more underrated, or unknown music group that needs to be known, it is this duo.

Get it! Get it!



The One AM Radio - A Name Writ In Water
Year: 2004
Label: Level Plane Records
Genre: Indie/Electronic

Tracklist
01 What You Gave Away
02 Under Thunder and Gale
03 Drowsy Haze
04 I Didn't Speak the Language
05 Fever Dream
06 Shivers
07 Buried Below
08 Witness
09 Those Distant Lights
10 This Is a Document
11 Lucky
12 Forests Burned
13 Untied

Review
I suck at writing reviews. (So I stole this one from Amazon)

Spoiler:

I never have heard of this before. I was listening to it expecting nothing. It is a semi-folk record. It is mostly a one-man band. That man is named Hrishikesh Hirway. It is sometimes a very intimate record. Songs like "Under Thunder and Gale" and "Drowsy Haze" set the mood of the album, which is very sadcore. Some other songs use more electronic elements. It's much more at times like Xiu Xiu or Arab Strap. Most of album is composed of songs about uncomfortable states. The One AM Radio is all about saying things without saying them. It is worthwhile but understated. They are touring a lot this year and it's interesting to see what they will be like.

Beauty with a beat.


GO Zomb!e Records
My friends Shawn & Jen run this record label literally out of our apartment. They started it early last year and I gotta say, they put a lot of work into it, so I figured I'd help'em out a bit. Shawn has been making music since before I knew him (consequently with guys like The Flashbulb & Venetian Snares). His fiance Jen has been a best friend of mine since Jr. High. Definately check out Shawn's solo projects (unseelie & Renegade Android), and their joint project Pear Eyes. Samples are included with the free album downloads.


Digita'lis/Phlox - The Drummondii Days
Year: 2007
Label: GO Zomb!e Records
Genre: IDM/Experimental

Tracklist
01 The Final Malfunction
02 Salvinorin A
03 Pumps and a Bumps
04 Smooth Talker
05 Mondo Gekko
06 Dankk Trakk
07 A Shape of Strange Faith (The Flashbulb explicit remix)
08 A Shape of Strange Faith
09 The P1 Project

Review

Spoiler:

The Digita’lis/Phlox project is Erich Ward and Shawn Shackelford and took place between 1999 and 2001, including a brief tour from the mid-west to the east coast with Chicago-based IDM artist The Flashbulb. Their release, ‘The Drummondii Days,’ is a collection of abstract broken-beat rhythms, 80’s analog synth manipulations, and heavy compression techniques for a unique lo-fi quality. This release includes the classic ‘A Shape of Strange Faith’ track, it’s remix by The Flashbulb (explicit), and our take on something called the P1 Project.

King Fuzzi - Pace Notes
Year: 2007
Label: GO Zomb!e Records
Genre: 8bit/break-beat

Tracklist
01 A.M. Battlin'
02 Angel
03 Bigyello
04 Brimstone
05 Cirque de Strut
06 Dungeon Clear
07 Enchanted Forest (Dryad's Revenge)
08 Frontin' (on dat)
09 Max HP
10 MBSOLOMON
11 MBSUPADIRTBETA
12 Nemo's Theme
13 NEWTYPE
14 OS Groove
15 Pinstripe Syntax (ERROR)
16 Pinstripe Vigilante
17 Seamonkeez
18 Supadoop Breakin'
19 The Myst
20 Treaty PS
21 Trench Phenomena
22 Vitamin A (Defender)
23 Winter Lite
24 You've Been Burgled

Review (from website)

Spoiler:

A collection of 24 songs that could very well double as the soundtrack to an oldschool 8bit video game. But with breakbeats and distortion and occasional vocal cut-up.

Download GO Zomb!e free albums + website free tracks

Most of their other music can be found streaming at last.fm: Renegade Android, Unseelie & Pear Eyes.

Ciao.

Lo Fidelity All-Stars - How To Operate With A Blown Mind
Genre: Electronica / Trip-hop
Year: 1999
Label: Skint



STICK 'EM UP, MOTHERFUCKER!

