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 | Alternative & Indie thread rapidshare |  |
| Posted: Tue Oct 27, 2009 11:26 pm |
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Mark Eitzel - Klamath (2009)
mp3 320kpbs | 94MB | 43:38 min.
| Quote: | | 'Klamath' (decor records) is Mark Eitzel's first proper solo album of new original material since 2001's 'invisible man' on matador'. Written and recorded in a log cabin in the middle of the woods - by the klamath river, california. Eitzel producing with Franz Nicolay from the Hold Steady and Marc Capelle from American Music Club and Dave Douglas (who drums with Kelley Stoltz) guesting on the album. the pastoral - laid back, late night sparse feel to the album harkens back to Eitzel's folk influences of Nick Drake and John Martyn and earlier work with American Music Club. Just prior to American Music Club's breakup in 1995, Eitzel began his solo career in earnest and since then he has released six albums including '60 watt siliver lining', 'west' with REM's Peter Buck, 'caught in a trap...' with members of Sonic Youth and Yo La Tengo and two albums of cover versions. In 2003, American Music Club got back together for one of the most anticipated and amazing reunions in ages. Their 2004 album, 'love songs for patriots', received widespread critical acclaim as well as the follow up 'the golden age'. In between these albums he released a collection of soundtrack material called 'candy ass'. |
1 Buried Treasure 2:18
2 Like A River That's Reaching The Sea 3:42
3 The Blood On My Hands 4:03
4 I Miss You 4:55
5 I Know There's Someone Waiting 2:46
6 What Do You Got For Me? 3:32
7 The White Of Gold 4:40
8 I Live In This Place 3:41
9 Why I'm Bullshit 4:31
10 Remember 2:57
11 Antennas 3:44
12 Ronald Koal Was A Rock Star 2:48
| Code: | | http://rapidshare.com/files/294815663/Klamath.zip |
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| Alternative & Indie thread rapidshare | |
| Posted: Tue Oct 27, 2009 11:58 pm |
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Heavy Trash - Midnight Soul Serenade (2009)
m4a 256kpbs | 72MB | 36:37 min.
| Quote: | The point at which Jon Spencer truly crafted his own identity was with his Blues Explosion band. As the name suggests, their music was frequently loud, bombastic and loose limbed, as well as having the sense of adventure to strip to the bone and put themselves back together again, most notably with their Acme Plus remix album.
With Heavy Trash now on their third album, it can no longer be considered a side project. Spencer’s collaboration with New York alt-rock veteran Matt Verta-Ray was always destined to be a slightly different beast, but still one that retains enough of his hangdog charm and swagger to delight critics and his pre-existing fanbase. Midnight Soul Serenade continues Spencer’s ever-present trend of storytelling and effortlessly switching from upbeat moments that propel themselves with their own momentum to quieter, more introspective numbers where the vocals almost become a voiceover. The Pill barely registers a pulse, but carries enough ominous atmospherics under a squealing guitar line to sound like the opening number of a well-thumbed pulp fiction pot boiler turned into a musical. That’s not to say that Midnight Soul Serenade sounds phoned in, though. Instead, each number is breezed through with laconic charm; they’re still, in essence, singing the blues, but wear its tell-tale signs like a well-fitting curse.
What they do lack is the low-end rumble and foul-mouthed charm that Spencer is capable of howling out when the mood takes him. The return of John ‘Speedo’ Reis with The Night Marchers last year shared that common trait, so perhaps this is just what happens when bluesmen who understand punk rock grow older and wiser. Isolation isn’t a Joy Division cover, preferring instead to be a strange mix of rousing and disorientating instead. It’s no longer necessary to strap yourself in to keep pace with them, but there’s enough strum und drang peeking around the edges for those who want to hark back in time for that kind of freewheeling hybrid guitar music. They’re nothing if not true to themselves; the rest just seems to follow. |
1. Gee, I Really Love You
2. Good Man
3. Bumble Bee
4. The Pill
5. Pimento
6. (Sometimes You Got To Be) Gentle
7. Isolation
8. Bedevilment
9. Sweet Little Bird
10. That's What Your Love Gets
11. In My Heart
| Code: | | http://rapidshare.com/files/295435516/heavy_trash_-_midnight_soul_serenade_fat_possum_2009.rar |
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| Alternative & Indie thread rapidshare | |
| Posted: Thu Oct 29, 2009 10:53 pm |
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VA - 500 Days of Summer - Soundtrack (2009)
01. Mychael Danna & Rob Simonsen - A Story Of Boy Meets Girl 1:35
02. Regina Spektor - Us 4:49
03. The Smiths - There Is A Light That Never Goes Out 4:03
04. Black Lips - Bad Kids 2:08
05. The Smiths - Please, Please, Please, Let Me Get What I Want 1:52
06. Doves - There Goes The Fear 6:56
07. Hall & Oates - You Make My Dreams 3:05
08. The Temper Trap - Sweet Disposition 3:53
09. Carla Bruni - Quequun Ma Dit 2:44
10. Feist - Mushaboom 3:44
11. Regina Spektor - Hero 3:31
12. Simon & Garfunkel - Bookends 1:20
13. Wolfmother - Vagabond 3:47
14. Mumm-Ra - Shes Got You High 3:25
15. Meaghan Smith - Here Comes Your Man 3:14
16. She & Him - Please, Please, Please, Let Me Get What I Want 2:12
| Code: | | http://rapidshare.com/files/297369006/_500__days_of_summer_OST.zip |
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| Alternative & Indie thread rapidshare | |
| Posted: Fri Oct 30, 2009 12:57 am |
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Daniel Johnston - Is and Always Was (2009)
mp3 320kpbs | 87MB | 39:44 min.
