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Fenomenalan mi ovaj najnoviji The Mire album, "Inward / Outward", al nisam uspeo da nađem nigde da skinem (ne bih da se jebem da ripujem Spotify), bacite link ako nađete

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No_Joy-Wait_To_Pleasure-2013-FNT

 

01. E ( 5:19)

02. Hare Tarot Lies ( 3:26)

03. Prodigy ( 2:36)

04. Slug Night ( 3:39)

05. Blue Neck Riviera ( 4:22)

06. Lizard Kids ( 2:21)

07. Lunar Phobia ( 3:51)

08. Wrack Attack ( 2:56)

09. Ignored Pets ( 2:43)

10. Pleasure ( 2:05)

11. Uhy Yuoi Yoi ( 2:44)

 

Second full length from this crazy and completely zoned-out shoegaze girl

group. Perfect soundtrack for tomorrow.

 

http://grind3r.rusfolder.net/files/36071000

 

http://www.multiupload.nl/R2BIVLK5OM

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Pet-Bottle-Ningen.jpg

 

Pet Bottle Ningen is an avant garde rocketship which journeys through musical worlds of composition featuring three of New York City’s finest young “Downtown” musicians, saxophonist Nonoko Yoshida, guitarist Dave Scanlon and drummer Dave Miller.

For their second CD for Tzadik this fabulous trio presents a new group of compositions that are inspired by sea slugs, microbes, dogs, arachnids, sick friends, deep-sea creatures and more. A part of a new group of bands out of the Downtown NY and Brooklyn scenes combining composition, improvisation, rock, jazz and noise, Pet Bottle plays regularly in NYC, has toured the East Coast and gone to Japan three times. Fabulous cutting-edge music from a new generation of musical adventurers.

Dave Miller: Drums, Cymbals

Dave Scanlon: Guitar

Nonoko Yoshida: Alto Sax

 

http://www.mirrorcreator.com/files/Q5CFEGZW/NonRecyclable2013.rar_links

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Dirty Beaches - Drifters / Love Is The Devil (2013)

 

Along with numerous singles and limited-edition releases, Dirty Beaches‘ Alex Zhang Hungtai released the score to the documentary Water Parkbetween two of his more widely released albums,Badlands and Drifters/Love Is the Devil.

Given his flair and fondness for atmosphere, it’s no surprise that Hungtai branched out into film music, nor is it a surprise that this filmic feel also permeates Drifters/Love Is the Devil. A generous 75-minute double album, the set blends Dirty Beaches’ growing ambitions with the project’s spooky, lo-fi rock roots. Of the two albums, Drifters is more like what listeners have come to expect from Hungtai’s music; songs like “Night Walk” sound more like Suicide traveled back in time to write music for a ’50s B-movie than ever.

 

Tracks such as “I Dream in Neon,” where the vocals melt into a gritty fuzz bass, or the improbable but fascinating blends of exotica and industrial in “Casino Lisboa” and “Au Revoir Mon Visage,” reaffirm that Hungtai has a real gift for conveying several different moods within the same blurry sounds as they slide from sleazy to desperate to poignant. Yet even among these songs there are hints of Dirty Beaches’ growing experimental side, particularly on “Elli,” one of Hungtai’s sparest, most haunting moments yet, and the ten-minute “Mirage Hall,” which takes his hypnotic grooves and drones to hallucinatory lengths. Meanwhile, Love Is the Devil provides a more ambient yin to Drifters’ often-menacing yang (though the entire set could have been called Drifters and it would have fit). The second half of this set is not unlike a darker version of the Water Park music, especially on the expansive guitar piece “Alone at the Danube River,” which shares a moody, transporting feel with that score. There’s still plenty of Dirty Beaches’ distinctive grit, which helps ground the more ethereal textures and tones he plays with on “Greyhound at Night,” which, with its airy trumpet and guitar, lies in some floaty space between jazz, indie, and post-rock. At times, Love Is the Devil hints that the more ambient elements Hungtai’s music might work better on the side than as the main focus, particularly when more structured songs such as “Like the Ocean We Part” work so well. Still, Drifters/Love Is the Devil spans nearly every sound in Dirty Beaches’ musical spectrum to make another strongly evocative album in Hungtai’s body of work.

 

 

http://clz.to/vsos6pij

 

 

Lumerians - The High Frontier (2013)

 

 

 

Lumerians debut album The High Frontier sees them push the edges of stoner rock, combining afrobeat influences, psychadelia song structures, post-punk guitars, starry dramatics, brash dance beats to create a record that both dazzles & invigorates. It’s a cacophony of sound in which Lumerians acknowledge the role noise and rhythm has always played in transcendent and ecstatic rituals the world over.

