The most well-known Earth is an american drone doom band formed in 1990 in Olympia, Washington, United States by Dylan Carlson, Slim Moon, and Greg Babior. They are pioneers in the minimalistic and repetitive form of doom metal known as drone doom. The band at some point moved to Seattle where Carlson forged a strong friendship with grunge music icon Kurt Cobain, who sang lead vocals for the song Divine and Bright on the live album Sunn Amps and Smashed Guitars. Cobain also appeared as a “specialist” on Earth’s 1990 debut release Extra-Capsular Extraction, and sang backing vocals on A Bureaucratic Desire for Revenge Part 2.
Joe Preston, who played bass briefly with the Melvins, also appears on this 3 song CD. Dylan Carlson has been the driving force of the band and still remains the core of an everchanging line-up. As of the release of their most recent album entitled The Bees Made Honey in the Lion’s Skull , Earth consists of Dylan Carlson guitars / amplifiers , Adrienne Davis drums/percussion , Steve Moore acoustic and electric pianos / wurlitzer and Karl Blau acoustic/electric bass.
Bill Frisell appeared as a guest guitarist on three songs. Earth’s official website: Earth recently unveiled a beautiful collection of early recordings ('A Bureaucratic Desire for Extra Capsular Extraction') to which many agree marked the band as pioneers of a new sound that has continued to metamorphose ever since. True that with each brand new studio album, they evolve, and it is this willingness to experiment with different sounds and different musicians that has enabled Earth to remain consistently interesting and undoubtedly always unique. Following the Extra Capsular reissues, Earth's next offering is a brand new studio album, 'Angels Of Darkness, Demons of Light 1', a fine testament to the fact that they have come a long way since 1989. Drawing on inspiration from both British Folk-Rock bands the Pentangle and Fairport Convention and the North African Tuareg band Tinariwen, the new material, while still 'heavy' is much more fluid and melodically oriented, less dense and more textured and nuanced.
It contains greater improvisatory interplay between the musicians. On one hand the new album acknowledges previous recordings, sonically it cultivates the jazz infused Americana presented on The Bees Made Honey In The Lion's Skull and as a further nod to the past, Earth returned to Avast studios to work with producer Stuart Hallerman (Soundgarden, Mudhoney, Built To Spill, and Earth2!) again.
On the other hand, there have been some significant changes which have given birth to yet another new sound, the main change being the line up and so joining Dylan and Adrienne on the album is cellist Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra, Laura Veirs) and Karl Blau (K Records, Laura Veirs, Microphones) on electric bass. The touring band will feature Dylan Carlson, Adreinne Davies, Lori Goldston, and Angelina Baldoz on bass. Songs 'Father Midnight' and Hell's Winter' definitely retain some of their former glory on the Bees Made Honey. Whilst the cello, though subtle at times, adds a more haunting tone to songs 'Old Black' and 'Descent to the Zenith' which are so powerful that they have the ability to move one to tears. It is the album's closer and title track which is the boldest step in a new direction for Earth, utilizing the complimentary tones of cello, electric bass and Dylan's guitar, leaving the notes to hang contemplatively in the air before Adrienne's drum beats finally emerge.
The repetition throughout the song is seemingly simplistic, though as we all know by now, there is absolutely nothing simple about holding a note or beat for as long as Earth do. Angels of Darkness, Demons of Light II has put on offer, and by and large, the album feels less like a sequel capitalizing on the ideas of the first installment than it does a completion of a whole single unit, or perhaps a collection of complementing remnants that strengthens the first by revealing more of the process that went into making it. However you choose to read it, Earth’s drive toward improvisation is important for what it might mean in terms of the band’s future work, and as Angels of Darkness, Demons of Light II remains in line with the preceding record, an overarching musical thematic does feel present, even if the album’s triumph might be more in the procedure or construction than in the expansion of the sonics themselves.
In that way, the expectation of something different that Earth seem to set for themselves with each ensuing album holds them back here – since it’s largely the same approach – but it also makes having the two full-lengths as part of the same single unit that much more apt. In any case, as Earth has already lost Blau on bass, one hopes Carlson and Davies – the central duo – can keep Goldston contributing in the lineup at least for a while, because if nothing else, the sheer glut of material that occurs across the two Angels of Darkness, Demons of Light records speaks to the creative spark at work in the band at this point. With the increase in chemistry that road time brings and the experience at studio-based improvisation they’ve gained recording these songs, Earth could easily be marking the beginning of a new era. Recommended for musicians: Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound.
