Code: Now, I loved the concert so much that I went ahead and actually PAID $$$$ for one of his older CD's, but whenever I try and mediafire it, it gets to 99% and goes 'User not MediaPro' can anyone help me with that so I can give everyone the other Bassnectar CDs I have (Because they are fuggin' Awesome). For those of you unawares, Bassnectar is the DJ Lorin Ashton from Cali who just takes the krunkiest, farting, demonic buzzes and beats and throws them together with a mix of Hip/Trip-hop and some old school candy-pop thrown in for flavor. The result is an extremely vivid and organic sound-storm that absolutely never fails to get me groovin', and his live show was off the motha-fuggin' chain, Openers were Beats Antique and Mike Relm, both of whose Myspace I am now addicted too for the free mix sets they offer. *Funny Aside* As soon as the first song started, I realized that I had actually seen Bassnectar live at Burning Man this year at like 5:30 in the morning on Tuesday. I recognized the song that was starting and as soon as he stepped into the light and let his hair down, I was like 'OH MY GAWD!' I've seriously spent the last three months thinking about that mystery morning DJ, and now I know that I already loved him anyway.

Quote Hadouken! Are a grindie/dance punk band based in Leeds, West Yorkshire. The band formed after James Smith and Daniel 'Pilau' Rice met at Leeds University. It was here they began their own record label, Surface Noise Records.[2] After forming the label, Smith began writing and demoing the first Hadouken! In February 2007, Hadouken! Self-released a two song limited edition vinyl, a double-a side of 'That Boy That Girl' and 'Tuning In.' The former gained popularity after the video made it to number one in MTV Two's NME Chart.[3] After releasing their 12-track EP mixtape, Not Here to Please You on November 12, 2007, the band returned to the studio to complete their debut album, Music for an Accelerated Culture.

In Soul Jazz Records' successful Deutsche Elektronische Musik series delves deeper into the German nation's vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, Read more. 3×LP + Download Code + Free. Spoken Word poetry Field Recordings spoken Mississippi Records 80's Mediafire 70's politics Political poet Sublime Frequencies Suicide 60's political activism Folk Blues Soul Post Punk Electronic Funk Prison Jazz Experimental Black Library World Music Free Jazz Amiri.

The album featured nine new songs as well as previous singles 'Liquid Lives' and 'That Boy That Girl.' The band are currently on tour in the UK.

Quote from: Last.fm The Esther Caulfield Orchestra of Dayton, Ohio is the alias of Ohio singer/songwriter Michael Perkins. After releasing a folk concept album under another name in 2005, Perkins made a drastic change in musical direction and adopted a new moniker in order to better suit the broad range of influences and trans-genre exploration reflected in his music. The Orchestra can be expected to produce wordy, and often lengthy, melodic compositions centered around a highly descriptive and pedantic lyrical style. The Orchestra’s first album, “Good Morning, Whiskey Breakfast”, is a leap in the direction of what can be described as “Post-Country”. It utilizes the traditional instrumentation of Country & Western music while managing to consistently maintain a steady Psychedelic texture, invoking the ghosts of Gram Parsons and Syd Barrett. Quote Rules: No hot-linking images or albums.

You can re-host images. Ensure your tags are correct and that you have specified both Artist/Album in your post. Upload your files in either a.zip or a.rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads.

The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out. Post your link using code tags. It's the # icon above the policeman emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action. Also, please do NOT request albums. Repost the rules at the top of each new page.

Here is some Lee Hazlewood! He is pretty famous for writing songs for Nancy Sinatra, but aside from that I think his music is sadly overlooked. I guess I would kind of describe him as a cowboy Leonard Cohen. He sings in the same kind of deadpan baritone and, perhaps while not quite as poetically, sings about a lot of the same things, but his music often sounds like the soundtrack to a badass western movie. I compressed Requiem For an Almost Lady and The Very Special World of Lee Hazlewood together because I think they sum him up pretty well. Requiem is a wry and bitter break-up album and Special World includes some of his more famous songs, including the original 'These Boots Were Made for Walkin'. Quote Amazon.com This dizzyingly diverse melting pot of sounds is a perfect primer on tropicalia--and then some.

Tropicalia arose in the late 1960s as a genre informed by rock, bossa nova, soul, and underground rhythms, all mashed together to create an electrifying new movement in Brazilian music. The artists assembled here--Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Ze, Gal Costa—-are all an integral part of the tropicalia scene. Each, however, makes their own potent artistic statement.

Enthusiastic vocals, inspired chants, inventive loops, and hushed arrangements collide throughout this expanse collection. You're never quite sure what you'll hear from track to track.

Gal Costa's 'Vou Recomecar' is a delight, playing like a foreign counterpart to Dusty Springfield's blue-eyed soul sparkle. The genius, however, is that every moment on Tropicalia sounds both classic and modern at the same time. Most everything here is as urgent and electric as anything you'll hear on contemporary radio. --Joey Guerra Tropicalia in the late 1960s revolutionized Brazilian music mixing Psychedelic Rock, avant-garde musique concrete (tape loops, sound experiments), Samba, Funk and Soul into a truly unique combination.This is the first album to bring together all the artists involved in Tropicalia, Os Mutantes, Gilberto Gil, Caetano Veloso, Tom Ze, Gal Costa and more. Os Mutantes, the sophisticated musical anarchists from Sao Paulo not only became the musical template for Beck, they were also discovered by Kurt Cobain on tour in Brazil who tried (and failed) to get them to support Nirvana. Cambridge Consulting Group Bob Anderson Pdf To Excel here.