1. Warming Up The Brain Farm
2. Kool Roc Bass
3. Kasparov's Revenge
4. Blisters On My Brain
5. How To Operate With A Blown Mind
6. I Used To Fall In Love
7. Battle Flag
8. Lazer Sheep Dip Funk
9. Will I Get Out Of Jail?
10. Vision Incision
11. Nightime Story

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

If you've heard this band chances are you did what I did and bought this album after hearing the radio single "Battleflag". You were probably also surprised that not only was "Battleflag" significantly different than the radio release but the album almost seemed like completely different material that what you intended to hear. Don't get me wrong, this is far more of a compliment now that it was when I first said this. I have to hand it to the mixers, they did a great job with the radio version of Battleflag making it seem incredibly natural; like it was the original version. Pretty soon I started introducing it to people and everyone I lent the disc to was very surprised at how much vulgarity is actually disguised in the radio release that is on the CD. It makes it a much darker song than the radio release seems to be. The rest of the album is also of a somewhat dark nature. It is buried to the hilt in soliloquies by the lead singer, who has only what I can describe as a snarling singing style with a heavy English accent. The soliloquies remind me almost of Clockwork Orange, very dark, nihilistic, futuristic, and dealing mostly with drugs, perversion and the twisted. Most of the music in the album is pretty fantastic. The second sound is by far the best song on the CD, loaded with good hard bass and a terrific rhythm. Let's face it: If you call yourself a fan electronica you gotta have this album. It's a lot rougher with a far less cheery feel than, say, Fat Boy Slim, Chemical Brothers or (godfuck forbid) Moby. This is definitely worth a listen or two.

Cheers.

I figured the 4th of July was an appropriate time for this.

The Residents - Stars And Hank Forever

Year: 1986
Label: Ralph
Genre: god only knows

Spoiler:

Stars and Hank Forever is much more accessible than the other album in the series titled George and James. Snakefinger's slide guitar infusions on the raucous Hey Good Lookin' are absolutely brilliant, Six More Miles (To The Graveyard) gets a sensitive treatment, sounding quite normal, which is unusual for the music of The Residents. The lilting Kaw-liga is also quite enjoyable, with the atmospherics just subtle enough not to detract from the rhythm and melody, whilst Ramblin' Man is slow and eerie. Jambalaya is the last of the Hank Williams tracks, once again a slow and subdued interpretation with beautiful instrumental textures over an ominous drum pattern.

The John Philip Sousa music sounds like a live recording with the music weaving in and out of the mix, which is innovative and quite buoyant in places. The weirdness of the Residents is more in evidence here than on the Hank Williams tracks, but the music is still listenable and often quite charming with snippets of twittering birds, voices, ringing telephones and applause. The Liberty Bell is my favorite of the Sousa tracks, being a complex arrangement that veers from the melancholy to the jolly, whilst Semper Fidelis with its sirens is the strangest. One has to be a fan of the Residents to appreciate this music but Stars & Hank Forever is definitely one of their more appealing works.

Tracks:
1. Hey Good Lookin'
2. Six More Miles (To the Graveyard)
3. Kaw-Liga
4. Ramblin' Man
5. Jambalaya
6. Sousaside

Get It

Ciao.

Melt-Banana - Cactuses Come in Flocks
Year: 1999
Label: A-Zap Records [AZCD-0002]
Genre: Noise rock



1 Just Grub & Run (0:53)
2 Talk Like Pop (0:51)
3 Shining Hatcher (0:46)
4 F. Part One (0:40)
5 To The Core (0:40)
6 F. Part Two (1:09)
7 Shuuuuuuuuuuuuuuuuu (0:29)
8 Bunny Wasted A Month Waiting (1:14)
9 Party-Hat (0:47)
10 Shouting About Love (0:27)
11 Sonic Turtle (0:45)
12 Bored Elephant (1:43)
13 Up And Down, 1,2,3..... (1:21)
14 1 To 11 (0:56)
15 Dried Up Water Park (1:14)
16 How To Say "Rip Them Off", Repeat After Me (0:29)
17 Interval......... (3:00)
18 Locoweed In The Bottle (0:22)
19 Ketchup-Mess (1:21)
20 We Love Choco-Pa! (0:14)
21 No Way To Hear (0:11)
22 We Had Tails In The Old Days (0:53)
23 So Far So Bad So What? (0:27)
24 Frog Swims The River Down Giggling (1:07)
25 I Hate It! (Long Version) (1:38)
26 Who Cares? (0:21)
27 FMFYYD (0:06)
28 Pie War (0:48)
29 Ants Living In A Narrow Box (0:49)
30 Crayfish Song (0:29)
31 6 Feet Long For Her Neck (0:17)
32 Picnic With Panic (Long Version) (1:49)

First half of the album consists of recordings from an improv show, while the second half consists of songs from a studio session in '94. Some of their rawest stuff. Track number 17 is the track that divides the two halves.