The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies. Davenport Rex is a music project based in Detroit, Michigan. Their sound is diverse and challenging, yet accessible and appealing. The band’s music stands out as a combination of tasteful progressive rock, with shades of various influences, ranging from alternative to symphonic hard rock, just to mention a few.
Another light week, partly cuz stuff is getting pushed back still, partly cuz, shipping is apparently difficult. That’s alright, that gives you a chance to catch up on all the things that have come out over the last few weeks. Plus there’s a few things that should have been in weeks ago finally here.
Rejoice!.pick of the week. Uncle Acid & The Deadbeats: Volume 1 (Rise Above) LP Originally released in 2010, Vol 1 was the first efforts of unknown songwriter, Kevin Starrs. Pressed in small numbers for a non existing fan base, the album took several months to shift all 30 CD-R copies and provided a small platform to fund its follow up, Blood Lust (2011). Recorded on a tight budget of stashed dole money and with little knowledge or regard for conventional recording techniques, the chaotic results speak for themselves. Distorted vocals, out of tune harmonies, ragged musicianship and everything pushed to the red. The clatter of mic stands falling over mid performance, the rustling of lyric papers, the missed key changes and flubbed lines.
Everything you would want to avoid is here. Self-funded, self-recorded and self released to a fanfare of silence, Vol 1 was a true D.I.Y. Effort from start to finish. No great ambition, no target audience, no press support.
Just a collection of songs for anyone who would listen. With it’s mix of budget horror lyrics, Everly Brothers obsessed harmonies, downer rock riffs, overly long guitar solos and bizarre high pitched vocals, Vol 1 had very limited appeal outside a small group of underground fanatics.
In the years following, the album became something of a cult curiosity. Despite the shoddy work of bootleggers and impatient collectors, Starrs refused to re-release the album until he could work on its remix and oversee the mastering.
“It was a D.I.Y project from the beginning so I wasn’t going to give it up and let someone else mess with it. I also wasn’t going to cash in on something for the sake of it. I wanted it to sound the best that it possibly could. The record deserves my full attention, so with no new album to distract anyone in 2017, it was the perfect time to work on it and release it on vinyl. It can stand on its own flaws included.” So here it is, Vol 1 in all its ragged glory finally mastered and mixed for this release. File Under: Stoner, Psych, Metal.new arrivals. Beck: Mutations (Interscope) LP+7″ In tomorrow Since introducing himself to the world in 1994 with his genre-defying, multi-platinum debut, Beck has blazed a path into the future while simultaneously foraging through the past.
Throughout his singular career he has utilized all manners and eras of music, blurring boundaries and shattering expectations with each album. 1998’s Nigel Godrich-produced Mutations and its world-tripping atmospherics won Beck the Grammy for Best Alternative Album in 2000. After some traumatic personal times, including the death of his grandfather during the making of Odelay, Beck returned in a chipper mood for “Tropicalia” but didn’t hide a darker, introverted disposition on “Nobody’s Fault But Mine” (later covered by Marianne Faithfull with Beck producing) and “Cold Brains,” a wondrous power pop work out with Roger Manning, Jr, Joey Waronker and Justin Meldal-Johnsen underpinning the riffs like some new Hollywood royalty. File Under: Alternative Beck: Modern Guilt (Universal) LP In tomorrow Since introducing himself to the world in 1994 with his genre-defying, multi-platinum debut, Beck has blazed a path into the future while simultaneously foraging through the past.
