Filtraciones '08
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Ahí va uno de pareja friki
Kid Dakota - A Winner´s Shadow
http://sharebee.com/b5943831El batería de estos está muy, pero que muy mal de la cabeza. Pero en directo es un espectáculo que nadie debería perderse. De los mejores baterías que he visto en ningún concierto.
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Kid Dakota son Grannnndes!!!!
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Nueva referencia de los Sinamones…
EL GUISANTE MÁGICO: Love, Lust And A Bit Of Champagne (2008)
http://sharebee.com/ac3f1a5b -
Desde Islandia nuevo grupo indie-folktronico de la escudería Morr.
BORKO: Celebrating Life (2008)
http://www.megaupload.com/es/?d=TN4TAZBV -
Se puede ir pidiendo el nuevo EP de Animal collective, "Water curses"?
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@Kiototar:wk527bin:
Nueva referencia de los Sinamones…
EL GUISANTE MÁGICO: Love, Lust And A Bit Of Champagne (2008)
http://sharebee.com/ac3f1a5byo los vi como teloneros de Jenniferever en la becool (o de irene, no me acuerdo)… para mi fué algo lamentable esa actuación. Era como si estubiera en medio de un ensayo... Fueron mas a dar la nota que a tocar... les va el rollo bengalas... dias mas tarde un colega sabiendo como me habían horrorizado me regalo un cd de ellos (su pongo que se destriburía como maqueta o algo parecido) la verdad es que lo puse una vez para ver si en disco haciían algo mejor... pero no... nunca mas volví a ponerlos. Luego me comentaron que el cantante era hijo de alguien metido en el mundo de la música y que estaban recibiendo empujones para hacerse un hueco... me sorprende que hayan editado un àlbum... quien sabe, quizás hasta se merezcan un segunda oportunidad... pero hoy no será
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Dejo unos cuantos, dos semanas fuera dan para mucho
De todo un poco, si alguno es repetido... se siente 
Black Forest/Black Sea - Portmanteau
@1sr3jrc8:
Secret Eye house band Black Forest/Black Sea present a new 10" of exclusive material. The duo is joined by guests Margot Goldberg and Joe Grimm (a.k.a. The Wind Up Bird). This quartet version of BF/BS is the very same lineup that performed at Terrastock 6. Silkscreened metallic silver covers - limited to 500 copies.
http://www.sendspace.com/file/3o40t5–-
Nervous Cop - Nervous Cop
@1sr3jrc8:
First Zach from Hella asked Greg from Deerhoof if he wanted to play together. The two drummers instantly decided to form Nervous Cop. But before long their simple plan of furthering each other's tinnitus was spiraling out of control.
Over the next year and a half of recording, rerecording, remixing and reremixing, Nervous Cop went from sounding like a "Hot For Teacher" tribute gone horribly wrong, to a heavenly, cascading harp concerto featuring The Please's Joanna Newsom, to a dangerously obsessive piece of avant-garde electronics, to a sonic avalanche of truly nightmarish proportions.
At last ready for release, Nervous Cop has turned out to be either a surrealistic masterpiece of musique concrete (what Zach thinks) or a total disaster (what Greg thinks). Either way, rest assured that you have never anything like this before. Fans of Deerhoof, Hella, Iannis Xenakis, Olatunji, Claude Debussy and Alex Van Halen - you have been warned!http://www.mediafire.com/?6cfgrwunmnv–-
Starving Weirdos - Summon with Electronic Sorcery [Bottrop-Boy 2008]
@1sr3jrc8:
This new disc from Californians Brian Pyle and Merrick McKinlay features four intense fever-dream soundscapes, each of which seems to evoke a profound emptiness and an unresolved sense of menace. Using squawking, displaced guitars, immersive percussion and god knows what else, the group set about conjuring their creepy, clinical atmospheres. The first piece in particular makes for an unnerving opener, with loose guitar reverberation clashing against snake-like cymbal hisses, zigzagging from the left speaker to the right with a hypnotic fervour. The steely drones of the next piece only consolidate the sense of foreboding, while the final two get a little more physical, with clanking drum patterns unleashed in the third, and outright discord spilling out across the flanging electronic hum of the fourth and final recording. Key to the ominous atmosphere to these improvisations is an uncomfortable sense of ambiguity. The harmonies and timbres in use always teeter on the edge of intimidation, or even chaos, but a sense of restraint prevents anything becoming too obvious or overstated. Limited to just 250 copies.