AMG review:

Spoiler:

This album conjures up some frightening imagery with the music it contains. A song might start with a fire bell clanging away while the guitar, bass, and drums go in every direction, bringing to mind a grouping of people heading for the emergency exits in a burning building ("F., Pt 1"). Vocalist YaSuKo O. resembles a chipmunk in need of a heavy dose of Ritalin ("Sonic Turtle"), or a chanting cheerleader after she's consumed a full can of coffee ("Up AND down, 1,2,3..."). On many of the tracks, her vocals jump to the ceiling like a frightened cat while the bass churns through deep puddles of untreated sewer water. Melt-Banana's songs are pointy, in a way, because of all the staccato rhythms they use. It's almost like being repeatedly poked in the ribs with a bony finger. Melody doesn't matter, but the percussive aspect of not only the drums, but all instruments, plays a key role. The approach of the bass, vocals, and guitar are very hard and pound on certain beats more than others. Typical song structure doesn't exist as well, with the average song clocking in at roughly 40 seconds. Choruses are missing, and most tracks only consist of a word or phrase that is repeated over and over, like a mantra. Melt-Banana has created a musical approximation of what it's like to file a piece of metal down to a nub using scribbled distortion patterns.

Simple version: Noisynoisynoisy and fuckingawesome.

Download

Cheers.

Green Beret - Green Beret
Genre: Grindcore (i guess?)
Label: Pink Pentagram
Year: 2000

01. Green Beret - Involuntary Organ Donor [1:11]
02. Green Beret - Trapjaw [1:05]
03. Green Beret - Show Me Your Warface [0:53]
04. Green Beret - Tumor [1:37]
05. Green Beret - Bury the Hatchet [0:33]
06. Green Beret - Night of the Hunter [1:00]
07. Green Beret - Danger Dance [1:33]
08. Green Beret - Life of Death [1:21]
09. Green Beret - 100 Talons [1:39]
10. Green Beret - Origins of Yer / Aqua de Muerto [1:51]
11. Green Beret - Ranger's First Song [0:43]
12. Green Beret - Garden of Green Beret - Prologue [0:30]
13. Green Beret - Garden of Green Beret Part One [1:01]
14. Green Beret - Garden of Green Beret Part Two [0:50]
15. Green Beret - Garden of Green Beret Part Three [0:57]
16. Green Beret - Garden of Green Beret Part Four [0:49]
17. Green Beret - Ebola in Your Cola / Electric Funeral [9:51]

Wacky/silly grindcore band from the US. Closest reference points would be Melt-Banana, The Locust and (perhaps) Le Scrawl. Grindcore with (apparently) theremin noises, keyboards and whacked vocals (reminiscent of Ruins' vocals, at least occasionally).

And yes, the "Electric Funeral" in track 17 is a cover of the Sabbath song.

Download

Ciao.

Out of request from Mr. Whoever-is-hiding-behind-that-awful-nickname in #ghchat. Is it you, Encephalon?

It was the year 2005, the 25th anniversary of... Aww, the hell with it, the same information can be found here: http://en.wikipedia.org/wiki/Roadrunner_United.

With vocalists and instrumentalists from bands like Deicide, Chimera, Type O Negative, King Diamond and Opeth collaborating on a single album, you can be sure that there will no coherent genre present on the album. It's all just a happy circle jerk and appreciation of metal and rock in all its forms.

It's got Steve DiGiorgio on it~. That's reason enough to at least try it out.

You can download it here.

About the Roads song then. Similar stuff can be found on Opeth's album Damnation, and as the bonus song on Opeth's Ghost Reveries album's limited edition, a brilliant cover of Deep Purple's Soldier of Fortune.

Cheers.

High time I got back into this thread. Coming at you this time with Hip-Hop.

----

Ohene - Nina Simone By...Ohene
Year: 2007
Label: R*A*H*M Recordings
Genre: Hip-Hop/Soul



Tracklist

• 01 - Ohene - Resurrection
• 02 - Ohene - Be's Like Dat
• 03 - Ohene - Blue Prelude
• 04 - Ohene - Interview 1 (My Introduction to Nina)
• 05 - Ohene - Brown Baby
• 06 - Ohene - Interview 2 (My Favorite Nina Album)
• 07 - Ohene - I Put A Spell On You
• 08 - Ohene - Mama Said
• 09 - Ohene - Seeline Woman
• 10 - Ohene - Interview 3 (My Contribution to the Legacy)
• 11 - Ohene - Spring Is Here
• 12 - Ohene - Mr Backlash (feat. Sheda B)
• 13 - Ohene - No Grudge (feat. DN3 & Random)
• 14 - Ohene - Interview 4 (My Connection to Nina)
• 15 - Ohene - Strange Fruit (feat. Greg Soundz)
• 16 - Ohene - Summertime
• 17 - Ohene - Nina Simone by O (Bio)
• 18 - Ohene - Bonus Song- Discography

Spoiler:

1. Notice from R*A*H*M Recordings:

Originally Posted by http://www.ohene.rahmnation.org/

This project will mark the first of its kind for a couple of reasons;
it is an album entirely created and inspired by the work and life of Nina Simone and it will only be available via internet.

