Filtraciones '07
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Dejo unas cositas:
Este que ya había puesto unos meses atras pero que acaba de salir y además viene a cuento:
Helios - Ayres
http://www.badongo.com/file/4301363 ```–------- ** The Skull Defekts - Skkull [Release the Bats 2007]**  @2w7e6gfa: > The Skull Defekts have done it again, wielding their instruments like maces. > > If the first song on the album weren't so patterned, one might think that their CD player was broken. Trading between skips, glitches, and various drones-cut-short, the hidden structures of "Sex Fracture" etch themselves into your eardrums. > > "Carved in Bones" calms down a little, throbbing instead of breaking. The soundtrack of a hospital-like factory that produces crimes against nature, Henrik Rylander, Jean-Louis Huhta, and Joachim Nordwall (this album's cast) drag you down the hallways whether you want to go or not. But as with most horror movie, actually seeing the source of the fear takes all the fright out of t, and you end up seduced by the unique, if twisted, logic of the landscape. > > "Breathing Your Face" seems like the culmination of the manufacturing in "Carved in Bones": a room full of clattering monstrositites. Here the creators' peculiar moterly tenderness shows, keeping every scattered note herded together by the drone of an inventor's pride. Even in the brief moments when insanity threathens to take over, the clatters are slowly reigned in again and brought back into their perverse order. If the song contiued this frenetically for the full 9 minutes and 30 seconds, it might get tiring, but it slowly exhausts itself instead, becoming more of a lullaby for robots. > > The last song, "Six Six for Eyes", resembles "Carved in Bones" but with the sinister level ramped up. If this is the same factory of horrors, it's been emptied of life through a catastrophe caused by something born there. The hallways are dark, lit only by the intermittent red glow of emergency lighting that is timed to an alarm. The previous seduction of possibilities is gone, replaced by their hauntng absences. If those creatures had souls, do their spirits remain? But what harm can a spirit truly do, having no flesh and blood, no will over the material world itself? The greatest damage comes in what fills that void, a soul-sucking, head-splitting terror of the unknown. 9/10http://massmirror.com/d2823e79dc7c6565f651cfb972b25d06.html
**Various Artists -Anthology of American Folk Music**  @2w7e6gfa: > Originally released in 1952 as a quasi-legal set of three double-LPs and reissued several times since (with varying cover art), The Anthology of American Folk Music could well be the most influential document of the '50s folk revival. Many of the recordings which appeared on it had languished in obscurity for 20 years, and it proved a revelation to a new group of folkies – from Pete Seeger to John Fahey to Bob Dylan -- who covered the songs, tracked down the artists, and made new field recordings to document other strands of folk music. The man that made the Anthology possible was editor and compiler Harry Smith, a man born in Washington but a drifter much of his life, as well as a painter, filmmaker and anthropologist. From his collection of thousands of old 78-rpm records, Smith compiled 84 of his favorite hillbilly, gospel, blues and Cajun performances from the late '20s and early '30s (all originally issued by labels such as Columbia and Victor), and divided each into one of three categories: Ballads, Social Music and Songs. Smith sequenced the three volumes with a great deal of care, placing songs on the Ballads volume in historical order (not to be confused with chronological order) so as to create an LP which traces the folk tradition, beginning with some of the earliest Childe ballads of the British Isles and ending with several story-songs of the early 20th century, which document happenings of special interest to contemporary listeners, like the sinking of the Titanic or the boll-weevil plague. [After being out of print for years, The Anthology of American Folk Music, Vol. 1 was reissued as part of a six-disc box set, containing all three volumes of the Anthology, by Smithsonian-Folkways as a six-disc box set in 1998.] > > The Harry Smith-compiled three-volume Anthology of American Folk Music set was one of the most important records in launching the folk revival. It was not well known, though, that Smith compiled a fourth volume that was