Pink Martini - Hey Eugene
1.Everywhere
2.Tempo Perdido
3.Mar Desconcido
4.Taya Tan
5.City Of Night
6.Ojala
7.Bukra Wba'do
8.Cante E Dance
9.Hey Eugene
10.Syracuse
11.Dosvedanya, Mio Bombino
12.Tea For Two - (with Jimmy Scott)
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7:27 PM
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Labels Hey Eugene, Pink Martini
As with their first two albums, ‘Youth And Young Manhood’ and ‘Aha Shake Heartbreak’, ‘Because Of The Times’ finds Nashville alternative rockers Kings of Leon recreating the majesty of 1970s southern rock for the emo generation. Sounding like they were raised as much on a steady diet of Neil Young, the Faces, and the best of Capricorn Records as they were on Pentecostal preaching–the father of the band’s three brothers is himself a noted preacher–the Kings of Leon create classic-sounding but demonstrably modern alternative rock that appeals to both the vintage 1970s AOR audience and its kids. Lyrically, songs such as “Knocked Up,” “Camaro,” and “My Party” sound like diary entries from an archetypal bad-boy teen, a persona that’s deepened by more thoughtful tunes such as the epic closer, “Arizona,” and the near-ballad “True Love Way.” A solid follow-up to their earlier albums, ‘Because Of The Times’ cements the Kings of Leon’s place as the Allman Brothers Band of the new millennium.
Track List
1. Knocked Up
2. Charmer
3. On Call
4. McFearless
5. Black Thumbnail
6. My Party
7. True Love Way
8. Ragoo
9. Fans
10. Runner, The
11. Trunk
12. Camaro
13. Arizona
Click For Download
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4:41 PM
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Labels Because Of The Times, Kings Of Leon
Before issuing their debut, The Back Room, in August 2005, Editors was immediately compared to the dark, brooding sounds of Interpol as well as the post-punk brashness of Echo & the Bunnymen. Singles such as "Blood" and "Bullets" quickly put Editors in the elite crowd of those to watch that year. The band — Tom Smith (vocals/guitar), Chris Urbanowicz (guitar), Russell Leetch (bass), and Ed Lay (drums) — compose a tight rock sound that's both raw and defined, particularly on album opener "Lights." Editors is an anxious, frantic, and passionate group, and the album is done with taste from the start. Smith is vocally passionate without being too steely, unlike Interpol frontman Paul Banks, as he exclaims, "I've got a million things to say," while his bandmates add to the song's rushing intensity. From there, the blistering "Munich" and the more luxurious, danceable "Blood" are the standout moments of this 11-song set. "Munich" is one of The Back Room's especially stylish numbers, thanks to the matching guitar work of both Smith and Urbanowicz. The surging storm that is "Bullets" is further proof that from the first note, The Back Room lunges at you with a dynamic that's fierce, wiry, and slightly fashionable. Alternative rock hasn't seen anything like this since the release of Turn on the Bright Lights.
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6:18 PM
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Labels Editors, The Back Room
Proving that the comeback of 2003's Dear Catastrophe Waitress was no fluke, Belle & Sebastian's sixth full-length album, The Life Pursuit, is a sleek, stylish affair that finds the group quietly pursuing new ground without forsaking its trademark witty, literary, tuneful pop. In retrospect, Dear Catastrophe Waitress wasn't so much a comeback as a restart, finding Stuart Murdoch reasserting himself as the group's undisputed leader in the wake of the departure of Stuart David and Isobel Campbell, but equally as important was the presence of superstar producer Trevor Horn, who didn't gloss up B&S as much as gave them focus and direction, along with a greater musical palette. The Life Pursuit is the logical next step forward, retaining Murdoch's signature wry vignettes but dressing them in new sonic colors. Although their collaboration with Horn started Belle & Sebastian on this path, he has been replaced with producer Tony Hoffer, best known for his work on Beck's Guero, Air's 10,000 Hz Legend, and Supergrass' Life on Other Planets. On each of those records, Hoffer was able to retain the artist's core identity while expanding their musical horizons, and that's the case with The Life Pursuit. Here, Belle & Sebastian dabble in glam rock, lazy lounge jazz, and ersatz blues, enhancing their swinging '60s pop fixation with horn charts, the occasional flute, and Motown rhythms, while even rocking harder than ever before (but that's on a relative scale, of course). This results in a fresh, lively listen, but a rich one too, since there's more to hear in the music as well as the words upon repeated listens. It's not a radical departure for Belle & Sebastian — there are several intimate, folky numbers that would comfortably fit on their previous records. But having these tunes surrounded by songs that successfully stretch the group's sound gives The Life Pursuit an unexpected, wholly welcome vitality that not only produces a satisfying album, but suggests that a decade removed from their masterwork, If You're Feeling Sinister, Belle & Sebastian have managed to find a way to grow without changing their identity.
