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  #4621  
Old 09-22-2012, 03:18 PM
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  #4622  
Old 09-22-2012, 03:49 PM
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[16:49] * WalkGood »» foobar2000 ::: Deadbolt - Hobo Babylon (2001) - 13 - The Hearse ::: 1:03/1:57 (••••••••••) ::: 192 kbps ««
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  #4623  
Old 09-22-2012, 03:52 PM
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[16:51] * WalkGood »» Foobar2000 ::: Deadbolt - Hobo Babylon (2001) - 12 -Syndrome Whacked Paully ::: 1:14/3:56 (••••••••••) ::: 192 kbps ««
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Old 09-22-2012, 03:57 PM
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[16:56] * WalkGood »» Foobar2k ::: Deadbolt - Hobo Babylon (2001) - 11 - Drunk Guy On The Train ::: 2:48/4:42 (••••••••••) ::: 192 kbps ««

ya i spamming irc too
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Old 09-22-2012, 04:04 PM
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[17:02] * WalkGood »» Foobar2k ::: Deadbolt - Hobo Babylon (2001) - 10 - Patches Rides The Rail ::: 3:27/3:45 (••••••••••) ::: 192 kbps ««
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  #4626  
Old 09-22-2012, 04:13 PM
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[17:12] * WalkGood »» Foobar2ooo ::: Deadbolt - Hobo Babylon (2001) - 06 - Creep Me ::: 0:12/2:51 (••••••••••) ::: 192 kbps ««
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  #4627  
Old 09-22-2012, 05:08 PM
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Quote:
Originally Posted by Marvin the Martian View Post
Lindsey Stirling "Crystallize" video
You've convinced me Marvin. Had never heard of her, but she's an awesome violinist (and a fine POA to boot).

I haven't bought any CD's in a while, but I think I'll splurge on this one when it comes out in a few days.

Thanks for the introduction!

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  #4628  
Old 09-22-2012, 09:14 PM
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Apprenticing in cheap and fast sessions during the '80s in Madison, Wis., at his Smart Studios, producer Butch Vig helped give structure and lucidity to the music of young bands such as Killdozer, Tad and Urge Overkill. Then he rewrote the pop book on distortion with Nirvana's epochal Nevermind. Quickly he became current rock's best shaper, a quietly logical guy who could navigate the complicated corners of, say, Sonic Youth and still remember the big beat, chewy tunes and adolescent aggression that make pop fly. Now, Vig has formed Garbage with Shirley Manson of the indifferent Angelfish and his longtime associates Steve Marker (Smart's co-owner) and Duke Erikson. Together, this unshy Scottish female singer and guitarist and these three ingenious Midwesterners – who provide percussion, guitars, samples, bass and keyboards – compose a studio band that makes up its own drama and kicks as it goes along.

Garbage screw around with dance pulses and guitar tones, pop concision and 12-inch madness, highly flown confessions and teenage thrills. Their basic attack comes from a known yet infrequently considered road: the rock remix. In the studio-driven world of hip-hop and its millions of track versions, this aspect of Garbage would seem unremarkable. But in rock, where the standard of live performance rules, remixes have been dicier affairs. Still, a few bands explore them, developing parallel sonic landscapes often denser and knottier than dance music's or hip-hop's. Vig, Marker and Erikson have themselves reconfigured sonics for U2, Depeche Mode, Nine Inch Nails, House of Pain and others, so this unpredictable remix sensibility arrives intact in Garbage. The rest of the shock comes from Manson, who hardly lounges around in these soundscapes like a pop singer content with her settings. This creates a jumpy, unsettled blur of scrupulously clear music and jarring mixed messages.

Immediately, as the mangy riffs of "Supervixen" begin to churn through space, Garbage drags you someplace else. As Manson's violet throatiness offers to create "a whole new religion," beats chatter, and delicate acoustic guitar notes and those opening riffs float in and out of the song's gently pounding rhythmic foundations. At times the main riff pauses to halt the music altogether. From there, Garbage ease into "Queer," a more roundly shaped tune orchestrated with this same love of junk and command of finesse. Acting as a sensual guide, Manson promises to "dirty up your mind," forecasting a black-and-white path through the strange and the lame as the music makes stringy transitions in ironic technicolor. On the next song, "Only Happy When It Rains," she and Garbage rock righteously as though Manson is running for the presidency of the Robert Smith Fan Club. Just as you think she has won by a landslide, the band swings in with rhythms and riffs whose complex demeanor recolor the whole song.


"As Heaven Is Wide" rides cool grooves high in focus and fiber, locomoting toward unknown dance-floor destinations. "Not My Idea," another querulous high-speed track, patiently explains its depressed circumstances, then bangs its silverware on the plate, insisting that "this is not my idea of a good time." Warm Euro-style balladry shows up with "A Stroke of Luck," but Manson shivers. "Here comes the cold again," she sings with regret. On "Vow," the current single, she's throwing fits again, threatening to tear somebody's world apart to the tune of industrialized guitar noise.