2. Review, taken from HipHopDX:

Quote:

Another one of the artists I've been bumping is Nina Simone. Talib Kweli, Mos Def and others have all hailed the jazz vocalist as inspiration, and even after loose listens through her Sugar In My Bowl compilation (which, according to a few reviews I've read, isn't even all of her best work), it's not hard to see why.

But for the first time, a rapper has actually made me want to hear an older musician's work more. HipHopDX's Joel Zela (good lookin out!) put me on Ohene, a Philly MC who has a new album dedicated to the singer: Nina Simone By...Ohene. While I'm sure that my opinion isn't as valuable as someone that's well-versed with Simone's work - and maybe I'm biased from my current playlist of older music - but from what I heard, this cat did this shit right. First off, the kid is talented: his engaging delivery is the perfect vehicle to convey his passionate, insightful lyrics, and according to Joel (who I'll trust with any for my music information, thanks), homie produced 90% of the album as well, and the beats are just as entertaining. But the dopest part is how flawlessly and naturally Ohene delivers the album's concept: numerous Simone samples and splices of Ohene being interviewed about her influence on his music make the album fulfill its goals as a dedication. This is an incredible example of how younger artists should have reverance for those that preceded them, and a great display of how older music and newer music can contribute to each other.

I definitely encourage you guys to pick this up, whether it be through download or purchase. It's definitely worth a listen.

DOWNLOAD


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I know everyone and their mom has this, but just in case you've never heard, well here's your chance.

Nas - Illmatic
Year: 1994/2004
Label: Columbia Records
Genre: East Coast Hip Hop



Tracklist
Disc 1:

• "The Genesis"
• "N.Y. State of Mind"
• "Life's a Bitch"
• "The World Is Yours"
• "Halftime"
• "Memory Lane (Sittin' in da Park)"
• "One Love"
• "One Time 4 Your Mind"
• "Represent"
• "It Ain't Hard to Tell"

Disc 2 [Bonus Disc]:

• "Life's a Bitch (Remix)"
• "The World Is Yours (Remix)"
• "One Love (Remix)"
• "It Ain't Hard to Tell (Remix)"
• "On the Real"
• "Star Wars"

Spoiler:

Originally Posted by Wikipedia

Illmatic was the debut album by rapper Nas, released on April 19, 1994 through Columbia Records. Featuring production from Large Professor (of Main Source), Pete Rock (of Pete Rock & CL Smooth), Q-Tip (of A Tribe Called Quest) and DJ Premier (of Gang Starr), as well as a guest appearance from AZ, Illmatic was immediately hailed as a masterpiece by several critics,[1] and is today one of the most celebrated and influential albums in hip hop history.

The release of Illmatic redefined the musical milieu of East Coast hip hop in the mid-1990s, resulting in a renewed focus on lyricism and in the revival of the Queensbridge rap scene, which had been latent after a period of prominence during the 1980s. Upon its release, Illmatic attracted a significant amount of attention within the hip hop community and caused an instant sensation within hip hop's underground circuit. In spite of this, the initial record sales of Illmatic fell below expectations.

On December 11, 2001, Illmatic was certified Platinum by the RIAA, and as of that month it was selling 3,000 copies a week in the U.S. A remastered commemorative edition of Illmatic was issued by Columbia for the album's tenth anniversary in 2004, with a bonus disc of four remixes and two previously unreleased tracks.

REVIEW, From Amazon.com:

Quote:

What could I possibly say about "Illmatic" that the other 450 reviewers haven't said already. Where do you start with an album that has been hailed time and time again, as the best hip-hop album of the 90s. It's a crowing achievement that Nas rests his reputation on comfortably. I was never into rap back in the mid-90s, so subsequently, I slept on this album up until 3 weeks ago. I finally decided to pick it up after I read an interview with one of my favorite [underground] rappers, Mr. Lif. He was grouping Nas "Illmatic" with classics from Public Enemy and BDP as some of his favorite rap albums of all time. I guess I never got into rap in the mid-90s because I didn't think it was all that great. I was never a very big fan of Dr. Dre's "The Chronic" or Snoop Dogg's work (although they undoubtedly have their strong points). Needless to say, I'm happy that Nas brought back the street poet aesthetic that hip-hop needed. Not that Nas is completely different from the bunch. He recruited the best jazz-rap producers in the biz, including Q-Tip, Pete Rock, DJ Premier, and Large Professor. The beats are strong, and Nas' lyrics are rough and tough. He really brings rap back to the hardcore street style of Rakim, Chuck D, and Gang Starr. Most importantly, Nas brands himself as a highly literate street poet. The lyrics are observatory reactions to everyday life. His outlook is more interesting than what a lot of emcees bring to the table. Without a doubt, Nas is an emcee's emcee. His fluid flow is nothing less than addictive ear candy for yours truly.