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5:53 PM
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Labels Belle and Sebastian, The Life Pursuit
One might go into a review like this one wondering how many words will pass before Joy Division is brought up. In this case, the answer is 16. Many are too quick to classify Interpol as mimics and lose out on discovering that little more than an allusion is being made. The music made by both bands explores the vast space between black and white and produces something pained, deftly penetrating, and beautiful. Save for a couple vocal tics, that's where the obvious parallels end. The other fleeting comparisons one can one whip up when talking about Interpol are several — roughly the same amount that can be conjured when talking about any other guitar/drums/vocals band formed since the '90s. So, sure enough, one could play the similarity game with this record all day and bring up a pile of bands. It could be a detrimental thing to do, especially when this record is so spellbinding and doesn't deserve to be mottled with such bilge. However, this record is a special case; slaying the albatross this band has been unfairly strangled by is urgent and key. Let's: there's another Manchester band at the heart of "Say Hello to the Angels," but that heart is bookended by a beginning and end that approaches the agitated squall of Fugazi; the torchy, elegiac "Leif Erikson" plays out like a missing scene from the Afghan Whigs' Gentlemen; the upper-register refrain near the close of "Obstacle 1" channels Shudder to Think. This record is no fun at all, the tension is rarely resolved, and — oh no! — it isn't exactly revolutionary, though some new shades of gray have been discovered. But you shouldn't allow your perception to be fogged by such considerations when someone has just done it for you and, most importantly, when all this brilliance is waiting to overwhelm you.
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5:46 PM
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Labels Interpol, Turn On The Bright Lights
Had Interpol been honest with themselves before making their second album, they would've accepted the fact that improving on the debut would be out of the question. Their prime objective, then, would be to make a different record — not a better one. Suck it up, prepare for the inevitable "sophomore slump" darts, and get on with it. Having fielded comparison after comparison since the release of Turn on the Bright Lights, you'd think the band would've also thought to be more cautious the second time around. They weren't. Believe it or not, Antics opens with a song that resembles a defunct band more closely — in structure, sound, and sentiment — than anything on the debut. From the processional church organ to the sighing guitar, from the echo on the spare piano notes to the sound of the drums, from the stained-glass window to the wailing wall, "Next Exit" is a poor facsimile of Gentlemen-era Afghan Whigs (there we go again). Though the remainder of the album sounds like Interpol, and not your favorite unsung band, it's far from a favorable start — and as Antics plays out, the album begins to form the shape of a Singles Going Unsteady, with five possible A-sides and as many apparent B-sides arranged to stream like something you'd listen to from beginning to end. The sequence runs thusly: B-side, A-side, A-side, B-side, A-side, B-side, B-side, A-side, A-side, B-side. Some of the five A-sides cast Interpol in brighter light — a relatively upbeat one, not merely an up-tempo one. Though up-tempo songs weren't absent from Turn on the Bright Lights, they were delivered in pensive, steady waves of gloom. The up-tempo songs here aren't nearly as downcast — even "C'mere," in which Paul Banks sings, "The trouble is that you're in love with someone else," turns out to be more charming than self-pitying. Another development is the presence of some taut dance rhythms — touring has made them a better, more flexible band, especially within the interplay between bassist Carlos Dengler and drummer Sam Fogarino. To the band's credit, the weaker songs aren't necessarily eating space for no reason — their B-material here is more affecting than the average indie band's A-material. The problem is that, during those lesser moments, the band shows signs of attempting to cannibalize Turn on the Bright Lights' magnetic sulking, and their hearts don't seem to be as in it. The truth, as alluded to above, is that they will never make a record as special as the debut. However, following it with one that is merely very good is no crime.