Throughout his singular career he has utilized all manners and eras of music, blurring boundaries and shattering expectations with each album. Beck’s Grammy-nominated 2008 release Modern Guilt marked both a spiritual crisis and a creative rebirth for the cosmic chameleon. Co-produced by the always-in-demand Danger Mouse, it’s chock full of off-kilter rhythms and left-field breakdowns, with an overall 1960s British vibe and vocals that float over the music as if the idiosyncratic singer/songwriter is singing in the next room. Beck’s shortest studio effort to date is anchored by the epic, “Chemtrails,” a genre-bending tour de force that showcases Beck and Danger Mouse’s shared affection for late-60s psych-pop and also features a guest appearance by Cat Power on “Walls.” As is always the case with any Beck record, he keeps things musically interesting and fresh while constantly challenging any and all categorization along the way. File Under: Alternative Brand New: Science Fiction (Procrastinate) LP Science Fiction serves as the long-awaited fifth full-length (and potentially final) album from cult Long Island band Brand New and their first since 2009’s Daisy.
Produced by frequent collaborator Mike Sapone, the mythical and moody 12-track collection is a distinct chapter in the band’s shape-shifting career complete with compelling interludes, gripping lyrics, textured guitars and rollercoaster loud-soft dynamics. “It’s tough to put Science Fiction in immediate comparison with Brand New’s older LPs, though fans are undoubtedly already trying,” Billboard writes. “It’s better than Daisy, impossible to compare to the pop-punk simplicity of 2001’s Your Favorite Weapon, and once it’s fully sunk in (which could take another eight years), could be argued as 2003’s Deja Entendu and 2006’s The Devil and God Are Ragning Inside Me’s superior.” File Under: Pop Punk, Rock Lana Del Rey: Lust For Life (Universal) LP In tomorrow Lust For Life finds neo-crooner Lana Del Rey shedding the ennui-laced themes of her last two releases and facing the future. While not mired in nostalgia, the album continues the balancing act of viewing retro-references through the prism of modern day tribulations.
Her signature languid delivery remains the same, but the album also has Del Rey trying out plenty of new ideas, from studio production to lyrical themes and collaborations. Lust for Life is certainly her most sonically diverse collection yet, implementing hip-hop based percussion and tapping into her folk and jazz roots, with tender piano ballads and some acoustic guitar numbers. The retro references and doo-wop melodies are still there, but the whole album is underpinned by a persistent mid-tempo beat and melancholic streak. Created with her long-time producer and collaborator Rick Nowels, Lust For Life also marks the first time she’s invited others to be featured prominently on her own tracks and includes collaborations with A$AP Rocky, Playboi Carti, Sean Ono Lennon, The Weeknd and Stevie Nicks. File Under: Pop Lydia Loveless: Boy Crazy & Single(s) (Bloodshot) LP A new collection of Lydia Loveless’ summery 5-song EP Boy Crazy, on vinyl LP for the first time, plus six non-album singles and B-sides, including original songs in addition to inventive and bare-bones covers of Prince, Elvis Costello, and Kesha.
The recordings span from 2012 to 2015; many of which are on LP for the first time. The first pressing is on colored wax. Lydia and her band “rehearsed for about a week and then went into the studio with a couple thirty packs” when they recorded Boy Crazy, after all. Boy Crazy is Loveless’ “rock and roll tribute to baseball pants and youth.” Featuring sun-washed, rebel-powered pop songs presenting a conversation about judgment and loss of innocence, as one transitions from good old American naivete to you-should-knowbetter “wisdom.” These songs see Lydia and her band roping in their signature twangy, pedal steel-laden rock beat-em-ups and tying them tightly with the crisp Southern air of Tom Petty and the Heartbreakers’ Damn the Torpedoes and the snarling-but-sweet delivery of Juliana Hatfield’s heyday. File Under: Folk, Rock John Maus: Screen Memories (Ribbon) LP The inimitable John Maus returns with his fourth full-length album, Screen Memories. It has been six years since We Must Become The Pitiless Censors Of Ourselves appeared like a thunderbolt of maniacal energy and turned everyone’s heads around.
Maus’ music is a highly mutable affair. Whilst often described as retro-futurist on behalf of the 80’s drum machines and synth sounds employed, John’s music is more personal than the nostalgic re-tread implied. He’s more interested in seeking cadence, through his love of Renaissance polyphony and the experimentation behind post punk. It’s an amalgamation of musical ideas as radical as its intent. Screen Memories was written, recorded, and engineered by Maus over the last few years in his home in Minnesota, known genially as the Funny Farm. It’s a solitary place situated in the corn plains of the rural American Midwest.