| Quote: | | Daniel Johnston first made his reputation in the 1980s with ultra low-budget homemade recordings that sounded as rickety as his notoriously fragile psyche. As Johnston's cult following has grown with the years, those early efforts have continued to define his approach in the studio for good or ill, as attempts to craft more professional albums have found him collaborating with sympathetic musicians attempting to make sense of his idiosyncrasies (most notably Mark Linkous of Sparklehorse on 2003's Fear Yourself), or working with producers trying to create a hi-fi replication of Johnston's early cassettes (something Paul Leary of the Butthole Surfers did with SPAMising success on 1994's Fun). But with Is and Always Was, producer Jason Falkner has embraced a new approach; seemingly ignoring the artist's past work, Falkner has given Johnston's melodies a polished pop sound that reveals just how good the tunes can sound when given the right treatment. Falkner not only produced Is and Always Was, he handled most of the instruments himself (Joey Waronker play drums on six tracks) and in his hands, there's nothing halting or tentative about the songs -- these melodies are smart, energetic, and engaging, and with this treatment, Johnston's music sounds like potential hit single material for a change, especially on "Without You," "High Horse," and the title track. However, all that changes when Johnston starts to sing -- earlier attempts by producers to reach some middle ground with his music have given his quavering and uncertain vocals a reasonably fitting context, but the sheen and snap of Falkner's backing tracks make for an uneasy balance with his voice, which has developed a slight lisp while also showing the wear brought on by smoking along with its usual uncertainties. "Queenie the Doggie," a tribute to a departed pet, sounds as if its naiveté is more than a bit forced, and "Fake Records of Rock & Roll" suggests Daniel's familiarity with boogie rock is pretty sketchy, but otherwise this is a fine collection of new songs from Johnston, deeply personal but fascinating in their stark emotional honesty and SPAMisingly witty. But until Johnston's craft as a vocalist can rise to the level of Falkner's well-crafted soundscapes, he's going to sound out of place on his own albums if he keeps making records like Is and Always Was. |
01 "Mind Movies"
02 "Fake Records of Rock and Roll"
03 "Queenie the Doggie"
04 "High Horse"
05 "Without You"
06 "I Had Lost My Mind"
07 "Freedom"
08 "Tears"
09 "Is and Always Was"
10 "Lost in My Infinite Memory"
11 "Light of Day"
12 "Shoe" (Bonus Track)
| Code: | | http://rapidshare.com/files/299552178/Is_and_Always_Was.zip |
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| Alternative & Indie thread rapidshare | |
| Posted: Fri Oct 30, 2009 10:26 pm |
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Kid Congo & The Pink Monkey Birds - Dracula Boots (2009)
mp3 VBR~220kpbs | 57MB | 38:22 min.
| Quote: | On his new album, DRACULA BOOTS, the legendary Kid Congo Powers returns to the psychedelic jungle with a stripped down, no frills set of volcanic songs. Kid, the premier voodoo guitarist for seminal sexy swampy bands like Gun Club. Nick Cave and The Bad Seeds and Cramps is a restless aesthete. He used his earlier solo efforts to explore vocals and mix genres but with DRACULA BOOTS, Kid comes back to his roots as a crackerjack guitarist playing the primitive music that inspired him; the raw sounds of garage and early Chicano rock.
It only made sense to record such glittering gems as Thee Midniters, I Found A Peanut, and Bo Diddley’s, Funky Fly in a high school gymnasium. He did this in a Midwest town called Harveyville with his nefarious Pink Monkey Birds. Bassist Kiki Solis from El Paso,TX. and Drummer Ron Miller from Macon,Ga. provided the southern soul sauce needed to fuel the engine of the rhythm train. Recording on a stage using the old PA system created a natural reverb, summoning the magic of a bygone prom interrupted by a juvenile delinquent rumble.
The original songs on DRACULA BOOTS go from loud, fuzzy biker rock of Hitchhiking to a greasy rump shaker groove of Bobo Boogie, from a scary movie soundtrack, La Llarona to The Meters having an acid flashback of Black Santa.
