Blitzen Trapper--Field Rexx (2006)

Artist-Blitzen Trapper
Album-Field Rexx
Release Date-May 16, 2006
Genre/Style-Lo-Fi/Indie Rock

Site-http://www.blitzentrapper.net/
Myspace-http://www.myspace.com/blitzentrapper

Review-http://www.cokemachineglow.com/reviews/blitzen_rexx2005.html
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Fridge--The Sun (2007)

Artist-Fridge
Album-The Sun
Release Date-May 14, 2007
Genre/Style-Post-Rock/Experimental Indie Rock

Site-http://brainwashed.com/fridge/
Myspace-http://www.myspace.com/fridgemusic
Biography-http://en.wikipedia.org/wiki/Fridge_(band)

Review-A couple of old friends get their pre-university band back together and attempt to summon the old magic again. It works so rarely, but of course, there are few bands that showed as much talent as Fridge. When Kieran Hebden began producing as Four Tet, and Adem Ilhan followed with his first record as Adem, it appeared that Fridge would go down in history as the genesis for at least two solid producers, but never rise again. Serious fans recognized this as a potential tragedy, but it really took another Fridge record, like The Sun, to realize how much the group possessed beyond merely three individuals. Unlike Hebden's Four Tet records, The Sun isn't immediately striking; the first track is forceful, but it comes and goes without much more than some drum-heavy noodlings. It's not until second track "Clocks" crests after nearly five minutes that it becomes clear something special is going on. Four Tet was responsible for some incredible hooks but few accomplishments of form; The Sun is one of the best-structured instrumental rock albums since Tortoise's Millions Now Living Will Never Die, and perhaps a more significant achievement since there's (slightly) less post-production involved. "Oram" is a masterpiece, opening with an all-out apocalypse of drums, guitar, and bells but slowly, gloriously acquiring a steady groove from Sam Jeffers' rhythm work.

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Art Brut--It's a Bit Complicated (2007)

Artist-Art Brut
Album-It's a Bit Complicated
Release Date-Jun 19, 2007
Genre/Style-Indie Rock
Quality-320kbps

Site-http://www.artbrut.org.uk/
Myspace-http://www.myspace.com/artbrut
Biography-http://en.wikipedia.org/wiki/Art_Brut_(band)

Review-Reviewed by AMG. From Art Brut's first moments, they've been high-concept — after all, their debut single was about how they formed, and sounded like they recorded it immediately after getting together — so it probably shouldn't come as a surprise that they've become increasingly meta, or that It's a Bit Complicated tends to feel like it's based on the concept of what Art Brut's second album should sound like. In the wake of Bang Bang Rock & Roll's success, Eddie Argos and company are no longer underdogs, so the band's sound is bigger, bolder, and more confident. There's more distance in Argos' lyrics — there are no more stories of how long it's been, to the second, since he's seen the first girl he ever loved, or how his little brother just discovered rock & roll. Instead, there are songs about songs, how moments in life relate to pop songs and several mixtapes' worth of allusions to other, more famous songs (indeed, "Sounds of Summer" is basically a love song to the time-honored tradition of making the perfect mixtape, right down to removing the cassette's recording tabs). Even for Art Brut, getting this conceptually tricky is risky, and there are tradeoffs to this approach. It's a Bit Complicated boasts some laugh-out-loud funny lyrics: "Is it so wrong to break from your kiss to turn up the pop song?" Argos asks on "Pump Up the Volume." "Post Soothing Out" is a sardonic look at the very bitter end of a relationship: "I met your parents, and I know it sounds rough/But I'm gonna be out when they pick up your stuff." However, with so much focus on the words, the album's music suffers by comparison. Most of It's a Bit Complicated focuses on the same tempos, cranked guitars, and backing vocals — think Bang Bang Rock & Roll's "Moving to L.A." turned up to 11 — making for a sound that's either focused or samey, depending on your level of patience. Fortunately, It's a Bit Complicated's risks pay off more often than not, especially on "Direct Hit," which sings the praises of dancing instead of talking when tongue-tied around a crush (though it's hard to imagine Argos or any of the characters in his songs at a loss for words) and the brilliant "People in Love," a seemingly arch take on breakups ("You can learn to enjoy this type of upset"). The band's odes to arrested development are also standouts; "I Will Survive" and "Nag Nag Nag Nag" explore the gray area between actually being a teenager, or just feeling like one years after the fact, with a little poignancy and a lot of wit. Moments like these, "Jealous Guy," and "Blame It on the Trains" reclaim some of the intimacy that Bang Bang Rock & Roll had in spades and seems to be missing from a good chunk of It's a Bit Complicated. This album may not be as special as Bang Bang Rock & Roll, but It's a Bit Complicated proves that Art Brut are masters of writing pop songs about loving pop songs passionately.

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Chris Pierce--Static Trampoline (2004)

Artist-Chris Pierce
Album-Static Trampoline
Release Date-Sep 13, 2005
Genre/Style-Singer/Songwriter Adult Alternative Pop/Rock
Size-54M

Site-http://www.chrispierce.com/
Myspace-http://www.myspace.com/chrispierce
Review-http://www.buzzle.com/editorials/12-2-2005-82982.asp

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Rocky Votolato--The Brag & Cuss (2007)

Artist-Rocky Votolato
Album-The Brag & Cuss
Release Date-Jun 19, 2007
Genre/Style-Alternative Singer/Songwriter Indie Rock
Quality-320kbps

Site-http://www.rockyvotolato.com/
Myspace-http://www.myspace.com/rockyvotolato
Biography-http://en.wikipedia.org/wiki/Rocky_Votolato

Review-Rocky Votolato is the kind of artist whose progression can be easily traced. His early singer/songwriter work relied mainly on his guitar and his soft voice, he moved into more passionate, energetic version of that on Suicide Medicine, and then into alt country-tinged rock on 2006's Makers. On his fifth full-length, The Brag & Cuss, and second with Barsuk, Votolato digs even deeper into his Texan roots, bringing in a B-3 organ and banjo alongside the harmonica and assortment of guitars he had on the previous album. Still, even with the band, what comes through most clearly is Votolato's voice, which is better than ever here, rough and emotive, honest to a fault. "Stare through the beers and years and the bags and bruises fade/...Beaming through all the brag and cuss, promising the fall," he sings in "The Old Holland," his scratchy vibrato especially audible as he holds "brag," wise with whiskey and years on the road. No, Votolato's not that old, not some grizzled veteran, but his lyrics hold a kind of sincerity and acute observation that beget images of a worn but not weary, man, a man who's seen enough by now to know something of the world. "You say, 'shut up, you're crazy, you can't go back in time,'" he says in "Postcards from Kentucky" over picked strings and soft drums, fitting the syllables of his lines in expertly and adeptly, while "Before Your Were Born" shows Votolato's understanding of love's age-old quality. But despite the individual strength of the songs — "Lily White"'s full chorus, the nicely measured "Whiskey Straight," the country shuffle of "The Wrong Side of Reno" — The Brag & Cuss finds its true power as an entity, in its ability to tell a story of loss and love and gravel and home, subtle but still affecting, simple but definitely not hushed. It's a record that's able to reach back while still looking forward, mature and confident but still very human, finding, in this, a spot of its very own.

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Ryan Adams--Easy Tiger (2007)

Artist-Ryan Adams
Album-Easy Tiger
Release Date-Jun 26, 2007
Genre/Style-Adult Alternative Pop/Rock Singer/Songwriter
Quality-192kbps

Site-http://www.ryan-adams.com/RyanAdams.html
Myspace-http://www.myspace.com/ryanadams
Biography-http://en.wikipedia.org/wiki/Ryan_Adams

