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http://sparcs.org/~jooddang/mp3/LCD Soundsystem - LCD Soundsystemlorebol wrote:please repost it!!!
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http://rapidshare.de/files/1496000/LCD_Soundsystem__CD1_Pt1_.rar.html
http://rapidshare.de/files/1496315/LCD_Soundsystem__CD1_Pt2_.rar.html
http://rapidshare.de/files/1472142/LCD_Soundsystem__CD2_Pt1_.rar.html
http://rapidshare.de/files/1472397/LCD_Soundsystem__CD2_Pt2_.rar.html
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http://rapidshare.de/files/1529749/Banshees.zip.html
http://rapidshare.de/files/1529773/Once.zip.html
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http://rapidshare.de/files/1529972/Singles.zip.html
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http://rapidshare.de/files/1536785/The.zip.html
http://rapidshare.de/files/1536878/Rapture.zip.html
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http://rapidshare.de/files/1495550/spac.rar.html
http://rapidshare.de/files/1495575/ementh.rar.html
http://rapidshare.de/files/1495854/ree.rar.html
http://rapidshare.de/files/1495847/prfct.rar.html
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http://rapidshare.de/files/1555077/pereu.rar.html
http://rapidshare.de/files/1555103/budubh.rar.html
http://rapidshare.de/files/1555308/ousing.rar.html 1. Navvy1999 reissue of classic 1978 album originally released on Chrysalis. Now considered a landmark album and Ubu's first masterpiece. 10 tracks.
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...Pere Ubu would be hailed as one of the most original acts to come out of America in the last thirty years. Instead it's almost total obscurity. I'm always amazed at the sheer number of "informed" music lovers who have never even heard of them. Truly sad. I was looking through some SPIN Record Guide thing and they had little boxes where people from bands would list their favorite records. I was astonished the number of times Dub Housing and Datapanik In The Year Zero appeared. Greil Marcus gave them gushing admiration as well while simultaneously trashing the NY and LA scene of the same time period, saying the very best was coming straight out of Cleveland. I agree. This work, along with Terminal Tower and Modern Dance, is a great starting point. I think this album holds together as a cohesive unit better than the other two. If they had released Terminal Tower as just the original Datapanik In The Year Zero E.P. and left off the last few tracks, I wouldn't be saying that. Something about this album is so cold and wintry and bleak, and I always crack it out at that time of the year.
1. Non Photo-BlueAlthough it may seem like gentle pop music at first, the brilliance of "Summer In Abaddon" is slowly revealed over repeated listenings. The songs are buoyant and lively at times, melancholy and dark at others, and always resonate with an underlying intensity. Pinback lays out beautiful melodies that are deceptively complex, layering sounds and instruments upon one another and trading contrasting vocal parts with ease.
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These guys hail from San Diego and are headed up by Rob Crow, who I've learned isn't new on the music scene. Rob Crow has been a part of Pinback for awhile (at least four CD/EPs) and has been a frontman for some group called Thingy and another called Heavy Vegetable, and yet another called Optigonally Yours. He must be a big fan of one of my favorite bar games...inane creative band names.
What makes this music so great? Each song has this repeated flow and has continuity from song to song with uniqueness and originality to each piece. The vocals and instrumentation are multi-layered beautiful and seethe with an understated intensity. It takes the best parts of indie underground and sugar-spun poppery and meshes them together into something truly unique and powerful and bottomline infectious. There is so much here. From the opening track, "non-photo blue," and it's Police-like guitar chop, to the Motels/Berlin Synth and killer refrain of "Sender," to the repetitiveness experimental/minimalist mathematic and Tripping Daisy vocals of "Syracuse." Then there's the Modest Mouse-ish "Fortress," that belongs on radio play in heavy rotation and on to the head bobbing cool breeze of "This Red Book," sounding like Papas Fritas in places. There's the vocal interplay worthy of the Beach Boys or old-style REM in "3X0" with some beautiful piano highlighting the up and down of muted picked guitar and bass. It's hard to say they saved the best for last because the album is all so solid all the way through but Pinback caps it with "AFK," that shows some fierceness and pop-punk shouting, "Protect, Embrace, Engulf, Protect, Enslave, In-love...remember the summer in Abaddon."