The landscape is as majestic as it is austere and inevitably some of the sub-zero winter temperatures creep into the songs, as do the buzzing wasps of summer. Through the whole album Maus has an undeniable talent in grasping the mettle of each song, reaching within and building up a sincere core, before teasing out the edges in acknowledgement to the very ridiculousness of its existence. Rather than creating these songs through an enjoyment of the process Maus considers himself more in the role of someone discovering them buried just beneath the surface. Perhaps the songs presented here are the ones that mask his real intentions, Freud pressing record and turning the TV channel to snow. All we can be certain of now though is that John Maus is back and he sounds gloriously alive. The triumph of the human is upon us and all the false gods and bad jokes will be the first to fall. File Under: Electronic, Synth Pop OST: Contagion (Cliff Martinez) (Real Gone) LP Former Red Hot Chili Peppers drummer Cliff Martinez’s long-standing collaboration with director Steven Soderbergh ranks right up there with some of the other great composer-director teams in film history, like Bernard Herrmann-Alfred Hitchcock and Ennio Morricone-Sergio Leone, and his 2011 score for the disaster blockbuster Contagion is among his best work.
Oddly, it owes some of its uniqueness to the fact that Soderbergh radically recut the film three different times, causing Martinez to adjust the score on the fly. First starting with a more conventional score indebted to thrillers like Marathon Man and The French Connection, then moving in a more dream-like, Tangerine Dream direction, before settling on a sound that incorporated orchestral and electronic timbres into highly propulsive and rhythmic framework. It’s like the most chilling “chill-out” electronica you’ve ever heard, simultaneously hypnotic and horrifyingand for its first-ever vinyl release, Real Gone Music has fashioned a gatefold album cover featuring film production stills housing a colored vinyl edition. Between the look of the package and the disquieting music, this one’s guaranteed to get you to sign up for a flu shot! File Under: OST Propagandhi: Victory Lap (Epitaph) LP The first thing to know, if you want to know about Propagandhi, is that they came here to rock.
Right from the snarling opening riff of their seventh album, Victory Lap, that much is clear. For everything else that swirls around the band now, and for the last 31 years – the politics, the people and, lately, a gnawing sense of despair – the sheer volume of it all hasn’t changed. Frontman Chris Hannah and bassist Todd Kowalski experienced a sea change in the band when after nine years with Propagandhi, guitarist David “The Beaver” Guillas left the fold for a teaching position and they added a new member, Sulynn Hago, a seasoned guitar-slinger from Tampa, Florida. That said, Guillas is still all over Victory Lap, contributing licks to four songs. So what do you do, when you’re an unapologetically political band in a time when political speech seems more fractured than it has been in years? When the darkness looms and the rapacious maws of power seem to devour more by the day? You can’t stop the violence; you can’t save the world.
But neither can you stand to sit back, and just watch it all burn. So here’s what you do: you strap up a guitar and get ready to rock. File Under: Punk Jordan Rakei: Wallflower (Ninja Tune) LP At only 25, multi-instrumentalist, vocalist and producer Jordan Rakei – born in New Zealand to a Kiwi mother and father from the Cook Islands – is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and Wallflower sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for.
The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower the tools and the process have evolved – the focus is on live instrumentation – but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote. Jordan considers Wallflower his most personal work yet – it’s an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On “Sorceress” the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan’s superb multi-layered vocals. Single “Nerve,” featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged “Clues Blues” is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.
Jordan’s decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. In many ways Wallflower is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan’s personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London’s fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision. File Under: Electronic, Neo-Soul Soul Scratch: Pushing Fire (Colemine) LP Soul Scratch is founded on, and rooted in the principle that through the healing power of music, the world may be made into a joyous loving place where all of humanity can come together under the umbrella of love and togetherness. It was founded by Johnny Chou, Joel Givertz and Adam Greenberg originally coming together in various musical projects throughout their young lives and with the addition of Matt Reale’s horn lines started to make its way into the hearts of all who heard their signature sound. At the same time this musical exploration was beginning, another journey was underway on the East coast in the form of Dale Spollett developing the vocal skills and feel that would one day add his distinct interpretation to the west coast soul scene. After moving to Los Angeles, he saw a Soul Scratch show and was duly impressed with the band’s sound, passion, and interpretation of soul music.