Review-Easy Tiger has a “slow-it-down there pal” undertone to its title - and who needs a word of caution other than Ryan Adams himself, who notoriously spread himself far and wide in the years following his 2000 breakthrough Heartbreaker. After celebrating his thirtieth birthday with a flurry of albums in one year, Adams decided to pull back, hunker down and craft one solid album that deliberately plays to his strength. As such, Easy Tiger could easily be seen as the album that many of his fans have wanted to hear since Heartbreaker, a record that is tight and grounded in country-rock. Easy Tiger is focused, but so have been some of the other thematic albums Adams has delivered with such gusto - when he tried to run with the Strokes on Rock N Roll, he mimicked the Smiths and Jeff Buckley on Love Is Hell, even turned out a full-on country album in Jacksonville City Nights, complete with knowing retro-cover art, he stayed true to his concept, but the cumulative effect of the records was to make him seem scattered, even if the records could work on their own merits. With each album since the wannabe blockbuster of 2001's Gold, his restlessness has seemed not diverse but reckless, so even his good albums seemed to contribute to the mess. Easy Tiger intends to break this perception by being concise, right down to how every one but one of these tight 13 songs clock in somewhere between the two and a half and three and a half minute mark. For somebody as doggedly conceptual as Adams, this is surely a deliberate move, one designed to shore up support among supporters (no matter if they're fans or critics), which Easy Tiger very well might. Surely, it is a welcoming album in many ways, partially due to the relaxed Deadhead vibe Adams strikes up with his band the Cardinals, reminiscent of 2005's fine Cold Roses. But if that sprawled, this is succinct, as Adams flits through country-rockers and weepers - plus the occasional rock detour, like anthemic '80s arena-rocker “Halloween Head” or the spacey “The Sun Also Sets,” a dead ringer for Grant Lee Phillips — containing not an ounce of fat. Adams benefits from the brevity, most notably on the sweetly melancholy “Everybody Knows,” the straight-up country of “Tears of Gold” or on “Two,” which mines new material out of the timeworn “two become one” conceit. Here, his songs don't stick around longer than necessary, so they linger longer in memory, but the relentless onward march of Easy Tiger also gives the performances an efficiency bordering on disinterest, which is its Achilles' heel. As fine as some of the songs are, for as welcoming as the overall feel of the record is, it seems a bit like Adams is giving his fans (and label) Ryan Adams By Numbers, hitting all the marks but without passion. This is when his craft learned from incessant writing kicks in - he can fashion these tunes into something sturdy and appealing - but it also highlights how he can turn out a tune as lazily as he relies on casual profanity to his detriment. Ultimately, these flaws are minor, since Easy Tiger delivers what it promises: the most Ryan Adamsy Ryan Adams record since his first. For some fans, it's exactly what they've been waiting for, for others it'll be entirely too tidy, but don't worry - if Adams has proven to be anything it's reliably messy, and he's sure to get ragged again somewhere down the road (and based on his past record safe money is on October 2007).

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The White Stripes--Icky Thump (2007)

Artist-The White Stripes
Album-Icky Thump
Release Date-Jun 19, 2007
Genre/Style-Indie Rock/Garage Rock
Quality-224-320kbps

Site-http://www.whitestripes.com/
Myspace-http://www.myspace.com/thewhitestripes
Biography-http://en.wikipedia.org/wiki/The_White_Stripes

Review-A lot changed in the White Stripes' world between Get Behind Me Satan and Icky Thump: Meg White moved to L.A., while Jack White left Detroit for Nashville, married and had a daughter, and formed the Raconteurs, a side project that won so much praise that some fans worried that it meant the end of the Stripes. Those fears were as unfounded as the speculation that White's new hometown meant that the band was going to "go country" (after all, Jack and Meg are wearing the costumes of London's Pearly Kings and Queens, not Nudie suits, on Icky Thump's cover). Though it was recorded at Nashville's state-of-the-art Blackbird Studio and covers everything from bagpipes to metal, Icky Thump is unmistakably a White Stripes album. The eclectic feel of Get Behind Me Satan remains, but is less obvious; interestingly, out of all the band's previous work, Icky Thump's brash and confessional songs most closely resemble De Stijl. "300 MPH Torrential Outpour Blues"' acoustic blues and carefully crafted wordplay hark back to "Sister, Do You Know My Name." Meanwhile, "Rag & Bone" is a cute, ragamuffin cousin of "Let's Build a Home" that casts Jack and Meg as enterprising garbage-pickers; the sly grin in Jack's voice as he says "we'll give it a...home" is palpable. And, while Get Behind Me Satan was heavy on pianos, Icky Thump is just plain heavy, dominated by primal, stomping rock that feels like it's been caged for a very long time and is just now being released. Jack White's guitars are back in a big way; "Catch Hell Blues" is a particularly fine showcase for his playing. Once again, though, the Stripes defy expectations, and their "return to rock" isn't necessarily a return to the kind of rock they mastered on Elephant.

Aside from the searing "Bone Broke," which would fit on almost any White Stripes album (and in fact was partially written in 1998), on Icky Thump Jack and Meg push the boundaries of their louder side. Darker and slower than most Stripes singles, "Icky Thump" is their very own "Immigrant Song," with guitars that chug menacingly and lyrics that run the gamut from fever dream meditations on redhead senoritas to pointed political statements ("Why don't you kick yourself out/You're an immigrant too"). "Little Cream Soda" is also outstanding, pairing ranting, spoken-word verses with grinding surf-metal guitars that make it one of the Stripes' heaviest songs. However, the boldest excursion might be "Conquest," which turns Patti Page's '50s-era battle of the sexes into a garage rock bullfight, complete with dramatic mariachi brass, flamenco rhythms, backing vocals that would do Ennio Morricone proud, and dueling guitar and trumpet solos that capture the band's love of drama. As fantastic as Icky Thump's rockers are, its breathers are just as important. Though the Celtic detour that makes up Thump's heart feels out of place initially, "Prickly Thorn, But Sweetly Worn" is indeed a sweet and genuine sounding homage to Scottish folk, bagpipes and all (and could also be a nod to the Rolling Stones' flirtation with British folk in the mid-'60s). And while its psychedelic counterpart "St. Andrews (This Battle Is in the Air)" doesn't work quite as well, it feels like the kind of quirky tangent that pops up on plenty of vintage albums as a palate cleanser. The Stripes' poppy and vulnerable sides get slightly short shrift on Icky Thump. "You Don't Know What Love Is" is so hooky it could just as easily be a Raconteurs song, though it boasts a guitar solo that stings like lemon juice in a paper cut. "I'm a Martyr for My Love for You" is the album's lone ballad, and while its melody is beautiful, it may be the album's weakest track. And though Icky Thump's track listing might be slightly front-loaded, the Stripes uphold their tradition of ending their albums on a playful note with the wonderful "Effect and Cause," which feels equally indebted to hillbilly wisdom and Mungo Jerry's sly jug-band shuffle. With its fuller sound and relaxed flights of fancy, Icky Thump is a mature, but far from stodgy, album — and, as is usually the case, it's just great fun to hear the band play.

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Festival De Cannes (60th Anniversar) (2007)

Album-Festival De Cannes (60th Anniversar) [Cannes movie festival--60th Anniversary]
Release Date-2007
Genre/Style-Soundtrack/Film-music
Quality-192kbps-256kbps

Tracklist-

CD.1
1. Saint Saens - Carnaval Des Animaux (Carnaval 0:28Of The Animals)
2. Schinichiro Ikebe - Kagemusha (L'Ombre Du 4:04Guerrier / The Shadow Warrior)
3. Nino Rota - La Dolce Vita 3:01
4. Bernard Herrmann - Taxi Driver 2:18
5. Angelo Badalamenti - Wild At Heart (Sailor & 6:20Lula)
6. Gustavo Santaolalla - Babel 4:36
7. Bjork - Dancer In The Dark 4:43
8. Carmine Coppola - Apocalypse Now 2:27
9. Maurice Jarre - Die Blechtrommel (Le Tambour / 1:14The Tin Drum)
10.Goran Bregovic - Underground 3:20
11.Anton Karas - The Third Man (Le Troisieme 1:28Homme)
12.Nicola Piovani - La Vita E Bella (La Vie Est 2:50Belle / Life Is Beautiful)
13.Franck Barcellini - Mon Oncle (My Uncle) 2:35
14.Antonio Carlos Jobim - Orfeu Negro 2:32
15.Herbie Hancock - Blow Up 1:30
16.Ennio Morricone - Nuovo Cinema Paradiso 2:57(Cinema Paradiso)
17.Michael Nyman - The Piano (La Lecon De Piano) 1:35
18.Michel Legrand - Les Parapluies De Cherbourg 6:03(The Umbrellas Of Cherbourg)19.Johnny Mandel - M*A*S*H 2:53
20.Mikis Theodorakis - Z 2:01
21.Francis Lai - Un Homme Et Une Femme (A Man And 2:44A Woman)
22.Vangelis - Missing 3:59
23.Armand Amar - Indigenes (Days Of Glory) 2:36
24.Jurgen Knieper - Der Himmel Uber Berlin (Les 4:38Ailes Du Desir / Wings Of Desire)