CD comes complete with the customary extensive 40 page booklet that is full of exclusive photos. Quote from: Allmusic n 2006 avant hip-hop group Subtle, led by the ever-enigmatic Doseone, issued Wishingbone, a collection of remixes and remakes of song off their 2004 album, A New White. In 2006 Subtle also released the fantastic For Hero: For Fool, an abstract piece that tells the tale of Hour Hero Yes, a kind of middle-class Everyman looking for answers, direction, and perhaps salvation in our very postmodern world. And like A New White, this record was followed up by its own set of revisions, the 'limited-edition mini album' Yell & Ice. Not so much remixes as re-imaginings, the nine songs on Yell & Ice play with the same generally esoteric (at least in absolute comprehension) themes found on the full-length, but twist and pull them around, bringing in outside vocalists (Chris Adams of Bracken, Tunde Adebimpe of TV on the Radio, Markus Acher from the Notwist, Yoni Wolf of Why?, and Dan Boeckner of Wolf Parade) to add, amend, and contribute their own views as Doseone harmonizes whiningly in the background.

'I have found the bloody key that lets the loud out,' Acher repeats on 'The Pit Within Pits,' while Adebimpe repeats the question 'Did you dig through instead unflinching?' As the dark, empty percussion of 'Deathful' draws out to a unnerving close. It's beat-heavy, mechanized, industrial-inspired stuff, full of coughing synths and stuttering programming -- so much so that even the beatboxing of 'Sinking Pinks' sounds inhuman. Yell & Ice is otherworldly, a catholic yet cryptic, intelligent, and enlightening album demanding that the listener not only pay attention, but dance, too. Quote from: Popmatters (because allmusic didn't have a review and P4K didn't do it's research) An early contender (along with Augie March) for this year’s J Award, Gotye’ll probably be passed over the same way In Case We Die was last year, since we’ve learned so far that populism beats objective quality.

Nevertheless, Like Drawing Blood is an important album, not only for its music (which grooves and croons its way into your heart) but for the encouraging fact that it’s at least a contender, and that this fiercely singular Australian musician could really get somewhere based upon the strength of his music. Gotye (they’re pronouncing it like “Gautier” on the radio) is Wally De Backer, a musician from Melbourne making some of the most joyfully expansive electronic pop tunes around. He’s got some small measure of attention from the blogs recently, possibly because Australia’s doyen of indie music radio, Triple J, has posted free MP3s of his tracks numerous times. You can still download three of his songs from Gotye’s website, and you should definitely check these out.

For a solitary, independent artist—De Backer has no manager; up until recently he distributed his CDs personally, and Like Drawing Blood‘s insert tells us, the album was recorded in “bedrooms around Melbourne”—his sound is remarkably smooth. To give a general idea, think countless samples (from old soul recordings to a bizarre but likeable lecture from a composer about his compositional process) as well as live instruments incorporated into a, well yes, distinctive sound.

It’s really a summer sound, sunny and funky, a perfect accompaniment for walking down to the beach, feeling the sand between your toes and the sun in your hair. Mapfactor Navigator 12 Keygen Generator. In reality, what listening to Gotye’s music really makes you realize is just how much technology has raised the bar. Now, even one person with a hard drive can make electronic pop music that sounds as smooth and well-engineered as a seasoned producer’s. Like Drawing Blood plays as a remarkably consistent, high quality electronic mix album, with thoughtful song/song transitions and a sustained, easily established mood. That’s not bad for a sophomore effort. Gotye’s first, Boardface, made much less of an impact, though we heard “Out Here in the Cold” on Australian radio a few times when it was released in 2004. On the new album, Gotye mixes a heady dose of Avalanches-style happy electronica with the soul influences of Hot Chip, and the smooth vocals of Postal Service.

“A Distinctive Sound” is the most Avalanches of the Avalanches-sounding moments, especially given the group’s recent work with that Wolfmother song, given “Distinctive Sound“‘s little diatribe on metal. Though you suspect Avalanches would have done more than establish the groove and play the sample, Gotye’s track ups the sample ante at the end; and just hearing that guy rip out “yeah A minor to F, just like the heavy metal guys use” is a perfect moment.

“Learnalilgivinanlovin” is worth mentioning for the title alone, but it’s an album highlight—all soul with no pretension, all positivity. And even recognizing “it’s been done before / C’mon do it again” doesn’t diminish the fun, celebrates influences instead. Isn’t that the way it should be? Elsewhere, as on the excellent “Heart’s a Mess”, the sound of the groove alone predominates: all you have to do is listen to the opening bendy-bass line, give yourself over to the smooth groove and you won’t care that it’s two minutes too long, you’ll just revel in the ache and cool step at the breaking point, as De Backer wails the words of the title in a voice that defines anguish. “Heart’s a Mess” brings up the only serious criticism the album bears—that despite the high quality production, all Gotye really needs is an editor. A number of the songs here are a few minutes too long, just repeating the main theme over once or twice too often.

Don’t get me wrong, the walking bassline on “Thanks for Your Time” is great, but we could have done without the minute-long interlude illustrating the song’s point (frustration at being put on hold in a customer service telephone call). At least it’s something we can all relate to. There’s another redeeming feature—that Gotye has a trick of withholding the refrain, or at least the phrase that gives a song its title, until near the end of a song, conferring on each song the welcome release of a new idea. Despite this (only occasional) flaw, there are a bunch of great songs on Like Drawing Blood that, each time you hear them, bring a smile to your face. With only a little editing, Gotye has the potential to be a Hot Chip, one of those electronic-pop maestros making soul and electronica entirely his own. Even as is, even with its rickety edges and once-too-often repeats, I’ll take his moody, evocative pop tunes any day.

Even if it’s not the Australian album of the year, Like Drawing Blood hums with life, and is a welcome addition to the summer rotation. I have a feeling it may just prove to be great all year round, too.