Near the end of Garbage, Manson affects a kind of peace with her own ravings. On "Stupid Girl" she marches along to a funky bass, indicting someone – herself? – for not believing in fear, pain or people she can't control. "All you had," she sings, seething, "you wasted." After another tuneful near-metal tantrum called "Dog New Tricks," she and Garbage crest on "My Lover's Box." On this great piece, arranged with those mangy riffs but reframed with syncopations from the Spinners and outbreaks from Bad Brains, Manson fears she'll never get to heaven and pleads, "Send me an angel to love." The album ends on a lovely two-song coda comprising "Fix Me Now," a wracked appeal for togetherness, and the lush "Milk," a ballad in which Manson and Garbage go grunge torch, and she explains her previous moments of cruelty in terms of having been "lost." Oh, was that it? Garbage teems with such disjunctions of tragedy and junk. Like so much fun and important rock & roll, it's the product of brilliant misunderstandings. (RS 717)


JAMES HUNTER
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  #4629  
Old 09-22-2012, 11:26 PM
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Quote:
review by David Jeffries
After reinventing himself as more of a headphone artist with 2006’s glitchy album This Binary Universe, BT takes it a step further on These Hopeful Machines, an effort that breaks the two-hour mark with only 12 songs. If that sounds like the progressive trance version of Saturnz Return, BT’s magnum opus does share some of the indulgence problems found on Goldie’s epic, but this effort is much more humble.

The driving force behind Machines seems to be the producer’s love of freedom and exploration, as most tracks build, fade away, morph, and wander about with little care for what radio, clubs, or a major label might require. Fans who enjoy the glitch-meets-trance textures of Universe will find even more to love here, and more songs, too, as BT, the returning JES, and a handful of guest vocalists deliver the usual lyrics filled with modern mysticism. Riding “Suddenly” from its crunchy, avant opening to its Black Eyed Peas-like middle and onto its glitch-fueled flame-out is exciting, while the closing take on the Psychedelic Furs’ “Ghost in You” is a different trip, something akin to calmly floating in an ‘80s pop hit for eight minutes.

“Forget Me” combines alt-rock angst and field recordings to great effect, while “Le Nocturne De Lumiere” creates a dream world out of thumb pianos and thumping house beats. Listeners who don’t mind so many devices and left turns must still be predisposed to BT’s airy, big-sky style of electronica to get the most out of this long, involved journey. These Hopeful Machines doesn’t try to convince, it’s meant to reward the already converted with a vast wonderland of melodic glitch and prolonged bliss.
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  #4630  
Old 09-23-2012, 08:04 AM
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  #4631  
Old 09-23-2012, 08:09 AM
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Quote:
Andrew Bird
Break It Yourself

By JON DOLAN
MARCH 6, 2012
Over a nearly 20-year career, Chicago singer, songwriter and violinist Andrew Bird has built a rep as one of indie rock's most beguiling light touches – a dude who makes Jeff Tweedy look like a Nordic death-metal pyro. Fusing elements of jazz, Celtic folk and chamber pop while softly talk-singing – or whistling – tunes with titles like "Scythian Empires," he might be gratingly pretentious, if he wasn't so unobtrusively amiable. But on his ninth album, Bird gets direct, even confrontational. "Desperation Breeds..." sets the tone, opening the record with a dark blast of piano-guitar discord. Soon we get a sense of what's under his skin: "Go ahead and congratulate yourself," he sings on "Eyeoneye," a conservatory-Neil Young breakup seether. Andy's pissed, albeit in an I-know-she's-intentionally-forgetting-to-DVR-Downton Abbey-just-to-spite-me kind of way.

The emotional urgency energizes his fluid multi-instrumental elocution and learned metaphors; sometimes it sounds like he's burning an effigy of his ex in the quad at iTunes U: On "Give It Away," he evokes "worthless currency" over a gently plucked violin, analogizing inflation and failure like the Ron Paul of love. Whether contemplatively highbrow (the symphonic meditation "Hole in the Ocean Floor") or forlornly down-to-earth (the alt-country of "Fatal Shore"), his angst studies feel cathartic without seeming mean-spirited; when healing marimbas and crickets materialize for the album-ending instrumental lullaby, "Belles," it's a welcome exhaling moment. He's earned his rest.
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  #4632  
Old 09-23-2012, 07:24 PM
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Kassav
Carnaval Tour 2005
Ou pa Sé Di

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  #4633  
Old 09-24-2012, 03:11 PM
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Official album stream on iTunes !! Haven't listened to much of it yet but first impressions are it's awesome .

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  #4634  
Old 09-25-2012, 07:47 AM
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  #4635  
Old 09-26-2012, 05:31 PM
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  #4636  
Old 09-27-2012, 10:32 AM
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  #4637  
Old 09-27-2012, 06:59 PM
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  #4638  
Old 09-27-2012, 09:45 PM
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Pink Floyd - The Amazing Echos


Seems to me Radio Head studied this song to get ideas for some of their layered music. This song is phenominal and a listening experience!
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  #4640  
Old 09-28-2012, 02:33 PM
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