CD.2
1. Saint Saens - Carnaval Des Animaux (Carnaval 0:28Of The Animals)
2. Popol Vuh - Fitzcarraldo 3:57
3. Michael Nyman - Drowning By Numbers (Triple 2:53Assassinat Dans Le Suffolk)
4. Bruno Coulais - Microcosmos 2:16
5. Alessandro Cicognini - Miracolo A Milano 5:28(Miracle A Milan / Miracle In Milan)
6. Roger Edens - Ziegfeld Follies 5:05
7. Tony Gatlif - Exils 5:42
8. Alex North - Viva Zapata ! 1:11
9. John Williams - The Sugarland Express 3:37
10.Dimitri Tiomkin - Friendly Persuasion (La Loi 4:27Du Seigneur)
11.Eleni Karaindrou - Mia Eoniotita Kai Mia Mera 1:54(L'Eternite Et Un Jour / Eternity And A Day)
12.Nicola Piovani - La Stranza Del Figlio (La 4:02Chambre Du Fils / The Son's Room)
13.Shigeru Umebayashi - In The Mood For Love 2:29
14.Miklos Rozsa - The Lost Weekend 4:14
15.Lychael Danna - The Sweet Hereafter (De Beaux 3:33Lendemains)
16.Ennio Morricone - The Mission (Mission) 2:14
17.Alain Goraguer - La Planete Sauvage (The 2:07Fantastic Planet)
18.John Barry - The Knack ... And How To Get It 3:11(The Knack ... Et Comment L'avoir)19.Alexandre Desplat - Un Heros Tres Discret (A 2:28Self-made Hero)
20.Ennio Morricone - La Classe Operaia Va In 5:21Paradiso (The Working Class Goes To Heaven)
21.Michel Legrand - The Go-Between (Le Messager) 4:46
22.Georges Delerue - Une Aussi Longue Absence 1:47(The Long Absence)
23.Angelo Badalamenti - Mulholland Drive 3:04
24.Andrzej Korzynski - Czlowiek Z Zelaza (L'Homme 3:30De Fer / Man Of Iron)

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The Perishers--From Nothing to One (2002)

Artist-The Perishers
Album-From Nothing to One
Release Date-Mar 25, 2002
Genre/Style-Alternative Pop/Rock Indie Rock
Quality-192kbps

Site-http://www.perishers.nu/new/default.asp
Myspace-http://myspace.com/theperishers
Biography-http://en.wikipedia.org/wiki/The_Perishers_(band)

Review-Cdbaby and Tangmonkey
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Ladybug Transistor--Can't Wait Another Day (2007)

Artist-Ladybug Transistor
Album-Can't Wait Another Day
Release Date-Jun 5, 2007
Genre/Style-Indie Pop

Site-http://www.theladybugtransistor.com/
Myspace-http://www.myspace.com/marlboroughfarms
Biography-http://en.wikipedia.org/wiki/The_Ladybug_Transistor

Review-Can't Wait Another Day, the Ladybug Transistor's sixth album, finds them back in their home studio, Marlborough Farms, after a jaunt to Arizona for their previous release. Gone are the wide, dusty expanses of 2003's Ladybug Transistor in favor of the idyllic suburban sounds Gary Olson and Bill Wells have consistently conjured during Ladybug's long career. Gone too is Sasha Bell, who opted out of the band in favor of a full-time commitment to the Essex Green. Her songwriting, keys, and vocals are missed, but the band drafted in some fine singers to fill her shoes (Alicia Vanden Heuvel of the Aislers Set, Frida Eklund of Alma) and also added Great Lakes member Kyle Forester on all manner of keyboards. Olson also brought in guitarist Ben Crum (also from Great Lakes), as longtime Ladybug Jeff Baron's involvement in the band has lessened, too. So, those are the changes to the scorecard; the real question is, does the record suffer for the lack of old blood and influx of new? The simple answer is no, mostly because Gary Olson hasn't changed. He still possesses the finest baritone warble in indie rock, writes (with the help of his bandmates) unfailingly catchy pop tunes and perfectly pitched melancholy ballads, and produces records that sound like a cross between the Left Banke and Buckingham-led Fleetwood Mac. He also has a knack for picking covers — in the past their version of Jan & Dean's "Like a Summer Rain," here Trader Horne's "Here Comes the Rain" and Samara Lubelski's "Broken Links," both of which perfectly complement the group's originals. Speaking of which, the songs on Can't Wait are among the best the band has recorded; maybe it's the new lineup or the return to their home studio, but something seems to have spurred the band to give its sound a boost of energy and imagination. They sound a bit more like a rock band and less like a chamber pop ensemble on songs like "In-Between" and "California Stopover," which is not a bad thing after so many records that captured that chamber pop sound so perfectly. The addition of strings on large portions of the album also makes things more sonically satisfying and adds some emotional punch to the ballads, especially the song that closes the album with a Bacharach-ian shot right to the heart, "Lord, Don't Pass Me By." The changes to the band are sad for longtime fans (none more so than the tragic passing of drummer San Fadyl just weeks before the album's release), but the end result is another beautiful record that stands right alongside the group's best work. And if you've been following them at all, you know that the Ladybug Transistor's best work equals the best pop music made at any time in the past 50 years.

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Maire (Moya) Brennan--Two Horizons (2003)

Artist-Maire (Moya) Brennan
Album-Two Horizons
Release Date-Nov 25, 2003
Genre/Style-British Folk/Celtic Fusion
Quality-320kbps

Site-http://www.moyabrennan.com/
Biography-http://en.wikipedia.org/wiki/Moya_Brennan
Youtube-http://www.youtube.com/watch?v=AfGhWGj0WzU

Review-Moya Brennan's work away from Clannad has always suffered under the weight of comparisons to her sister, Enya. Her tendency to embrace the new age aesthetic that her sibling is so wrongfully accused of has won her as many detractors as it has supporters. On Two Horizons, Brennan embraces that tag, as well as the lush, Celtic mysticism of Enya, resulting in her finest offering yet. Taking a cue from The Red Violin, the record chronicles the history of a legendary harp used for celebration in Celtic mythology. Brennan, a devout Christian, takes a decidedly secular approach with the material, following the harp through the eyes of slave traders ("Ancient Town") and an African princess ("Sailing Away") to its triumphant return home to Tara in Ireland ("Harpsong"). The arrangements are heavy on the multi-tracked vocals and keyboards that have come to define the contemporary Celtic genre, but are lent authenticity by Maire Breatnach's strings, Martin Carthy's guitar, and Brennan's inspired harp playing. This is melodically charged new age-progressive Celtic music at its best, and fans of Brennan's work with Clannad will find much to love here, while those turned off by the previous descriptor would do well to distance themselves immediately.

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Dizzee Rascal--Maths and English (2007)

Artist-Dizzee Rascal
Album-Maths and English
Release Date-Jun 4, 2007
Genre/Style-Garage Rap/Grime

Site-http://www.dizzeerascal.co.uk/
Myspace-http://www.myspace.com/dizzeerascal
Biography-http://en.wikipedia.org/wiki/Dizzee_Rascal

Review-popmatters and pitchforkmedia

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Michael Zapruder's Rain of Frogs--New Ways of Letting Go (2006)

Artist-Michael Zapruder's Rain of Frogs
Album-New Ways of Letting Go
Release Date-Aug 15, 2006
Genre/Style-Indie Pop

Site-http://www.michaelzapruder.com/
Myspace-http://www.myspace.com/michaelzaprudersrainoffrogs

Review-For his second album, New Ways of Letting Go, which appears nearly four years after his first, This Is a Beautiful Town, singer/songwriter Michael Zapruder has assembled a small orchestra of strings and horns, and dubbed the ensemble Michael Zapruder's Rain of Frogs. The music is engaging, melodic chamber pop that harks back to the psychedelic days of 1967 and the Beatles and the Moody Blues, all in support, of Zapruder's resonant, slightly flat baritone. That voice is first heard on the opening song, "The Alchemist," singing, "I do my work, a hundred milligrams is all I need." A hundred milligrams of what?, one may well ask, but the answer seems clear from the context, and for the rest of the disc, it sounds like Zapruder may have ingested those milligrams, since his lyrics, while full of flora, fauna, and, occasionally, fire (titles include "On the Arms of a Burning City" and "The Institute Is Burning"), don't seem to make any literal sense at all. That, too, is arguably in keeping with the psychedelic tone of the music that accompanies them. But it works to the disc's detriment, since the arrangements are built around the vocals, which are high in the mix and are sung clearly, as if Zapruder had important messages to convey. If so, those messages are almost entirely private.