As fate would have it, the band was looking for a new lead singer at the time and Spollett answered the call. Five years and three albums later Soul Scratch has blossomed into one of the mainstay powerhouses in the SoCal Soul scene. Proud to be releasing their latest work Pushing Fire on Colemine Records, Soul Scratch continues to grow and impress new audiences with their musicianship, drive, and passion for the music they make. Pdf file converter for office 2007 download.
From the first few notes, this record grabs you. It’s raw soul and funk music crafted to perfection. Wailing vocals, soaring horns, and a super tight rhythm section. With a dirty production style, Soul Scratch serves up something that’s familiar, fresh, and never more relevant.
File Under: Funk, Soul Chad VanGaalen: Diaper Island (Flemish Eye) LP Every so often, Chad VanGaalen emerges from his bunker in Calgary with a batch of songs, giving us a window into the private world of this reclusive and enigmatic songwriter. With Diaper Island, VanGaalen distills his approach, producing his most sonically cohesive album to date, and the closest thing he has done to a rock album. File Under: Indie Rock Various: Paul Major: Feel the Music (Anthology) LP Paul Major—pioneering record dealer and frontman of the band Endless Boogie—has spent over a half-century immersed in the weirdest albums cast aside by the music industry, honing a world-renowned knowledge of the most unique, rare, and uncannily strange tunes of the rock and roll era.
Feel the Music Vol. 1 compiles the fruits of his hard-won expertise, presenting cuts chosen by Paul from the far reaches of psychedelia, lounge, and loner folk: twelve utterly singular takes on musical expression, yielding a somehow cohesive and sublime whole.
Paul is a longtime champion of “Real People” musicians, one-of-a-kind artists operating wholly outside the industry, and this compilation gives us ample evidence of these distinct forms of genius. Though it moves through genres as diverse as the broken-down blues rock of Ray Harlowe & Gyp Fox, the ethereal psych-folk of Justyn Rees, the earnest schmaltz of balladeers Sebastian, and Darius, and the unclassifiable eeriness of Jerry Solomon, Feel the Music is permeated by a genuine feeling of no-holds-barred creativity and an unbridled love of musical expression. Listeners attuning themselves to these twelve parallel universe radio hits will undoubtedly come away feeling the same.
Includes 12-track LP and download code, plus a folded obi-style insert featuring Paul Major’s handwritten track descriptions and eye-popping art from his legendary record catalogs. (Deluxe Book+7″ by Paul Major also available CAT# ARC030) File Under: Psych.Restocks.
Code: Now, I loved the concert so much that I went ahead and actually PAID $$$$ for one of his older CD's, but whenever I try and mediafire it, it gets to 99% and goes 'User not MediaPro' can anyone help me with that so I can give everyone the other Bassnectar CDs I have (Because they are fuggin' Awesome). For those of you unawares, Bassnectar is the DJ Lorin Ashton from Cali who just takes the krunkiest, farting, demonic buzzes and beats and throws them together with a mix of Hip/Trip-hop and some old school candy-pop thrown in for flavor. The result is an extremely vivid and organic sound-storm that absolutely never fails to get me groovin', and his live show was off the motha-fuggin' chain, Openers were Beats Antique and Mike Relm, both of whose Myspace I am now addicted too for the free mix sets they offer.Funny Aside. As soon as the first song started, I realized that I had actually seen Bassnectar live at Burning Man this year at like 5:30 in the morning on Tuesday. I recognized the song that was starting and as soon as he stepped into the light and let his hair down, I was like 'OH MY GAWD!' I've seriously spent the last three months thinking about that mystery morning DJ, and now I know that I already loved him anyway.
Quote Hadouken! Are a grindie/dance punk band based in Leeds, West Yorkshire. The band formed after James Smith and Daniel 'Pilau' Rice met at Leeds University. It was here they began their own record label, Surface Noise Records.2 After forming the label, Smith began writing and demoing the first Hadouken! In February 2007, Hadouken! Self-released a two song limited edition vinyl, a double-a side of 'That Boy That Girl' and 'Tuning In.'
