FAITH NO MORE
Faith No More has always stood out as some sort of unique beast; part dog, part cat–its music almost as schizophrenic as the personalities of its members. When it all worked, it worked really well, even if the chemistry was always volatile. Throughout our 17years of existence, the mental and physical energy required to sustain this creature was considerable and relentless. Though amicable enough, when we finally split, we all followed paths seemingly destined to opposite ends of the universe.
Yet during the entire 10 years that have passed since our decision to break up we’ve experienced constant rumors and requests from fans and promoters alike. Nevertheless, for whatever reason, none of us kept in regular touch, much less to discuss any possibilities of getting together.
What’s changed is that this year, for the first time, we’ve all decided to sit down together and talk about it. And what we’ve discovered is that time has afforded us enough distance to look back on our years together through a clearer lens and made us realize that through all the hard work, the music still sounds good, and we are beginning to appreciate the fact that we might have actually done something right.
Meanwhile we find ourselves at a moment in time with zero label obligations, still young and strong enough to deliver a kickass set, with enthusiasm to not only revisit our past but possibly add something to the present. And so with this we’ve decided to hold our collective breaths and jump off this cliff….
BACK, GOD FORBID, INTO THE MONKEY CAGE!!!We can only hope that the experience of playing together again will yield results erratic and unpredictable enough to live up to the legacy of FNM.
Who know where this will end or what it will bring up…only the future knows. But we are about to find out!FAITH NO MORE are:
Mike Bordin, Roddy Bottum, Bill Gould, Jon Hudson and Mike Patton
http://rapidshare.com/files/202536568/Faith_No_More_-_We_Care_A_Lot.rar
http://rapidshare.com/files/202540723/Faith_No_More_-_1987_-_Introduce_Yourself.rar
http://rapidshare.com/files/202553275/Faith_No_More-The_Real_Thing-1989.rar
http://rapidshare.com/files/202545942/Faith_No_More_-_Angel_Dust_MFSL__V0_.rar
http://rapidshare.com/files/202560168/Faith_No_More_-_King_For_A_Day_Fool_For_A_Lifetime.rar
http://rapidshare.com/files/202568451/Faith_No_More_-_Album_Of_The_Year.rar
All links are v0 rips.
Yer Bird Aviary – Albums [2005-2008] [2009]
Tim Rakel, now helming the May Day Orchestra, leads this final album by St. Louis dark folk storytellers Bad Folk, who split up in October ‘08. You’ll certainly find shades of Murder Ballads-era Nick Cave and prime March 16-era Jay Farrar, but the band has a distinctive narrative voice and exceptional arrangements, from the Tales From the Crypt-ish ‘Bugs’ with it’s steady drone of insects, to the post-cowpunk rock of ‘Debt,’ to the stark minimalism of it’s 11 and half minute
Figs occupy a wide variety of ecological niches. Take, for example, the Common Fig, a small temperate deciduous tree whose fingered fig leaf is well-known in art and iconography; or the Weeping Fig (F. benjamina) a hemi-epiphyte with thin tough leaves on pendulous stalks adapted to its rain forest habitat; or the rough-leaved sandpaper figs from Australia; or the Creeping Fig (F. pumila), a vine whose small, hard leaves form a dense carpet of foliage over rocks or garden walls. Moreover, figs with different plant habits have undergone adaptive radiation in different biogeographic regions, often leading to very high levels of alpha diversity.
Hardwood Exits is the masterful follow-up to 2004’s self-released Angels With Outstretched Hands. Backed by Dallas, Texas country outfit 1100 Springs and folk chantuese Mara Lee Miller (of Bosque Brown) Evan Birdsong has crafted a album of sublime and haunting Texas Noir-Folk.
Luke Elliot’s 5-song debut ep, evoking a glorious combination of 1920’s piano-pop and swing and the gravity of Leonard Cohen-style narrative songwriting.
