Upload your favourite non-Moz albums here!

[Codreanu]

Loren Connors - "The Departing of a Dream Vol. 3: Juliet"

01. Her Love
02. Her Fate
03. Her Death
04. Juliet
05. In Lovers' Eyes

"The Departing of a Dream Vol. 3: Juliet" (41.9 MB)



" ... The word 'alien' is overused in music discourse these days, but no other word can describe the uncanny setting of The Departing of a Dream. It truly feels beamed from another realm, a blurry, dizzying world of grainy black-and-white images and suspended time. The guitar phrasing occasionally hints at melody, but in a way that feels closer to speech than singing, almost like a six-string recitation of a Gregorian chant. Chords are few; hell, notes are few, gently tumbling out every second or so. This music sounds like meditation.

And that's important to note. This album comes from and is geared toward solitude more than any album in recent memory; it almost seems obscene that this might be listened to by more than one person at a time. An album so completely gripped by a crushing sense of loneliness should probably carry some kind of warning label, to turn away people who actually socialize."

 

[Codreanu]

My pick, alongside the self-titled Flashpapr, for Album of the Year 2004

Havegal - "Elettricita"

01. Untitled
02. Drowned Men
03. New Innocent Tyro Allegory
04. I Am A Frequency
05. The Fallen Hopeless Hope
06. Burn Up The Bay
07. Far Enough To Be Alone
08. Parachutes
09. Slugs In The Sun
10. The Last Wayfarer

sorry, link removed.

"One of the greatest grabs from my college radio tenure was 2001's Lungs for the Race by the Texas outfit Havergal. I took it for several reasons: the attractive powder-blue-on-white packaging, the fact that it was on the Secretly Canadian label (Songs: Ohia, Swearing at Motorists, Scout Niblett), and, well, because I could. I had no idea what to expect from the music itself. The song titles weren't listed on the back cover, and there were none of the liner notes that usually parse records down to the tiniest detail ("so-and-so tapped his fingers and played bazouki on the hidden track"). What Lungs for the Race ended up being was one of the most overlooked and under-praised records in recent years, a beautiful combination of organic and synthetic textures, an album that studies the loneliness of love, weather, and "rich kids who all turn slut". Information on the band was scant, reviews nowhere to be found, and there was no word about a possible follow-up. At last, Lungs for the Race no longer sits alone, as we now have Havergal's Elettricita to sit alongside and swing its legs dreamily.

Havergal is the project of Ryan Murphy, a singer/songwriter/composer who has also bestowed the Western Vinyl label to the world. Where Lungs for the Race featured three sober-looking individuals in its artwork, Elettricita has none. So as far as I can divine, the record is all Murphy. He deals in all manner of sounds, from piano and electric guitar to synth beats and other digital sounds. Occasionally, it's difficult to pinpoint exactly what's what, as instruments flare up and then dissolve like sparkler trails. When Murphy's drowsy, double-tracked voice declares "I am a frequency", you imagine he really might be. While this description could be applied to legions of bummed-out Beck disciples with their fingers in various and sundry post-rock pies, Havergal's approach sounds unforced, unconcerned with the Johnny-glitch-lately's down the block.

Compared with Lungs for the Race, Elettricita is more focused, and more crestfallen. After the first album's release in April of 2001, Murphy moved from Texas to California for three years, and then back again. The changes in both natural and national landscapes between records provide much of the album's thematic fuel. The opening untitled track is so brief and unassuming you almost miss it, but close listening reveals it to be Elettricita's keystone. The first four times I put the album on, track one was just a piano falling off a metronome. But its first few moments contain, faint in the mix, a snippet of a news broadcast about the terrorist attacks on September 11th. The piece casts a long shadow, but Elettricita's reactions to the event are entirely apolitical. They're not Toby Keith, Steve Earle, or even Radiohead, just some hard, personal reflection. Brutal times can make you miss home, "I am a kid who moved from Texas / Born by a kid of the Midwest / ... I miss my friends and my family / All at home where I'd rather be" ("Slugs in the Sun").

