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victory wrote:tacno, tek sad vidjeh da si vec postavio taj link.
medjutim napravio si gresku. link koji si postavio nisu koncerti Mars Volte nego At The Drive-In

u svakom slucaju ugodno slusanje

http://s41.yousendit.com/d.aspx?id=2LYUY8PYOZNEE0WH0UJ2J8CIHN

Vocal Studies + Uprock Narratives's 16 tracks can be listened to as one 50-minute piece of experimental ambient hip-hop. Even the album's more disruptive elements are somehow seamlessly integrated into the overall sense of groovy calm and funky forward motion. Atlanta-based producer Scott Herren uses a richly varied palette to create Vocal Studies' warm, subtle sound collages. Sliced-and-diced rap and vocal performances play a key role on a number of these sonic constructions. "Blacklist," featuring MF Doom and Aesop Rock, is an exception. Herren doesn't mess with the MCs' raps and the relatively straight-up track nicely contrasts with the CD's hip-hop abstractions. The producer does subtly manipulate the mellow vocals of Sam Prekop (Sea and Cake) on the lovely "Last Light." Listening to this flute-and-strings-laced R&B piece, it's easy to imagine sunbeams gently slicing through cloud formations. Vocal Studies can make you feel like you're dreaming and dancing at the same time.

Japanese release featuring outtakes, alternate takes and beats taken from the 2003 album One Word Extinguisher. Warp Records.

What do you get when you meld the glitch electronica of Autechre and Aphex Twin with hip-hop? Prefuse 73. Scott Herren, otherwise known as Prefuse 73, is one of the most innovative hip-hop artists I have heard for quite some time. Along with RJD2 and DJ Shadow, Prefuse 73 is making a name for instrumental hip-hop. On One Word Extinguisher, Herren takes the tried-and-true sample formula and warps it out of proportion, creating rhythmic beats from seemingly chaotic sampling. Speech, song and various different instruments are cut-and-pasted to create a colorful collage of sound, all with very little or no use of turntables. The album cracks and flows both at the same time. "The End of Biters" comes off in the beginning as a standard rap song, but Herren unexpectedly rhythmically cuts the vocals so that they meld into the beat rather than play over it. Its a fantastic new approach to hip-hop.

Of course, there are standard rap numbers in which the several guest rappers on the album flow over Herren's fantastically original beats. "Plastic" and "Huevos" spotlight the talented raps of Diverse and Mr. Lif, respectively. Yet despite these rappers' great abilities, the instrumentation takes precident. Prefuse's beats are so alien and ahead of their time. Just like Timbaland and Dre have crafted their own distinctive hip-hop production, so has Prefuse 73. Herren's beats are something out of the pages of glitch and techno, similar to what you would hear on a Autechre, Plaid, Aphex Twin or even Mouse on Mars album. The sounds are harsh, crunchy and sharp; yet at the same time undeniably rhythmic. Several instrumental numbers emphasize this wonderful amalgam of electronica and hip-hop. "Perverted Undertone", perhaps one of the more stable tracks (it has the fewest samples and most consistent rhythm) is colorful piece sustained by a hypnotic drum loop and a continuous sample that flows backwards a la the Beatle's "Tomorrow Never Knows". "Detchibe" is another wonderful rhythmic instrumental, albeit more crunchy and sharper in its sonic texture.

"One Word Extinguisher" is both a fantastic hip-hop and electronica album. Its beats and sonic textures alone would satisfy any fan of any artists of the Warp label (Prefuse 73 happens to be on the label as well), and the skills of its several guest rappers any alternative rap lover. It's a wonderful, weird and undeniably rhythmic melding of two music worlds.

http://s37.yousendit.com/d.aspx?id=3OSPWIMWHIG811A4NO08DE1B4X

Jack sings with a sometimes soaring, sometimes abrasive abandon that shows he really means the lyrics he's singing. Combine that with his fierce, dirty, reverb-soaked guitar playing and Meg's powerfully minimal start/stop drumming, and you've got a rock band that is primal, melodic, punk and sophisticated all at once. 17 tracks of blissful noise.

Saian wrote:ako nadjete novi album "Arular" od ove cure sa Shri Lanke, nastupa pod aliasom M. I. A. pa zakachite, ako nije zahmet
evo homapage mozete poslushat par stvari http://www.miauk.com/

Sufjan Stevens was found in a milk crate on the doorstep of Mr. and Mrs. Stevens, in Detroit, MI, on Canada Day, July 1, 1975. He was wrapped in cellophane, and tagged on the wrist with the mysterious note: "I love you." Mr. and Mrs. Stevens had three other children: Jo-Jo, Zukey-Dukey, and Jam-Jam. Mrs. Stevens crocheted afghans for the flea market. Mr. Stevens was the custodian at the hospital. They had very little money, but very big hearts. They decided to keep the baby (using the milk crate to hold their National Geographics). They named him Sufjan Stevens, after Abu Sufjan Muhammad, the great Armenian Sufi warrior who slew ten thousand dragons to save the Fairy Princess. Despite his despondent looks, Sufjan was a good kid. Mr. and Mrs. Stevens did the best they could. They fed him carrots, they read him parts of the Bhagavad Gita, they combed his hair, they sang songs and tap-danced in the living room. Things were looking good!