You will hear a lot of hip-hop heads going on about how 1994 was the year for hip-hop. I have never understood that. 1988 was the year for rap. But after hearing a record like "Illmatic", I can see where they are coming from. Although I can't honestly say that this stuff is more groundbreaking than Boogie Down Productions, Public Enemy, Eric B. & Rakim, Ice-T, Beastie Boys etc.. I will say that Nas has made something that stands strongly next to those talents. But to think that this is more groundbreaking than some records from 1987 or 1988 is a bit ridiculous. Nas might have a state of the art flow, but the beats are hardly groundbreaking (not to say they're bad, because they're great).

This is that edition of the album.

DOWNLOAD


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DangerDoom - The Mouse and The Mask
Year: 2005
Label: Epitaph / Ada
Genre: Hip-Hop



Tracklisting:

• 1. "El Chupa Nibre" (Brian Burton, Daniel Dumile) – 2:40
  * Appearances by Brak, Zorak, Master Shake, Lois Griffin
• 2. "Sofa King" (Burton, Dumile) – 2:57
  * Appearance by Aqua Teen Hunger Force
• 3. "The Mask" (Burton, Dennis Coles, Dumile) – 3:12
  * Featuring Ghostface
  * Appearance by Brak & Zorak
  * Samples Nova Local's "If You Only Had The Time"
• 4. "Perfect Hair" (B. Burton, D. Dumile) – 2:03
  * Appearance by Master Shake
• 5. "Benzie Box" (B. Burton, D. Dumile, Cee-Lo Green) – 3:00
  * Featuring Cee-Lo
• 6. "Old School" (B. Burton, D. Dumile) – 2:40
  * Featuring Talib Kweli
  * Appearance by Aqua Teen Hunger Force
• 7. "A.T.H.F. (Aqua Teen Hunger Force) " (Burton, Dumile) – 3:03
  * Appearance Aqua Teen Hunger Force
• 8. "Basket Case" (Burton, Dumile) – 2:35
  * Appearance by the cast of Harvey Birdman
• 9. "No Names (Black Debbie)" (Burton, Dumile) – 3:07
  * Appearance by the cast of Sealab 2021
• 10. "Crosshairs" (Burton, Dumile) – 2:27
  * Appearance by Brak and Thundercleese
• 11. "Mince Meat" (Burton, Dumile) – 2:33
• 12. "Vats of Urine" (Burton, Dumile) – 1:48
  * Appearance by the Mooninites
• 13. "Space Ho's" (Burton, Dumile) – 3:29
  * Appearance by Space Ghost
• 14. "Bada Bing" (Burton, Dumile) – 4:35
  * Appearance by Aqua Teen Hunger Force

Spoiler:

INFORMATION

Quote:

The Mouse and the Mask is a collaboration album by Danger Mouse and MF DOOM under the name DANGERDOOM, released on October 11, 2005 by Epitaph Records in the United States. It was also released by Lex Records in the UK on October 17, 2005, with different cover art.

The album was inspired by Cartoon Network's Adult Swim programming (where it also received considerable advertising) and features guest performances by Ghostface Killah, Cee-Lo and Talib Kweli as well as character voices and clips from many Adult Swim shows.

REVIEW, From Amazon.com:

Quote:

This is it. This is the album that will introduce MF Doom to a monstrous fan base.

While his other albums -- mostly four-star classics in my book -- are admittedly less accessible to the average hip-hopper (I'll be the first to admit that I was disappointed at my first listen to "Operation: Doomsday." Now I think it's fantastic), this is easy for anyone to get into.

Regardless, this album is an instant classic. My little SISTER even liked it. The beats are all bouncy and catchy (but still with a gritty edge to them), and the rhymes have just enough subtext to appeal to the discerning underground head as well as being nonsensical enough to be funny to anyone.

But the album as a whole is nothing to laugh at, however.

Right from the understated loop at the start of "El Chupa Nibre," it's clear that Doom is running the show. Danger Mouse's beats are basically all winners, from the chunky guitar on "A.T.H.F." to the Latin loop on "Crosshairs," the beats bubble under Metal Face's raspy flow.

The best moments come when guests are involved, and I'm not necessarily talking about guest MCs. Just about every Adult Swim character makes an appearance SOMEwhere, from Brak asking "Why did you buy this album? I don't know why you did, you're stupid," to Master Shake's series of messages asking why he hasn't been included on the album, "Because you KNOW my rappin' is the s***!" he says.

The album's cartoon-y theme carries over to its best song as well. "Old School" loops (what I THINK) is an old Hanna-Barbara music snippet. I recognize part of it from the opening frames of "Kill Bill," where Tarantino used it as music behind the "Feature Presentation" graphic.