The former gained popularity after the video made it to number one in MTV Two's NME Chart.3 After releasing their 12-track EP mixtape, Not Here to Please You on November 12, 2007, the band returned to the studio to complete their debut album, Music for an Accelerated Culture. The album featured nine new songs as well as previous singles 'Liquid Lives' and 'That Boy That Girl.' The band are currently on tour in the UK. Quote from: Last.fm The Esther Caulfield Orchestra of Dayton, Ohio is the alias of Ohio singer/songwriter Michael Perkins. After releasing a folk concept album under another name in 2005, Perkins made a drastic change in musical direction and adopted a new moniker in order to better suit the broad range of influences and trans-genre exploration reflected in his music.
The Orchestra can be expected to produce wordy, and often lengthy, melodic compositions centered around a highly descriptive and pedantic lyrical style. The Orchestra’s first album, “Good Morning, Whiskey Breakfast”, is a leap in the direction of what can be described as “Post-Country”. It utilizes the traditional instrumentation of Country & Western music while managing to consistently maintain a steady Psychedelic texture, invoking the ghosts of Gram Parsons and Syd Barrett. Quote Rules: No hot-linking images or albums. You can re-host images. Ensure your tags are correct and that you have specified both Artist/Album in your post.
Upload your files in either a.zip or a.rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.
Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action. Also, please do NOT request albums. Repost the rules at the top of each new page. Here is some Lee Hazlewood! He is pretty famous for writing songs for Nancy Sinatra, but aside from that I think his music is sadly overlooked.
I guess I would kind of describe him as a cowboy Leonard Cohen. He sings in the same kind of deadpan baritone and, perhaps while not quite as poetically, sings about a lot of the same things, but his music often sounds like the soundtrack to a badass western movie. I compressed Requiem For an Almost Lady and The Very Special World of Lee Hazlewood together because I think they sum him up pretty well.
Requiem is a wry and bitter break-up album and Special World includes some of his more famous songs, including the original 'These Boots Were Made for Walkin'. Quote Amazon.com This dizzyingly diverse melting pot of sounds is a perfect primer on tropicalia-and then some. Tropicalia arose in the late 1960s as a genre informed by rock, bossa nova, soul, and underground rhythms, all mashed together to create an electrifying new movement in Brazilian music. The artists assembled here-Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Ze, Gal Costa—-are all an integral part of the tropicalia scene. Each, however, makes their own potent artistic statement.
Enthusiastic vocals, inspired chants, inventive loops, and hushed arrangements collide throughout this expanse collection. You're never quite sure what you'll hear from track to track. Gal Costa's 'Vou Recomecar' is a delight, playing like a foreign counterpart to Dusty Springfield's blue-eyed soul sparkle. The genius, however, is that every moment on Tropicalia sounds both classic and modern at the same time. Most everything here is as urgent and electric as anything you'll hear on contemporary radio.Joey Guerra Tropicalia in the late 1960s revolutionized Brazilian music mixing Psychedelic Rock, avant-garde musique concrete (tape loops, sound experiments), Samba, Funk and Soul into a truly unique combination.This is the first album to bring together all the artists involved in Tropicalia, Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Ze, Gal Costa and more.
Os Mutantes, the sophisticated musical anarchists from Sao Paulo not only became the musical template for Beck, they were also discovered by Kurt Cobain on tour in Brazil who tried (and failed) to get them to support Nirvana. CD comes complete with the customary extensive 40 page booklet that is full of exclusive photos. Quote from: Allmusic n 2006 avant hip-hop group Subtle, led by the ever-enigmatic Doseone, issued Wishingbone, a collection of remixes and remakes of song off their 2004 album, A New White. In 2006 Subtle also released the fantastic For Hero: For Fool, an abstract piece that tells the tale of Hour Hero Yes, a kind of middle-class Everyman looking for answers, direction, and perhaps salvation in our very postmodern world. And like A New White, this record was followed up by its own set of revisions, the 'limited-edition mini album' Yell & Ice. Not so much remixes as re-imaginings, the nine songs on Yell & Ice play with the same generally esoteric (at least in absolute comprehension) themes found on the full-length, but twist and pull them around, bringing in outside vocalists (Chris Adams of Bracken, Tunde Adebimpe of TV on the Radio, Markus Acher from the Notwist, Yoni Wolf of Why?, and Dan Boeckner of Wolf Parade) to add, amend, and contribute their own views as Doseone harmonizes whiningly in the background.
