Filtraciones '07
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chequirau calabaza
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@Kiototar:zzql0tn2:
koan The Fugitives me da que te van a molar
The Fugitives: In Streetlight Communion (2oo7)
Absolutamente enorme. A la tercera canción te has olvidado de etiquetas o generos musicales…
Mención especial a Haunted, de los temazos mas grandes que he escuchado este año.
Gracias!
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Para los fans de la churreria sueca, disco bonito recién salido del horno:
Promise And The Monster - Transparent Knives (2007)
Sello: Imperial/Playground
Pais: Suecia
Estilo: Singer-songwriter | Alt-Folk | Indie
Te puede gustar si te gusta: El folk-pop a bajas revoluciones, Mark Kozelek (para quien abrirá en algunos de sus proximos conciertos), José González, Audrey, las voces femeninas peculiares a lo Joanna Newsom… Aunque es menos deprimente que Kozelek, también más pop que él, y más accesible que la Newsom, con un toque melancólico. Edito: Ya se a quien suena clavadita la voz, joder me he tirado pensando toda la tarde: a Trish Keenan de Broadcast. Clavadita, sólo que en otro rollo.
Myspace: http://www.myspace.com/promiseandthemonsterhttp://www.mediafire.com/?fhyn5wcxhvk@1yfajvt3:
She wanted to explore what was cold. That’s why she wrote a song called Antarktis. Billie Lindahl makes music that is built on contrast, contradiction and a cold acoustic soundscape. Her debut album "Transparent Knives" is here to bless the late night evenings with an awe-inspiring crystal beauty.
The name Promise and the Monster holds the foundation to all the music Billie Lindahl makes; contrast. And especially that which is frightening and naive. Or rather, Promise and the Monster is like one of those posters that hangs on the wall in a little child’s room, like a simple series of pictures in the shape of cute animals and objects, portraying Long/Short, Fast/Slow, Night/Day – but with a horror movie twist.
Billie Lindahl wrote the song Antarktis when she was 17 years old. That was three years ago. Billie moved away from home in January of this year. Before that she lived in Uppsala. There she was part of the band Carmine St., who played a kind of mix between twee pop and jazz. Most recently she played in Shore For Shelters. But they made postrock rather than twee pop.
Initially Billie is from Delsbo in Hälsingland. There she lived together with her family in a large wooden house. In the basement her dad rehearsed several times a week with his own blues and country bands. In the living room her mom usually played jazz records. She liked jazz so much that her children got the names of her jazz heroines. In Delsbo Billie didn’t really have any friends her own age to hang out with, no one had the same interests that she did. Because of that she mostly sat up in her room copying The Smiths and Cranberries songs. And that was probably a pretty good thing, because otherwise Billie probably wouldn’t have had the time to find her own music so soon.
In the beginning Billie thought that Promise and the Monster visually would have a horror movie aesthetic in the style of Marilyn Manson. And the very first contrast she was interested in was the fascination and the feeling of disgust in front of her own and other peoples’ bodies. And that’s why she wanted pictures of flesh, with neural paths and veins, on her album cover. But that’s not what happened.
"I scrapped the flesh idea because the picturers were so gross. Because when I really thought about it I realized that I’d rather have something cold, something white, things as far away from a body as possible, on my cover. I think I’d rather be made out of porcelain. Because I hate the body as a physical object.", says Billie.
Other things that are important to Promise and the Monster are dramatic expression, feelings and acting out. And that is why Billie can say things like:
”I’m going towards contrast like never before. And this is good because I realized that my music is sort of like a weird forest with weird animals inside”
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No es una filtración y es bakalao para modernos, pero que hora y media a pegar botes que me he pasao esta tarde
Luciano @ Silo Club (Belgica)
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Para los fans de Marissa, Weeks & Cía, una de las dos primeras referencias del nuevo sello de Greg Weeks que tendrá distribución (quien sabe si incluso aquí) a traves de Drag City:
Mountain home - Mountain home (Language of Stone, 2007)
Sello: Language Of Stone
Pais: USA
Estilo: Folk
Te puede gustar si te gusta: El folk de nuevo cuño, aunque aquí casi sin prefijos, psicodelia y demás. Espers, Marissa Nadler (ambos colaboran, Nadler canta en todos los temas excepto uno y Weeks además de tocar es el encargado de la producción)…
Myspace: http://www.myspace.com/mtnhomehttp://www.mediafire.com/?5xxbsetgzwy@wlea0bs4:
Boy/girl folksters Mountain Home are signed up to the new Philadelphia-based label administrated by Espers' Greg Weeks. You can already imagine what this two-piece look like can't you? Indeed, with their grandmothers' clothes, homemade jewellery and flowers in their hair, this duo are headed straight for the freak folk sin bin. But wait! Once you actually get to hear them you'll find that the music certainly has its merits. Confusingly, it turns out that far from being a mere two-hander, Mountain Home features contributions from Weeks himself (who also produces the record), as well as Margaret Wienk of Fern Knight, and Marissa Nadler, who takes on lead vocal duties on all but one song. Despite missing the new age gravy train by a good two or three years, there's much to recommend this release. The writing is authentic in its pseudo-psych retroism and the instrumentation is lavish without ever going over the top. Of course, the presence of Greg Weeks and Marissa Nadler adds to the gravitas of the material, lending a sufficient endorsement from folk scenester royalty.