Regardless of the source, Doom and Talib Kweli ride the beat like a brand-new Harley, waxing nostalgic about eatin' cereal and watchin' Saturday morning cartoons.

There's not much to dislike about this album. Even parents will enjoy the fact that they bleeped all the cuss words, although they did leave Doom's line about "fellas grab ya nutsacks, chicks squeeze your breastesses."

DOWNLOAD

----

Enjoy.

Ciao.

Moon informed me the other day that he didn't have the previous Jackdaw (a Celtic rock band from the Buffalo, NY area,) albums that I had uploaded (quite a while ago,) to the MEC, and he wanted them in the archive.

Well, between the time I had done those and now, they've since released two albums, Brillant, Sad & Guilty, a compilation album of the limited edition EPs, unreleased tracks and live recordings (of few of which were provided by my dad, from when he did a podcast on them.) I will not be sharing that, unfortunately, as most of the tracks are on other albums, and there was apparently a pressing problem, so the CD's are very hard to get an acceptable rip from.

The other album, the one I am sharing, is their newest studio album, Blackgrass. Released just this year, three years after their last album, it's a bit of a departure for Jackdaw. After the release of Triple Crown, Mike Jordan, who did guitar and vocals, left the band, and formed a new band (which is just as good, and of similar sound.) The rest of the band moved on, and went to work, slowly, but surely, on a new studio album.

It's also a different approach in sound than previous albums. While their previous works are a bit more raw and a more harder rock sound, Blackgrass sounds a bit more "professional," and shows the band has aged to a more serious sound. While I prefer the sound of previous albums, this is still a very solid album, and worth it to listen to.

Jackdaw - Blackgrass (2007)
[no cover art]

Tracklist
01. Don't Tell Me Now
02. Everything Seems So Damn Simple
03. Parade
04. Dance
05. Bye Bye Lust
06. Annelise
07. Shiny Black With Rain
08. Shout Out At Me
09. Bombshelle
10. Jamie
11. Galway Girl
12. Spaghetti Western
13. Supersize
14. All My Life

Download

If you're also interested in downloading their previous albums, they are here (this is mostly for archival purposes):
Armed & Legged
Jackdaw
Seven
Triple Crown
Whiskey

Cheers.

Montreal Jazz Fest Compilation 2007


Genre: Jazz (duh)
Year: 2007 (duh)


1 Nikki Yanofsky ›› Air Mail Special 4:20
Extrait du disque compact We All Love Ella: Celebrating the First Lady of Song (VERW34822)
2 Holly Cole ›› Waters of March 4:22
Extrait du disque compact Holly Cole (6152810418)
3 Natalie Cole ›› A Tisket, A Tasket 2:38
Extrait du disque compact We All Love Ella: Celebrating the First Lady of Song (VERW34822)
4 Sophie Milman ›› Rocket Love 4:32
Extrait du disque compact Make Someone Happy (2 70077)
5 Teddy Thompson ›› Change of Heart 3:05
Extrait du disque compact Up Front and Down Low (B0008908-02)
6 Mark Murphy ›› My Foolish Heart 5:14
Extrait du disque compact Love is What Stays (0251732909)
7 Puppini Sisters ›› Sway 3:07
Extrait du disque compact Betcha Bottom Dollar (1706227)
8 Richard Bona avec la participation de John Legend ›› Please Don’t Stop 3:59
Extrait du disque compact Tiki (9833457)
9 Sidsel Endresen ›› Slow Song 6:15
Extrait du disque compact Jazzland Community - Live (1733463)
10 Dee Dee Bridgewater ›› Footprints 6:47
Extrait du disque compact Red Earth (1722829)
11 Queen Latifah ›› I Love Being Here With You 2:56
Extrait du disque compact Trav’lin’ Light (B0009203-02)
12 Paul Anka ›› Time After Time 4:01
Extrait du disque compact Classic Songs - My Way (0251726647)
13 Ledesi ›› Alright 4:35
Extrait du disque compact Lost and Found (B0008909-02)
14 Randy Bachman ›› Exactly Like You 5:59
Extrait du disque compact Jazzthing II (RBFN 003)
Total : 1:01:50

What can I say? I went, I saw, and I bought a CD, and this is it. Spanning from all kinds of Jazz, I enjoyed it throughly, especially Air Mail Special and Rocket Love. There's rock jazz, hip hip jazz, soft jazz, fast jazz, whatever you want, there's one song to lead you to another route. It's a fun album, and while I just got it a few weeks ago, I have heard it plenty to give a recommendation.


http://www.megaupload.com/?d=468UBWVD

Ciao.