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http://sureau.co.uk/_notes/fs/Team_Sleep-Team_Sleep-(Webrip_Advance)-2005-JNE.rar
1. Beef RappDoom (aka Zev Love X, Viktor Vaughn, King Geedorah, etc.) has so many alter egos, it's a task just to keep track of his prolific catalog. The shared threads that run through all of his work are his bugged-out lyricism and his eclectic, inspired production motifs. Whether cartoon soundtracks or '80s soul singles or moody jazz melodies, Doom embraces any and all sounds with equal affection. Despite the presence of guests like Count Bass D ("Potholderz"), Madlib ("One Beer"), and the Molemen's PNS ("Kon Queso"), Doom is still the mastermind. This culinary-inspired outing is a loopy food-crazed journey through 15 tracks best described by the last song--"Kookies." It's tempting to call Doom an acquired taste, but for the deep underground heads who treat his rhymes like ciphers to decode, he's anything but. His approach to music-making, seemingly (but hardly) random, packs so much dazzling style and unpredictable flair that the 50th listen can be as enthralling as the first.
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MF DOOM (spelled with ALL CAPS) may be one of the most influential underground hip-hop MCs to date. His raspy lyrics accentuate his incredible hip-slop beats. Although MF DOOM may not ever be played in preppy college fraternity/sorority-type bars, his style far surpasses that of any of the top-40 "Wangsta" or "Gangstas in Love" rappers.
This album is a strange collection of food-driven tracks. Hoecakes and Potholderz are probably the top tracks from this album. Metalface doesn't try to impress his listeners by bragging about his riches or how sleek his car is. Instead, he uses his gift of rhyme and let's the words speak for themselves. If you like hip-hop, regardless of if it is played on popular radio, be sure to check out DOOM's latest album.
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http://pchignac.free.fr/the_libertines-what_became_of_the_likely_lads-ep-2005-musiq/
1. Nirvana for MiceThe progressive-rock genre spawned many groups who became top-grossing arena acts -- Pink Floyd and Genesis are two -- as well as many who progressed right into obscurity. Henry Cow was one of the best-known and most widely traveled English bands of the progressive era (though only a cult-favorite in the U.S.), and their music has aged amazingly well over the last 20 years due to diverse influences (Oliver Messiaen, Kurt Weill, Frank Zappa, and Soft Machine were a few) and uncompromising creativity. The group functioned more or less as a collective, with a true group identity that changed from album to album as members came and went. This turnover was one factor in the consistent vitality of Henry Cow; another was the dedicated core of the band, a serious, politicized trio whose interest in improvisation served to leaven the complexity they supplied as primary writers.
Tim Hodgkinson played keyboards and reeds; Chris Cutler (later of Pere Ubu) played drums, Fred Frith provided a variety of instruments, specializing in strings (the guitar in particular); all of them sang. The three appear on all of the Henry Cow albums recorded between 1973 and 1978. Other longtime members included multi-reedist Lindsay Cooper, bassist John Greaves, and German singer Dagmar Krause, who worked with Frith and Cutler in the spinoff Art Bears band and later recorded bilingual renditions of songs by Brecht & Weill. Together, their sound was so mercurial and daring that they had few imitators, even though they inspired many on both sides of the Atlantic with a blend of spontaneity, intricate structures, philosophy, and humor that has endured and transcended the "progressive" tag.
Since the demise of Henry Cow, its members have continued in creative directions, mostly working in Europe with rock-based or improvising ensembles. Over the years they have reunited in various units, with resultant recordings being distributed worldwide through the Recommended Records network spearheaded by active improviser Chris Cutler. ~ Myles Boisen, All Music Guide
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Tracks 1-4:
http://rapidshare.de/files/1565004/gls.rar.html
Tracks 5-9:
http://sr1.mytempdir.com/23067
Tracks 10+11:
http://rapidshare.de/files/1565367/2005.rar.html1- Song For The AngelsGreat Lake Swimmers return with a warm second album, Bodies and Minds, filled with songs of heartbreak, rural nostalgia, and the search for spiritual transcendence.