So sink your teeth into this hunk of wax and waste no time strapping on your DRACULA BOOTS. You will dance your way from the cradle to the grave, and beyond. |
1 Lsdc 3:35
2 I Found A Peanut 2:32
3 Hitchhiking 2:05
4 Funky Fly 2:54
5 Black Santa 3:53
6 La Llarona 3:37
7 Buck Angel 2:38
8 Pumpkin Pie 2:11
9 Bobo Boogie 3:39
10 Rare As The Yeti 3:15
11 Kris Kringle Ju Ju 3:04
12 Late Night Scurry 5:00
| Code: | | http://rapidshare.com/files/253489981/Kid_Congo___The_Pink_Monkey_Birds_-_Dracula_Boots_-_2009.rar |
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| Alternative & Indie thread rapidshare | |
| Posted: Wed Nov 04, 2009 7:22 am |
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Kurt Vile - Childish Prodigy (2009)
mp3 320kpbs | 98MB | 49:34 min.
| Quote: | | Don't judge a book by its cover. Kurt Vile's long-haired hippie appearance may suggest West Coast roots -- even though he's actually a Philadelphian -- but his sound comes straight out of the underbelly of the Big Apple. With a slack-singing style reminiscent of Lou Reed or Alan Vega, and his vocals doused in slap-back reverb, the songs on Childish Prodigy shift between gritty numbers driven by guitar fuzz and steady ballads backed by one-key baritone drones. If this sounds a bit derivative of the Velvets, well, it is and it isn't. Vile and his backing band the Violators are knowledgeable students of the CBGB school of rock, circa Son of Sam, but just when you think you have them pegged as leather-clad street hoodlums on "Freak Train," a shuffling Roland 707 groove topped with a distortion wall and tense yelps ("I've never been so insulted in my whole life! Shit!"), they double back the other way with the mellow, fingerpicked circles of "Blackberry Song." The '70s New York scene makes up a big chunk of this album, but Vile's unique as a visionary with his own sound and a wide range of voices that turn from rambunctious to innocent in a blink. Childish Prodigy is split between drunken caterwauling and quiet hangover-recovery sessions, and both sides of the spectrum are fantastic. The band's spirit is captured perfectly, courtesy of Jeff Zeiglar's open-sounding recording style, and the indie underground rarely seems this fresh and free. |
01. Hunchback 4:49
02. Dead Alive 3:46
03. Overnite Religion 5:15
04. Freak Train 7:18
05. Blackberry Song 3:26
06. Monkey 3:43
07. Heart Attack 3:09
08. Amplifier 4:01
09. Inside Lookin Out 6:38
10. Hes Alright 4:35
11. Goodbye Freaks 2:54
| Code: | | http://rapidshare.com/files/302008585/Kurt_Vile_-_Childish_Prodigy__2009_.rar |
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| Alternative & Indie thread rapidshare | |
| Posted: Mon Nov 09, 2009 7:59 pm |
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VA - Sub Pop’s 2009 Cybersex Digital Sampler
mp3 192kpbs | 80MB | 58:17 min.
01. Vetiver – Strictly Rule
02. Handsome Furs – I’m Confused
03. Mark Sultan – Hold On
04. Red Red Meat – Gauze
05. Obits – Pine On
06. The Vaselines – Son of a Gun
07. Fleet Foxes – Mykonos
08. Iron and Wine – Belated Promise Ring
09. Tiny Vipers - Dreamer
10. Zak Sally – Why We Hide
11. Fruit Bats – My Unusual Friend
12. Pissed Jeans – False Jesii Part 2
13. Grand Archives – Silver Among the Gold
14. Flight of the Conchords – Hurt Feelings
| Code: | | http://rapidshare.com/files/245355109/sub_pop_cybersex_2009.zip |
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| Alternative & Indie thread rapidshare | |
| Posted: Mon Nov 09, 2009 9:04 pm |
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Grant-Lee Phillips - Mobilize (2001)
mp3 256kpbs | 87MB | 47:23 min.