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Boasting contributions from Greg Weeks and Marissa Nadler, Mountain Home's debut album stands as quite a first effort. Swathed in much the same haunting narrative and melancholy candor that marks Nadler and Weeks' own works its easy to see why Weeks chose this as one of the initial offerings from his Language of Stone label. The album is short but packs a lot of emotional depth into its few tracks; shifting from orchestral tinges to more traditional interpretations of folk standards over the course of the album. No matter how the band's style changes however, there remains an overwhelming tone of sadness that clings to the songs like a constant film of fog. This sadness keeps you coming back more and more to discover the source of the ache that hangs in both the male and female vocals. The band is about to embark on a short Californian Tour with Marissa Nadler so if you're on the West Coast keep an eye out -
andtheworldsmileswithyou, ahora mismo eres Dios en este hilo, no sólo por tus filtraciones, sino por esa plantilla que te has currado que, lejos de ser necesaria, convencen a cualquiera.
A por estos dos últimos voy… muchas gracias por tu trabajo.
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Lo de Dios me queda un poco grande, trato de opositar pero no aspiro a tanto. Y la plantilla más que currarmela ha sido una imposición (más o menos)
En realidad supongo que si que ayuda mucho más a la hora de descargarse un disco que simplemente el nombre y el título.
Un saludo y espero que te gusten
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k no vuelen los cuchillos, lo he visto y a lo mejor alguien le puede interesar a ver que se cuecen a dia de hoy…
Underworld - Oblivion With Bells (10/2007)
http://www.zshare.net/download/3898801a1b365d/ -
Te pillo la plantilla, espero que no te importe!!
Akira Kosemura - It’s On Everything
Sello: Schole
Pais: Japan
Estilo: Electronica / Ambient / Experimental
Te puede gustar si te gusta: Electronica ambiental con regusto oriental (Haruka, Nakamura, lullatone, cokiyu, RF, .tape., motoro faam), melodias bonitas, suaves, piano, ruiditos de juguetes, click clack cluk, un disco perfecto como hilo músical para un domingo de otoño, mientras miras por la ventana como van haciendo formas las gotas que deja la lluvia…)
Myspace: http://www.myspace.com/kose0606@cnltexun:
"Akira Kosemura is a composer who lives in Tokyo, and he’s also known as the manager of his newly formed label “schole.” As a child, he learned piano and started composing regularly from 2005.
He began his career by making debut from an American label EP in 2006. By participating in many label compilations of Germany, Belgium, France, Canada, and Australia, his tunes were highly evaluated in each album. At the same time, Akira established “schole” and started to make actions such as managing the label, issuing free magazine, producing artists, and providing music pieces to the media.
In 2007, Akira released his 1st full album from an Australian avant pop label which is managed by Lawrence English, the most important experimental artist in and a music critic. In this album “It’s On Everything,” Akira definitely showed his new shape of daily music by putting the field recordings, electronics, and acoustical instruments together while he was composing his minimal tunes mainly with piano. His first yet masterpiece is making sales in both domestic and international, and evaluated exceptionally as “world legacy.”http://rapidshare.com/files/57061203/Akira_Kosemura.zip -
Por supuesto que no me importa, faltaría más. Yo te pillo el disco
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@andtheworldsmileswithyou:36yhbtb0:
Para los fans de la churreria sueca, disco bonito recién salido del horno:
Promise And The Monster - Transparent Knives (2007)
Me ha gustado mucho, gracias por el descubrimiento. En otro orden de cosas me ha gustado también mucho lo que alguien colgó de Half Asleep, otro descubrimiento para el otoño que se avecina (vaya, que se avecina es un decir, ayer a las siete de la mañana estábamos a cinco grados). Buen trabajo y ánimo a los filtradores para seguir con el ejemplo de andtheworldsmileswithyou, y darnos alguna indicación de lo que nos bajamos. No quiero ni pensar en la de cosas interesantes que me pierdo por ignorancia o pereza.