http://sharebee.com/42629c55–-
Pocahaunted & Robedoor - Plays Berkley c40 [Ecstatic Peace! 2008]
http://sharebee.com/beb17ebe–-
Gown - For the Maples [Three Lobed 2008]
@1sr3jrc8:
gown (aka andrew macgregor and otherwise known as one-half of the bark haze with thurston moore) moved from western wassachusetts to nova scotia in mid-2007. before he moved, he wanted to have one big audio blow-out to remember the grand old mass times. with that goal in mind, gown went into the studio with the sunburned hand of the man gang (represented this time out by john moloney, sarah o'shea, ron schneiderman and taylor richardson) to melt some audio consoles. for the maples represents a portion of that recorded output and believe us, it's some massive stuff. sunburned's thick funk presents the perfect background for gown's shredding guitar-play. extremely hot stuff, especially the massive side-long "bending close.
http://sharebee.com/72a809abGown - Preserved and Shared
http://sharebee.com/06336c15–-
**Avarus - Kirppujen Saari LP [Arbor 2008]
**@1sr3jrc8:
Long touted as the forefathers of Finnish freeform psychedlic music, Avarus, a collective bearing members from The Anaksimadros, Kemialliset Ystävät, Maniacs Dream, and more, document their first tour of the United States on "Kirppujen Saari". The sounds contained show a departure and growth from typical Avarus recordings. The A side long track begins with a psychrock romper complete with full “band” instrumentation, slowly it deconstructs itself into the abstract electric/acoustic stylings and sonic spattering familiar to their previous work. Slowness builds into full on clatter filled walls of vocals, toy keyboards, horns, strums, and other acoustic junk, creating a unique and massive drone. The opposing side is pure acoustic drones composed of vocals, horns, and tribal beats. Room filling ambiance, corner clatter, and morphing silence also find a way to unobtrusively build themselves into the piece.
http://sharebee.com/825f9802–-
Various Artists - The Garden of Forking Paths [Important 2008]
@1sr3jrc8:
Compiled and curated for Important Records by James Blackshaw, The Garden Of Forking Paths draws together some of the guitarist's favourite string instrument soloists, including the koto virtuoso and composer Mori Chieko, Espers cellist Helena Espvall and Dutch lute revivalist Josef Van Wissem. It's not hard to see how all this flows into Blackshaw's own music, his advanced 12-string pieces have always been curiously detached from the main thread of solo acoustic guitar music. While the Takoma school has clearly left its mark on him as a musician, there's always been something about Blackshaw's playing that transcends the usual bluegrass and raga templates. This is further proven on this album by 'The Broken Hourglass', the compiler's own contribution. Typically of Blackshaw, it's a piece of music that sounds far bigger than a mere single guitar could ever reasonably hope to, with florid, unfeasibly intricate fingerpicking hammering out rhythmic and melodic parts simultaneously, bathed in a churchly echo. Next comes Espvall's 'Home Of Shadows And Whirlwinds', a piece of music that has little common ground with anything you'd hear from the cellist's Espers day job, instead exploring overtones and droning disharmony, sounding not unlike a lower register version of Nils Okland's hardanger fiddle. In fact the use of the drone string that runs through much of the piece might be cited as a parallel to the sort of sound you'd hear from a guitar or sitar raga. Next comes Josef Van Wissem's lute solo 'The Mirror Of Eternal Light', which presents the instrument in an entirely modernised context - not in a Sting sort of way, but rather by employing the instrument within the confines of a very contemporary sounding piece of music, played with a level of dexterity and accomplishment comparable to that of Blackshaw himself on his 12-string. The album is bookended by pieces from Mori Chieko, the first, 'Spiral Wave' sounding like several instruments all coming together in some strange Eastern variant of the blues, while 'Tokyo Light' sounds altogether brighter, illuminated by sweetly harmonised, meandering koto melodies. This isn't the sort of compilation that comes along every day, while you would never ordinarily hear such different musical disciplines from such disparate musical cultures coming together in one place, it somehow does all link up, flowing together exquisitely as an album. Major props to James Blackshaw for having the vison to fit it all together, and to Important Records for giving it a home. Highly Recommended.
http://sharebee.com/e2c300e7–-
Bitcrush - Epilogue In Waves (2008)
@1sr3jrc8:
"Epilogue in Waves" is the third album from n5MD main-man Mike Cadoo's ever evolving Bitcrush moniker. The album is the soundtrack to a story which begins with a sense of hope, but whose undercurrents pull you to the end you feared. Epilogue in Waves marks the end of Cadoo's “wading in the ocean” thematic metaphor for lost time that constituted the backbone of his previous album, “In Distance.” As his self described “rock record,” the album eschews some of Cadoo's previous electronic methodologies for a more stripped-down songwriting style which utilizes only guitars, basses and drums. This experiment in the basics has led to a sonically rich release that still contains those warm musical crevices to find solace in. Epilogue in Waves will please fans of previous works by Bitcrush as well as neophytes to Cadoo's brand of emotional and sometimes epic songwriting.
http://rapidshare.com/files/94369582/b-eiw.rar.html–-
She and Him - Volume 1 (Merge, 2008)
@1sr3jrc8:
She & Him is a story of musical serendipity: Zooey Deschanel and M. Ward, each renowned in their own creative fields, meet and recognize a certain shared nostalgia. The result is destined to be one of the musical highlights of the year.