The album picks up where Great Lake Swimmers' critically-acclaimed 2003 debut left off, featuring gentle, thoughtful compositions and understated instrumentation, while also moving fluidly into alt-country pop territory with sweet harmonies, light orchestration, and even a few up-tempo numbers. (Think Mark Kozelek playing Neil Young, or the delicate Nick Drake delivered with the heart of Gram Parsons.)
The record includes songs about manic depression ("Various Stages"), the sense of a higher power ("Song for the Angels") and finding spirituality in nature ("I Saw You in the Wild"). It is a bold step forward for the Toronto-based band.
Bodies and Minds was recorded in a lakeside church in rural southern Ontario, continuing the emphasis on atmosphere from the debut album (which was recorded in an abandoned grain silo). Engineered by Andy Magoffin (Constantines, Royal City) and mixed at his celebrated House of Miracles, the record has a sparkle and shimmer that is due in part to the cavernous surroundings in which it was captured.
This fresh group of songs also accurately captures the sound of the band that brings stories written by singer/guitarist Tony Dekker to life. Featuring Sandro Perri (of Polmo Polpo) on lap steel, Erik Arneson on banjo, Almog Ben-David on Wurlitzer piano, and Colin Huebert on drums, the new band tastefully accompanies Dekker's graceful songs on the record and in live shows.
Bodies and Minds will enjoy a wide international release in 2005: on March 15 on weewerk in Canada; on April 4 on Fargo Records in Europe; and on August 16 on Misra in the USA. It will be supported by extensive touring, including SXSW in March 2005, a third European tour in May 2005, and US- and Canadian tours in Fall 2005. A video is planned for the title single.
Great Lake Swimmers were awarded the Canadian Broadcasting Corporation's Galaxie Rising Star Award in March 2005 and previously were voted Favourite Folk/Roots Artist at the 2004 Canadian Independent Music Awards.
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http://s5.yousendit.com/d.aspx?id=1FSJE5KHKPCTX0GG3PF5D331TL 
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http://rapidshare.de/files/1579672/From_The_Muddy_Banks_Of_The_Wishkah_1.rar.html
http://rapidshare.de/files/1579715/From_The_Muddy_Banks_Of_The_Wishkah_2.rar.html
http://rapidshare.de/files/1579698/From_The_Muddy_Banks_Of_The_Wishkah_3.rar.html 1. IntroKurt Cobain's former bandmates Krist Novoselic and Dave Grohl clearly had an agenda in compiling From the Muddy Banks of the Wishkah, the second of what will no doubt be a long line of posthumous Nirvana albums. Because of its somber, intense nature, the first post-Cobain release, MTV Unplugged in New York, was largely perceived as music for a wake--an impression reinforced by MTV's constant airings of the special in the days following Cobain's suicide. But that acoustic detour aside, the Nirvana live experience was always about displaying a lust for life--not a death wish--with all the energy the musicians could muster. Wishkah offers 16 songs spanning the band's career, all delivered in the loudest, most frenzied, and sometimes the sloppiest versions imaginable. In the opening "Intro," a snippet of pre-show noise, Cobain screams his heart out in joyful contrast to the haunted screams on "Where Did You Sleep Last Night." Then the group launches into "School," which ends with the spirited chorus "Don't be sad." Indeed, it's impossible to dwell on the maudlin when listening to these renditions of "Smells Like Teen Spirit," "Sliver," "Heart-Shaped Box," and "Negative Creep"--they're too loud and too full of life. But while it should be applauded, Wishkah isn't the great lost Nirvana album--there are no unheard gems to add to the catalog--and in the end, it isn't nearly as essential as any of the band's studio albums--or even the downbeat but revelatory Unplugged.