unissued. Revenant finally put it out in 2000, and like its three predecessors, it contains classic pre-World War II American country, blues, and folk music, with some gospel and Cajun too. It does differ from the first three volumes in its focus on a slightly later period, with all the tracks culled from the years 1928-1940\. Leadbelly, Robert Johnson, Joe Williams, Bukka White, Memphis Minnie, and John Estes are all major blues artists; the Monroe Brothers, the Carter Family, Uncle Dave Macon, and the Blue Sky Boys all giant country/bluegrass pioneers; and the Hackberry Ramblers are one of the pre-eminent Cajun groups. A few of these songs are archetypes that have burned their way into the American collective musical consciousness: John Estes' "Milk Cow Blues," the Carter Family's "No Depression in Heaven," Joe Williams' "Baby Please Don't Go," and the Monroe Brothers' "Nine Pound Hammer Is Too Heavy." Other less famous performances are quite intriguing, like Sister Clara Hudmon's "Stand By Me" (believed by some to be Bessie Smith recording under a pseudonym) and Jesse James' raw and rollicking piano blues "Southern Casey Jones." At 28 songs spread over two CDs, it's a little shorter than might be expected for a box set, though as compensation, it's enclosed in a pretty incredible 96-page liner-note-sized hardcover book with writing by Dick Spottswood and John Fahey.Disc 1
http://www.mediafire.com/?cbg1jjxdgt1Disc 2
http://www.mediafire.com/?ayctz45jhp2Disc 3
http://www.mediafire.com/?41mtnc1zlnbDisc 4
http://www.mediafire.com/?dwmzo5pyjjaDisc 5
http://www.mediafire.com/?83dz2d2n4y5Disc 6
http://www.mediafire.com/?18tdpwqzwddDisc 7
http://www.mediafire.com/?8z9j4bxvdb2Disc 8
http://www.mediafire.com/?8jtdbbjduz9**Kemialliset Ystävät - Kemialliset Ystävät [Fonal 2007]**  @2w7e6gfa: > Kemialliset Ystävät is an ever changing group of free form pilots who have been sending murky audio clouds from their basement in Tampere, Finland to the people of the world since 1995\. They work in short, spooling instrumentals, building layers of simple repetitive riffs into laminal mudcakes and weaving ghosts of noise songs into huge tunnels of drone. They utilize a wide spectrum of moldy acoustic instruments and almost broken electronics to create their joyful blasts but the recording studio in itself might be their single most important instrument. Kemialliset Ystävät discography includes CDs, vinyl records, cassettes and lathe cuts on Fonal, Fusetron, Beta-Lactam Ring, Lal Lal Lal, Jewelled Antler, Celebrate Psi Phenomenom and other revolutionary labels around the world. Members of Kemialliset Ystävät are involved with other projects such as The Anaksimandros, Avarus, Islaja, Kiila, Es and Päivänsäde.http://www.badongo.com/file/4338895
**Robedoor + Pocahaunted - Hunted Gathering [Digitalis 2007]**  @2w7e6gfa: > There's a savage battle raging in the hallowed streets of Los Angeles, being fought by prehistoric megaliths spewing lava from their mouths. These acid-tongued shamans are interested in one thing and one thing only, and that's to raze this city to the ground. Okay, perhaps it's not so apocalyptic, but hot off the heels of opening for Sonic Youth, dirt worshipers Robedoor and their native sisters Pocahaunted have unleashed an army for the ages with "Hunted Gathering." Drones painted with black holes collapse under their own weight while the archangelic voices of Pocahaunted birth a brand new world of spirit decay. > > "Hunted Gathering" is both a split release and a collaboration. Each band offers up their own malfeasance while collaborating on the epic final eponymous track. The union of these two groups is a natural combination. Two members are married and run the Not Not Fun label together and they share amps and practice space, for example. But there's also something about both that is visceral and raw. Robedoor's subsonic doom is washed down with a smooth chaser of Pocahaunted's reverberating soul sounds. > > Recorded by the inimitable Bobb Bruno at the NNF/Bored Fortress studio space across many moons in 2007 and mastered by Yellow Swans' Pete Swanson, "Hunted Gathering" is an essential feast for fans of doom-infused drones and Stevie Nicks. These hunting & gathering songs from the Eagle Rock air also feature appearances by the aforementioned Bruno as well as Changeling mastermind, Roy Tatum.http://www.divshare.com/download/1930901-67a
Prometo dejar algo más ligerito la próxima vez. -
nenes? el nuevo de la tender ya ronda por ahí?