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5:40 PM
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Posted by
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11:42 AM
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Although many feel that the “New Rave” movement taking Britain by storm is just the latest fad, the “pioneering” Klaxons prove their much more than just hype. ‘Myths of the Near Future’ is a solid listen all the way through, yet one may not hear much “rave” sound, so to speak. Any “rave” attitude is filtered through a Radiohead-like embrace of huge guitar-electronic melodrama, making ‘Myths of the Near Future’ sound more like Broken Social Scene and Yeah Yeah Yeahs than Renegade Soundwave. Production wise, the record has that claustrophobic, echo-y Flaming Lips, Secret Machines, TV on the Radio vibe to it as well. Their best songs are quite infectious, and their debut single “Golden Skans” is approaching Gnarlesque status on the UK download charts, and with good reason. Indeed, Klaxons are definitely one of the better new British “rock” bands and definitely have the potential to break big; one thing for sure, they certainly don’t need a fly-by-night tag to distract them from their goal. Consider this recommended.
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2:31 PM
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Labels Klaxons, Myths of the Near Future
If Interpol was (somewhat unfairly) pegged as a slavish imitation of Joy Division, it's perhaps inevitable and only slightly less unfair to mark new Brit indie rockers Apartment as a slavish imitation of Interpol. There are some absolutely undeniable points of comparison: the way that Interpol purified the post-punk throb of the Factory Records sound into a cleaner, more propulsive melding of urgent drumming and prominent basslines is all over The Dreamer Evasive. David Caggiari's got a similarly son of Ian Curtis vocal style as Interpol's Paul Banks, as well, and while David De Santis' guitar is more in the post-the Edge school of plane-crash drone (listen to his epic, unfurling buzz on the utterly glorious "10,000 Times," the album's clear high point), that familiar early-'80s sound keeps Apartment's obvious influences in the same approximate vintage. The main difference between Apartment and Interpol is that despite Caggiari's stentorian tones, he has little apparent interest in the sort of po-faced early-twenties angst that the other group tends to traffic in: the singles "My Brother Chris" and "Everyone Says I'm Paranoid" toss a little sly humor into the mix. Along with the rhythm section's tendency to keep things moving a little quicker and looser than most similar bands — "Tokyo for Miko" is downright brisk — these elements give Apartment just enough of a sense of self to keep from being lost in the flood of neo-post-punk acts.
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1:57 PM
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Labels Apartment, The Dreamer Evasive
When Suede released their self-titled debut album in 1993, vocalist Brett Anderson endeared himself to U.K. critics longing for another David Bowie or Morrissey. Born in Haywards Heath, England, on September 29, 1967, Anderson was named after the character Lord Brett Sinclair from the TV series The Persuaders. Anderson spent much of his childhood playing sports but fantasized about becoming a rock star. In his teens, Anderson played guitar for garage bands such as the Pigs and Geoff, the latter featuring future Suede bassist Mat Osman. Anderson then formed Suede with Osman and guitarists Bernard Butler and Justine Frischmann, Anderson's girlfriend. Drummer Simon Gilbert joined Suede in 1991, but Frischmann quit the group a year later to front the band Elastica. Even before Suede's first album appeared in stores, Anderson's vague confessions about his sexuality stirred controversy in the British press. In 1993, Suede hit number one on the U.K. charts. Combining Morrissey's homoerotic posturing with Bowie's glam theatrics, Anderson achieved instant fame in England. America, however, was still spellbound by the grunge revolution and Anderson's melancholy, over-the-top vocals clashed with the raw anger of Nirvana's Kurt Cobain and Pearl Jam's Eddie Vedder. Although the departure of songwriting partner Butler in 1994 led many to fear Suede's eventual demise, the band continued to release critically and commercially successful albums in the U.K.
1. Love Is Dead
2. One Lazy Morning
3. Dust And Rain
4. Intimacy
5. To The Winter
6. Scorpio Rising
7. The Infinite Kiss
8. Colour Of The Night
9. The More We Possess The Less We Own Of Ourselves
10. Ebony
11. Song For My Father
Buradan indirebilirsiniz
Pass: tordalk
Posted by
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1:43 PM
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Labels Brett Anderson
For those who have even heard of Gorky’s Zygotic Mynci, it’s likely about how bizarre their music is (they write some songs in Welsh and discuss wizards, gnomes, et. al when singing in English; they openly admit eating magic mushrooms before recording sessions, as well). And while they may indeed be weird, they have recorded some of the most inscrutable, iconoclastic pop of the ninties, as best experienced on ‘Barafundle’. In fact, ‘Barafundle’ has tunes on top of its tunes. It frequently eases into the most stunning melody, only to scrap it after a few bars and pick up on another. Euros Childs has a fine voice (as do Megan and John, his primary backing vocalists) but they’re often pushed to their limits by the vast melodic and harmonic ranges these songs explore. One gets the feeling that the complexity of the arrangements is also being dictated by the ambition of the tunes (as if they needed Spanish guitar, violin, jew’s harp and 12 kinds of organ just to reach all the notes). “Patio Song” and “Heywood Lane” are impossibly catchy and wonderfully crafted for staying power. “The Barafundle Bumbler” and “Sometimes the Father Is the Son” are spectacularly evocative hymns to childhood. “Diamond Dew” is the perfect overture to a psych-pop symphony, and if it doesn’t drive Brian Wilson and Paul McCartney into a desperate collaboration, then someone’s not paying attention.