| Quote: | | Some records defy explanation and rise above any praise or criticism. They exist in a realm of their own creation and definition, undeserving of attempts to categorize or humanize their artistic achievement. Words cannot capture their essence, and probably should not even try. With Mobilize, Grant Lee Phillips has set forth such a work. Superficially speaking, it offers 12 magically brilliant pieces, each and every one able to stand alone, comparable to the finest moments of U2, David Gray, R.E.M., and Radiohead. Collectively, they comprise true art, pure genius. Phillips has a superb, if not slightly altered, sense of melody and rhythm. The beats of his phrases play off of the percussive undercurrents of instruments and programming, winding the long way around when necessary to get his point across. The intimacy of each song is astounding, almost more so in the realization that Phillips wrote and performed every note himself, though assisted in production by Carmen Rizzo. Mobilize is certainly full of complex arrangements, sublime lyrical references, and intriguing instrumentation, but the overall impression is somehow much simpler. That's not to say that you'll be whistling these tunes after one listen, although a couple lend themselves to that reasonably well. It's more that one listen is so immediately enjoyable it will leave you wanting another and another, allowing the dedicated seeker to discover the secrets hidden in the layers. And of those, there are many. |
# "See America" 5:08
# "Humankind" 3:09
# "Love's a Mystery" 4:09
# "Sadness Soot" 4:20
# "We All Get a Taste" 3:54
# "Spring Released" 3:15
# "Lazily Drowning" 4:18
# "Like a Lover" 4:31
# "Mobilize" 4:07
# "Beautiful Dreamers" 4:27
# "Sleepless Lake" 2:50
# "April Chimes" 2:46
| Code: | | http://rapidshare.com/files/294990062/Grant_Lee_Phillips_-_Mobilize.zip |
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| Alternative & Indie thread rapidshare | |
| Posted: Thu Nov 12, 2009 11:49 pm |
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The Ettes - Do You Want Power (2009)
mp3 VBR~256kpbs | 61MB | 34:55 min.
| Quote: | | The Ettes' third album, Do You Want Power, marks something of a departure for the band. Produced in Nashville by modern-day garage rock hero Greg Cartwright (most recently of the Reigning Sound), the record is their most focused and diverse set to date and widens their garage rock sound without diluting it. Released in 2008, Look at Life Again Soon was produced by Liam Watson to have a very retro-leaning sound relying on Watson's vintage equipment and Joe Meek-influenced style. Cartwright gives Do You Want Power a modern, in-your-face sound with less reverb and more punch. This serves the flat-out rockers like "I Can't Be True" and "Take It with You" well, giving Coco's guitar extra bite and Poni's drums extra kick. Cartwright also adds some vocals and guitar to the mix, as well as co-writing (with bassist Jem) the best song on the album, the sassy "I'll Be Your Lover (But I Can't Be Your Baby)." To match the clean sound of the album, the band turns in remarkably tight and powerful performances that may sacrifice some noise and bluster but gain back loads of power and toughness in the bargain. It's a change in philosophy that makes for a more mature but no less ferocious record. Another positive difference this time out is Coco's more nuanced vocal approach. When she's angry she spits out the words like they are poison; when she's melancholy there's a quiet power in her voice that she hasn't displayed before. In fact, on the album's ballads the bandmembers show a side they have kept hidden before. They've always had slow, melancholy numbers in their repertoire, but this time out they are less beat group-sounding and instead have a bluesy Laurel Canyon ("While You're Girl's Away") or psychedelic ("Seasons") feel. The song that ends the album, the piano-and-strings ballad "Keep Me in Flowers," could even be a different band if not for Coco's tear-stained vocals. The production shifts and slight changes in philosophy are interesting, but it all comes down to the songs in the end. Tracks like "No Home," the burning hot "Red in Tooth and Claw," and "Blood Red Blood" (to name a few) are first-rate rockers that stand with the best songs cranked out by any modern-day garage punkers, and Do You Want Power is the band's best work to date. |
01. Red In Tooth And Claw
02. I Can’t Be True
03. So Say So
04. Take It With You
05. Love Lies Bleeding
06. Modern Game
07. I Can Be Your Lover (But I Can’t Be Your Baby)
08. Blood Red Blood
09. Seasons
10. While Your Girl Is Away
11. Walk Out The Door
12. No Home
13. Keep Me In Flowers
| Code: | | http://rapidshare.com/files/305127945/TheEttes-DoYouWantPower.rar |
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| Alternative & Indie thread rapidshare | |
| Posted: Fri Nov 13, 2009 2:37 am |
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Them Crooked Vultures - S/T (2009)
mp3 VBR | 115MB
| Quote: | | An alt/classic rock supergroup, Them Crooked Vultures featured Queens of the Stone Age's guitarist and vocalist Josh Homme, Nirvana/Foo Fighters' Dave Grohl on drums, and Led Zeppelin's John Paul Jones on bass. The trio first discussed collaborating in 2005, but not much more was heard of the project until summer 2009, when Them Crooked Vultures announced that they had been recording an album in Los Angeles. The band made their live debut at Chicago's Cabaret Metro after that year's Lollapalooza Festival closed, adding auxiliary Vulture and longtime Homme collaborator Alain Johannes on rhythm guitar and keyboards. The show's set list was made up of grungy, hard-hitting rock with prog rock leanings, including the song "Nobody Loves Me and Neither Do I," which the band posted a brief clip of on their YouTube channel the week after their inaugural gig. The band spent the rest of the summer on the festival circuit, then issued their self-tited debut that fall. |
01. No One Loves Me & Neither Do I
02. Mind Eraser, No Chaser
03. New Fang
04. Dead End Friends
05. Elephants
06. Scumbag Blues
07. Bandoliers
08. Reptiles
09. Interlude With Ludes
10. Warsaw or The First Breath You Take After You Give Up
11. Caligulove
12. Gunman
13. Spinning In Daffodils
| Code: | | http://rapidshare.com/files/311000213/tcv.rar |
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Last edited by exy on Mon Nov 23, 2009 9:01 pm; edited 1 time in total |
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| Alternative & Indie thread rapidshare | |
| Posted: Fri Nov 13, 2009 7:41 pm |
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Fiona Apple - Extraordinary Machine (2005)
mp3 320kpbs | 109MB | 50:34 min.