Zooey and M. Ward first met to record a version of Richard and Linda Thompson’s “When I Get To The Border” for a movie soundtrack. Immediately struck by one another’s talents and finding an instant rapport, Zooey let slip that she wrote her own songs which she recorded alone at home on her computer. Somewhat shy about anyone hearing these musical morsels she eventually sent the demos to Matt who was instantly impressed. They soon reconvened at his Portland studio to begin work.
Embracing the warm sound of early analog recordings, Volume One is more than just a showcase for Zooey’s rich and endearing voice; it’s a distinctive and endlessly charming album. The songs themselves give a respectful nod to the likes of Dusty Springfield, Linda Ronstadt and The Zombies while Matt’s production gives them just the right amount of golden era sheen. Whether Zooey’s channeling Ronnie Spector as on “I Was Made For You” or joining Matt in turning The Beatles “I Should Have Known Better” into a seductive hula guitar duet, the results are always captivating.
http://www.filefactory.com/file/ca23a8/ -
@1gn02jyx:
Veteranos de la escena nacional, Camping ha editado sus dos anteriores referencias con el apoyo unánime de la prensa especializada, que los ha visto siempre como una rara avis en nuestro país y por ello únicos y especiales. Si en un principio el post rock era la etiqueta más acertada para sus albumes "Dancing Days" y "Photo Finish" y los emparentaba con bandas como Manta Ray o Mogwai, en esta tercera entrega para PuPilo Records la banda de Granollers ha decidido explorar nuevas formas dentro de su rock vanguardista.
La producción de Santi García también ha influido lo suyo y las nuevas canciones que componen "Politics of Love", el nuevo álbum de Camping, han ganado en músculo, forma y contundencia, acercándose ahora tal vez hacia un post todo que demuestra la capacidad regenerativa de Camping. Ante tal avalancha compositiva y en función del concepto del siguiente álbum, Camping propone otros 5 temas para "Politics of Hate"que supone el contrapunto melódico a las arrebatadas canciones de "Politics of Love".
"Middle class" girl abre el EP con una bonita melodía coral y un piano que te hará llorar de melancolía, evocando el regreso de esta gran banda. "Fidel Patrick Martínez Bailyss" avanza la transformación mutante de Camping, "Politics of Hate (Inside a washing machine)" supone uno de sus atractivos experimentales, un sampler de lavadora que da forma a un tema agonizante y claustrofóbico pero con un sentido del ritmo cercano a la electrónica de vanguardia, "Gospel or me" ahonda en la búsqueda de un nuevo lenguaje rítmico, baterías de ritmo tribal con arreglos electrónicos, mientras que "Tribecca" cierra el EP dejando entrever el nuevo sendero (más duro, más difícil) que ha tomado Camping para "Politics of Love" su esperado y rotundo regreso en larga duración.
No sé si se ha hablado de este disco por aquí… Si ha alguien le interesa lo ripeo y lo subo.
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@1w85kx50:
Veteranos de la escena nacional, Camping ha editado sus dos anteriores referencias con el apoyo unánime de la prensa especializada, que los ha visto siempre como una rara avis en nuestro país y por ello únicos y especiales. Si en un principio el post rock era la etiqueta más acertada para sus albumes "Dancing Days" y "Photo Finish" y los emparentaba con bandas como Manta Ray o Mogwai, en esta tercera entrega para PuPilo Records la banda de Granollers ha decidido explorar nuevas formas dentro de su rock vanguardista.
La producción de Santi García también ha influido lo suyo y las nuevas canciones que componen "Politics of Love", el nuevo álbum de Camping, han ganado en músculo, forma y contundencia, acercándose ahora tal vez hacia un post todo que demuestra la capacidad regenerativa de Camping. Ante tal avalancha compositiva y en función del concepto del siguiente álbum, Camping propone otros 5 temas para "Politics of Hate"que supone el contrapunto melódico a las arrebatadas canciones de "Politics of Love".
