Filtraciones '13
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Gracias, Baifo.
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cientos de monstruos cotidianos en el que colabora joan colomo es un temazo. no os los perdais esta noche en el helio!
anicet / ensayo sobre la generacion perdida por anicet (guau, 2013)
@c9kzthmi:
ANICET es un proyecto capitaneado por Benja Villegas que empieza a andar en internet con canciones desnudas, de guitarra y voz a finales de 2010. Como Anicet Lavodrama, pronto se unen al grupo 3 músicos más, curtidos en la escena barcelonesa, y en octubre del mismo año graban el EP ´1221´ que ve la luz en abril de 2011. La formación adquiere un sonido eléctrico más contundente e incorpora proyecciones y realización en directo que hacen de su puesta en escena un show audiovisual contemporáneo con referentes de los 80 y 90.
Durante los primeros meses de 2012 el proyecto "Generación Perdida" toma cuerpo y el cuarteto inicia una campaña de crowfunding para poder grabar el que será su primer LP, ´Ensayo sorber la Generación Perdida por Anicet´. El trailer que suben a YouTube se convierte en un fenómeno y suma a día de hoy más de 1 millón de visitas en la plataforma. Esto les permite financiar la grabación y se encierran en Nautilus Recordings (Arenys de Mar) en verano del mismo año para poder parir el redondo.
El disco pretende ser un ensayo sobre la vida de un treintañero cualquiera, basado en sus vivencias y emociones. Composiciones sencillas e íntimas que logran fácilmente la identificación del oyente, que éste viaje a través del tiempo y la distancia recordando momentos y lugares. Melodías directas que pasan del lo-fi o el folk a territorios 90's cercanos al post hardcore.
Anicet · La ecuación de la mediocridad (Video Oficial) | ► play
cheatahs / extended plays (wichita, 2013)
@c9kzthmi:
Openly referencing the sounds of Britain’s “Madchester” scene, Canadian musician Nathan Hewitt, the mastermind behind Cheatahs, recorded two EPs in London in 2012 with the help of his bandmates James Wignall, Dean Reid, and drummer Marc Raue. Both four-song outings are excellently executed, and give no hints that they were recorded anytime after the 2000s.
Additionally, you would never know that Hewitt is a member of the indie punk group Male Bonding. Filled with bright guitars and ethereal vocals, the songs on the first, Marshall Teller Records EP, Coared (compiled in tracks five through eight), come closer to connecting with the British psych pop sounds of Wignall’s alternate band, Weird Dreams. The hooky rush of American groups like the Lemonheads and Dinosaur Jr. also comes into play on these slightly sweeter moments, whereas their second EP (for Wichita Recordings), SANS, is just a touch hairier, and delves into shoegaze with thick walls of silky vocals and brittle, driving guitar washes to manipulate their melodies into a noisy but sonically interesting headphone experience. Early albums by Sloan and the Swirlies might be a reference point for these first four tracks. While there are subtle recording variances, the two EPs sit well together, and despite being uptempo with blasts of distortion, Extended Plays feels like an easy, breezy listen from beginning to end. Fans of early-’90s alternative radio should be sure to check out the songs “Coared,” “The Swan,” and “Fountain Park.” These hit the golden age of slacker pop right on the mark.http://wichitarecordings.11spot.com/cheatahs-extended-plays.html
renny wilson / sugarglider (mint, 2013)
@c9kzthmi:
After almost a decade of struggle, strain, and delay, the debut record from Edmontonian Renny Wilson has now seen the light. His first ever release Sugarglider draws blood from disco keystones such as Bad Girls, and the spirit of Arthur Russell. Common elements of chillwave, krautrock, and a healthy dose of Haunted Graffiti can also be heard in a bold, tempo-matched digital-delay. Sugarglider starts out by taking you on a saxed-out, psychedelic, electric-bass powered dance party, riddled with the sounds of late 1980's FM Synths, 12 bit horns, and regret. The soul-plane flies high, low, and then back up again before it fizzles away into a motorik-opera. Only to slap back with deep, white-boy funk, cosmic pulsar-pop, and sampled-string schmaltz. The contrast of upbeat music and melancholy lyrical content provide a tasty combination for any groove-oriented listener. Tap this valiant freshman effort into your varicose, and you'll find yourself crying vaseline tears of self-pity on the dance floor.
http://www.mintrecs.com/releases/sugarglider
radar brothers / eight (merge, 2013)
@c9kzthmi:
Having multiplied into a six-piece collective brotherhood, Radar Brothers spent the past few years collaborating, meshing their writing styles and recording an album that seamlessly welds together various worlds. The band will release Eight on January 29, 2013. Eight (being their eighth record) may well be Radar Brothers' darkest, hardest rocking, most psychedelic, and yet most intensely personal album to date. Jim Putnam’s knack for melody and surreal lyricisms are well intact, only darker and more personal at times, hilarious at others, poetically inspired at others.
http://www.mergerecords.com/store/store_detail.php?catalog_id=896
jacco gardner / cabinet of curiosities (trouble in mind, 2013)
@c9kzthmi:
It's a hard realization to discover that the world may not be as magical and wondrous as you once believed, & reconciling ones loss of innocence and sense of naïveté is a theme that reoccurs often in art, music and literature. From 'To Kill a Mockingbird' to 'God Only Knows' the best articulations of lost youth can have a very visceral impact. The 12 tracks that make up the debut album "Cabinet of Curiosities" from Dutch multi-instrumentalist and producer Jacco Gardner deftly explore this territory in a far more accomplished and mature way than you would expect from a 24 year old, fulfilling the promises made by his first two singles.