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bueno de lo filtrado, me bajé el de eef Barzelay, voy por la 5 y tengo que decir que este hombre me enamora, en Apocaliptic friend lo tengo que decir ya, veremos el resto y las segundas escuchas. (esto iba para "rajemos …." pero con 5 temas escuchados es muy precipitado)
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Bueno, cómo lo prometido es deuda dejo alguna cosita más digerible. No recuerdo si el de Taken By Trees estaba posteado, ni si había puesto antes el de Wildbirds & Peacedrums. Pero aprovecho que tocarán en el Tanned Tin y lo pongo:
Taken By Trees - Open Field (Rough Trade, 2007)
@9zdr4tjf:
Almost as if by accident, Victoria Bergsman's aching voice has become one of the most widely known in indie pop. As primary singer and songwriter for Swedish pop outfit the Concretes until last summer, Bergsman featured on at least one remarkable album, 2004's The Concretes. But it was a Target commercial that seared the Ronettes-via-Velvets swoon of the Concretes' "Say Something New" onto TV viewers' consciousnesses. By now, the songstress might be best recognized for her guest appearance on Peter Bjorn & John's world-conquering 2006 single "Young Folks".
Bergsman's debut under the solo moniker Taken By Trees is her most consistently winning full-length since the Concretes peaked. But if Open Field leads to any similar mainstream flings, they'll still feel like fortunate flukes. Co-produced with PB&J's Björn Yttling, the album exists in its own ecstatically melancholy pre-dawn realm, at once less crowded and more lushly imagined than Bergsman's previous outings. It's personal, introspective folk-pop with the instrumental palette of a girl-group teenage symphony– zithers, euphoniums, mandolins, and harmoniums along with flutes and a string section. Think Pink Moon on a "Be My Baby" scale.
For all the richness of the orchestration, the songs at any given moment tend to be mostly spare, offbeat, and repetitive, the intermittent violin and cello crests merely making more space for Bergsman's lonely yearning. One-finger piano plonks bring the singer closer to a distant, kindred spirit on "Julia" ("We rarely speak, but I do think of you a lot"). A child could also play the piano part on sing-songy call-and-response "Hours Pass Like Centuries", but the contrast with PB&J's John Eriksson's majestic percussion helps convey the way love can "Leave you singing to the trees/ Then return so suddenly". An untreated acoustic guitar on marvelously sad opener "Tell Me" sounds like it could be in the room with us. "I don't have much trust in the April sun," Bergsman sighs, and turns the Swedish pronunciation of "July" into a bleak pun.
Crucially, the arrangements are never busy enough to overshadow Bergsman's unmistakable vocals. As cymbals swell and strings drone over "The Legend", there she is, cooing and crying and stretching her syllables in that distant, nearly Nico-like accent, describing a loveless woman who, as if she were a Gabriel García Márquez character, becomes transformed into water-- "Or maybe blood/ Without its red." Within the quiet longing of "Too Young", it can be overwhelming to notice the way Bergsman's voice quivers on the word "fear", or her pealing matter-of-factness on the phrase, "It was not for me." A delicate piano passage grows out of the sadness like May flowers.
Open Field's many subtleties mean it can't be enjoyed just anytime; it practically demands solitude. The tracks work as mood pieces as well as songs, and the mood is so consistent that it takes time for the craft of each composition to peer through, a silver lining on a gray morning. The best place to start is probably the only song not written or co-written by Bergsman: The album's first video selection, "Lost and Found". With some of the most constantly full production here, it's a lilting chamber-pop gem worthy of its composer, Camera Obscura's Tracyanne Campbell. Then again, another highlight is Yttling's matter-of-factly named "Instrumental"-- an orchestral reminder that, as lovely as Bergsman's voice is, it's only one of several reasons to adore her newest project.