GHOST - Snuffbox Immanence ( Drag City, 1999, Japanese Psych-rock )



Track Listing:

1. Regenesis
2. Live with Me
3. Soma
4. Daggma
5. Snuffbox Immanence
6. Obit 1961
7. Tempere Tune
8. Fukeiga
9. Sad Shakers
10. Hanmiyau


Overview:

With a slightly reshuffled lineup -- Ogino now clearly became Batoh's chief collaborator, while new percussionist Setsuko Furuya accompanied the returning Kurihara, cellist Hiromichi Sakamoto and two brass players -- Ghost on Snuffbox created another striking, beautiful album. With its senses of fusions now firmly grasped, able to slide from trumpet and flute-accompanied folk on the opening "Regenesis" to the initially acoustic then ragingly electric "Sad Shakers," Ghost achieved levels of inspiration that easily equaled many of Batoh's original role models. One of those early sources gets saluted in a sharp way -- the Rolling Stones' "Live With Me" gets a piano/vibe-heavy remake here, with Furuya getting to showcase his abilities in particular. Another neo-psych masterpiece is the title track -- Batoh's truly cool, spaced-out lyric gets backed perfectly by Ogino's harpischord, his own acoustic and crunching electric guitar work, and plenty of production effects and tweaking for effect. The at-times underrated sense of playfulness which crops up in Ghost's work gets some airing here. "Soma" ends by shifting from a gentler flow to a quicker ending led by Batoh's banjo, while "Fukeiga" has similar fun with the vibes and Batoh's electric soloing offset against his clear acoustic work. Still, though, it's the sense of spiritual power and mantra-based music and performance that comes through the strongest on Snuffbox, a mostly calm and understated affair for its length. The fine instrumental "Daggma," with Ogino and Furuya's combination of keyboard and percussion instruments backed by Sakamoto's cello, is at once melancholic and uplifting. Batoh also clearly feels thoroughly comfortable with switching between his native tongue and English, splitting the amount sung in each language down the middle. "Hanmiyau" closes Snuffbox with a flourish, piano, guitar reverb, and more, Batoh's serene lyrics echoing up from the depths.

Where else do you find a Japanese psych-rock cover of a Stones tune?

Saccharine Trust - We Became Snakes ( SST, 1986, Jazz-Punk )



Track Listing:

1. We Became Snakes
2. Drugstore Logic
3. Frankie on a Pony
4. Need
5. For Her While
6. Effort to Waste
7. Redeemer
8. Longing for Ether
9. Belonging to October

Overview:

Sharp, tuneful, but retaining the ragged dissonance of their earlier records, We Became Snakes is probably the Saccharine Trust record to own. Produced by Mike Watt, Snakes is the most coherent and focused of the Trust discography, but that in no way means it's significantly less adventurous, rigorously demanding, or fun. Perhaps due to Watt's presence, the rhythm section sounds beefed up and keeps the rest of the band in line, but never puts a stranglehold on the possibilities inherent in free improvisation. Not exactly what you'd call a groovefest, Snakes is the best place to get a taste of what Saccharine Trust was up to.

We became snakes

Cheers.

Refused - The Shape of Punk to Come: A Chimerical Bombation in 12 Bursts
Year: 1998
Label: Burning Heart
Genre: Hardcore/punk/genreless



Tracklist:
1. Worms Of The Senses/Faculties Of The Skull
2. Liberation Frequency
3. The Deadly Rythm (Of The Production Line)
4. Summer Holidays Vs. Punk Routine
5. Bruitist Pome #5
6. New Noise
7. Refused Party-Programme
8. Protest Song '68
9. Refused Are Fuckin Dead
10. The Shape Of Punk To Come
11. Tannhauser/Derive
12. The Apollo Programme Was A Hoax

Review:
This is punk I can get behind. Loud as hell, and a true manifesto against the stagnation that (well, at least I hear) in a lot of punk; they throw in about everything but pop and the kitchen sink into this thing. Tannheuser opens up with a cello solo, New Noise has a short break into electronica, hell there's a short jazz section just before the Liberation Frequencies. This is some awesome shit.