They have all been tested using the above pw and were successfully opened.

Tracks 1 to 4 
http://rapidshare.de/files/1466587/SS-I.rar.html

Tracks 5 to 9 
http://rapidshare.de/files/1466600/S-SI.rar.html

Tracks 10 to 12 
http://rapidshare.de/files/1466496/SSI-.rar.html

Tracks 13 to 17 
http://rapidshare.de/files/1466497/SSI.rar.html
pass za sve rar fajlove je [b]GTA[/b]

Tracks 18 to 22 
http://rapidshare.de/files/1460507/SS-I3.rar.html 

When it comes to Sufjan Stevens' proposed 50 States project, incredulous smirks seem to be commonplace. Seriously, how could any one man release an album dedicated to each state in the union? That remains to be seen, but for now word is trickling in about Stevens' next 50 States record. Stevens' record label, Asthmatic Kitty, has announced that he will release an as yet untitled collection of songs about Illinois on July 5. The album isn't quite finished, so a tracklist would be premature, but there will be one song entitled "Chicago" and, in total, the record will feature 15 to 20 songs touching on such subjects as the Lincoln/Douglass debates, the Chicago Fire, the World's Columbian Exposition, and Wrigley's chewing gum. A few historical figures/characters that may end up being thrown into the blender of Stevens' imagination include poet Carl Sandburg, Black Hawk, Superman, and John Wayne Gacy.
Described as Sufjan's most ambitious record yet, the album implements more than 30 instruments and musicians, from the usual guitar and banjo to horns, string quartets, and a small choir. The album will feature several guests, such as James McAlister of Ester Drang, Shara Worden of AwRY and My Brightest Diamond, Craig Monturo of Volcano, I'm Still Excited!, and some production help from old cohort Daniel Smith of the Danielson Famile. However, the record was mostly self-produced in a Queens, N.Y. studio. Stevens will also more than likely continue his string of quality visual design by enlisting the assistance of Waking Life illustrator Divya Srinivasan.
As for the sound of the album, PR man Daniel Gill reports that, "One person I've talked to said, 'It's like the music at the Hall of Presidents at Disneyland, like really big and kind of patriotic sounding.' Sufjan really wanted to make it sound a little bit more polished and professional, but it's definitely more in the vein of Michigan than anything else."
Stevens will apparently mirror this folkish complexity by including two sets of tracklistings (which, again, we don't have on hand): The first will be included on the back of the album, while the second will be listed on the inside and will contain track titles stretching as far as three sentences long.
After the Illinois album, Sufjan will hit the road with labelmate Liz Janes in late July. And Gill predicts the Illinois record will not be the sum of Stevens' recorded 2005 output, claiming that "by the end of this year" there will "probably" be another state album that will double as a christmas album. Seemingly relentless, Stevens is also bouncing around the idea of recording an EP for a smaller state. His PR went on to say they think the state records will continue to be produced for the indefinite future.
Sufjan Stevens is going to be a very, very old man when he completes his ambitious "50 States" project. He released the first entry in the series in 2003, Greetings From Michigan: The Great Lakes State, and next comes Illinois, on July 5. At this pace, with 50 states and one state/album every two years...well, you do the math. I'm just glad he got to my home state of Illinois in my lifetime.
The album will be available in both CD and vinyl formats. The vinyl will be a 2xLP set with a triple gatefold sleeve and an additional track, "The Avalanche". The CD will have a running time of 74 minutes and the LP will be 80 minutes. Epic indeed.

Over two albums, the Books have plucked sampled voices from their original context and arranged them inside simple compositions for sliced-and-diced guitar, banjo, and cello. They've taken moments of contemplation-- when one understands something on an emotional level but can't quite articulate his thoughts-- and dressed it up in a melodic frame. By transmitting at the frequency of pre-conscious association and intuition, Thought for Food and The Lemon of Pink were immediately accessible despite absences of obvious reference points. Both records felt like gifts, demanding little from the listener but paying out handsomely.

With their fresh sound and economic construction (the first two releases were each under 40 minutes), the Books did well to stick to a similar template on back-to-back records. But in preparing for their third album, one senses Nick Zammuto and Paul de Jong felt as if they'd mastered this approach and needed to try something different. On Lost and Safe, the Books take the vocals and song structures hinted at on Thought for Food and fleshed out on The Lemon of Pink and make them the centerpiece.