Elsewhere, Havergal seeks reaffirmation of existence on "Drowned Men", ("Give me a punch square on the nose / Give me a hi up real high"), and engages in some what-does-it-all-mean on "New Innocent Tyro Allegory", ("Consider the sand / Each grain is a person / Dunes make a nation / Deserts below / Oceans and vessels approach but done / You drift"). But although the songs are generally mid-tempo, and Murphy's voice retains the sing-speak quality from the first record, it's not an overly somber record. The songs float somewhere between joy and tragedy. "I Am a Frequency" features speaker buzz and a narcotized beat while the singer intones "I can feel my teeth rot / I almost thought my heart stopped", but oddly enough, it still sounds possible to dance to it. Just dance really slow. If you missed them the first time, Elettricita isn't too late to key into what Havergal have been quietly crafting for the past few years. Hopefully it won't be too long before we hear from them again."

 

[Pervomartovtsi]

well now I should be thanking but as usual I must repeat


megaupload scum...only 500 dl slots for my country( of course they are never free)...so I can't even download 1 of those magnific(presumably) albums ...

 

[Codreanu]

Artist: Spokane
Album: Leisure and Other Songs
Rating: 4/5 (AMG Album Pick)
Release Date: Oct 3, 2000
Label: Jagjaguwar
Genre: Rock
Styles: Indie Rock, Sadcore

01 Barge
02 By the Bend
03 Abelard and Heloise
04 Leisure
05 Dark Eyes
06 The Making of Americans
07 Automaton
08 Victory

sorry, link removed.

This debut album by Spokane (aka Rick Alverson, songwriter and founding member of lo-fi, high lonesome outfit Drunk) manages to simultaneously conjure desperate loneliness and a womblike warmth. In its net effect, Leisure and Other Songs avoids being merely an exercise in downer navel-gazing by looking up from the belly button lint to notice — in evocative little details of lyric and minor key explorations — the minutiae of the everyday. Alverson's voice is inviting and mournful, and he stretches his phrases over his haunting arrangements of guitar, piano, vibes, and myriad other muted sounds like muslin (or, in some instances, like a burlap wrap around precious foliage in winter). Alverson is aided and abetted on piano by labelmate Patrick Phelan, who also co-produced the album. Phelan's spare playing does as much to create a mood of quiet, inevitable decay as Alverson's equally economical guitar playing and singing. Alverson's lyrics, sketches of daily lives lived and reflected upon, have a Zenlike quality of reflection without longing, loss without sadness, and comfort in emptiness. His arrangements of the vapor trails of violin, piano, guitar, and drums border on lush, but stay just clear of becoming overtly emotional (or at least emotionally obvious). Alverson's Spokane is not a vast departure from his work with Drunk; rather, it's a complementary tributary to his main group's work. Deceptively simple, Alverson and company have in Leisure's eight compositions created a compelling, hypnotizing suite.

 

[Codreanu]

Metal Cares, the second album from Picastro, was one of the most impressive albums of 2005. Given its ready availability from a number of online retailers, the link below shall remain active for only a short while (say, one week from today?) Support this artist!

Picastro
Metal Cares
Polyvinyl Record Co.

01. No Contest
02. Common Cold
03. Sharks
04. Dramaman
05. I Can't Fall Asleep
06. Skinnies
07. Raddy Daddy
08. Teeth And No Eyes
09. Ah Nyeh Nyeh
10. Blonde Fires

link removed. sorry.

"Picastro's Liz Hysen is into dark sounds. Her debut album, Red Your Blues, was a raw, lo-fi recording that was hautningly beautiful, with Hysen's voice shining through a murky, sparse accompaniment. Her second album, Metal Cares finds her focusing even further on atmospheres rather than conventional songwriting. It's a mood record for bleak times, depressing days and sad thoughts, and it's not an upbeat listen in any sense of the word. Its grey, austere artwork accentuates the music within, instantly creating an aural rainy day whenever it's played. It's an ugly, dark record that might not spend a lot of time on your stereo, because its bleakness is simply overwhelming.