| Quote: | Like Wilco's Yankee Hotel Foxtrot before it, Fiona Apple's third album, Extraordinary Machine, turned into an Internet legend as fans leaked the unreleased record as labels left it on the shelves. Since Wilco's album notoriously remained unreleased because their label deemed it uncommercial, Apple fans who were patiently waiting a long, long time for new material were convinced that her label, Epic, was withholding a masterpiece because they also thought it was uncommercial. And, based on the version of Extraordinary Machine that was widely leaked on the internets in early 2005, if Epic indeed harbored suspicions that the album was uncommercial, they were not wrong -- although Apple reunited with her When the Pawn producer, Jon Brion, for Extraordinary Machine, the original sessions for the album found the singer/songwriter and producer both indulging in their worst tendencies, creating deliberately difficult, obtuse, baroque art-pop with so many creaky details and elliptical melodies that it barely let listeners into their world. It was the kind of record that devoted fans -- say, the kind that will start a website called FreeFiona.com to petition a record label to release an album -- would dissect endlessly, but it was too insular to appeal to even those who passionately loved her second album, which was already dismissed in some quarters as too arty. But the leaked album and FreeFiona did result in considerable media attention for the reclusive singer/songwriter, and put both Epic and Fiona Apple in the position to revive the project, since it proved that there was an audience for the album, giving Fiona artistic confidence and Epic the hope of recouping the 800,000 dollars they'd already sunk into the album. So, Apple ditched most of the Brion productions -- according to the flurry of articles to promote its fall release, this was her decision, not the label's, since she was unhappy with the recordings, which is why the album remained unfinished and unreleased for years -- teamed up with producer Mike Elizondo, best known for his productions with Eminem and 50 Cent but also a sideman on records by Sheryl Crow, Gwen Stefani, and Avril Lavigne, and finally finished the record.
To say that the released version of Extraordinary Machine is a marked improvement over the bootlegged version is not to say that it sounds more complete -- after all, the Brion productions sounded finished, as evidenced by the two cuts that were retained; the intricate chamber pop of the opening title track and the closing "Waltz (Better Than Fine)" are the only time Brion's productions not only suited but enhanced Fiona's songs -- but to say that they're not only more accessible, but more fully realized, letting Apple's songs breathe in a way they didn't on the original sessions. While Brion's productions were interesting, they stretched his carnivalesque aesthetic to the limit, ultimately obscuring Apple's songs, which were already fussier, artier, and more oblique than her previous work. When matched to Brion's elaborately detailed productions, her music became an impenetrable wall of sound, but Elizondo's productions open these songs up, making it easier to hear Apple's songs while retaining most of her eccentricities. Now, Extraordinary Machine sounds like a brighter, streamlined version of When the Pawn, lacking the idiosyncratic arrangement and instrumentation of that record, yet retaining the artiness of the songs themselves. Like her second record, this album is not immediate; it takes time for the songs to sink in, to let the melodies unfold and decode her laborious words (she still has the unfortunate tendency to overwrite: "A voice once stentorian is now again/Meek and muffled"). Unlike the Brion-produced sessions, peeling away the layers on Extraordinary Machine is not hard work, since it not only has a welcoming veneer, but there are plenty of things that capture the imagination upon the first listen -- the pulsating piano on "Get Him Back," the moodiness of "O' Sailor," the coiled bluesy "Better Version of Me," the quiet intensity of the breakup saga "Window," insistent chorus on "Please Please Please" -- which gives listeners a reason to return and invest time in the album. And once they do go back for repeated listens, Extraordinary Machine becomes as rewarding, if not quite as distinctive, as When the Pawn. Nevertheless, this is neither a return to the sultry, searching balladeering of Tidal, nor a record that will bring her closer to tasteful, classy Norah Jones territory, thereby making her a more commercial artist again. Extraordinary Machine may be more accessible, but it remains an art-pop album in its attitude, intent, and presentation -- it's just that the presentation is cleaner, making her attitude appealing and her intent easier to ascertain, and that's what makes this final, finished Extraordinary Machine something pretty close to extraordinary. |
# "Extraordinary Machine" – 3:44
# "Get Him Back" – 5:26
# "O' Sailor" – 5:37
# "Better Version of Me" – 3:01
# "Tymps (the Sick in the Head Song)" – 4:05
# "Parting Gift" – 3:36
# "Window" – 5:33
# "Oh Well" – 3:42
# "Please Please Please" – 3:35
# "Red Red Red" – 4:08
# "Not About Love" – 4:21
# "Waltz (Better Than Fine)" – 3:46
| Code: | http://rapidshare.com/files/305929199/Fiona_Apple_-_Extraordinary_Machine_Pt_1.rar
http://rapidshare.com/files/305924587/Fiona_Apple_-_Extraordinary_Machine_Pt_2.rar |
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| Alternative & Indie thread rapidshare | |
| Posted: Wed Nov 18, 2009 10:13 am |
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Jim White - Drill A Hole in That Substrate and Tell Me What You See (2004)
mp3 256kpbs | 116.5MB | 62:44 min.