From the repetitious drums of tribal animists to the penetrating electronic pulses of neon dance clubs, The High Frontier sets scope outward, points blindfolded at a star map and sets off full blast without making course corrections. The six tracks and 33 minutes that make up The High Frontier were recorded and produced in Lumerians’ self-built studio/brewery: a room housed in a converted store-front church in a neighbourhood affectionately referred to as the “Murder Dubbs”. Lumerians is Tyler Green, Chris Musgrave, Jason Miller and Marc Melzer. Formed in early 2006 while most of the members were working at an experimental music label in San Francisco, their shared affinity for Krautrock and esoteric occult mythologies resulted in after-work jam sessions and recording.

After self-releasing their debut EP in 2008, they signed to Knitting Factory Records in 2011 for their debut LP release Transmalinnia – a record which, during the two years it took to record, was almost entirely scrapped and re-recorded several times. In 2012 supplementary small-pressing instrumental records Transmissions from Telos Vol. IV and The Weaning and the Dreaming quickly sold out in the hands of collectors.

1. Dogon Genesis (5:54)

2. High Frontier (5:00)

3. The Bloom (5:35)

4. Koman Tong (3:30)

5. Smokies Tangle (7:24)

6. Life Without Skin (6:02)

7. Abudhabijhab (6:56)

 

http://clz.to/5aqsgwte

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Bezeze. Ovaj Vestiges ultra prosečan, a sve ove pesme od Panopticona smo već čuli, osim obrade koja je sranje.

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Može da se skine sa te stranice za dž, samo ideš na Buy Now i ukucaš nulu.

Edited by Lou

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Master Musicians of Bukkake – Far West (2013)

 

Master-Musicians-Of-Bukkake.jpg

 

Definitely not your mother’s psychtronica/worldly noise-rock act, the Master Musicians of Bukkakeare back for their first LP after the culmination of their lengthy Totem trilogy. Despite the splooge-riddled namesake subverting the Master Musicians Of Joujouka (a Moroccan Sufi trance enclave with ties to The Rolling Stones) and raising red flags normally reserved for Chumbawumba and Joe Lean et al., MMOB exist not to doss around and parade a gimmicky moniker – their have a rigid mission to burrow into your psyche and entice hypnotic states with their global ‘post-colonialcore’ noises.

The Seattle-based sonic shamans sidle up surrepti- tiously for their new instalment, Far West, letting nothing slip, as ever, and wielding an anthology of ominous portent. The avante-garde noiseniks don’t seem to play by a rulebook written in any Earthly tongue. The album comprises six tracks, all but one extending past the seven minute mark, and titled things like ‘γη-νομος _ GNOMI’ and ‘You Are A Dream Like Your Dreamer – A Dark Peace’. It would seem that they’re not particularly bothered about hassling the likes of Bastille or Imagine Dragons for places in the Top 40. No. This is a coven of talented, wise instrumentalists with an ingrained passion for doom, apocalyptic omens and mad-scientist experiments of the most dubious calibre.

Nine minute opus ‘Cave Of Light – The Prima Materia’ begins life as a slow-burning rhythmic standoff. Guitar ostinatos and a squall of sci-fi synths punctuate the Africa-imbued drumming, but before you know it, foreboding brass and baritone chants assume control. It’s a changeable track, with subtly diffusing and recombobulating elements that whirr aggressively in your ears. ‘Circular Ruins’, a sunlight-dappled slab of 60s(ish) folk noises, is wildly triumphant and optimistic amidst the chaos of the rest of the LP. There are glistening synths, jangly chords and American folk strings all pointing outwards towards the horizon, a contrast to much of of the record, which is focused intently on self-reflection and introversion.

Given that the band are still partial to donning animalistic masks and tribal costumes on stage, and subsequently performing sacred musical rites, it doesn’t appear that they’re likely to adhere to any laws of the material world any time soon. As such, we just have these records, handed down to us like Moses handing down the tablets, to decipher what the Dickens is going on with MMOB. What we have here, post-Totem, is a heady brew of Middle-Eastern and Central Asian influences, infused with post-folk, psych-rock and ambient drones. Listening to the whole record in one sitting is liking meditating in the Himalayas – thoroughly uncomfortable at times, but ultimately incredibly rewarding. It transcends the normal realms of ‘music’ as a concept, instead delivering a therapeutic salmagundi that flows through your soul.

 

 

http://clz.to/51pns0v0

Edited by VoivodBG

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Scale The Summit – The Migration (2013)

 

a7e791be5a95.jpg

 

Tracklist:

1. Odyssey (5:12)

2. Atlas Novus (5:07)

3. The Olive Tree (5:07)

4. Narrow Salient (3:34)

5. Oracle (5:30)

6. Evergreen (1:41)

7. The Dark Horse (4:12)

8. Willow (5:06)

9. Sabrosa (0:31)

10. The Traveler (6:04)

 

320 kbps (92 mb)
http://rusfolder.com/36723510
http://www47.zippyshare.com/v/57537088/file.html
flac (289 mb)
http://rusfolder.com/36723332

 

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Super album ovaj Lumerians sto je Voivod okacio na vrthu strane, bas osvezavajuc u moru istih space-rock bendova, meni se svideo.

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