Oweihops is Michael Metivier… I realized that he had some serious folk/Americana talent. From the point of receiving his self-titled 2005 release I was hooked. Whether listening to the instrumental “Eastern Setts” to a personal favourite “Tortoiseshell” I couldn’t get enough.
you really have to listen to realize that Metivier is a compelling story teller. His voice resonates in a Rocky Votolato tone, and he stays with the standard Americana themes of depression and love, but he tends to contrast his sorrows with a more uptempo, embraceable sound. All too often, when you are bombarded with an atmospheric, cloudy steel in the distance and simple brushed drums, you drift subconsciously into a sense of despair, but with Metivier’s brand of songwriting, you really have to listen to expose those emotions.
These are early demos and home recordings made by Sounds Like Fall before the release of 2005’s The Wolf is at the Door, many available for the first time here. Also included are 2 tracks with Joe Young’s previous band – Iowa’s
“About mining joy, the celestial underpinnings of phenomenological events and all that gooey yummy stuff even the most cracked hearts glimpse before spackling on another level of defensiveness against such indulgent ideas.
Friends, hand me my net and goggles. They are to be captured, brought back to the lab and studied…”
We/Or/Me is Bahhaj Taherzadeh. He’s from Ireland but lives in Chicago. And tonight this song [Tell Sarah] sounds better than “Pink Moon” (I just double-checked. It does.). It sounds better than “Astral Weeks”. I don’t know if it is better, but it’s just what I need. It’s nostalgic and sad and wiped but so happy in that place, so fondly imagining those trains that went by, those birds that circled, the things “we let slip away”. And if we get too spacey, too lazy and distracted and dreaming, well there’s always the glockenspiel. It’s beautiful, yes, but it’s also real. It sounds like someone in a bedroom hitting their glockenspiel with a stick. It’s a real thing, rubber or cork on metal, like all those other real things that happen to us. Like that world out there in the light and the heat. Like our hands right here, this couch, our breath.
We/Or/Me are a wondrous group – not just for the restraint and care of their songwriting, but also for the way these songs are recorded, slow and breathing. “Tell Sarah” glows, just of itself, like fireflies in a jar
The Lucksmiths – Discography
“Idiosyncratic but accessible, literate but unpretentious, gentle but not weak, sincere not so much in presentation as in presence.”
“Australian indie-pop trio the Lucksmiths teamed singer/percussionist Tali White, guitarist Marty Donald, and bassist Mark Monnone, longtime school friends who initially bonded over their mutual admiration for the Smiths. After going their separate ways to attend university and travel, the threesome reconvened in their native Melbourne in early 1993, playing their debut gig that April opening for the Sugargliders. The Lucksmiths’ debut tape was soon released, and in 1994 the group resurfaced with an EP, Boondoggle. After signing with the local Candle imprint, the Lucksmiths released their first CD effort, The Green Bicycle Case. What Bird Is That? followed a year later, and in 1997 the band made its American debut with the single “The Invention of Ordinary Everyday Things,” released via the small Michigan label Drive-In Records. Following the release of the 1998 full-length A Good Kind of Nervous, the Lucksmiths played a handful of European dates in support of Belle & Sebastian, a frequent reference point not only in light of the Lucksmiths’ wispy folk-pop sound but also their self-effacingly witty lyrics. At a subsequent gig, Mannone survived a near-fatal on-stage electrocution, and the road-weary trio rounded out the year with the release of a new single, “Untidy Towns.” While White spent the next several years living in London, the Lucksmiths toured and recorded only sporadically, cutting a handful of tracks in such far-flung destinations as Washington, D.C. and Paris. Both the Happy Secret collection and the Staring at the Sky 10″ appeared in 1999, with the superb “T-Shirt Weather” single and the tongue-in-cheek “Greatest Hits” cassingle following a year later. The outstanding Why That Doesn’t Surprise Me, the Lucksmiths’ first full-length studio record in close to four years, was issued in early 2001.”