http://rapidshare.com/files/54709775/Taken_By_Trees_-_Open_Field__2007__-_Indie.rar ```–-- **Wildbirds & Peacedrums - Heartcore (Found You, 2007)**  @9zdr4tjf: > En apenas unas semanas el debut de este dúo sueco se ha convertido en uno de los descubrimientos más agradables de lo que va de año. Sin apenas recursos, sin ninguna pretensión y con la grandeza de lo simple Mariam Wallentin (voz) y Anders Werliin (batería) grabaron el disco el verano pasado durante dos días en casa de Anders, con su ordenador, la batería y unos micrófonos prestados. Nada más. Y de esa habitación acabo saliendo este Heartcore, cómo un milagro, una pequeña maravilla. Pequeña maravilla mezclada por August Wanngren en Karlstad durante las navidades pasadas y que fue diseñado y posteriormente fabricado en China por un amigo de la banda. > > Y así, cón la presencia casi única de voz y percusiones y algún que otro añadido electrónico por aquí y la presencia del sitar y glockenspiel en algunos temas el dúo contruye un mundo propio, dotado de un sonido crudo en algunos momentos y delicado en otros, que fluye sin problemas desde el pop espiritual, al blues o al soul. Con una facilidad natural para atraer al oyente, desde el primer momento hay algo indescriptible que te hace sentir atrapado, su música es de la que permanece dentro durante mucho tiempo. > > Y por encima de todo destaca la voz de Mariam, capaz de sonar salvaje, desgarrada, dulce, delicada… Acompañada o llevando ella sóla el peso de la canción, porque a pesar de hablar de música experimental lo que aquí predominan son (enormes) canciones de pop. Me resulta dificil nombrar a ningún grupo, porque aunque cuando los escucho me vienen a la mente nombres cómo Lullabye Arkestra (por el enfoque), PJ Harvey (Doubt/Hope) o Björk (por la voz), no son ejemplos válidos porque su cercanía es muy limitada. En Heartcore nos deslizamos desde el blues de Pony, la crudeza primitiva de Bird o The Window hasta temas cómo The Way Things Go que nos retrotraen varias décadas en el tiempo, pero si hay algo que me ha enamorado de este disco son dos de los temas de pop a cámara lenta más bonitos del año, de esos que podrías escuchar durante horas: The Battle in Water -dónde Anders comparte voz con Mariam- y la impresionante I Can't Tell In His Eyes. Si no te crees que aquí hay algo especial simplemente visita su myspace y compruébalo tú mismo.http://www.mediafire.com/?1tnwfyc1eil
**Uphill Racer - You Will Understand (2007) **  @9zdr4tjf: > One year has passed since “No Need To Laugh” was released and what again really stands out is the will and courage to experiment. “You Will Understand” is permeated with space sounds which were prevalent though hard to place on the first album and which now contribute to the spherical and inimitability of the latest release. Flora, fauna and film are once again welcome guests in the idiosyncratic structures built out of acoustic guitar, bass, sleigh bells, drums and beats, piano, synthesizer and the voice – the voice which effortlessly blends into the instrumentation and textually as well as melodically bears a beacon in the night. > > The 26 year old OLIVER LICHTL once again plays all the instruments himself and sings every word on the album. He undertook field trips into nature armed only with microphone and recorder so that he could capture the essence in order to adorn his cosmos. The power of the sound is most impressive. “You will understand” is a fortress, a refuge, a shield of protection from the world. The pathos of the first album gives way to a more confident and versatile emotionality. This album is a friend to whom you can confide your troubles, which takes you for a ride on a sleigh to the stars – or to a day out in the park. The music smells like freshly cut grass, lifts the listener out of slumber, a perfect companion for a train trip on a sunny day and nevertheless as sentimental as a nosedive onto soft cushions. If the debut album “No Need To Laugh” seduced the buyer to dreaming then “You Will Understand” is a good morning kiss like buds on a tree in spring.http://www.mediafire.com/?dxem13jjbcl
**Winter Family - Winter Family **  @9zdr4tjf: > Debut double CDs are usually greeted as a bit audacious, and it probably should be counted as doubly-so when the music contained within them could easily be contained on a single platter. So goes for this self-titled release from spoken word and music duo Winter Family. That's right, the group finds Israeli artist Ruth Rosenthal and French musician Xavier