Jacco's melodic palette colors music with a more U.K.-sensibility, where minor chords & plush harmonies brush up against strings, mellotrons, harpsichords & an occasional squeezebox. The overall feel is more Zombies than Left Banke and more Nirvana & Billy Nicholls than Beach Boys & Van Dyke Parks. The title track "Cabinet of Curiosities" is an instrumental reminiscent of the best of Curt Boettcher's projects like The Millennium and Sagittarius with its playful baroque arrangements. 'The One Eyed King' and 'Chameleon' delicately evokes a softly waning sunset melancholy while 'Puppets Dangling' slinks forward suggestively at first, unfolds into an expansive, string-soaked chorus, before winding back into a taut melodic denouement.
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joder no puedes parar
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Foals – Holy Fire (2013)
http://ul.to/72oibcav -
Muchas gracias, tenia ganazas de catarlo. Esta noche actuan en Londres ademas!
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@Dan:
joder no puedes parar
soy el mayor bucanero a este lado del atlantico. que alguien me pare que estoy mu loco!
supongo que el de luis eduardo interesa tambien a los que no siguen el hilo de electronica:
autechre / exai (warp, 2013) - 2cd
@szhg2ukh:
Exai is the eleventh album by electronic music duo Autechre, released on Warp Records. The album was released in digital form on 7 February 2013, with the CD and vinyl versions scheduled for release on 5 March. Exai alludes to the roman numeral XI, which means number 11, referencing the fact that this is the duo's eleventh album. Exai will be released as both two CDs and four LPs. The album was released digitally on February 7th.
http://warp.net/records/releases/autechre/exai
suuns / images du futur (secretly canadian, 2013)
@szhg2ukh:
Montreal's Suuns spent the winter and spring of 2012 writing and recording Images du Futur. Their sessions were concurrent with the Quebec student protests that started in February of 2012 and continued through September of this year. Set against a backdrop lead singer Ben Shemie calls "a climate of excitement, hope and frustration," Suuns aimed for an expansion of the musical ideas on their critically accalimed first record, Zeroes, QC.
Images du Futur builds upon the intensity of their debut, but often does so through new textures and subtler dynamic maneuvering. Album standout "Edie's Dream" begins with a single bass line repeated from which layers build & rise – first drums, then a wash of white noise; echoes of guitar, then chanted vocals. The song's clever shifts are jazz-touched and delicate, almost subliminal. It all makes for a stark, skeletal boogie -- more an astral projection than a song. "Edie's Dream" exemplifies the restraint of which Suuns is capable and works to make the unhinged moments all the more devastating.http://secretlycanadian.com/onesheet.php?cat=SC260
thao & the get down stay down / we the common (ribbon, 2013)
@szhg2ukh:
Recorded at San Francisco’s Tiny Telephone Studios and Dallas’ Elmwood Studio, We the Common was produced by John Congleton (St. Vincent, Bill Callahan, the Walkmen, Explosions in the Sky) and features a duet with Joanna Newsom on the track ‘Kindness Be Conceived.’Thao observes, “’We the Common’ is an album about wanting to be a human who tries and is grateful for the opportunity. It is about wanting to be better and closer to people. I have had over a year respite from touring and recording—in this year I started really trying to be a part of the community I live in and the family I was born into.”The album is the follow-up to Thao’s 2009 release Know Better Learn Faster, which Pitchfork praised for its “warm exuberance that keeps the music spry” while US magazine SPIN noted that Thao’s “lazily smoky voice has its bitterly harsh moments, but her coolly analytical self-awareness stings the most.”Based in San Francisco after growing up in Falls Church, VA, Thao Nguyen first picked up a guitar at age 12. She has worked with a long list of acclaimed artists including Andrew Bird, Mirah, Laura Veirs and producer Tucker Martine (The Decemberists, Sufjan Stevens) and has recorded a pair of critically acclaimed records for Kill Rock Stars: 2008’s We Brave Bee Stings and All and the aforementioned Know Better Learn Faster with her backing band The Get Down Stay Down.
http://ribbon.dominorecordco.com/ribbon/albums/14-11-12/for-we-the-common/
buke and gase / general dome (brassland, 2013)
@szhg2ukh:
Buke and Gase have this vague sense of unease. Like someone, somewhere is always watching. Do a Google image search for the band's new album title, General Dome, and you'll come across images that instill ideas of paranoia and surveillance such as security cameras and rockets being launched. In times like these, when governments can freely survey the citizenry's every action and our lives become increasingly less private, people are often drawn to code. Take a look at Buke and Gase's album cover above. Its minimalist design could mean nothing at all. Perhaps this would be the case, if this were any other band than Buke and Gase.