This time it's Zammuto alone on the mic; Anne Doerner, whose spare vocal contributions to The Lemon of Pink wound up being a highlight, doesn't sing any lead. There's more processed electric guitar (often used in a clicking, repetitive manner reminiscent of classical minimalism) and far less cello. Despite live vocals on nearly every track and the shifts in texture, the approach is still very recognizably the Books. In a way, the original lyrics aim for the same level of engagement as the odd samples, finding and skirting the edge between different meanings. "Yes and no are just distinguished by distinction, so we chose the in-between" are the first words Zammuto sings in his hushed whisper on the opening "A Little Longing Goes Away", and that sort of ambiguity sets the tone for the record. Words for the Books have been a subject in and of themselves, worth hearing purely as sound, and the written lyrics here have a similar character.

Most of Lost and Safe is pleasant enough but not much more. "Be Good to Them Always" is the record's lone great track, one that hints at potential interesting directions down the road. As clicky electric guitar with some backward reverb pans across the stereo field, Zammuto sings in concert with the sampled voices, finding the hidden melody in the deadpan newsman deliver of lines like "I can hear a collective rumbling in America" and "This great society is going smash." Reminiscent of Steve Reich's "Different Trains", which built tunes from the speech inflections of interviewed holocaust survivors, "Be Good to Them Always" is a fantastic reminder of the musicality of the spoken word, an idea that lurks constantly inside the music of the Books.

One of the more interesting things about the Books first two records was their democratic production; the music never seems to push the listeners ear toward any one element. But now Zammuto's voice is clearly the focus, and though his quiet and half-spoken phrasing works well with the arrangements, the "tunes," as such, don't necessarily warrant the added attention. It's as though, with a few exceptions, the Books weren't quite sure what they wanted to do and they wound up stuck halfway between proper songs and the ambiguity of samples. Though the Books do a nice job here bending lyrics to fit the open-ended tone of their compositional style, the original vocals wind up draining their sound of mystery, and Lost and Safe seems by far more conventional than their previous two records.

Hailing from Athens, Of Montreal have carved their own niche in the indie-pop world, establishing themselves as a uniquely twisted band that thrills fans with compelling live performances, delights critics with their constant innovations and refinements, and continually showcases their musical evolution that culls together influences as varied as Brian Eno, Television, Prince, and The Shins. "The Sunlandic Twins" is their most cohesive and adventurous record to date. It plays out like an electro pop opera. Beginning buoyant and opalescent, traversing a labyrinthine Neptune, and climaxing in blackout darkness one only discovers in warm solitude.

Picaresque is yet more proof that the Decemberists' Colin Meloy is the songwriter who loves love—especially when it ends in death, ("We Both Go Down Together," "Of Angels and Angles"), disease ("The Mariner's Revenge Song") or in some other tragic way. This CD spends some time in the band's familiar old Europe setting, although Meloy also touches on politics, espionage, and even soccer. (Proving he knows his fan base, Meloy's "The Sporting Life," is the perfect shout-out to the kids who preferred the library to the gym.) Long-time fans will know what to expect from this album, which compares favorably to the other LPs on their catalog, and with Death Cab for Cutie's Chris Walla on board as producer, the band seems poised to reach the greater audience they deserve. If you're not already a listener, don't wait another second to become one. With their remarkable vocabulary and bawdy-yet-literary imagery, the Decemberists are guaranteed to make you smarter even as they make you weep. Pop this in your CD player, grab a dictionary, rock and learn.--
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In the past two years, The Decemberists have gone from unknowns outside their native Portland to success via critical praise, impressive sales, and packed houses. This is their fullest sounding release yet. They blaze through more instrumental variations than can be listed here, for a heightened urgency and depth to the sharply written lyrical scenarios.

http://deadbees.free.fr/BJM/The Brian Jonestown Massacre - Give It Back.zip

This brilliant sixth album brings together all the elements you've loved in their past work, from the drone-guitar intensity of 'Methdrone' to the country psychedelia of 'Metal Illness'.

http://rapidshare.de/files/1484826/Kasabian.rar.html
http://rapidshare.de/files/1484842/Kasabian2.rar.html
http://rapidshare.de/files/1484830/Kasabian3.rar.html

ofsajd wrote:victory, hajd molim te daj nam opet neki link za josh rousea, onaj je mrtav. skino sam ja bio par pjesama kad si ti nekad prije par mjeseci stavljo linkove, ali mi je u medjuvremenu hard disk crko... pa sad obnavljam mp3 kolekciju...
hvala i puno pozdrava.