Klaine creating minimal pieces that find her words (in both English and Hebrew) mingling with piano, harmonium, and pipe organ. It's definitely audacious, and quite possibly pretentious, but amazingly they've managed to put together something that's charming at times and deeply hypnotic in others. > > The release opens with "Salted Slug," and things are pretty dour as minor-key close-mic'ed piano provides a backdrop for the quiet, breathy words of Rosenthal veer between English and Hebrew in abstract ways, painting an evocative and strange portrait. "Psaume" is even better, with droning wheezes of harmonium layered upon one another while words entirely in Hebrew sound like some sort of mystical and even seductive call. > > Considering the somewhat limited palette that the duo works with, they've actually managed to create a highly varied batch of songs. "Nous Les Vivants" is probably the most over-dramatic piece on the entire release, with massive church organs that come crashing down from above while Rosenthal is at her most theatrical. "Republique" also takes advantage of said organs, but is much more successful, stretching out over thirteen minutes and playing on subtle note changes and much more subdued vocal stylings. Oddly enough, the most jaunty song is the downright odd "Auschwitz," which mixes completely bizarre lyrics with playful piano melodies and a mouth harp. > > That said, the release does have some soft spots. "Just Like We Said" is essentially a lackluster revisiting of the earlier "Garden" and "So Soon" suffers from a more open live-sound recording that feels completely out of place amongst the other pieces. When the group hits their stride, though, the beauty of their music is simply hard to deny. Both "So Soon" and "Golden Sword" strip things down to just simple piano melodies and words, but they're absolutely gorgeous. Like many debut albums, Winter Family is a bit too ambitious in places, and certainly has a couple stumbles (not to mention the 2CD set, which is a bit annoying considering the entire release spans just over sixty minutes in total length), but it shows a lot of promise as well, and is most likely something quite different than anything you've heard lately.http://www.mediafire.com/?9gpwcentydz
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Porcupine Tree - Nil Recurring EP (2007)
@1qmk2f7m:
Only a few months after the release of the acclaimed Fear of a Blank Planet album comes this mini album (29 minutes of music) containing 4 lengthy tracks written during the same sessions, completed over the Summer, and now presented as a cohesive self contained PT work in their own right. The title track is an instrumental featuring Robert Fripp on lead guitar, and the whole EP moves through the full PT spectrum of atmospheric ambience, melodic hooks, and crushing riffs. This first edition of the mini album is on the band’s Transmission label and comes in an exclusive fold out digipack, limited to 5,000 copies.
password: gta
http://www.megaupload.com/?d=NAY7CGNMOren Ambarchi - In The Pendulum's Embrace
@1qmk2f7m:
Oren Ambarchi is an electronic guitarist and drummer with longstanding interests in transcending conventional instrumental approaches. Born in Sydney, Australia in 1969, he has been performing live since 1986. He was a member of noise band Phlegm with Robbie Avenaim, with whom he now co-organises the What Is Music Festival. His work focuses mainly on the exploration of the guitar, though he also plays percussion in some of his live performances. Recently, he has toured with drone doom band Sunn O))). Ambarchi also works in popular music contexts and is a drummer for the group Sun with vocalist Chris Townend formerly of Kiss My Poodles Donkey
http://www.megaupload.com/?d=JOH36WM0 -
Si alguien encuentra el nuevo de Kinski… gracias por colgarlo!
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@hempror:3aogfsep:
Si alguien encuentra el nuevo de Kinski… gracias por colgarlo!
Kinski – Down Below It's Chaos
http://www.sendspace.com/file/la2l83 -
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si algun campeon tiene el debut de president - take music y lo quisiera subir estaría muy agradecido
yo lo he buscado, pero no lo encuentro, no soy muy bueno buscando, parece ser
es triste de pedir, pero mas triste es de robar -
club 8 - the boy who couldn't stop dreaming
http://www.sendspace.com/file/xp0ytbNuevo disco de Club 8, clásicos del indie pop sueco, elegantes y melancólicos, poco mas se puede decir de ellos.