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El de Christina y Nacho lo tiene alguien? Y el nuevo de Black Mountain ya que vienen a presentarlo? Para irnos preparando estaría muy bien.
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Para los que lo pedían:
The Octopus Project - Hello, Avalanche (2007)
hxxp://www.mediafire.com/?bmnxy2ob0l0 -
hola de nuevo a todos.
aquí dejo el nuevo de scout niblett (en dos trozos). no lo he escuchado todavía, pero de esta chiquilla me fío.
http://rapidshare.com/files/59071462/SN ... 2007-1.zip
http://rapidshare.com/files/59077493/SN ... 2007-2.zip -
Como para no fiarse
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hola de nuevo a todos.
aquí dejo el nuevo de scout niblett (en dos trozos). no lo he escuchado todavía, pero de esta chiquilla me fío.
http://rapidshare.com/files/59071462/SN ... 2007-1.zip
http://rapidshare.com/files/59077493/SN ... 2007-2.zipya se había filtrado por aquí, es brutal, como escarpias
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wooden shjips - s/t (2007)
Sello: Holy Mountain (sello de Om, Six Organs of Admittance…)
Pais: San Francisco
Estilo: Rock progresivo / Psychedelic / Garage
Te puede gustar si te gusta: Rock Psycodelico a cascoporro,el disco hay algun tema que me recuerdan mucho a Spacemen 3 y los grupos que pario the Darkside, Slipstream… reverbs, voces en ecooo y indescifrables, Jim Morrison, ritmos repetitivos que te van atrapando poco a poco, LSD... y bueno lo típico del genero, tampoco inventan nada wooden shjips, pero la verdad que me ha sorprendido el disco, buen descubrimiento!!!, recomendado.
Myspace: http://www.myspace.com/woodenshjips@17kw7src:
San Franciscan wierdos Wooden Shjips (trust me that is their real name and not a typo) are hugely influenced by the far-out, LSD induced experimentalism of psychedelia, with a small measure of prog rock excess thrown in for good luck. The lazy, hazy groove, fizzing, fuzzy guitars, pounding bass topped of with haunting half sung half spoken vocals is a blood relation of the glacial psych/garage rock of Crocodiles era Echo & The Bunnymen crossed with the sun-bleached tremolo-punk of Australia's The Scientistsand the nightmarish nursery rhyming of the solo Syd Barrett. There are hints of krautrock, the hammond organ haze of The Doors, Spacemen 3 style droning freak outs and the classic progressive psych of The Soft Machine.
wooden shjips -
http://www.mediafire.com/?crttdpe9ujnbonus disc -```
http://www.mediafire.com/?crttdpe9ujn -
@servidora:JOSEPH ARTHUR - JUNKYARD HEARTS E.P.'s (2002)
http://www.megaupload.com/es/?d=1FAQ4U4QAlgunas canciones ya las tenia, pero me faltaba tenerlo así todo juntito y ordenadito. La verdad es que hay algunas idas de olla entre tanto tema pero también hay algunas de las mejores canciones de su carrera como Coldest Sea, sencilla y grande Still the same, feliz y pegadiza Space Needle, Bill Wilson, la dylaniana Dear Lord, la lennoniana Queen of Brooklyn, preciosa Tiny echoes, sobrecogedora In the middle of the night,…
Apenas que os guste un poco este hombre, no deberíais dudar en bajároslo.
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aquí tenéis la presentación de frightened rabbit, novedad en fat cat. a mí me traen a la cabeza a okkervil river (por la manera de cantar), a no age (por la inmediatez) y a twilight sad (por la producción). ¿y eso cómo puede ser? pues es… pero no me hagáis mucho caso. tengo que escucharlos con calma.
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me he explicado un poco mal. a ver… este disco se publicó el año pasado en hits the fan, pero los rabbit estos acaban de entrar en fatcat donde ya sacarán disco cuando encarte. eso es.
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