Comparisons might be made to Cat Power, but Picastro makes Chan Marshall look like Julie Andrews. Hysen has a deep, throaty singing voice, and it fits quite beautifully with Picastro's lush, moody arrangements. From the throaty, out-of-sync (and terribly distorted) vocals and piano combination on "Common Cold" to the naked, acoustic guitar folk of "Drama Man" and "Blonde Fires," Metal Cares is a startling record that's disturbing, due in part to her downright unintelligable singing. Vocals and instruments blend together; sometimes, Hysen's lyrics aren't very coherent, and when they are, they're just...disturbing.

With that in mind, it's also not unfair to say that it's this ugliness that makes Metal Cares oddly appealing. Whether it's the flighty, haunting violins and ethereal singing of "Raddy Daddy" or the utterly bizarre "Ah Nyeh Nyeh," where Hysen vocally intones sounds (though it's said that she's singing Russian lyrics) accompanied by a piano and violin, there's an appeal to Metal Cares that causes you to hit repeat, even after swearing that you just hated what you've heard. Is it a curiosity about having just heard something that's utterly bizarre? Is it that the music's ugly/beautiful? It's hard to say, because it seems both reasons are valid.

Metal Cares isn't an easy listen, nor is it something that you're likely to return to, but it's a record you won't soon forget, because it...is...WEIRD."

--Joseph Kyle

 

[Pervomartovtsi]

flashpapr broke my heart could sweet cod upload more for me????

 

[Codreanu]

Migala - "Arde"

01. Primera Parada
02. El Caballo Del Malo
03. Fortune's Show Of Our Last
04. Our Times Of Disaster
05. Primer Tren De La Manana
06. La Noche
07. La Espera
08. Suburbian Empty Movie Theater
09. Principios De Agosto
10. The Guilt
11. Cuatro Estaciones
12. High Of Defenses
13. Last Fool Around
14. Arde

"Arde" (64.0 MB)

"Third album and the Spanish combo known as Migala spread their collective angel wings. Perhaps it is the increasing recognition overseas ( Subpop singles end of 2000) or the increasing sophistication of the avant-indie end of things in general as in Godspeed, Oldham, Calexico etc that has brought this gumbo to the boil. Second instrumental track ‘El caballo del malo’ outshines the Tuscon twosome with the swirling radio-dial electronica meshing with the sons of Morricone soundtrack. Then with a savage edit it sounds like we’re in a late night Spanish bar or a desert trailer watching tv, mumbled voices, fingerpicked guitar. Piano surfaces and a voice so deep and sad it makes Tindersticks look positively jaunty. ‘we thought the wind was howling for us’ –millennium despair? Not a party record that’s for sure. The black notes of previous efforts ‘Diciembre 3 a.m.’ and ‘Asi duele un verano’ are here made to look grey -wiped out in a total eclipse of sadness. ‘Our times of disaster’ mixes more angst with a soundtrack of carcrashes? By now you’ll guess this isn’t an easy listening disc. Maybe one of the lyricists had recently suffered a break up. I’m not sure but the mood is bleak. Spanish tv fades in and out. Listening to this disc is like dreaming your way through Madrid at 3.am with your heart ripped out. It’s their finest work to date and invents a new euro-music. Half American despair, half chanson, half cantautore blues. It sounds like the record The Walkabouts were thinking about but never managed to pull off or the record Tindersticks would have made if their hearts ran with Spanish blood instead of pale ale. Black, very black. The genius pours out on the first Spanish language track ’la Noche/The night’. It’s so dark it’s scary. The mood is sustained, accordions slip in out, guitars are plucked, electronica buzzes and spits. ‘Suburban empty movie theatre’ gear-shifts from sadness to a crazy waltz. It’s the sound of suburban Spanish youth clutching at American straws, the impossibility of climbing those white lights into the American dream. Strings and guitar and a Spanish monologue dissolves like a tracking shot into a crackling organ and ‘sand falling fast in a glass bell’. Premonitions of death? It builds like Cave or Brel. This album leaks class like a broken engine. If there’s a finer record released in the European theatre of song or is that territory this year it will have to be miraculous. This is art of a high degree. Knowing, fractured, sad and very very blue. Don’t file it with pop music –put it alongside Gainsbourg, Tarkovsky, Bunuel. It’s ART. Great art. ‘Each day you exist you have more crowns to clean’. Makes the so called art/angst of Radiohead look like teenage fumbling. ‘Should I be doing something else, in these times’ they say at the end? No you are doing more than fine. ‘Arde’ translates as ‘it burns’ and indeed it does. Hearts on fire."