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Devendra Banhart--Niño Rojo (2004)

Artist-Devendra Banhart
Album-Niño Rojo
Release Date-Sep 13, 2004
Genre/Style-Lo-Fi/Alternative Folk
Quality-192kbps

Site-http://www.cripplecrow.com/
Myspace-http://www.myspace.com/devendrabanhart
Biography-http://en.wikipedia.org/wiki/Devendra_Banhart

Review-As was promised upon the release of Rejoicing in the Hands in the spring of 2004, Niño Rojo is a companion piece. It was assembled from the same recording sessions at Lynn Bridges' Atlanta home that produced 57 tracks. Thirty-two were chosen for the two albums. Some were overdubbed minimally in New York by Young God label boss Michael Gira and Devendra Banhart adding a nip of keyboard or harmonica here, and tucked in horn, backing vocal, or electric guitar there. What these songs showcase is that Banhart is a songwriter of guileless vision. His unaffected aesthetic is etched in the ether of mysterious traditional and psychedelic folk musics from the British Isle and in an America that disappeared the first time in the '30s with the Dust Bowl and for the second time in the grimness of mid-'70s determinism in the shadows of post-Vietnam shame and malaise. Banhart's songs don't hearken back so much as remind us of what we no longer possess as a culture. His songs are spiritual, terminally unhip, with labyrinthine grown-up melodies and the keen unsullied wisdom of children. These 16 songs include the mysterious minor key cipher that is "A Ribbon," with its eerie guitars, a beautifully etched chorus, and an all but hidden keyboard underscoring the quietly insistent vocal. His cover of Ella Jenkins' "Little Sparrow," opens the album; accompanied only by his acoustic guitar, Banhart transfers the song from the universe of its origin as childhood ballad to a bluesy exhortation to spiritual awakening. A slow, easy major chord stroll, "We All Know," with its delightfully ridiculous lyric ("...we belong to the floating hand that was made by animals/we dance so, we let go/we'll remove clothes and we'll trade lobes...."). Seamlessly it shifts and walks the edge of a vaudeville rag that comes complete with accompanying trombones in the chorus at the end. And speaking of rags, there's the nocturnal spiritual guitar blues of "My Ships" that recalls the Rev. Gary Davis illustrating the point that Banhart confines himself to no one terrain, no single point of origin or destination. For Banhart, writing a song is one discovery — give a listen to "At the Hop" written with Andy Cabic with its bright, canny, gorgeously impure love poetry — and recording is another. Combining them is yet a third for both performer and listener. Like its companion recording, Niño Rojo is about the shared delight of new encounters with music and language and is an adventure in the hearing.

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The Cinematic Orchestra--Ma Fleur (2007)

Artist-The Cinematic Orchestra
Album-Ma Fleur
Release Date-Mar 26, 2007
Genre/Style-Downbeat Club/Dance

Site-http://www.cinematicorchestra.com/
Myspace-http://www.myspace.com/thecinematicorchestras
Youtube-http://www.youtube.com/watch?v=0F1RVXfiWEE

Review-For the true follow-up to 2002's Every Day — since 2003's Man with a Movie Camera soundtrack had actually been recorded four years earlier — J. Swinscoe & co.'s Cinematic Orchestra produced another soundtrack, this one virtually invisible. Not long after Every Day's release, Swinscoe began writing music for another Cinematic LP, but in another direction from where he'd gone previously. This was a series of quiet, contemplative instrumentals, with Rhodes keyboards and reedy clarinets, simply begging for a narrative (call them orchestrations for cinema). With scripts for each supplied by a friend — each track got its own story, together comprising different scenes from a single life — and a series of unpeopled photographs supplied by Maya Hayuk, Cinematic Orchestra had the narrative they needed for their invisible soundtrack. (Added vocals from Fontella Bass, Lou Rhodes, and Patrick Watson represent the same person at different ages.) The results form an intensely affecting record, but one whose monochromatic format unfortunately serves no large purpose; when every song attempts to become a mini-masterpiece of melodrama, patience grows thin. Swinscoe tells us that he wanted to record an album where "leaving the spaces as empty as possible was paramount," but he can hardly complain if we choose to leave him the space to himself. [A U.K. version of the album was also released.]

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Pissed Jeans--Hope for Men (2007)

Artist-Pissed Jeans
Album-Hope for Men
Release Date-Jun 4, 2007
Genre/Style-Indie Rock

Site-http://www.whitedenim.com/pissedjeans/
Youtube-http://www.youtube.com/watch?v=VdGzuIqgqfw

Biography-As a working-class foursome from Allentown, PA (the town that inspired the Billy Joel song "Allentown"), Pissed Jeans are a band that vents its frustrations into a bludgeoning midtempo grunge punk sound focused on sexual depression and factory-town hopelessness, doused in a heavy coat of sarcasm and apathy. On a sweltering August night in 2003, the Gatecrashers were driving between Los Angeles and San Francisco while rocking out to World Wrestling Federation: The Music, Vol. 2. During the peak of the sweaty singalong they realized they were onto something special and decided it would be fun to form a side project where they sang songs in the vein of the Whittingtons' "I'm Young, Dumb and Full of Cum," the idea being that everyone would swap instruments and create barbaric meathead music. Enveloped by the sweaty discomforting mood provided by the car's broken air conditioner, they reasoned that the vibe of the music should be like the oppressive heat inside the vehicle — overwhelming and designed to drain the listener's energy.

With influences ranging from early-'80s punk to '90s hardcore, the members of the Gatecrashers (Matt Korvette, Bradley Fry, Dave Rosenstrauss, and Tim) started penning songs for a demo under the name Unrequited Hard-On. Soon after, they changed their name to Pissed Jeans and recorded a second demo with the addition of a new song, "Night Minutes." After concocting a new batch of woeful anti-authoritative material, they released a 7" titled Throbbing Organ and their first LP, Shallow, on Parts Unknown. Shallow branched off of the sounds of Flipper and Stick Men with Rayguns into a more sludgy and droning territory. After the departure of drummer Tim, they recruited Sean McGuinness to take over, and the band signed to the iconic grunge label Sub Pop Records. Despite their new status, the bandmembers kept their day jobs. Guitarist Fry continued working in account management, bassist Rosenstrauss converted cars to run on biodiesel, and frontman Korvette worked as a claims adjuster for an insurance company. The blue-collar way of life fueled the lyrical fire for a 7" released on June 6, 2006, called I Don't Need Smoke to Make Myself Disappear, an angry ditty about working in a restaurant and despising the patrons. The following year, the band released its second and best full-length, the heavy plodding Hope for Men for Sub Pop, while remaining in its hometown.

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No Age--Weirdo Rippers (2007)

Artist-No Age
Album-Weirdo Rippers
Release Date-Jun 11, 2007
Genre/Style-Experimental/Powerpop/Punk

Site-http://www.postpresentmedium.com/home.php?noage=ppmnoage
Myspace-http://www.myspace.com/nonoage

Review-Reviewed by Pitchforkmedia

Beginning this past March, Los Angeles duo No Age released five impeccably decorated, vinyl-only EPs on five different labels. The blitz coincided with a seemingly endless string of live shows-- the kinds you go home and tell friends about. Not a bad one-two punch. Shattering eardrums in clubs is the most natural way to spread the word about your band, and their records were a smart way to spread a wealth of material while creating colorful collector's items in the process. Weirdo Rippers, an 11-song compilation consisting of highlights from those records, stitches songs together by sound and feel, rather than presenting them chronologically. The songs flow together swimmingly, and despite track-by-track brevity (three songs are under two minutes, three are under three) the group has mastered a low-tech immensity, and the album builds into something much bigger than its constituent parts.

Guitarist Randy Randall and singing drummer Dean Spunt nabbed "No Age" from the 1987 SST compilation of the same name. The album featured Black Flag, Blind Idiot God, Henry Kaiser, Pell Mell, and others taking a stab at instrumental music-- not a bad historical, aesthetic, or West-Coast linkage. The band's coolly detached, eye-catching design schemes aren't random, either: Randall and Spunt, who were two-thirds of beloved noise-rockers Wives, are firmly entrenched in the L.A. DIY/art scene. They collaborate on visual/performance/video art and are connected to grassroots art space the Smell-- the building on the cover of Weirdo Rippers-- where you can score vegan pancakes, drink orange juice, and get a $5 haircut while watching Silver Daggers bleed the speakers. No Age played their first show there in April. (Continuing with the multi-trasking, Spunt also runs PPM! records, which has put out music by Wives, Mika Miko, KIT, Shoplifting, and John Wiese.)

A loud duo with art credibility, a massive touring schedule, and a one-man label in its ranks brings Lightning Bolt to mind; but No Age have a softer surf-psychedelic side that conjures another twosome: old Olympia favorites Kicking Giant. Or, as another Pitchfork staffer pointed out, the best K Records fuzz-rock band of all time, Lync. No Age, though, goes into an even airier, bedroom-pretty realm, with a punk rawness to their delivery. Their oft-chanted hooks (see "Boy Void" or "Every Artist Needs A Tragedy") are out-of-phase, the approach sloppy and spastic. At the same time, these songs come off soporific, restful, and totally in control. Nothing grates. It all feels soft and up-close.