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Damon & Naomi (ex Galaxie 500) - Within These Walls (2007)
@198jdq92:
Brand new album from Damon & Naomi (Damon & Naomi have an established career, starting as members of Galaxie 500 and Magic Hour): saxophonist Bob Rainey arranged horn and also lush string accompaniment (including cello performed by Helena Espvall of Espers), while the 'silent third member' of Damon & Naomi, Michio Kurihara, contributes his guitar-playing skills throughout. Damon & Naomi have fully realized their ideal of how to be a band. With their own record label, recording their album completely at home, and with a US tour with Boris coming up this autumn, Damon & Naomi have achieved a mastery over their music and careers. 'Within these walls' reflects that newfound freedom, takes new chances, and maintains a fundamental honesty. Never before has the duo been so direct and forthright, nor so musically captivating.
http://www.mediafire.com/?dyzytcmdn5y -
perdón si ya se ha puesto antes (no lo he encontrado usando la función Buscar del foro):
Pelle Carlberg - In a Nutshell (Labrador, 2007)
http://rs96l34.rapidshare.com/files/36640234/1679374/Pelle_Carlberg_-_In_A_Nutshell.rar -
Gracias por el de Club 8… y por el de Pelle aunque este ya lo tenía!!
Luego daré un vistazo a los otros que así a primera vista no se quienes son -
@1muys5ot:
**Winter Family - Winter Family
**Sinceramente creo que esto se está saliendo de madre, posteamos cualquier cosa sin ni siquiera haberlo escuchado, sin saber si es bueno o es una mierda, tan sólo porque suena ultrararo o está en el sello más in. O quizá no sea ninguno de esos motivos, pero el ritmo de posteos que llevamos aquí es inhumano, es bajarse por bajar y escuchar por escuchar.
Coño, creo que ya se ha dicho anteriormente, subid discos que sean la hostia, decidnos que son la hostia. Vale más linea y media escrita por un forero que todas las notas de prensa que podáis pegar.
Al final, y pecando un poco de egocentrismo, todo esto viene a cuento porque el de Winter Family ya lo subí yo hace unas semanas (y dos veces, a petición de Pelukini). -
Pues lo siento mucho Suarez, muchas veces no me entero de lo que se ha puesto o no. Sólo me paso los fines de semana, aunque muchas veces se han puesto cosas repetidas y nunca ha sido para tanto.
Con respecto al otro comentario, no creo que nadie esté obligado a seguir el ritmo de nadie. Yo me bajo lo que me interesa y lo que no me interesa ni me lo bajo. Si pongo notas de prensa o reviews es porque se suele pedir y muchas veces, cómo dices, aún no he escuchado el disco y no puedo dar una opinión. Aunque suelo poner cosas que me interesan o conozco, si para alguien son una mierda no tiene porque bajarlo, seguro que a alguno le parece interesante. Yo no voy diciendo por ahí si me parece una mierda lo que postean o escuchan los demás. Se que no es el caso tampoco y probablemnte te este malinterpretando pero últimamente hay mucho comentario de ese tipo y no sé si sobran más los posts con música o los posts criticando por criticar.
Un saludo
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OM - Pilgrimage 2007
http://www.mediafire.com/?eowuzykdsdt -
Yo estoy de acuerdo con Suarez ésto es un despiporre. La mínimo obligatorio es haber escuchado el disco antes de subirlo ( excepto aquellos discos que son notoriamente esperados claro ), y joder, comentad algo en primera persona, que os ha parecido a vosotros, no hace falta que sea un crítica ni nada por el estilo, con un breve comentario basta. Un poco de vidilla leche, algo que nos motive a bajarnos el disco ( eso Josexiu lo hace muy bien, siempre me acabo bajando los discos que recomienda ).
En fin, haced lo que os dé la gana, faltaría más. -
Mi problema es que conozco uno de cada diez discos que colgáis y que mi disco duro tiene un límite. Entonces, aún con la reseña de Pitchfork o lo que sea, no sé muy bien si me va a gustar o si está bien o no.
Aún así gracias por compartir toda esa música.
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