Posted by
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1:54 PM
2
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Labels Barafundle, Gorky’s Zygotic Mynci
Arkadaslar nihayet beklenen album Blogumuzda : ) Grup hakkinda hala bilgi sahibi olmayan varsa su adresten detayli bilgiyi alabilir ( www.allmusic.com ) .. Albumu henuz tam anlamiyla dinlemedim, fakat yorumumu en kisa zamanda ekleyecegimi belirtmek isterim : )
1.Send Away The Tigers
2.Underdogs
3.Your Love Alone Is Not Enough
4.Indian Summer
5.The Second Great Depression
6.Rendition
7.Autumnsong
8.I Am Just A Patsy
9.Imperial Bodybags
10.Winterlovers
Buradan Indirebilirsiniz..
Posted by
Jtx!
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12:23 PM
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Bir zamanlar "Simon & Garfunkel" dinlenirdi her kose basinda, her ask kafesinde ve tum romantik partilerde.. Artik gunumuze bu anlayis bambaska bir sekilde tasinmis olsa bile sound cok degismedi.. Grup uyeleri her ne kadar bu benzetilme karsisinda tepkili olsa bile maalesef bu dinleyicinin algiladigi soundu degistirmiyor.. Fakat grup uyelerinden "Erlend Oye" un, "DJ Kicks" ve benzer turu Dj Setler yaratiyor olmasi ve "Royksopp" la yapilan bir cok ortak proje bizlerin bu Norvec' li gruba bakis acisini sanirim biraz elektronize ediyor.. Bu album 2004 yilinda ulkemizde EMI Music etiketiyle yayinlandi.. Ve bize gore satis grafigi gayet basarili.. Ozellikle "Know How" i dinlediginizde kesinlikle kulaklariniza inanamayip, uzunca bir sure bu sarkidan ve albumden vazgecemeyeceksiniz.. Benden soylemesi : )
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4:00 PM
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Labels Kings Of Convenience, Quiet Is The New Loud, Riot On An Empty Street
Evettt geldik "Mew" un son albumune.. Uzun ugraslardan sonra sizlerle bu albumu paylasiyor olmaktan gurur duyuyoruz.. Bir arkadasim "Onder" albume sahip oldugu icin bizi kirmayip upload etmistir.. Cok tesekkur ediyoruz kendisine.. "Mew" le alakali ayrintili bilgi sitemizde mevcut.. "Special", "The Zookeeper's Boy" ve "Chinaberry Tree" kesinlikle vazgecemeyecekleriniz arasinda ilk siralarda yer alacak.. Fazla soze gerek yok.. Iste karsinizda "Mew" : )
Posted by
Jtx!
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3:10 PM
1 comments
Labels And The Glass Handed Kites, Mew
Bu aralar cok yogun oldugum icin blogla pek ilgilenemiyorum (yeni actik blogu gerci). Hatta genel olarak hic bir seyle ilgilenemez bir durumdayim. Muzik dinlerken bile secici davranamiyorum; alelacele ne denk gelirse basiveriyorum "play"e.. Gelgelelim bu album mutlaka bu blogta yer almali diye dusundum. Ya ben bu "gelisi guzel play'e basmalar" esnasinda cok eftere puften seyler dinlemisim ya da Lemongrass"in Filmotheque albumu gercekten cok hoş... Uzun uzun yazmak isterdim ama Roland Voss kalitesini anlatmak icin cokta uzun seyler yazmaya gerek yok...