"I Wanna Sleep", maybe a mellow response to Harry Pussy's "I Don't Care About Sleep Anymore", is a feedback lullaby beneath mellow, chugging guitars. A similar rhythm opens "My Life's Alright Without You", which jump-cuts suburban goth to the Dickies' nasal enunciations ("Well, I hate you/ I hate you/ My life's alright without you"), only after a shuffling loop. Every now and again the drums and vocal kick disappear, revealing that trippiness, which never quite goes away. "Everybody's Down" (full disclosure: I included it on a CD I recently curated) is the most rousing, kick-ass song I've heard in a while. Opening with brief spate of backwards distortion strands, it shifts to a speedy strum and doubled vocals shouting teen-bleak lyrics that culminate with a poppy shout of angstful communalism: "Everybody's down/ Every soul in every town/ Everybody's got me going 'oooh ahhh ooh ahh ooh ahh ooh'." A speedier shout and dust-kicking drum'n'guitar wrap it up with a clatter.

Deerhunter's Bradford Cox recently called No Age his favorite new band. Like Cox's crew, Randall and Spunt seem to be creating their own universe. In "Loosen This Job", after drum sticks tap out a code and distortion gently floods the room, Spunt asks, "Why are there so many records in my life?" Or at least it sounds like that. It's hard to tell. Whether or not that's what he says, or what he means, he's right. Despite an overload of music these days, if often feels like there are fewer essential listens. At the end of Weirdo Rippers, you're left with a rare sense of having discovered something new. Outside just their sound, No Age bring back the DIY energy of Kicking Giant and Lync and '90s zines and, importantly, a life away from computer screens. The songs have thumping heartbeats. Each and every one. All the jangling feedback loops and cymbal submersions in the world can't hide that.

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Her Space Holiday--Let's Get Quiet, Vol. 2 (EP) (2007)

Artist-Her Space Holiday
Album-Let's Get Quiet, Vol. 2 (EP)
Release Date-Jun 12, 2007
Genre/Style-Indie Electronic/Indie Pop
Quality-224kbps

Site-http://www.herspaceholiday.com/
Myspace-http://www.myspace.com/herspaceholiday
Biography-http://en.wikipedia.org/wiki/Her_Space_Holiday

Review-In a way, EPs are the marinated olives, the fun-sized Snickers and the Frito Lays of the music world. EPs can and often do serve as an appetizer, easing a band into the public eye. And they can stave off the hunger of impatient fans, chips and salsa-style, when the making of a full-length album takes longer than was intended. More than this, they offer an artist a chance to experiment in ways that might be too risky on a full-length album; they are the tapas, the sushi, the artichoke and aioli. And it's in this third sense that one should approach Her Space Holiday's second installment of Let's Get Quiet. This EP is a bento box: small in stature, large in terms of flavor and imagination, complete in and of itself. Even if it stands well enough on its own, though, Vol. 2 offers the perfect accompaniment to its predecessor, springing from the jaunty banjo plunks of the previous disc ("Such Small Hands") and diving right into a slick, bass-heavy dance-pop beat that Mariah Carey would be proud of ("OSAF"). Like the first disc, Let's Get Quiet, Vol. 2 is a departure from Marc Bianchi's main course offerings; it's largely ambient, and it's far-reaching in terms of style and instrumentation. Juxtaposition of the electronic with the organic and the anxious with the carefree is the order of the day: manic, mechanical glitch-blip antics give way to warm bursts of acoustic guitar and flute ("Panda Strikes"), and cotton candy poufs of synthesized horns and woodwinds give way to jumpy, joyous tablas and shakers ("Wishbone"). There are times when Vol. 2 can seem a tad precious or fussy, as if it had been served with a dollop of carrot foam. But this is a tasty little bite nonetheless, and it's all the better for being paired up with the first volume.

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Paige Aufhammer--Paige Aufhammer (2006)

Artist-Paige Aufhammer
Album-Paige Aufhammer
Release Date-Apr 12, 2006
Genre/Style-Folk

Site-http://www.paigeaufhammer.com/
Myspace-http://www.myspace.com/paigeaufhammer
Youtube-http://www.youtube.com/watch?v=8PlCMdujSok

Review-Paige Aufhammer has somehow placed her soul between the digital imprints of her music. Her voice is pure, vulnerable, smooth and warm. Her poetry is beyond her 21 years; compelling and thoughtful.

Paige’s music and sound is not easily categorized. It is acoustically oriented with influences of folk, country, bluegrass, and jazz. All blended together to create a pleasing musical experience.

For Paige the world doesn’t make sense unless she can respond somehow. Songwriting and performing are among Paige’s many facets as an artist. She also paints, draws, sculpts, writes poetry, and makes jewelry. She is a quintessential artist through and through.

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Will Hoge--Again Somewhere Tomorrow (2007)

Artist-Will Hoge
Album-Again Somewhere Tomorrow
Release Date-2007
Genre/Style-American-Trad-Rock Adult-Alternative-Pop/Rock

Site-http://www.willhoge.com/
Myspace-http://www.myspace.com/willhoge
Biography-http://en.wikipedia.org/wiki/Will_Hoge

Review-WILL HOGE has a new live album -- AGAIN SOMEWHERE TOMORROW was recorded over two nights last September at Exit/In in Nashville, this live LP from Will Hoge features powerful performances of 13 songs, including songs from The Man Who Killed Love and new songs 'Sunshine Burn' and 'Southern Belle.' Most performers are willing to follow whatever formulas or procedures they think worked for others. Will Hoge epitomizes an ideal for rock musicians: free-spirited and individualistic, knowledgeable of the past but not obsessed with it, and imminently capable of bringing renewed creative energy and passion to an idiom that sometimes seems devoid of inventiveness and edge. Hoge eschews all gimmicks and incorporates the best of both the singer/songwriter genre and vintage, surging rock 'n roll. Through sharp lyricisms and strong melodies, his songs tell stories that are delivered with a passion and desperation that demand attention. 'Those who have caught his live show already know what a huge, cathartic kick a Will Hoge song can be. Those who will experience him for the first time . . . are in for a fist-pumping, hip-shaking, chorus-shouting treat. Highly recommended."

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Various Artists--Instant Karma: The Amnesty International Campaign to Save Darfur (2007)

Artist-Various Artists
Album-Instant Karma: The Amnesty International Campaign to Save Darfur
Release Date-Jun 12, 2007
Quality-192kbps

Tracklist-
Working Class Hero
#9 Dream
Mother
Power To The People
Imagine
I'm Losing You
Whatever
Isolation
Real Love
Grow Old With Me
Love
Imagine
How
Jealous Guy
Give Me Some Truth

Note-Incomplete version. I just packed some tracks i love.

Review-Let's get the basics out of the way first: Instant Karma: The Amnesty International Campaign to Save Darfur is a charity album for a great cause, a benefit for Amnesty International's campaign to aid the crisis in the Sudan, an unimpeachable nonpartisan cause if there ever was one. For this campaign, Yoko Ono donated the publishing to John Lennon's solo songs covered for this charity album, effectively turning Instant Karma into a Lennon tribute album. Great cause — donate by buying this album or donate directly. Great album? Sadly, no. As charity/tribute albums go, Instant Karma is exceptionally weak, containing a load of misguided dross and only being memorable for its missteps, not successes, of which there are none. At best, there are songs that are pretty good, including an appropriately sensitive "Oh My Love" from Jackson Browne, a tumultuous "Working Class Hero" from Green Day, Dhani Harrison and Jakob Dylan do a sincere "Gimme Some Truth," Snow Patrol spaces out "Isolation," and the Postal Service give "Grow Old With Me" a synth makeover without sounding too chilly, while R.E.M.'s reteaming with Bill Berry on "#9 Dream" is good enough to wish for a full-fledged reunion. Yet all of these songs aren't much more than good, and they're by far overshadowed by choices so bewildering it almost makes Black Eyed Peas' "Power to the People" seem reasonable. There's Steven Tyler doing a shuck and jive on "Give Peace a Chance," there's Lenny Kravitz funkifying "Cold Turkey" as if it were an outtake from There's a Riot Goin' On, and there's an inexcusably lazy U2 rolling the riff on the title song as if it were the Small Faces' "Itchycoo Park" while Bono tosses off his vocal as if he couldn't be bothered to be in the studio. "Imagine" is botched twice: once by Jack Johnson, who turns it into a solipsistic acoustic tune, and once by Avril Lavigne, who blithely ignores the lyric. Christina Aguilera turns the primal scream anguish at the end of "Mother" into a succession of glory notes, while Big & Rich choose to play "Nobody Told Me" — the only flat-out fun song here (with the exception of "Whatever Gets You Through the Night," given an alright mellow funk treatment by Los Lonely Boys) — as a stiff, bland boogie devoid of humor. Other songs aren't as memorable — some pleasantly fade away, some make no impression, some aren't good but not egregiously bad — but the cumulative effect is decidedly underwhelming. Like most tribute/charity albums, it will not be remembered long after its release — arguably, it will be forgotten faster than most — but don't let that stop you from buying the record, since it is really and truly for a good cause — a cause that deserved a better album than this, but don't let that stop you from supporting Darfur relief.