- First Tape (1993) Thank You gta
- The Green Bicycle Case (1995) pass: veror.blogspot.com thanks veror!
- What Bird is That? (1996)
- Good Kind of Nervous (1997) Thank you Diarreon and Ben
- Happy Secret (1999)
- Why Doesn’t That Suprise Me (2001)
- Where Were We? (2002)
- Naturaliste | 4shared (2003)
- Warmer Corners (2005)
- Spring a Leak (2007) [Compilation, B-Sides, Demos, Etc) 1,2,3
PS 1: As you notice there are some links that are unclicable, which means i dont have the albums. If you have them, please post them on comments section
PS 2: The albums are divided into different filehosts.
PS 3: There are some records, especially the earlier ones, that are in m4a. If you have them in better quality, and can help us please upload. I would be grateful. Thank you all!
BUY.
lyrics
space
feel the heat
The Black Heart Procession – Discography
1998 – 1
1999 – 2
1999 – A 3 Song Recording
2000 – Fish the Holes in Frozen Lakes
2000 – Three
2001 – Between the Machines 7”
2001 – Love Sings a Sunrise 7”
2002 – Amore del Tropico
2003 – Hearts and Tanks
2003 – Days of Delusion: Live 2000 – 2002
2004 – In the Fishtank 11 (w/ Solbakken)
2004 – Live at the Casbah, 23-08-2004 (bootleg)
2006 – The Spell
Looking for the tour cd that was released earlier this year, as well as b-sides/demos there aren’t on any of these records (including The Mask, which I only have in m4a format).
Buy ~ Myspace ~ Wikipedia ~ Allmusic page
GROUPER
Way Their Crept (2005)
Wide (2006)
Xiu Xiu vs. Grouper – Creepshow (2006)
Cover the Windows and the Walls (2007)
Grouper/Inca Ore split (2007)
Tried 7” (2007)
Dragging a Dead Deer Up a Hill (2008)
Jesse Sykes & the Sweet Hereafter – Discography
The word ‘artist’ these days is used to refer to pretty much any musician, but few songwriters or performers approach their musical life with the degree of intense concern as does Jesse Sykes. Although originally a visual artist, Sykes sings that “only music sets my soul free.” She’s always, however, brought a deep visual sense to her textually (and texturally) rich songwriting.
Her new album was produced, recorded and mixed by Tucker Martine (Decemberists, The Long Winters) and Martin Feveyear (Mark Lanegan, Kings of Leon), with additional recording and production by Randall Dunn (Kinski, SunnO)))). Like, love, lust & the open halls of the soul is a musically deep piece of work, addressing themes of love, illusion, forgiveness, and the universality of the human experience. Her band, The Sweet Hereafter (along with guest appearances from Scandinavian cult songwriter Nicolai Dunger, jazz keyboardist Wayne Horvitz, and avant garde violinist/composer Eyvind Kang), explore new sounds with a confident ease. Open halls’ guitar solos and driving rhythms could easily be lost gems cut by Crazy Horse between takes with Neil, yet the record retains the atmospheric beauty of much of Sykes’ earlier work as well.
The band’s musical growth has been mirrored by the evolution and maturation of Sykes’ distinctive singing voice, which time has saturated with a weathered wisdom that connects to something beyond the singer and the song. And the visual aesthetic of Sykes’ songwriting has never been more evocative. Listen closely to her stark descriptions of isolation, sometimes-swaggering toughness, fragile human emotion, and the possibilities of love, and you’ll hear something that perfectly, tenderly, and surprisingly captures the feel of the 21st century so far — it’s the sound of vulnerability, and the sound of the best and most relevant piece of art Jesse Sykes has ever made.
Reckless Burning (2002)
Oh, My Girl (2004)
Like Love Lust and the Open Halls of the Soul (2007)
Myspace ~ Website ~ Barsuk Records
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