 

[lilac]

anyone here has the album of antonio jobim?

... i need to hear some of his music, its the talk of the town at wealthymendotcom and i only have one idea of his song, waters of march

 

[Codreanu]

Jasmine Star - "Jasmine Star"

01. The Hour
02. Guide Us
03. For Tomorrow
04. Radio On
05. Dreams Go
06. And Forever
07. Sky Decides
08. Far Away
09. Deep Inside
10. The Message
11. Her Mind
12. My Friend
13. Your Words
14. She Says
15. Giving Away
16. The Brave
17. I Will
18. The Hour (reprise)
19. Falling Down

"Jasmine Star" (87.5 MB)

"Jasmine Star seems to be a or not to be an artist with a little controversy. First, the music is a cross between Leonard Cohen and Mazzy Star. Both the music and lyrics (subjects include heroin use, self mutilation, and depression) are frighteningly melancholic and honest. Supposedly, Jasmine Star, has been institutionalized with drug and depression problems. Others think that is a hoax. Either way, the music is beautiful. I am a sucker for the droney and slide guitar. Apparently, I am not the only one as Jasmine has a fan site."

///

"It came wrapped in a cardboard sleeve with no credits, adorned with a grainy black-and-white photo of a woman with a guitar. Inside, Jasmine Star reveals a whispery Hope Sandoval-like voice, accompanied by bare-bones slide guitar, piano, and most distinctively, the buzzing drone of an Indian classical tanpura. An Internet search reveals a pair of intense, high-traffic fan sites for this Jandek-like local enigma, one in particular being full of lurid stories of mental illness and psychedelic drugs. Vague pieces of info and conjecture surrounding this group credits a singer by the name of "Z," who was apparently an active local performance artist and musician in the late Eighties before falling into severe drug addiction and psychosis. The group draws its name from the star jasmine plant, which contains the therapeutic psychoactive compound ibogaine, which Z apparently had some sort of transcendent experience with. The singer may still reside in a local mental institution, this album reportedly recorded in secret within the walls of the institution itself. No telling if these stories are true or contrived, but what rings painfully true is this intimate recording, filled with the sad, haunted beauty of Z's voice and tortured lyrics, her pain anesthetized by the soothing drone that surrounds this shadowy, sympathetic figure. The gaps in the music, and the story, are fertile ground for the active imagination."

 

[Codreanu]

Tom Waits - "Alice"

01 Alice
02 Everything You Can Think
03 Flower's Grave
04 No One Knows I'm Gone
05 Kommienezuspadt
06 Poor Edward
07 Table Top Jo
08 Lost in the Harbour
09 We're All Mad Here
10 Watch Her Disappear
11 Reeperbahn
12 I'm Still Here
13 Fish & Bird
14 Barcarolle
15 Fawn

"Alice" (62.0 MB)