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Indie band coming from HongKong 2--Fan Hung A

Artist-Fan Hung A
Genre/Style-Post-punk/New-wave/Synth-rock

Official site-http://www.fanhunga.com/

Youtube online-1/2

Order this cd-here
Download-Their latest release-She's here link

Quick Notes

These lables would like to introduce some their artists and new releases to you through CocoaMusic:


Accidental Records signed a new artist called "Setsubun Bean Unit". Blow your mind, move your feet, with Setsubun space funk treatment! The UK's most intrepid trio explores Setsubun Carnival with Japanese guest musicians and dancers, direct from Tokyo, presenting a radical electronic reworking of traditional Japanese folk and contemporary rhythm, mixed with space funk, original compositions and live Japanese Bon Dance.

Check their myspace and video on youtube above. Quite interesting...


KOCH Records is set to release the highly-anticipated new album by acclaimed hip hop artist Keith Murray. Following his successful career as both a solo artist and a member of famed hip hop group Def Squad, Murray returns to put New York back on the map with Rap-Murr-Phobia (Fear of Real Hip Hop). The album will be released on July 31st, 2007.

Check his myspace first or download a track called "WEEBLE WOBBLE" here


Short film creator, vintage synth buff, and library music aficionado Rolan Vega is at the leading edge of a new generation of Chicago artists crossing electro, pop, ambience, and experimentalism into new, forward thinking and iconoclastic forms. With a collection of vintage synths in hand Vega has produced a huge body of work, ranging from the introspective, lo-fi ambient music created for his and others' short films, to electro-pop music in his Ariisk guise. Not one to blast hundreds of demos out into the world, Vega has casually been building an intense and varied back catalogue of unreleased material, focusing on studio developments, local DIY audio-visual happenings, and synth love. Documentary is his first ever official release and will be followed by more audio-visual work as well as debut Ariisk recordings.

Check the website of label of Community Library (Strategy, Sawako,The Evolutionary Jass Band) to find more infos. Really like this cover by the way.


Aquietbump is a italian (net)label which aims to produce multimedia focused on trip-hop, dub, ambient and hip-hop styles. Their releases are all freely downloadable. They want to notify you through CocoaMusic that their new release "Memory recall" coming from "Mou" (Allternative music italian festival winner) has been out now. Check its website now. Tell your friend if you like the album.


A visitor would like to recommend a french band called "Kim Novak" to you. Check their myspace now.

Indie band coming from HongKong--My Little Airport

Artist-My Little Airport
Genre/Style-Indie Pop

Official site Myspace Lyric (English & Chinese)
Youtube: 1 /2

My Little Airport is a Hong Kong-based indie pop band. P (Lam Pang) plays the guitar and Nicole (Nicole Au Kin-ying) sings.

The band got its start while the two were students at Hong Kong Shue Yan College, writing songs in both English and Chinese. After making the top ten on Hong Kong's Cantopop-obsessed mainstream charts, My Little Airport sparked increased interest in the city's indie music scene. They established Harbour Records with four other indie bands from Hong Kong, and on it released their 2004 debut album "the ok thing to do on sunday afternoon is to toddle in the zoo." In 2006 they joined Elefant Records, hoping to gain distribution beyond Hong Kong's small indie fanbase.

The duo is also notable for their quirky song titles, often addressed to friends ("leo, are you still jumping out of windows in expensive clothes?", "victor, fly me to stafford") and celebrities ("gigi leung is dead", "faye wong, about your eyebrows").

Order this cd here

Download-

The OK Thing To Do On Sunday Afternoon Is To Toddle In The Zoo (Released in 2004)

Becoz i was too nervous at that time (Released in 2005)

Note-Thanks to Olga Allsopp recommend this band to me. Going their myspace and the links of youtube first. You'll like this. Two albums are all in 128kbps, buy it if you need higher quality ones. Thanks!

Bayside--The Walking Wounded (2007)

Artist-Bayside
Album-The Walking Wounded
Release Date-Feb 6, 2007
Genre/Style-Emo/Punk-Pop

Site-http://www.baysideisacult.com/
Myspace-http://www.myspace.com/bayside
Biography-http://en.wikipedia.org/wiki/John_
Youtube-http://youtube.com/results?search_query=bayside&search=Search

Review-Following the tragic van accident that took the life of drummer John "Beatz" Holohan in 2005, it was easy to assume that Bayside's third album would be something of a somber affair. But instead of dwelling on the past, The Walking Wounded shows Bayside clearly focusing on moving forward. For a group who revel in moody and dark emo, this record is actually their brightest set of songs yet — they seem more resilient, and these general feelings of survival permeate the entire record, so that a sentiment like "Some say it's all fate, but I say we control our lives and if my destiny should out best me, then that's fine" (from the charging "Duality") very well represents their collective mindset. There's a real emphasis on Jack O'Shea's adept guitar throughout, but even when his lines get the spotlight, there's no denying how strong and developed as a unit Bayside sounds. This is highlighted quickly when the opening whimsy of the excellent title cut gives way to muscular rhythms that complement the hardened edge in Anthony Ranieri's voice; I Am the Avalanche's Vinnie Caruana caps the song off superbly with a guest spot. As with many bands, scene frustrations surface as well. The jangling guitars of "(Pop)ular Science" set a mood opposite to lyrics like "I thought I was a part of something more, but more money, less substance, more demand....trending what we fought to make ours." "I and I" and "Head on a Plate" earnestly and defiantly seek to lead a musical change among the kids, the latter with a nice melody wavering somewhere between Alkaline Trio and Motion City Soundtrack. Bayside have been flying under the radar for the last few years, especially as compared to many of their Victory peers. But they look to be in it for the long haul and definitely have the chops to make a lasting mark. Even though this album may not provide that extra push into the public eye, fans will have a hard time denying how great Bayside sounds.

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Bang Gang--Something Wrong (2003)

Artist-Bang Gang
Album-Something Wrong
Release Date-2003
Genre/Style-Indie Rock
Quality-320kbps

Site-http://www.banggang.net/
Myspace-http://www.myspace.com/banggangband

Review-Musicianforum
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27--Holding On For Brighter Days (2005)

Artist-27
Album-Holding On For Brighter Days
Release Date-Sep 5, 2005
Genre/Style-Indie Rock/Emo

Site-http://www.27.vg/
Myspace-http://www.myspace.com/twenty27seven
Note-This album comes from internet. Thanks to the original uploader.

Review-Decoymusic
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Life without elec...

From last friday, no elec and internet in my home. Sorry no updates these days. I like candlelight but it's really inconvenient without elec, and that's why i said elec is the greatest invention in history. Hope you had a nice weekend. :)

Exchange links, advices or requesting albums, please email to: cocoamusic@hotmail.com

William Basinski--Shortwavemusic (2007)

Artist-William Basinski
Album-Shortwavemusic
Release Date-Genre/Style-Conceptual Art/Avant-Garde

Site-http://www.mmlxii.com/
Myspace-http://www.myspace.com/williambasinski
Biography-http://en.wikipedia.org/wiki/William_Basinski

Review-Tokafi.com
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Ulrich Schnauss--Goodbye (2007)

Artist-Ulrich Schnauss
Album-Goodbye
Release Date-May 14, 2007
Genre/Style-Ambient Techno/Indie Electronic

Site-http://www.ulrich-schnauss.com/
Biography-http://en.wikipedia.org/wiki/Ulrich_Schnauss
Youtube-http://www.youtube.com/watch?v=9HOVwJq8b5A

Review-Guardian and Musictowers

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Sonic Youth--Daydream Nation (1988)

Artist-Sonic Youth
Album-Daydream Nation
Release Date-1988
Genre/Style-American Underground/Noise-Rock

Site-http://www.sonicyouth.com/
Myspace-http://www.myspace.com/sonicyouth
Biography-http://en.wikipedia.org/wiki/Sonic_Youth

Review-By refining the song-oriented breakthroughs of Sister and developing their fascination with noise and alternate tunings, Sonic Youth created a masterpiece of post-punk art rock with the double-album Daydream Nation. Though the self-conscious sprawl of the album might appear self-indulgent on the surface, Daydream Nation is powered by a sustained vision, one that encapsulates all of the group's quirks and strengths. Alternating between tense, hypnotic instrumental passages and furious noise explosions, the music demonstrates a range of emotions and textures, and in many ways, it's hard not to listen to the record as one long piece of shifting dynamics. But the songs themselves are remarkable, from the anti-anthem of "Teen Age Riot" and the punky "Silver Rocket" to the hazy drug dreams of "Providence" and the rolling waves of "Eric's Trip." Daydream Nation demonstrates the extent to which noise and self-conscious avant art can be incorporated into rock, and the results are nothing short of stunning.