'I have found the bloody key that lets the loud out,' Acher repeats on 'The Pit Within Pits,' while Adebimpe repeats the question 'Did you dig through instead unflinching?' As the dark, empty percussion of 'Deathful' draws out to a unnerving close. It's beat-heavy, mechanized, industrial-inspired stuff, full of coughing synths and stuttering programming - so much so that even the beatboxing of 'Sinking Pinks' sounds inhuman. Yell & Ice is otherworldly, a catholic yet cryptic, intelligent, and enlightening album demanding that the listener not only pay attention, but dance, too. Quote from: Popmatters (because allmusic didn't have a review and P4K didn't do it's research) An early contender (along with Augie March) for this year’s J Award, Gotye’ll probably be passed over the same way In Case We Die was last year, since we’ve learned so far that populism beats objective quality.
Nevertheless, Like Drawing Blood is an important album, not only for its music (which grooves and croons its way into your heart) but for the encouraging fact that it’s at least a contender, and that this fiercely singular Australian musician could really get somewhere based upon the strength of his music. Gotye (they’re pronouncing it like “Gautier” on the radio) is Wally De Backer, a musician from Melbourne making some of the most joyfully expansive electronic pop tunes around. He’s got some small measure of attention from the blogs recently, possibly because Australia’s doyen of indie music radio, Triple J, has posted free MP3s of his tracks numerous times. You can still download three of his songs from Gotye’s website, and you should definitely check these out.
For a solitary, independent artist—De Backer has no manager; up until recently he distributed his CDs personally, and Like Drawing Blood‘s insert tells us, the album was recorded in “bedrooms around Melbourne”—his sound is remarkably smooth. To give a general idea, think countless samples (from old soul recordings to a bizarre but likeable lecture from a composer about his compositional process) as well as live instruments incorporated into a, well yes, distinctive sound.
It’s really a summer sound, sunny and funky, a perfect accompaniment for walking down to the beach, feeling the sand between your toes and the sun in your hair. In reality, what listening to Gotye’s music really makes you realize is just how much technology has raised the bar. Now, even one person with a hard drive can make electronic pop music that sounds as smooth and well-engineered as a seasoned producer’s. Like Drawing Blood plays as a remarkably consistent, high quality electronic mix album, with thoughtful song/song transitions and a sustained, easily established mood. That’s not bad for a sophomore effort. Garmin topo us 24k west download google. Gotye’s first, Boardface, made much less of an impact, though we heard “Out Here in the Cold” on Australian radio a few times when it was released in 2004. On the new album, Gotye mixes a heady dose of Avalanches-style happy electronica with the soul influences of Hot Chip, and the smooth vocals of Postal Service.
Soul Jazz Tropicalia Rar Extractor Download
“A Distinctive Sound” is the most Avalanches of the Avalanches-sounding moments, especially given the group’s recent work with that Wolfmother song, given “Distinctive Sound“‘s little diatribe on metal. Though you suspect Avalanches would have done more than establish the groove and play the sample, Gotye’s track ups the sample ante at the end; and just hearing that guy rip out “yeah A minor to F, just like the heavy metal guys use” is a perfect moment. “Learnalilgivinanlovin” is worth mentioning for the title alone, but it’s an album highlight—all soul with no pretension, all positivity. And even recognizing “it’s been done before / C’mon do it again” doesn’t diminish the fun, celebrates influences instead. Isn’t that the way it should be?
Elsewhere, as on the excellent “Heart’s a Mess”, the sound of the groove alone predominates: all you have to do is listen to the opening bendy-bass line, give yourself over to the smooth groove and you won’t care that it’s two minutes too long, you’ll just revel in the ache and cool step at the breaking point, as De Backer wails the words of the title in a voice that defines anguish. “Heart’s a Mess” brings up the only serious criticism the album bears—that despite the high quality production, all Gotye really needs is an editor. A number of the songs here are a few minutes too long, just repeating the main theme over once or twice too often. Don’t get me wrong, the walking bassline on “Thanks for Your Time” is great, but we could have done without the minute-long interlude illustrating the song’s point (frustration at being put on hold in a customer service telephone call).