Posted by
Batu
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10:37 PM
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Labels filmotheque, lemongrass
Gectigimiz haftalarda ulkemizde "Converse ve Bant Dergisi" sponsorlugunda duzenlenen "City Star Nights by Converse #2" kapsaminda "Babylon" da bir performans sergileyen Isvecli "The Radio Dept." in ilk albumu "Lesser Matters" bundan 3 sene once yayinlandi. "Lesser Matters", NME dergisinde "2004' un en iyi albumleri" siralamasina 9. siradan girerek toplulugun ununu Isvec sinirlari disina hizla tasirdi. Gectigimiz sene yayinlanan ikinci albumleri "Pet Grief" ise, topluluk icin daha olgun, daha kendinden emin bir kimyanin habercisiydi. "The Radio Dept" in -kendilerinin de dile getirdigi uzere- "My Bloody Valentine, Stereolab, New Order, Cocteau Twins ve Arap Strap" e duydugu saygi, onlarin pop muzige getirdigi dolambacli yaklasimda kendini rahatca ifade edebiliyor. Geçtigimiz sene "Sofia Coppola"nin "Marie Antoinette" filminin muziklerine de 3 parcasini bahsetmis..
Posted by
Jtx!
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9:37 PM
3
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Labels Pet Grief, The Radio Dept.
Although the Wedding Present would go on to make more nuanced and refined albums later in its career, this 1987 debut full-length captures the band at its sweetly rambunctious best. Mixing a thunderous tidal wave of fuzzed-out guitars with classic pop melodies played at a furious clip, ‘George Best’ is the sound of a precocious bunch of young hipsters trying to recreate Phil Spector’s Wall of Sound with a limited musical arsenal–consisting of drums, bass, and guitars–and very little cash. Frontman David Gedge, who also writes the songs and plays guitar, sings about a variety of topics (most commonly love and its pitfalls) in what is one of the most unique and distinct voices in rock & roll: part aching wail, part brilliant lilt–a description not inappropriate to the Wedos themselves. Tracks like “Shatner,” “All This And More,” and “Everyone Thinks He Looks Daft” are gleefully rough around the edges, but posses an urgency and romanticism that is impossible to resist. While the band would refine and perfect the sound found here, ‘George Best’ remains a quintessential document of a truly brilliant band.
Posted by
Jtx!
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8:56 PM
2
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Labels George Best, The Wedding Present
Posted by
Jtx!
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7:56 PM
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When the Elephant 6 collective first began putting out records in the mid-1990s, teen angst and raw grunge pop dominated the airwaves, making the E6’s baroque psychedelia a whimsical reference to a bygone age. Since then, neo-psych has become the chief aesthetic of much of indie culture: from the orchestral ambitions of Sufjan Stevens to the brown acid bombast of Comets on Fire. In this milieu, the Apples in Stereo–perhaps the most definitive E6 band of the collective’s heyday–return with a whopper, the epic, 24-track ‘New Magnetic Wonder’, and a lesson for the droners in what a psych revival can be. Keyboardist Bill Doss, bassist Eric Allen, guitarist John Hill, and new drummer John Dufilho (ex-Deathray Davies) join Apples mastermind Robert Schneider in a blissed-out parade of kaleidoscopic pop with enough headphone candy to satisfy the stoners plus melodies for the soccer moms. ‘New Magnetic Wonder’ is full of positive anthems: “Can You Feel It?” kicks off the album like a rush of musical serotonin, while “Energy” reinvigorates lyrical platitudes (”the world is made of energy/and the world is the possibility”) with tent-revival enthusiasm. The backwards piano trickery and interlocking riffs of “Same Old Drag” refute the negativity of its title, while “Sun is Out” relocates Guided By Voices’ basement on McCartney’s “Penny Lane.” Learning from other definitive neo-psych moments such as XTC’s ‘Skylarking’ and the Stone Roses’ debut, ‘New Magnetic Wonder’ keeps its hooks in abundance and sounds referential without ever sounding dated. A swirling thrill.
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8:51 PM
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On their full-length debut, the Scots band the Cinematics recall the early-1980s bass heavy dance grooves of bands like New Order and Simple Minds, notably on the angst-ridden “Break” and the rolling, percussive “Asleep At the Wheel”. “Rise and Fall” cruises along on the crest of a contemporary sounding hypnotic wave of rhythm guitar, with singer Scott Rinning sounding like a cross between the Cure’s Robert Smith and Coldplay’s Chris Martin. And while some may write this outfit off as another countless act in the recent dance-punk movement, ‘A Strange Education’ shows that the Cinematics have a bit more maturity and a promising future.
Posted by
Jtx!