| Quote: | | Jim White writes like a Southern gentlemen. When he released his cryptic debut, Wrong-Eyed Jesus, in 1997, he was approaching 40, and with each record his civil invective and genuine yearning for redemption have become more focused, culminating in an eccentric -- yet fully realized -- body of work that requires no aging to prove itself worthy. Drill a Hole in That Substrate and Tell Me What You See preens like an alley cat with a bellyful of chicken scraps. The thick veil of gloss that co-producers Joe Henry and Tucker Martine use to coat each of the 11 hypnotic tracks is entirely transparent, resulting in a glass-bottom boat ride that's both cathartic and uncomfortably voyeuristic. White's characters are always teetering on the edge of a bridge, faces cast skyward, wondering if whatever it is that's left them might swoop down just seconds before the first shoe drops. He meets his subjects on level ground, allowing them to speak through him as well as serve as their master's mouthpiece. On the spooky Tom Waits-style dirge "Borrowed Wings," the ghosts of doomed Bonnie and Clyde-cursed lovers weep "For in the fallow field where what's reaped is what's sown/There lies a road to ruin and it's paved with our tombstones." It's not all hellfire and brimstone, though, as evidenced by the goofy Barenaked Ladies collaboration "Alabama Chrome" and the bright -- almost hopeful -- hidden track, "Land Called Home." There's a deep Southern gothic vibe at work here that brings to mind the Spanish moss meanderings of Daniel Lanois' For the Beauty of Wynona, but it's the shadow of Waits that always gets the last word; "If Jesus Drove a Motor Home" sounds like a cross between something off of The Black Rider and the theme to The Sopranos, but it's interesting that despite all of the celebrity guests (Aimee Mann, Bill Frisell, M. Ward), it's White's self-produced tracks that mirror their creator's sewn up -- but still bleeding a little -- heart. |
# "Static on the Radio" – 6:31
# "Bluebird" – 5:29
# "Combing My Hair in a Brand New Style" – 6:24
# "That Girl from Brownsville Texas" – 6:22
# "Borrowed Wings" – 4:34
# "If Jesus Drove a Motor Home" – 4:36
# "Objects in Motion" – 5:58
# "Buzzards of Love" – 7:00
# "Alabama Crome" – 4:25
# "Phone Booth in Heaven" – 7:09
# "Land Called Home" – 4:11
| Code: | http://rapidshare.com/files/258664433/Drill_A_Hole_In_That_Substrate_And_Tell_Me_What_You_See-1.zip
http://rapidshare.com/files/258664532/Drill_A_Hole_In_That_Substrate_And_Tell_Me_What_You_See-2.zip |
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| Alternative & Indie thread rapidshare | |
| Posted: Fri Nov 20, 2009 8:46 am |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 259 |
| Location: http://flaclossless.blogspot.com/ |
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Blanche - Little Amber Bottles (2007)
mp3 256kpbs | 94MB | 51:18 min.