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Toby Keith--Big Dog Daddy (New!)

Artist-Toby Keith
Album-Big Dog Daddy
Release Date-Jun 12, 2007
Genre/Style-Contemporary Country
Quality-192kbps

Site-http://tobykeith.musiccitynetworks.com/
Biography-http://en.wikipedia.org/wiki/Toby_Keith

Review-Coquet-shack and Cinemablend
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Charles Mingus--Blues and Roots (1969)

Artist-Charles Mingus
Album-Blues and Roots
Release Date-1969
Genre/Style-Jazz/Early Creative/Progressive Big Band/Bop
Size-160M
Quality-320kbps

Site-
http://www.mingusmingusmingus.com/
Biography-http://en.wikipedia.org/wiki/Charles_Mingus

Review-In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously — somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. After Blues and Roots, there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based — like the groundbreaking classic "Wednesday Night Prayer Meeting" — or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul." The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, Blues and Roots isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography.

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(The file links are just for pre-reviewed purpose and will be removed in 48 hours.)

Illinois--What the Hell Do I Know? (2007)

Artist-Illinois
Album-What the Hell Do I Know?
Release Date-Mar 6, 2007
Genre/Style-Indie-Rock Alternative Pop/Rock
Quality-320kbps

Site-http://www.illinoistheband.com/
Myspace-http://www.myspace.com/illinois

Biography-Contrary to what their name might indicate, Illinois formed in Pennsylvania — Bucks County to be exact. Comprised of musicians Chris Archibald (vocals, guitar, banjo, keys), Andrew Lee (guitar, keys), Martin Hoeger (bass), and John-Paul Kuyper (drums), Illinois forged a style of indie rock that combined the grit and punchiness of the White Stripes with the easygoing vibe of the Arcade Fire. Illinois released their first EP, What the Hell Do I Know?, in the spring of 2007 via Ace Fu Records.

Review-Coming from AMG. Confusingly, Illinois hail not from the Midwest but Pennsylvania, and although you can just make out traces of the Smashing Pumpkins in their music, this geographically confused group looks mostly across the Atlantic for inspiration. Take "Bad Day," which Illinois take straight out of the hands of the Soup Dragons, whose 1990 Brit hit "I'm Free" was, of course, written by the Rolling Stones. "Bad" brilliantly lifts "Free"'s hook, as well as the Dragons' swirly atmosphere and exotic Eastern tinge, but weds them to a phenomenal bass and drum backing, and tosses a long meandering pity-me monologue into the background. This kind of wonderfully dreamy atmosphere imbues much of What the Hell Do I Know?, particularly on the laid-back, pop-flecked "Alone Again" and the gloriously rousing "Headphones." "Screendoor" adds a '70s rock sound to the mix, "One on One" a splendid Phil Spector-ish aura. The swirling atmosphere gives way to gravitas and regal majesty on "What Can I Do for You," an inspired power ballad whose elegant piano passages and synth-strings all scream British Christmas number one. Unfortunately, Illinois are American, so that's unlikely. The group does, however, pay tribute to its own roots with the stomping, banjo-driven, square-dancing-goes-clubbing "Nosebleed." Sheer brilliance that. Add lyrics that range from musing to angsty to melancholic, and this is one impressive set, turning the clock back to a dreamier, more introspective time via a panoply of styles.

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White Rabbits--Fort Nightly (2007)

Artist-White Rabbits
Album-Fort Nightly
Release Date-May 22, 2007
Genre/Style-Pop Underground/Indie Rock
Quality-224kbps

Site-http://www.whiterabbitsmusic.com/
Myspace-http://www.myspace.com/whiterabbits
Youtube-1 and 2

Review-Vague recollections of a surreal 1940's movie scene eddy up. Six musicians enter a room, take their seats, and begin to play...six different pieces of music. They stop, look at each other, nod, and begin playing again...all different songs. They exchange sheet music, but cacophony still ensues. The memory is dim, but the White Rabbits bring it vividly to life with their strange, but brilliant, Fort Nightly album.The sextet sashay in with the Latin flavored "Kid on My Shoulders", a track infused with a 50s feel, but a dark and dangerous atmosphere that evokes The Specials, and lyrics that put even Terry Hall's most obscure lyrics to shame. "March of the Camels conjures that band's specter even more strongly with its oppressive atmosphere, solid reggae bass line, and eerie cries which echo of "Ghost Town". In contrast, "Dinner Party" sets a table for the Fun Boy 3 with its rhythm heavy arrangement. And like the Fun Boys, its the Rabbits's rhythms that are the driving force of the band's sound. Many of them are jazz or big band inspired, but not exclusively, as the martial drums that power "Take a Walk Around the Table" or the Afro-beats that patter across "I Used to Complain Now I Don't illustrate. But the big, bold beats are often juxtaposed against champagne styled piano, which in "Complain"'s case slides slyly into ragtime. If Liberace joined a swing band, and enlisted a guitarist addicted to eclecticism (Western, surf flecked, and C&W (included), it might sound a bit like this. Yet somehow, The White Rabbits pull this surreal set straight out of the hat, because for all its fractured elements, the group still magically conjure up coherent, complete songs. As lyrically eclectic and clever as it is musically, this is one fascinating album. As unique an experience as the Fun Boy 3's eponymous debut was in its day, and just as mesmerizing.

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Matthew Dear--Asa Breed (2007)

Artist-Matthew Dear
Album-Asa Breed
Release Date-Jun 5, 2007
Genre/Style-Indie Electronic/Experimental Techno

Site-http://www.matthewdear.com/
Biography-http://en.wikipedia.org/wiki/Matthew_Dear

Review-Asa Breed furthers a seemingly happenstance shift to electronics-based indie-pop that began on 2003's Leave Luck to Heaven and continued on 2004's Backstroke. Where the vocal tracks on those two albums sounded as if they began as instrumentals and just happened to benefit from lyrics and melodies thought up after the fact, there is an apparent deliberate attempt here at making songs. "Deserter" is the greatest example of Matthew Dear's gradual development as a writer, one of the most affecting songs he has made — full of dazed textures, a very direct beat, and a typically disconnected vocal, it doesn't seem built to move the listener in any way, but it unexpectedly grabs hold, not unlike Wire's most subdued and straightforward material (such as "The 15th" or "Heartbeat"). One thing that hasn't changed is the elusiveness of the lyrics: most of them could mean anything, or perhaps nothing at all, and what seems tossed-off could have some profound subtext. No matter the amount of effort Dear put into his lyrics, the sounds he makes with his voice still take precedence. A little exposure to his constantly morphing flat baritone goes a long way, even though it is used in so many ways; there's barely intelligible gibberish, singsongy semi-sneering, exaggerated David Byrne deadpan, whiny whispering, and a few other methods used to convey stories, self-examination, and in-jokes. (With its resemblance to Japan's "Visions of China," "Shy" could use a David Sylvian impersonation, but that is not so easy to pull off.) Since producing dancefloor tracks remains Dear's most natural talent, a few of the album's songs would just happen to be effective as instrumentals when played in certain clubs; the likes of "Neighborhood," "Don and Sherri," and "Fleece on Brain," when stripped of vocals, sound just like typical Dear productions, but they do bend toward the need of the song. If there is an unexpected aspect of the album, it's within the last quarter of the program, where there are three scruffy songs dominated by acoustic guitar. Lurching and rumbling away, Dear sounds in need of shade and water, susceptible to being knocked over by some stray tumbleweed.