"It's been long time since Tom Waits recorded an album as saturated with tenderness as this one. The carny-barker noise merchant who has immersed himself in brokenness and reportage from life's seamy, even hideous underbelly for decades has created, along with songwriting and life partner Kathleen Brennan, a love song cycle so moving and poetic that it's almost unbearable to take in one sitting. Alice is alleged to be the "great lost Waits masterpiece." Waits and Brennan collaborated with Robert Wilson on a stage production loosely based on Alice Liddell, the young girl who was the obsession and muse of Lewis Carroll's Alice in Wonderland books. The show ran in Europe for a time and the production's 15 songs were left unrecorded until now. Alice forgoes the usual nightmare lyric sequences, warped, circus-like melodies, and sonic darknesses that have been part and parcel of Waits' work since Swordfishtrombones. Instead, this song cycle is, for the most part, steeped in jazz ballads, old waltzes, European folk songs, theatrical love paeans, and music not so easily identified. The instrumentation is different, with the utilization of a small chamber orchestra (the violins are Stroh violins, instruments outfitted with a metal horn on the end for amplification purposes), marimbas, piano, organ, woodwinds, and reeds, and the complete absence of guitars. The set opens with the title track, a smoky jazz ballad that may echo Waits' work from the 1970s, but is actually miles beyond it in scope. Here there is no purposely postured nuance or affectation of persona. The lyric is plaintive and full of pathos; it's almost a suicide note set to the most romantic melodic invention lounge jazz is capable of. As Waits sings, "The only strings that hold me here/Are tangled up around the pier/And so a secret kiss/Brings madness with the bliss/And I will think of this/When I'm dead and in my grave/Set me adrift/I'm lost over there/But I must be insane/To go on skating on your name/And by tracing it twice I fell through the ice/Of Alice/There's only Alice," the world turns inside out and the listener can no longer decide if this is a man or a ghost reporting from beneath the pond's surface. If love brings this, if obsession has such a cost, how can they be steeped in tenderness this transparent and plain? Elsewhere, Waits manages to delve into the voice of the turned-out lover, the rejected stone, the lost madman, as he does on "We're All Mad Here" and "Everything You Can Think." But even here there is a reflective dimension, nearly childlike in their simple embrace of loss, dispossession, and descent into the maelstrom of the human soul. Ghosts whisper in the mix, spirits float through the air, and demons passionately possess the protagonists. In the simpler, melting melodies of "Lost in the Harbour," "No One Knows I'm Gone," and the haunting tango at the heart of "Watch Her Disappear," obsession with the unmentionable (let alone the unattainable) is offered as an empathy for powerlessness, buoyed up by an instrumental crutch, arranged to give a voice to those who dare not speak publicly. The melodies on Alice are easily the most direct Waits has written since Blue Valentine, but are more elegant than even those found on Foreign Affairs or Black Rider. Alice is no step back, but a further step toward oblivion — the place where the sound of desolation, the melody of loneliness, and the confused darkness at the root of the human heart come together and speak as one in a nursery rhyme for adults."

 

[vivaissy]

dunno about favourite, but i've just downloaded these...
www.megaupload.com/?d=T2HL1F15 ~~ the automatic - not accepted anywhere
and
www.sendspace.com/file/opi2jz ~~ the upper room - other peoples problems

happy listening

 

[Rowdy Yeats]

Codreanu,

Any chance you have Smog's "Wild Love". I haven't heard it in years. Sorry for the threadjack, I also wanted to thank you and everyone for exposing me to such great bands.

 

[Codreanu]

Codreanu,

Any chance you have Smog's "Wild Love". I haven't heard it in years.

Yep, and I even have the files ready to hand on my pc. I will upload them sometime later in the evening.

 

[Rowdy Yeats]

Yep, and I even have the files ready to hand on my pc. I will upload them sometime later in the evening.

Bless Your Heart. Your taste as always is impeccable!