| Quote: | | If We Can't Trust the Doctors' dusty drama brought the members of Blanche acclaim and opportunities: the band supported Loretta Lynn on Van Lear Rose, toured with the White Stripes and Calexico, and Dan and Tracee Miller appeared in I Walk the Line. Though these commitments -- not to mention Little Jack Lawrence's stint with the Raconteurs -- delayed the band's second album, it was clearly time well spent. Little Amber Bottles is the work of an even richer, more experienced band, pairing the masterful atmospheres of Blanche's debut with powerful songwriting and outstanding production. Less self-conscious and more versatile than they were on If We Can't Trust the Doctors, Blanche switch easily from mood pieces like the swampy instrumental "Exordium" to "The World I Used to Be Afraid Of," a darkly witty, downright rollicking murder ballad with a heart full of darkness and a twinkle in its eye. Just why the song's character is so cheerful and how he won his beloved makes for a typically twisted, and wonderfully written, tale from Dan Miller. Little Amber Bottles tackles many of the same themes that Blanche delved into on If We Can't Trust the Doctors -- faith, love, and redemption (or the lack thereof) -- but this time the songs are more urgent. The album is full of stories of outrage, big and small, personal and universal: "Last Year's Leaves" is an elegant and bitter kiss-off; on "A Year from Now," Miller insists that "all these tears will help someday," but sounds unconvinced as the song grows increasingly turbulent. "No Matter Where You Go"'s character sketch of a hopeless narcissist is as subtly insistent as a nagging conscience, but "What This Town Needs" is blunt and brash, hitting home big questions like "How can you sleep at night?" with equally big guitars. Musically speaking, Little Amber Bottles casts a wide net, touching on everything from punk to gospel to bluegrass. Recorded in Nashville with Mark Nevers and in Detroit with Dave Feeny, these songs show off Blanche's abilities to their fullest. The Millers may have played Mr. and Mrs. Luther Perkins in Walk the Line, but on the album's duets, they feel like Lee Hazlewood and Nancy Sinatra. "I'm Sure of It" is a study in contrasts, pitting Dan Miller's nasal sneer against Tracee's breathy drawl as the song goes from simmering verses to roiling, rocking choruses. The title track's narcotic glow and Feeny's delicate, molten pedal steel (which is stellar throughout Little Amber Bottles) nod to countrypolitan's rootsy glamour, while "I Can't Sit Down" is joyfully old-timey, all close harmonies and revival-ready hollers. Blanche's cover of "Child of the Moon" transforms the Rolling Stones' psych pop classic into a winsome, slow-motion waltz so successfully that they might want to think about doing a full-fledged covers album. Crucially, all these nods to Blanche's influences end up enhancing the band's uniqueness; rooted equally in the traditional and more experimental sides of Americana, country, and rock, Little Amber Bottles expands what a Blanche album can be, and it's a joy to hear. |
1. I'm Sure Of It
2. Last Year's Leaves
3. A Year From Now
4. No Matter Where You Go...
5. What This Town Needs
6. Child Of The Moon
7. Little Amber Bottles
8. The World I Used To Be Afraid Of
9. O Death, Where Is Thy Sting?
10. I Can't Sit Down
11. (Exordium)
12. The Worlds Largest Crucifix
13. Scar Beneath The Skin (bonus)
| Code: | http://rapidshare.com/files/306877828/Blanche_-_Little_Amber_Bottles.zip
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| Alternative & Indie thread rapidshare | |
| Posted: Mon Nov 23, 2009 11:18 pm |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 259 |
| Location: http://flaclossless.blogspot.com/ |
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Jesse Malin – On Your Sleeve (2008)
mp3 VBR~192kpbs | 67MB | 47:02 min.
| Quote: | | 2008 covers album from the former leader of D-Generation. Recorded over seven days and featuring interpretations of classic singer-songwriters Tom Waits and Neil Young, contemporary greats such as The Hold Steady and The Kills, Punk icons The Ramones and The Clash, Lou Reed and even a Sam Cooke standard - Jesse tips his hat to a small collection of writers that inform his unique musical identity and appeal. As a performing songwriter, Jesse appreciated the challenge of covering unique melodies not of his own design. Jesse Malin's musical career began at twelve years old when he fronted New York hardcore band Heart Attack and spanned eight years with D Generation before culminating in three critically-acclaimed solo albums this decade past. The most recent of these came in the form of 2007's Glitter In The Gutter, which saw Jesse accompanied by a raft of talented performers including long-time companion/sometime producer Ryan Adams, Josh Homme and Bruce Springsteen. |
| Quote: | For an artist in their songwriting prime, the covers album is always a great risk. Typically the sign of creative drought or contractual obligation, as a rule they rarely work. When they do, the listener is sent either scurrying back to the originals, reminded of the greatness of a certain song; or forced into reappraisal, to check again a hitherto unrecognised work of art. For every hundred David Bowie Pin Ups, only the odd moment of genuine transcendence (ie Cat Power's Jukebox) slip on through.
By choosing the most predictable sources of raw material, Jesse Malin wires himself to mission impossible from the outset, with the New Yorker aiming to tackle a combination of rock standards (Walk On The Wild Side, Everybody's Talking, Wonderful World) alongside more contemporary songs by The Hold Steady and The Kills.
He might just about scrape away with the latter, but treatments of his heroes' work such as The Clash's Gates Of The West or The Stones' Sway are awkward. The latter, especially, reducing the sticky-fingered original to an electronic-based travesty. Aiming for Suicide, the results are more Bontempi. Elsewhere, the interpretations bring to mind images of throwing poses with a tennis racquet in front of the bedroom mirror. In the case of Neil Young's Looking For A Love, the pay off line ''when she starts to see the darker side of me'', is dispatched with the over-wrought intensity of a bit-part actor.