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http://webmail.libero.it/r.php?d=libero.it&wr=hhwg340&ws=hhwg340&e=libero.it&c=wp1L8CFPhllcPkJogoYmO3qTHwa8v57o325 1. Satanic ReversesAn outgrowth, both musically and ideologically, of the San Francisco-based avant-garde industrial jazz collective the Beatnigs, the Disposable Heroes of Hiphoprisy formed in 1990. Comprised of former Beatnigs Michael Franti and Rono Tse, the duo quickly established themselves among rap's foremost proponents of multiculturalism and liberalism; pointedly attacking hip-hop tenets like homophobia, misogyny, and racism, Franti's narratives addressed issues ranging from "Television: The Drug of the Nation" to "Socio-Genetic Experience" (about his childhood raised by white parents) with clarity and depth.
Opening slots for everyone from Public Enemy and Arrested Development to Nirvana and U2 attested to the nerve hit by the Heroes' 1992 debut, Hypocrisy Is the Greatest Luxury, although some members of the rap community dismissed the duo as an attempt to quell white America's apprehensions over the violent world-view depicted in the grooves of gangsta rap records. Consequently, the Disposable Heroes of Hiphoprisy never attracted the African-American audiences their music actively sought, and after joining beat legend William S. Burroughs on his 1993 release Spare Ass Annie and Other Tales, the duo disbanded; while Tse later worked with the Bay Area rap unit Mystik Journeymen, Franti formed Spearhead, a more roots-oriented concern.
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Although this group is long defunct, its one major recording will be fondly remembered for years--if not decades--to come. The Heroes consisted of rapper Michael Franti and percussionist Ron Tse; together, the San Francisco Bay area-based duo created a biting, politically savvy record that touched on both personal vulnerability and governmental venality. Franti used the microphone to preach about injustice, homophobia, materialism, and apathy. Although Public Enemy had long before established hip-hop's political potential, they never quite attained Franti's ability to translate black rage into universal themes. In the Heroes' best number, "Television, the Drug of the Nation," Franti raps, "Imagination is sucked out of our children by a cathode ray nipple / Television is the only wet-nurse that would create a cripple." Unfortunately, after extensive touring, the pair went their separate ways, Tse to a variety of solo projects and Franti to Spearhead.
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http://rapidshare.de/files/1550955/uur1AIFUgES.rar.html
http://rapidshare.de/files/1551035/heur2glaaioa.rar.html
http://rapidshare.de/files/1551036/time3gnlkjahgoif.rar.html1. Poet ActsHow better to score a movie that takes place in three tangentially related time periods than with music that strives for timelessness? The hallmarks of Philip Glass's minimalism serve The Hours well. The film, based on Michael Cunningham's novel, tells the stories of three women--Virginia Woolf in the early 1920s, a housewife just after World War II, and a book editor in the present--whose days relate in different ways to Woolf's novel Mrs. Dalloway. Yet rather than construct a sonic montage of these three time periods (perhaps some Ravel for Woolf, some Max Steiner for the housewife, some Enya for the editor), Hours producer Scott Rudin turned to Glass, a contemporary-classical composer who has had a substantial side career in film, most notably with Koyaanisqatsi. The familiar Glass sounds--the endlessly layered violins, the static melodies, the glacial rhythms--all lend a consistent aural foundation to a story that moves fluidly back and forth in time. The music is scored for orchestra, string quartet, and piano. Those plentiful strings lend a thick cushion, a triumph of tonal suspension, for the piano part, which Michael Riesman plays coolly, emphasizing what are often single notes separated by thoughtful silences, as well as short sets of scales cascading in slow motion. Not only will these compositional themes be familiar to fans of Glass's work, so too will several of the melodies. Some sections of the score are derived from his albums Glassworks and Solo Piano and from his opera Satyagraha--which, incidentally, involved the stories of three legendary men active in different eras.
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His music inspired the movie-literally. Michael Cunningham, the author of The Hours, was inspired by Glass in the writing of this novel and adeptly describes his influence in the leaflet of this soundtrack.
To begin with- he breaks all the rules. I bought the piano sheet music to "Dead Things" and where I naturally felt I should crescendo, he purposely demands pianississimo- very, very quiet. He purposely silences the most moving elements, as if to say "wait. just feel it first- dont take it."