Inspired by a recent Sol LeWitt exhibition at the Dia Beacon museum in Beacon, NY, Arone Dyer and Aron Sanchez started brainstorming about coded imagery. They decided to build a system of images that would dictate the direction of the artwork, which lead them to creating a new alphabet they could write with, not totally different from the way they create their music. They built a graphical alphabet that the artwork is made of, the code of which will be available on their website once it's released. There are more coded images like this throughout the packaging.
http://brassland.org/album.php?catno=029
the spinto band / cool cocoon (spintonic, 2013)
@szhg2ukh:
Those looking for perfectly-toned pop need to wait only until February 5th. That’s when Delaware’s Spinto Band release their new album Cool Cocoon. The record is a collection of little indie pop nuggets of pure delight. The Spinto Band are far from conventional in how they arrive at their destination though. Nowhere is that more evident than on “She Don’t Want Me”, which is the perfect union of Beach Boys harmonies and Of Montreal quirk. The key to The Spinto Band sound is that, regardless of you mood, it will put a smile on your face. The lead single “Shake It Off” is laid back yet invigorating melodic trip. “What I Love” is a gorgeous ode that’s seems destined to be a wedding staple for those in the know. Few hooks are as sharp of dig as deeply as the ones you’ll hear coming your way on “Enemy”.
http://www.spintonic.net/premiere/
holopaw / academy songs, volume i (misra, 2013)
@szhg2ukh:
Academy Songs, Volume I, Holopaw’s Misra Records debut, takes the band to never-treaded levels. Through three records and a collaboration with Modest Mouse’s Isaac Brock (Ugly Casanova), frontman John Orth has honed his gift for lyricism, storytelling, and delivery. Now, backed by a variant possessing uncanny chemistry (complete with identical twin brothers), we’ve been graced with an unparalleled, breathtaking Holopaw album.
Over a ten-song cycle, the close quarters of an all-boys preparatory academy, and the world beyond its “ivied walls,” become the sites of devotion, betrayal, communion (or near-communion), and abject loneliness. The joys and thrills and dangers of both discovery and transgression are detailed. “The rising and falling of their little lives” is illuminated in stunning imagery.
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Autre Ne Veut - Anxiety
https://mega.co.nz/#!wIkBlZIR!PoKcWDeEDc-JjDtsWXNEwQijwgtfK3DUwda4CloG-Bk -
Lost Animal – Ex Tropical (2013)
@qfh5ase1:
St Helens was a bright but brief flame that kindled on the Australian music scene. After one album, 2009′s Heavy Profession, frontman Jarrod Quarrell dissolved the band last year to work on his solo project, Lost Animal.
Title of his new album, Ex Tropical, refers to his childhood years spent in Papua New Guinea. Though this is lean, keyboard-based pop, it does contain elements of the tropical past left behind, especially with the marimba and horns on “Buai Raskol” or the more ambient marimbas and distant flute sounds on the title track. The album contains lots of exploratory layers, from the buried tension of “Sundown” to the ringing pianos over lean beats on “Lost the Baby”. The music stretches out while Quarrell’s Lou-Reed-by-way-of-Kurt-Vile bleat stays contained, groaning in its limited, sometimes charming, range. But for all the exploring the layers do here, they’re hooked to songs that pile up rather than move forward. There are too many lean, mid-tempo beats, the space around layers feels too similar from song to song. What starts off, on “(Intro) Beat Goes On”, a curious and interestingly isolated sound, begins to feel more like one that’s insular, alone, in need of other feels from other players. Quarrell has an interesting knack for texture on Ex Tropical, but his melodies are always playing catch up, while the textures themselves sound constantly in search of playmates they never quite find.http://www.subpop.com/releases/lost_animal/full_lengths/ex_tropical
http://ul.to/lfp3nu4c -
bruce, estat y demás filtradores habituales: ¿corre por ahi el nuevo de Chris Stamey, Lovesick Blues?
gracias!
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http://uploaded.net/file/h2st52cb -
Ahí estamos, gracias!
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NI el single de Crepus se ha filtrado???
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¿El del Christopher Owens ha aparecido por aquí?
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La clave del disco de Buke and Gase?
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¿sigue siendo Hollywood la meca del cine?
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@Freaksadworld:1giub9m7:
La clave del disco de Buke and Gase?
prueba con bukkake. si no tira vuelvetelo a bajar que he cambiado el enlace por otro sin clave.
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un re-up del de Foals please….
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Ten, el de Foals:
http://freakshare.com/files/3ezesu0t/FHF.rar.html -
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final del próximo mundial: brasil - inglaterra
próximo Papa : épico no, que baile trance, que es lo que se lleva
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