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Wheat--Everyday I Said a Prayer for Kathy and Made a One Inch Square (2007)

Artist-Wheat
Album-Everyday I Said a Prayer for Kathy and Made a One Inch Square
Release Date-May 22, 2007
Genre/Style-Indie Pop/Indie Rock
Quality-320kbps

Site-http://www.wheatmusic.com/
Myspace-http://profile.myspace.com/wheatmusic
Biography-http://en.wikipedia.org/wiki/Wheat_(band)

Review-A hard to categorize act from the suburbs of Boston who went on an extended hiatus after label problems scuppered their major-label debut Per Second, Per Second...Every Second, Wheat return from a nearly four-year layoff with the encouraging Everyday I Said a Prayer for Kathy and Made a One Inch Square. Reduced to the founding duo of multi-instrumentalists Scott Levesque and Brendan Harney after guitarist Rick Brennan's departure, Wheat have returned to the sound of their quirky self-titled debut: for all of the pop hooks evident in tunes like "I Had Angels Watching over Me" and "Move=Move," a noisily experimental streak takes precedence for most of the record. The whimsical "Saint in Law" sounds like it was performed on a pipe organ made out of cardboard tubes, while "Init .005 (Formerly a Case Of)" and "To, As in Addressing the Grave" meander across fractured rhythms, and "Little White Dove" and "An Exhausted Fixer" feature Levesque deliberately foregoing traditional concepts of pitch. Those whose favorite form of Wheat is the aforementioned major-label effort, or even the elegant chamber pop of Hope and Adams, might consider this willful album an exercise in self-indulgent noise, but in the context of the duo's career as a whole, it sounds much more like a deliberate stylistic retrenchment. Everyday I Said a Prayer for Kathy and Made a One Inch Square finds Levesque and Harney going back to their roots and, hopefully, learning not to make their old mistakes again.

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Scenario Rock--Endless Season (2005)

Artist-Scenario Rock
Album-Endless Season
Release Date-Sep 12, 2005
Genre/Style-Rock/Electro/Punk

Site-http://www.scenariorock.com/
Myspace-http://www.myspace.com/scenariorock
Youtube-http://www.youtube.com/watch?v=Ltaw1O84670

Note-Uploading for your request. Not much information are available about this band. Going to their myspace and listen several songs online frist.

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Betty Davis--Betty Davis (1973)

Artist-Betty Davis
Album-Betty Davis
Release Date-1973
Genre/Style-Soul/Funk
Quality-320kbps

Site-http://www.angelfire.com/biz3/bss/bettydavis.htm
lBiography-http://en.wikipedia.org/wiki/Betty_Davis

Review-Betty Davis' debut was an outstanding funk record, driven by her aggressive, no-nonsense songs and a set of howling performances from a crack band. Listeners wouldn't know it from the song's title, but for the opener, "If I'm in Luck I Might Get Picked Up," Davis certainly doesn't play the wallflower; she's a woman on the prowl, positively luring the men in and, best of all, explaining exactly how she does it: "I said I'm wigglin' my fanny, I'm raunchy dancing, I'm-a-doing it doing it/This is my night out." "Game Is My Middle Name" begins at a midtempo lope, but really breaks through on the chorus, with the Pointer Sisters and Sylvester backing up each of her assertions. As overwhelming as Davis' performances are, it's as much the backing group as Davis herself that makes her material so powerful (and believable). Reams of underground cred allowed her to recruit one of the tightest rhythm sections ever heard on record (bassist Larry Graham and drummer Greg Errico, both veterans of Sly & the Family Stone), plus fellow San Francisco luminaries like master keyboardist Merl Saunders and guitarists Neal Schon or Douglas Rodriguez (both associated with Santana at the time). Graham's popping bass and the raw, flamboyant, hooky guitar lines of Schon or Rodriguez make the perfect accompaniment to these songs; Graham's slinky bass is the instrumental equivalent of Davis' vocal gymnastics, and Rodriguez makes his guitar scream during "Your Man My Man." It's hard to tell whether the musicians are pushing so hard because of Davis' performances or if they're egging each other, but it's an unnecessary question. Everything about Betty Davis' self-titled debut album speaks to Davis the lean-and-mean sexual predator, from songs to performance to backing, and so much the better for it. All of which should've been expected from the woman who was too wild for Miles Davis.

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Tobias Thomas--Please Please Please (2007)

Artist-Tobias Thomas
Album-Please Please Please
Release Date-May 1, 2007
Genre/Style-Electronica/Minimal Techno/Techno-Dub
Quality-192kbps

Site-http://www.discogs.com/artist/Tobias+Thomas
Myspace-http://www.myspace.com/tobiasthomasmusic

Review-Please Please Please follows 2000's Für Dich and 2003's Smallville, closing out a trilogy of Tobias Thomas mixes for Kompakt. Listeners familiar with the first two chapters might not be surprised that Please Please Please also diverges from the expected path of a customary dance mix. Again, Thomas uses the format not as an attempt to condense an ahead-of-the-curve, three-hour set into 80 minutes of nonstop intensity; instead, he challenges the ears of the most open-minded techno fans, designing a set that plays out more like Sonic Youth's Daydream Nation or Wire's 154 than Jeff Mills' Live at the Liquid Room or even Michael Mayer's Immer 2. Having previously used a monologue from one of Blumfeld's albums, nearly half of Vladislav Delay's 22-minute "Huone," and 12 minutes of beat-less ambience, Thomas evidently couldn't care less about doing the expected. This time out, the first beat appears around the ten-minute mark of the sequence, following a scratchy Adolf Noise lullaby surrounded by two appearances from a drifting ambient mix of Pantha Du Prince's "Butterfly Girl" — which offsets a tornado warning signal with a shimmering effect. Nine minutes of Krause Duo's rickety, minor-key "Kingpult" sound as if they're in a constant state of fading in, eventually giving way to Johannes Heil's claustrophobic "Aquarius" — a track that, unlike the aquatics-obsessed likes of Porter Ricks and Drexciya, actually sounds submerged, albeit in an insect-infested lagoon of black oil. Vulva String Quartett's "Wild Wild Berry" rises out, the point at which antsy listeners — on the first play, at least — might reference as the actual beginning of the mix (23:05). The beat dissolves after a few minutes, leaving you with a cluster of percussive effects and a barely present bassline thump for another seven minutes. Tracks from the Kooky Scientist, Thomas/Burger, Reinhard Voigt, and Pachulke und Sohn build and sustain momentum for an extended passage, veering from airy and blissed-out to stripped-down and tensed-up. And then, after all that, elfin karaoke throwdown: a snugly version of the Smiths' "Last Night I Dreamt That Somebody Loved Me," International Pony's helium-enhanced "Gravity," and the Thomas/Geiger mix of Stella's "Dreams." (Yes, that "Dreams," as in the one originally written and performed by the one and only Fleetwood Mac.)

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Chemical Brothers--We Are The Night (New!)

Artist-Chemical Brothers
Album-We Are The Night
Release Date-Jun 19, 2007
Genre/Style-Trip-Hop/Electronica
Quality-192kbps

Site-http://www.thechemicalbrothers.com/home/
Myspace-http://www.myspace.com/thechemicalbrothers
Biography-http://en.wikipedia.org/wiki/The_Chemical_Brothers


Review-Guardian.co.uk
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Witch Hazel Sound--This World, Then the Fireworks (2001)

Artist-Witch Hazel Sound
Album-This World, Then the Fireworks
Release Date-Nov 27, 2001
Genre/Style-Shoegaze/Psychedelic/Lounge
Quality-192kbps

Myspace-http://www.myspace.com/thewitchhazelsound

Review-Only the second full-length release in eight years by Kent, OH's the Witch Hazel Sound (known before 1998 as Witch Hazel), 2001's This World, Then the Fireworks... is a glorious mix of lush '60s-style pop and forward-looking atmospherics, as if Burt Bacharach and Stereolab had decided to collaborate. Jason Richardson's prominent trumpet work furthers the Bacharach comparison, as do the lush string arrangements and the group's fondness for sunshiny "la-la-la" harmonies. The organ drones, heavily processed guitars, and opaque lyrics are all strictly modern, however. So is the general air of detachment that suffuses the entire album; for all the music's inviting textures, there's something a little cold and aloof about This World, Then the Fireworks.... Perhaps it's singer Mark F.'s deadpan vocal style, or the almost antiseptically clean production (for all the haziness that overlays the songs, it's always a very just-so sort of atmosphere, not the psychedelic miasma that comes from too much tape hiss mixing in with the music), but this album never quite sucks the listener in the way the best albums of this style do. That said, it's still a terrifically listenable album. The Witch Hazel Sound clearly have a much stronger melodic sense than nearly every other band working this stylistic side of the street (the Sea and Cake, the Aluminum Group, High Llamas, etc.), because other than the handful of brief instrumental interludes, every song has a memorable chorus, a clever vocal melody, or a catchy hook. Just this side of perfect, This World, Then the Fireworks... is nonetheless compelling.

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