"Middle class" girl abre el EP con una bonita melodía coral y un piano que te hará llorar de melancolía, evocando el regreso de esta gran banda. "Fidel Patrick Martínez Bailyss" avanza la transformación mutante de Camping, "Politics of Hate (Inside a washing machine)" supone uno de sus atractivos experimentales, un sampler de lavadora que da forma a un tema agonizante y claustrofóbico pero con un sentido del ritmo cercano a la electrónica de vanguardia, "Gospel or me" ahonda en la búsqueda de un nuevo lenguaje rítmico, baterías de ritmo tribal con arreglos electrónicos, mientras que "Tribecca" cierra el EP dejando entrever el nuevo sendero (más duro, más difícil) que ha tomado Camping para "Politics of Love" su esperado y rotundo regreso en larga duración.
No sé si se ha hablado de este disco por aquí… Si ha alguien le interesa lo ripeo y lo subo. Aunque no creo que pueda tapar el hueco que han dejado Manta Ray, me parece un disco digno.
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@ex-cowboy:1qdw2sgz:
No sé si se ha hablado de este disco por aquí… Si ha alguien le interesa lo ripeo y lo subo. Aunque no creo que pueda tapar el hueco que han dejado Manta Ray, me parece un disco digno.
si que lo puedes subir… me intersa...
por cierto me encanta tu nick...
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yo el de CAMPING me lo iba a comprar, pero me dejó tan mal sabor de boca el EP anterior que me lo estaba pensando, si le doy una escucha previa y veo que mejora, lo mismo cae y todo…
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por cierto…
un radio rip de "The architect", un tema del nuevo de dEUS, que veo que por ahí hay ganas, a falta de pan...
http://uploaded.to/?id=96rihq -
Bueno, pues aquí va el link al disco de Camping. Está ripeado a un bitrate de 192. Como novedades más reseñables cabe destacar que cantan en todas las canciones menos en un intervalo de ruido de dos minutos y acortan bastante la duración de las canciones, en relación a los dos discos previos.
http://www.megaupload.com/es/?d=UT1PE9IXDisfrútenlo!
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Aquí se puede ver el vídeo del nuevo single de EXPERIENCE, adelanto de su inminente nuevo "Nous (en) sommes encore là", grabado por Steve Albini en los Electrical Audio de Chicago.
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@ex-cowboy:349uk9ra:
Bueno, pues aquí va el link al disco de Camping. Está ripeado a un bitrate de 192. Como novedades más reseñables cabe destacar que cantan en todas las canciones menos en un intervalo de ruido de dos minutos y acortan bastante la duración de las canciones, en relación a los dos discos previos.
http://www.megaupload.com/es/?d=UT1PE9IXDisfrútenlo!
Muchas gracias por subirlo. Tendré que esperar que tengo una cola de 4 Megauploads pendientes.
En Mediafire y zShare no hay que hacer cola, si alguno sube algo lo mejor sería que lo subiese a uno de esos (o Badongo).
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@ex-cowboy:3j8czpa5:
Bueno, pues aquí va el link al disco de Camping. Está ripeado a un bitrate de 192. Como novedades más reseñables cabe destacar que cantan en todas las canciones menos en un intervalo de ruido de dos minutos y acortan bastante la duración de las canciones, en relación a los dos discos previos.
http://www.megaupload.com/es/?d=UT1PE9IXDisfrútenlo!
gracias, a ver qué tal
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M83 - Couleurs EP
http://www.megaupload.com/?d=IGYO7M1MEn formato .m4a
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tau emerald - travellers two (important 2008)
@24vd3zuw:
"Travellers Two is a full length recording from the duo of Tara Burke (Fursaxa) and Sharron Kraus. Togerther Kraus & Burke create an ethereal record of dark-folk magic. Tara Burke and Sharron Kraus were due to travel to Finland together for a week but missed the flight, so instead they decided to spend the week recording together and Travellers Two is the result. The time was spent out in the fields, visiting burial mounds, and then coming back to Sharron's home studio to work. They had played previously together and done some recording but this is the first time an album was conceived."
http://sharebee.com/4c4300b7–-
**kurt weisman - spiritual sci-fi (important 2008)
**
@24vd3zuw:"While Spiritual Sci-Fi is a result of work that Kurt Weisman has been undertaking for the last 10 years it's certainly also worth noting that he's a multi-instrumentalist in the acclaimed folk outfit Feathers. Kurt's stunning musicallity and absolute compositional prowess makes this an extremely compelling and wonderfully musical experimental pop-folk recording. The dense & original arrangement makes recalls the majesty of Van Dyke Parks album Song Cycle.