WE DANCE TO ALL THE WRONG SONGS


Hilmar Örn Hilmarsson and Sigur Rós - Angels of the Universe (OST)
Year: 2001
Label: Fat Cat
Genre: minimalist ambient/Soundtrack/post-rock



Tracklist:
1. Approach/Dream
2. Memory
3. The Black Dog And The Scottish Play
4. Degradation
5. Over The Bend
6. Colours
7. Journey To The Underworld
8. Shave
9. On The Road
10. Another Memory
11. Relapse
12. Coma
13. Schiller In China
14. Helpless
15. Te Morituri...
16. Bíum bíum bambaló
17. Death Announcements And Funerals

Review (from AMG):
The soundtrack for Iceland's much celebrated film Englar Alheimsins (Angels of the Universe) lives up to the lavish praise with an overcast and ethereal score composed by a startling duo of Hilmar Örn Hilmarsson and Sigur Rós. With a story revolving around a man losing his mind, this marvelously stark musical accompaniment was certainly essential to the experience. Hilmarsson seems perpetually in tune with the film's despair -- "Degredation," "Journey to the Underworld," "Helpless" -- all written with such a complex mixture of opaque strings and acoustic guitars that one imagines the composer having a tragic breakdown of his own during the songwriting process. Sigur Rós has two pieces at the end of the soundtrack as well. While both were originally recorded for the band's Ný Battery EP, they work in equal measure here: "Bíum Bíum Bambaló" is a long, hypnotic interpretation of an ancient Irish-Icelandic lullaby (making it the first time the song has been transferred from oral tradition to record), whereas "Dánarfregnir Og Jarðafarir" (Death Announcement and Funerals) is a slightly more prog-rock take on a Jóni Múli Arnason composition (Iceland radio service used the original track to relate daily deaths and arrangements). As one can guess, Englar Alheimsins is far from an uplifting experience, yet its stirring, remarkable melancholia is something valuable for anybody in the mood for something strangely special.

Get it here


Sigur Ròs - Ágætis Byrjun
Year: 1999
Label: Bad Taste
Genre: Post-Rock



Tracklist:

1. Intro
2. Svefn-g-englar
3. Starálfur
4. Flugufrelsarinn
5. Ný batterí
6. Hjartað hamast (bamm bamm bamm)
7. Viðrar vel til loftárása
8. Olsen olsen
9. Ágætis byrjun
10. Avalon

Review:
The first time I heard this band, it was as Napster's "artist of the (whatever)" with "Svefn-g-englar." It was also the first time that I heard anything post-rock; this was a turning point. I fell in love with the flowyness of the song; the rest of the album holds mostly to that, with occasional outbursts of extremely heavy (in a sense) music in songs like "Ný batterí." My personal favorite is the goosebump inducing "Viðrar vel til loftárása" (A good day for airstrikes); the song is so fucking gorgeous that it eclipses much of the rest of the album.

Tju!

Ciao.

Alison's H-A-L-O - Eyedazzler 1992-1996 (Goddamn, why can't that word just be left alone )
Year: 1997
Label: Burnt Hair Records
Genre: Shoegaze





Tracklist:

01 - Raindrop
02 - Wishes
03 - Melt
04 - Chime
05 - Always April
06 - Slowbleed
07 - Torn
08 - Leech
09 - Sunshy
10 - Chalkboard James
11 - Untitled ("Strand of Paul" and "Calendar" live at Beautiful Noise festival, Phoenix, '95)

Download Eyedazzler

Shoegaze was a short lived genre, from the late eighties to the mid-nineties in its original incarnation. It was characterized by walls of noise and heavy reverb, and got its name from the nearly motionless performances from musicians who were concentrating so as to hit the right pedals at the right time (looking down, hence "shoegazing"). This album comes from a Tempe, Arizona couple who recorded in their home. It features singles culled from their years as AH, as well as a track from the Beautiful Noise festival, which showcased other great shoegaze acts, like Half String and Scenic.

Alison's H-A-L-O itself is characterized by Catherine Cooper's ethereal voice and Adam Cooper's guitar playing. The lyrics aren't always intelligible, but the point is to let the waves of guitar just wash over you. You'll try and think of it as background music, but the music will just push itself back into your consciousness. This is one of the great shoegaze albums of all time, and it's all the more special when you realize Alison's Halo produced only this one full length album before reforming and evolving beyond the shoegaze genre.

Cheers.

Jackson Browne & Warren Zevon - Live at VPRO Studios, 1976



Year: 1976
Label: no label, it's a bootleg
Genre: singer/songwriterish stuff

So this is a fairly rare live show from the radio in Holland. Quality stuff. Pretty laid back. I really can't see anyone not enjoying this. Not much else to say about it really.

01 These Days
02 Cocaine
03 Linda Paloma
04 Mohammed’s Radio
05 Frank and Jesse James
06 Hasten Down the Wind
07 Desperados Under the Eaves
08 Excitable Boy
09 For a Dancer
10 Something Fine
11 Carmelita
12 Werewolves of London
13 Looking Down the Path
14 Carmelita (with David Lindley)
15 Mohammed’s Radio
16 I’ll Sleep When I’m Dead

Get It

Ciao.

Posting a new upload link for Saturday Morning: Cartoon's Greatest Hits, at a user's request.



This album was already reviewed in this thread.

Cheers.