I hate when people think his music is plain - if one understands music, they know that his work is composed of silk-thin layers of delicated melodies- triplets with one hand, doublets with the other. For those of you out there that dont read music, try to divide a second into 3 equal time frames and tap that beat with your left hand. Then take the same second and divide it into 2 equal time frames and tap that beat at the same time with your right hand. Intuitively, its difficult to do. This is his trademark- he forces musicians to play against their intuition.
As another example, try to tap your pinky and middle finger at the same time. Then tap your ring finger and thumb at the same time. Now alternate quickly. Try to do it for 5 minutes and when you have got that down- do it with your other hand. But use different fingers. And do that 3-2 ratio beat thing.
Confusing? I would certainly think so.
It seems as if such a product could only be made by an eccentric and unyielding mathematician- but when you listen, it has a depth of emotional delicacy that could only be compared to trying to hold onto something you truly love over the edge of the world, with a gradually thinning silver string.
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CD1
http://rapidshare.de/files/1550542/La_Be1a_udute.rar.html
http://rapidshare.de/files/1550525/La_Be1b_jxsfha.rar.html
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CD2
http://rapidshare.de/files/1550658/bgsagar1afRET.rar.html
http://rapidshare.de/files/1550652/fgghjhh2bvvver.rar.htmlDisc: 1This is an extraordinary retelling of the classic story "The Beauty and the Beast", this time based on the Jean Cocteau film La Belle et la Bete. Philip Glass, one of our reigning minimalists, studied under Darius Milhaud and Nadia Boulanger in Paris and his music has always had a quiet Debussy-like character to it. What is amazing is that Glass is one of the minimalists who have made a successful transition into opera (John Adams is the other). And catch the scary silent-movie-house organ! This is a superlative recording of a clear masterpiece. Highly recommended.
victory ba shto nisi postavio link za one albume od TOOL ono je bio link za pobrojane albume (upakovani u 1 fajl)victory ba shto nisi postavio link za one albume od TOOL
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http://rapidshare.de/files/1500229/jld.zip.html
http://rapidshare.de/files/1500391/jlw.zip.html1. Tram #7 to HeavenPaste
"Jens Lekman is the latest and possibly greatest Scandinavian export...a genuinely compelling artist..."
Stylus
"...Anyone who lives his pop fairly sweet but terribly thoughful will undoubtedly appreciate Lekman's obvious talent..."
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Call it a curse: Jens Lekman’s world is populated by an endless stream of women. There he is, his hair mussed and glasses off-kilter, sitting in the corner of the cafe with his journal once again – and he’s being torn in two. Moments ago he fell in love with the redheaded barista who nailed his order – when she scooted that cappuccino across the counter, it was clear that there was a connection. And now, his eye catches the picture of divinity in the shape of the most finely featured brunette he’s ever seen...and she’s looking his way. But which way to go? It’s tragic having to make such choices. Like Fellini’s The Man Who Loved Women, Jens Lekman is a man forever at a crossroads between competing inspirations.
At only 23, Lekman has deservedly been the center of much hype in Scandinavia. Having made a name for himself performing under the name Rocky Dennis, he recently hit #2 on the Swedish National Pop Charts. Most everyone who’s heard him believes him to be the next great pop star emerging from the streets of the DIY underground. With an angelic voice and golden ears he seems to be drinking from the same hard waters as The Carpenters, Harry Nilsson, The Magnetic Fields, Runt-era Todd Rundgren, Bill Callahan’s Smog, The Modern Lovers, Rufus Wainwright and Belle & Sebastian.
1. Focus IIIThe playing is looser than on the studio versions, but also more impassioned. Jan Akermans guitar playing is amazing, he really stretches out and plays some very fast and creative jazz-rock solos. Excellent playing all around, the band is firing on all cylinders. I have to say that I prefer many of the live intepretations over their studio counterparts. "Answers? Questions! Questions? Answers!" is much better live due to the amazing solos. The sound quality is fine: its well recorded and the mix is ballanced. An excellent album, their third best after Focus 3 and Moving Waves.