 

[Codreanu]

Smog - "Wild Love"

01 Bathysphere
02 Wild Love
03 Sweet Smog Children
04 Bathroom Floor
05 The Emperor
06 Limited Capacity
07 It's Rough
08 Sleepy Joe
09 The Candle
10 Be Hit
11 Prince Alone in the Studio
12 Goldfish Bowl

"Wild Love" (80.1 MB)

 

[Codreanu]

Azure Ray - "Burn and Shiver"

01 Favorite Cities
02 The New Year
03 Seven Days
04 Home
05 How You Remember
06 Trees Keep Growing
07 A Thousand Years
08 While I'm Still Young
09 Your Weak Hands
10 We Exchanged Words
11 Raining in Athens
12 Rest Your Eyes

"Burn and Shiver" (57.1 MB)

"True to form, Azure Ray delivers another 12 tracks of curiously beautiful but quite intense melancholy on 2002's Burn and Shiver. Not since Lisa Germano dropped Geek the Girl almost eight years before has music so stark and yet lovely made it beyond the dark confines of somebody's troubled mind and onto the brightly lit shelves of (only the best) record stores. Well, troubled might be too harsh a word, as Azure Ray never approach the outwardly depressive lyrical statements of Germano on Burn and Shiver, but Orenda Fink and Maria Taylor do have a certain fascination with darkness. Just as publicized, these two musicians demonstrate a knack for finding an emotional sweet spot with their dreamy harmonies, releasing any and all tension built by their down-tempo musings. The opening cut, "Favorite Cities," and the thrilling "How You Remember" are both prime examples of this dichotomy that is almost the duo's signature. Azure Ray would rate high on anybody's mope-core scale, but listeners hoping to drown themselves in despondence should be aware of the warmth that exists just beneath the surface of Burn and Shiver."

 

[Codreanu]

Low - "One More Reason To Forget" (live)

01. Be There
02. Venus
03. Condescend
04. Landlord
05. Over the Ocean
06. Do you Know How to Waltz?
07. Shame
08. If you Were Born Today

"One More Reason To Forget" (73.0 MB)

 

[Codreanu]

Low & Spring Heel Jack - "Bombscare" ep

01. Bombscare
02. Hand So Small
03. So Easy (So Far)
04. Way Behind

"Bombscare" (23.3 MB)

"Bombscare is an extraordinarily lush, poignant collaboration between quiet rockers Low and experimental electronic duo Spring Heel Jack. Spring Heel Jack provides the musical collage as a background for the harmonies and solo vocals of Low's Mimi Parker and Alan Sparhawk. Spring Heel Jack's production creates an icy cathedral of sound that's unlike anything since Martin Hannett's work on Joy Division's "Atmosphere." The EP's four songs are easily the most interesting in Low's discography. "Bombscare" bleeds mood, space, and texture as sounds ring out and echo into the distance. "Hand So Small" works like a literate lullaby as musical flourishes appear from thin air, a piano haunts the outskirts of the song, and Sparhawk and Parker take turns singing about life "getting smaller." "So Easy (So Far)" is perhaps the most traditional Low song, but Spring Heel Jack manages to make the band sound like they're singing modern day Brothers Grimm tales. "Way Behind" is a stunning closer. It's a truly exhilarating song that sounds like it was recorded in heaven, as Parker and Sparhawk again take turns singing angelically that they've left someone "way behind" over a jazzy electronic stew full of subtle found-sounds. Bombscare hints at the musical turn Spring Heel Jack would take on Masses and presents Low at the absolute peak of their powers. It's too bad the collaborators didn't compile an entire album's worth of material, as these 16 minutes seem magically fleeting. Bombscare couldn't be a more superb collaboration between these innovative artists." ~ Tim DiGravina, All Music Guide

 

[bored]

I have a question about Carissa's Wierd.

On the album "You Should Be At Home Here" Jenn Ghetto is really just a background vocalist. Did this band typically have whoever wrote the lyrics sing the song?

 

[Codreanu]

I have a question about Carissa's Wierd.

On the album "You Should Be At Home Here" Jenn Ghetto is really just a background vocalist. Did this band typically have whoever wrote the lyrics sing the song?

The songs are always credited to the band. However, given the stripped-down and angular structures of the few numbers (not far from her work on Sadstyle), not to mention the simple jotted lyrics, that feature Ghetto on lead vocal it's safe to assume these are her songs.