Kurt Weisman is a New England composer in his late 20s around whom all the wheels of life seem distinctly sped up (he's known for his extreme falsetto as well as pitching up his voice beyond Beatle and into cartoon)…"http://sharebee.com/1e78bf2d -
Y para los pitchforkadictos que tenían curiosidad (si Toxi, para ti
)
**Fleet Foxes - Sun Giant EP
@1csq22qf:
The opening track on Fleet Foxes' debut EP is the perfect introduction to this Seattle band, whose carefully fashioned songs reward more active listening than your typical indie-roots outfit. "Sun Giant" begins with their soft harmonies reverberating in what sounds like a cathedral space. With no accompaniment, their sustained a cappella notes fade slowly, adding gravity to this hymn of contentment: "What a life I lead in the summer/ What a life I lead in the spring." The only other instrument is Skyler Skjelset's mandolin, which enters late in the song playing a delicate theme as singer Robin Pecknold hums quietly.
The Sun Giant EP– sold on tour and digitally through Sub Pop, with a proper release forthcoming-- contains familiar sounds, but Fleet Foxes make something new and special with them, following their own musical whims as closely as they follow tradition. (Maybe more closely.) These five songs-- modest but never spare, atmospheric but never as an end in itself-- change shape constantly, taking in elements of classic rock, church music, old-timey folk, and soundtrack flourishes. Already mistaken for Southern rock (there's not enough boogie in Nicholas Peterson's drums for that), Fleet Foxes will bear repeated comparisons, both praising and disparaging, to groups like My Morning Jacket and Band of Horses, but those connections are based on superficial similarities like geography or the heavy use of reverb. In fact, Fleet Foxes' touchstones are much more diverse than that-- and not necessarily so contemporary. Until recently, their MySpace page listed Judee Sill, Crosby Stills & Nash, and Fairport Convention as influences, although now it reads "not much of a rock band." That's not especially true. You could also make a case that Fleet Foxes' demonstrative harmonies recall Fleetwood Mac; that their rearrangement and recombination of traditional styles hints at the Band or, more recently, Grizzly Bear; that their short, evocative instrumental phrasing bears similarities to Pinetop Seven.
Such comparisons accompany the arrival of most young bands, but Fleet Foxes' songs inhabit a very specific, very rural space that's as much a product of how these songs are assembled as it is of how they sound. Like a novelist writing intricately winding sentences, the band craft hummable melodies that never quite go where you expect, but sound neither manipulated nor directed. After the quiet title track comes "Drops in the River", which builds gradually as the band patiently add instruments-- strange ambient clattering in the background and simple floor toms in place of a drum kit, accentuated with tambourine and a snaky electric guitar. Halfway through the song, Fleet Foxes reach a dramatic peak, and their next move is surprising: The music ebbs momentarily, as if to build anew through a second verse, but then picks up at that same dramatic level. Like the rest of the EP, "Drops in the River" possesses an intriguingly blunt concision, as though Fleet Foxes have no time for the luxury of long, slow crescendos or meandering jams. They focus their arrangements finely, emphasizing Pecknold's rustically impressionistic lyrics as much as their organic and inventive sound.
"English House" and "Mykonos", the longest and most obviously "rock" songs, comprise the EP's rising action and reveal more of Fleet Foxes' range. The former is a graceful downward rush of guitars and percussion, with a falsetto chorus trimming the music like Christmas lights in the rafters. "Mykonos" doesn't travel as far as its title suggests, but thrives on the tension between Pecknold's wordless vocal intro and the band's intricate harmonies. Of course, it careens off in new directions. "Brother, you don't need to turn me away," Pecknold pleads, bringing the song to a dramatic standstill. Then the band just runs away with the song again.
The Sun Giant EP ends with Pecknold alone once more, singing "Innocent Son" with only a few brusque strums as accompaniment. With only the sparsest elements, he turns the song into a sort of rough county-road soul, his voice unceremoniously fading out on the final words. This song, and the others here, reinforce the impression that Sun Giant is more than a tour souvenir or a promotional teaser for a proper release. It's a sovereign work: a statement EP, supremely crafted and confident.
http://rs262.rapidshare.com/files/96202925/sun_giant.rar ```** -
Venga, para que no se diga dejo el disco que saldrá el 3 de junio. No podía filtrarse el de Grouper, no…
Fleet Foxes - Ragged Wood (Sub Pop, 2008)
http://www.mediafire.com/?md00jwlxl2x -
The Constantines - "Kensington Heights" (2008) Arts & Crafts
http://www.sendspace.com/file/po1x0n
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