At least it’s something we can all relate to. There’s another redeeming feature—that Gotye has a trick of withholding the refrain, or at least the phrase that gives a song its title, until near the end of a song, conferring on each song the welcome release of a new idea.
Despite this (only occasional) flaw, there are a bunch of great songs on Like Drawing Blood that, each time you hear them, bring a smile to your face. With only a little editing, Gotye has the potential to be a Hot Chip, one of those electronic-pop maestros making soul and electronica entirely his own. Even as is, even with its rickety edges and once-too-often repeats, I’ll take his moody, evocative pop tunes any day. Even if it’s not the Australian album of the year, Like Drawing Blood hums with life, and is a welcome addition to the summer rotation.
I have a feeling it may just prove to be great all year round, too.
But, alas, I am no longer young, but I wouldn’t be who I am without these artists that changed my life’s course 30 years ago. I would add Nina Hagen, Pearl Harbour, and Lilliput/Kleenex to this list, as well as the New Age Steppers, Patti Smith, (not technically post modern, but hey, she’s da bomb), Black Uhuru, and X Ray Spex.
Sad that we’ve lost Ari Up and Puma, and elated to see the Au Pairs, YMG, Raincoats, and Delta 5 finally searchable on the internet after typing them into search engines and getting nothing until the last couple of years! I have no close (local) friends except my husband to share and enjoy these wonderful songs and the associated memories with. It’s nice to see others on my wavelength out there!! Well very odd I too ran into the problem with Winzip asking for a password. So I used 7-zip and that appeared to successfully unzip it, or at least I now have a folder with 4 files, the relevant mp3 file being 50 MB in size.
However it won’t even open with winamp (Invalid file!?) or VLC. Again very odd. However my system is overdue for a rebuild, I suspect it possibly has been infected with some of that DRM shyte. Been relatively unstable as of late. Will try some other things That said, thanks for this series anyway, I’m looking forward to hearing them!:).
This rare and sought-after album features the brilliant Middle-Eastern influenced track 'Tuareg'! This is a landmark piece of Brazilian psychedelic rock experimentalism and is awash with Hendrix-style fuzz guitars, funky drumming, unusual orchestrations and weird sound effects! This is easily the most tripped-out of Gal Costa's albums and represents a high point of the Tropicalia movement - indeed, this album features contributions from Rogerio DuPrat, Caetano Veloso, Jorge Ben, and Giberto Gil, and is awash with the political power and cultural experimentalism that marked Tropicalia's brief flowering. Very highly recommended!. This Brazilian classic finally gets a proper US release one of the greatest psychedelic albums of the late 60s, and a key part of the Tropicalia movement as well!
The record is easily the most tripped-out album ever from Gal Costa far more sinister than Gal's debut of a few months before. The session was still recorded with full arrangements by the legendary Rogerio Duprat (who'd worked previously with Costa, Os Mutantes, and others), but it also features a lot heavier guitar and a blazingly psychedelic feel overall. Gal's usually-sweet vocals take on a much sharper edge and the album's awash in the political power and cultural experimentation that characterized the best years of Tropicalia. Caetano Veloso and Gilberto Gil make a guest appearance, and also contribute some songs to the set as do Jorge Ben, Jards Macale, and Roberto & Erasmo Carlos. First time on CD in the US and newly remastered, with liner notes from Chris Dunn, author of Brutality Garden: Tropicalia & The Emergence Of A Brazilian Counterculture. Features the famous tracks 'Tuareg', 'Cinema Olympia', and 'Meu Nome E Gal'.
The second solo album by Brazilian superstar Gal Costa, this is one of the purest. Loudest expressions of the late-1960s 'tropicalia' scene, with clanging electric guitars, and crazed vocals that were unlike much of Costa's later, croonier career. Fabled avant-classical composer-arranger Rogerio Duprat adds his eclectic touch, and Gal gets wild like she seldom did in later years.
Anyone wanting to check out how psychedelic music entered into Brazilian rock and pop will definitely want to check this one out. (DJ Joe Sixpack, Slipcue Brazilian Music Guide).ByDJ Joe Sixpack.
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