After 14 tracks, you're left wondering at quite who this album is aimed? Malin is a gifted songwriter in his own right, and a witty and erudite performer. His previous albums are strong. But shorn of his strengths, he lurches perilously close to the brand of professional Noo Yawker as personified by Huey Morgan and his godawful Fun Lovin' Criminals. Let's put it down as a career blip. For while On Your Sleeve is obviously a labour of love, on the whole it's simply just laboured. <BBC> |
1. Leaving Babylon (Bad Brains)
2. Me And Julio Down By The School Yard (Paul Simon)
3. Sway (Rolling Stones)
4. Russian Roulette (Lords of the New Church)
5. Walk On The Wild Side (Lou Reed)
6. You Can Make Them Like You (The Hold Steady)
7. Harmony (Elton John)
8. It's Not Enough (Johnny Thunders)
9. Looking For A Love (Neil Young)
10. Lady From Baltimore (Tim Hardin)
11. Operator (Jim Croce)
12. Fairytale of New York (The Pogues)
13. Hungry Heart (Bruce Springsteen)
14. Everybody's Talking (Harry Nilsson)
| Code: | | http://rapidshare.com/files/308488552/Jesse_Malin_-_On_Your_Sleeve.rar |
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| Alternative & Indie thread rapidshare | |
| Posted: Wed Nov 25, 2009 1:57 am |
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| exy |
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| Joined: Feb 21, 2009 |
| Posts: 259 |
| Location: http://flaclossless.blogspot.com/ |
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Soledad Brothers - Hardest Walk (2006)
mp3 256kpbs
| Quote: | Detroit is deservedly known as a city with a rich musical pedigree, spawing Motown of course, plus in more recent years the likes of Eminem, The White Stripes and Brendan Benson. The Soledad Brothers are friends of the latter two, with drummer Ben Swank being Jack White's former flatmate and pianist Oliver Henry romantically linked with Meg White.
Although they may not be as well known as The Whites, The Hardest Walk is actually the Soledad Brothers' fourth album, and marks somewhat of a progression from the raw, vicious garage blues of their early days.
It still sounds supercharged though, with opening tracks Truth Or Consequence and Downtown Paranoia Blues forming an almighty double whammy to introduce the album. The former swaggers into view like an old Primal Scream record, and is enlivened by bursts of horns, while the latter is one of the most exciting songs you'll hear all year, a heads-down boogie that would put the Kings Of Leon to shame.
There's an added edge to many of the songs here too, when you learn that the album was recorded after lead singer Johnny Walker had broken up with his long-term girlfriend. Bitterness and pain veritably burst out of the speakers, especially on the aforementioned Downtown Paranoia Blues - the sound of Walker screaming "I'm afraid I'm gonna see her downtown" is one that stays with the listener for some time.
There's also the exhilarating Crooked Crown, featuring some blistering guitar work from Walker, and Good Feeling which recalls The Who, but also manages to sound utterly contemporary. As befits a record inspired by heartbreak, there's some more downbeat numbers here too, namely the hypnotic Let Me Down, and Crying Out Loud, which is so uncannily like prime Rolling Stones it could almost be an out-take from Let It Bleed.
One of the impressive features of The Hardest Walk is how the Soledad Brothers can swing from one extreme to the other. They can place Dark Horses, a gentle yet still menacing dead ringer for early Chris Isaak next to the chaotic brief burst of noise that is White Jazz, and yet it fits perfectly.
On first listen, it's likely that some of this record's subtleties will pass you by, and there's a danger it may be dismissed as 'just another garage blues' record. Yet it impresses deeper with every listen - for instance Mean Ol' Toledo, which sounds a bit too retro at first, slowly reveals itself as a brilliantly menacing Delta Blues swamp.
They even put a worthwhile hidden track on the album some 20 minutes after the excellent True To Zou Zou - so often hidden tracks are just an excuse for a band to shove some self-indulgence on the end of the disc, but here you'll find an almighty instrumental jam designed to be played loud.
All quite brilliant in other words, and yet another string to the Motor City's musical bow. If The Hardest Walk doesn't make the Soledad Brothers the huge stars they deserve to be, then there's no justice in this world. |
1. Truth Or Consequences
2. Downtown Paranoia Blues
3. Crying Out Loud (Tears Of Joy)
4. Crooked Crown
5. Sweet And Easy
6. Dark Horses
7. White Jazz
8. Good Feelings
9. Let Me Down
10. Mean Old Toledo
11. Loup Garou
12. True To Zou Zou
| Code: | http://rapidshare.com/files/259086322/The_Hardest_Walk_Pt._1.zip
http://rapidshare.com/files/259086825/The_Hardest_Walk_Pt._2.zip |
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