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8:33 PM
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Labels A Strange Education, The Cinematics
The Stockholm trio of Peter Moren, Bjorn Yttling, and John Eriksson scored a European hit with their delightfully amateurish “Young Folks” single, included here complete with whistling and bongos. The rest of their second album, a fully realized fusion of intelligent songwriting and innovative production, is equally enchanting. Moren’s “Objects Of My Affection” combines the rhythm, soul, and self-analysis of a ‘Rubber Soul’-era John Lennon composition with the atmosphere and melodic distortion of My Bloody Valentine, and Eriksson’s “Up Against The Wall” evokes Blur’s early Syd Barrett-influenced songs.
Posted by
Jtx!
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8:17 PM
1 comments
Labels Peter Bjorn and John, Writer’s Block
British electronic artist Stephen Cracknell imagines what 19th Century British folk music might’ve sounded like with the aid of his laptop. ‘Apron Strings’ brings together some of England’s finest young traditional instrumentalists and singers in service of songs both new and ancient. Subtle electronic textures shade the tracks, but the music is carried by the musicians. The meld of vocal harmonies and scraping, swooning strings evokes the haunted soundscapes of Fairport Convention: centuries-old music transformed into thoroughly contemporary meditations on longing and loss. The centerpiece is the 8-minute traditional ballad, “I Wish I Wish,” in which the singer declares she’d prefer death or a life of loneliness to ordinariness. In the same way, there’s nothing mundane about this stirring new-folk manifesto.
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Jtx!
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8:00 PM
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Labels Apron Strings, The Memory Band
The six-track EP ‘Four Winds’ serves both as a taster for Bright Eyes’ spring 2007 full-length, ‘Cassadega’ (title track “Four Winds” is the album’s first single), and as a showcase for several new songs not to be found on the album proper. The previous pair of Bright Eyes albums were hit-or-miss stylistic experiments–the electronic explorations of ‘Digital Ash In A Digital Urn’ and the almost entirely acoustic ‘I’m Wide Awake, It’s Morning’. But “Four Winds” is a strong return to the classic Bright Eyes sound: a modern updating of 1970s singer-songwriter pop in the tradition of Jackson Browne or Neil Young. This comparison would likely make many of leader Conor Oberst’s hipster followers shriek in horror, but it’s the truth, down to the country-rock fiddle hook. The remaining five tracks are in the same stylistic ballpark, with the particular highlight being “Smoke Without Fire,” a collaboration with avant-folk singer-songwriter and Old Weird Americanist M. Ward. Ben Kweller and Rachael Yamagata also guest.
Posted by
Jtx!
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7:51 PM
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Labels Bright Eyes, Four Winds
On its restless 2007 debut, ‘No, Not Me, Never’, the Photo Atlas unveils its bristling brand of dance-punk. The Denver-based quartet wears its influences proudly, with an intense sound that owes a great debt to Fugazi, particularly on the uber-angular “Handshake Heart Attack” and “The Walls Have Eyes,” which both find frontman Alan Andrews channeling Guy Picciotto via urgent, raspy yelps and sharp, stabbing guitar riffs. While the group is clearly in a lineage of ensembles such as the Rapture and Radio 4, the Photo Atlas’s tight interplay and sheer punk energy point to a slightly different path than the one followed by those more established acts.
Posted by
Jtx!
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7:26 PM
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Labels No Not Me Never, The Photo Atlas
1. Am I Why? No
Posted by
Jtx!
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6:53 PM
2
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Track List
Posted by
Jtx!
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1:36 AM
Labels Morrisey, The Smiths, You Are The Quarry
Just Jack a.k.a. Jack Allsopp
"Will And Grace" ten "Jack Allsopp" un sarkici olmaya karar verdigi anda, sahnede ve reklaminda kullandigi o inanilmaz slogan, artik hayal olmaktan cikiyor ve ne oldugunu anlayamadigimiz, bir turlu tanimlamakta zorluk cektigimiz bir hal aliyor. Bize uzun soluklu ve arsivimizde ileride cocuklarimiza "aman ha bu cd ye iyi bak" diyecegimiz bir album dunyamiza giriyor..
"Overtones" icin "Brit-Hop" demek geciyor icimden ama ben yinede karari size birakiyor ve arsivinize bu albumu mutlaka katmaniz gerektigini israrla soyluyorum..
Buradan indirebilirsiniz...
Password : fidius_jjo
Posted by
Jtx!
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12:42 AM
Labels Jack Allsopp, Just Jack, Overtones