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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 11:41 am 
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Stop Breathin' Wrote:
Dalen Wrote:
MGMT – Congratulations - 2010


I'm getting a pretty heavy Of Montreal vibe from this. Granted, one listen.


Yeah, that, and it feels like listening to Mars Volta the rest of the time. Totally not feeling this record. I like it only in moments when they give it some space to breathe, and I like the backgrounded female choir from time to time. "Siberian Breaks" is an interesting track, but I feel like there is very little else to grasp in this record.


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 12:06 pm 
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New Harlem. Hell yes. I loved free drugs so much and this is pretty tubular on first listen. Preordified from Matador.

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http://moourl.com/wlq6e

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 12:17 pm 
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jsh Wrote:
Stop Breathin' Wrote:
Dalen Wrote:
MGMT – Congratulations - 2010


I'm getting a pretty heavy Of Montreal vibe from this. Granted, one listen.


Yeah, that, and it feels like listening to Mars Volta the rest of the time. Totally not feeling this record. I like it only in moments when they give it some space to breathe, and I like the backgrounded female choir from time to time. "Siberian Breaks" is an interesting track, but I feel like there is very little else to grasp in this record.


also that song "brian eno" is fucking horrible.


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 2:28 pm 
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Nick Curran And The Lowlifes

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"One of the most authentic and exciting roots musicians of his generation" (All Music Guide) Is Back, Following Awards, Critical Huzzahs & Turn On HBO's "True Blood" On 'Reform School Girl' Nick Curran's first new album in five years, the shouter, songwriter and monster guitarist is an unstoppable, high-energy one-man 50's R&B revival. Curran wrote or cowrote 12 of the album's 14 foot-stomping tracks. Called "just a total ass-kicker" by no less an authority than Jimmie Vaughan of The Fabulous Thunderbirds (with whom he played for three years), the Austin-based Curran and his new rock 'n' roll roots band, The Lowlifes, pull out all the stops on the new album. Curran recorded 'Reform School Girl' on vintage instruments and analog equipment, all the better to recreate the raw, explosive sound of early R&B and rock 'n' roll 45's that he loves. Tracks such as "Tough Love" and "Lusty Li'l Lucy" show the influence of Little Richard and Chuck Berry, while the title track - with its refrain, "She stole my heart and then she blew this town" - pays homage to girl groups like the Shangri-Las and the Ronettes. "Baby You Crazy" recalls the Sonics at their loudest.

“Reform School Girl” is a culmination of Curran’s multitude of talents: a throwback to his roots, only amped up to the limit. “I’ve written more songs on ‘Reform School Girl’ than on any other records. I wanted it to have no filler – only good stuff. All my influences are there, from old blues like Lazy Lester and T-Bone Walker to girl groups like The Ronettes and The Shangri-Las, to Guns N Roses.” The album also features a couple of appearances by some of Nick’s close personal friends including a duet on the song “Flyin’ Blind,” co-written with Blasters’ frontman Phil Alvin, as well as harmonica ace Jason Ricci on “Reel Rock Party.” Catch Nick Curran as he shakes, rattles and rolls a head-spinning combination of genres and tunes into a cool, irresistible cocktail that is rough and ready for action.

Code:
http://sharingmatrix.com/file/2077375/NickCurranTheLowlifesReformSchoolGirl.rar

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 3:09 pm 
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Captain Fish-Fuck Wrote:
Nick Curran And The Lowlifes

Image

"One of the most authentic and exciting roots musicians of his generation" (All Music Guide) Is Back, Following Awards, Critical Huzzahs & Turn On HBO's "True Blood" On 'Reform School Girl' Nick Curran's first new album in five years, the shouter, songwriter and monster guitarist is an unstoppable, high-energy one-man 50's R&B revival. Curran wrote or cowrote 12 of the album's 14 foot-stomping tracks. Called "just a total ass-kicker" by no less an authority than Jimmie Vaughan of The Fabulous Thunderbirds (with whom he played for three years), the Austin-based Curran and his new rock 'n' roll roots band, The Lowlifes, pull out all the stops on the new album. Curran recorded 'Reform School Girl' on vintage instruments and analog equipment, all the better to recreate the raw, explosive sound of early R&B and rock 'n' roll 45's that he loves. Tracks such as "Tough Love" and "Lusty Li'l Lucy" show the influence of Little Richard and Chuck Berry, while the title track - with its refrain, "She stole my heart and then she blew this town" - pays homage to girl groups like the Shangri-Las and the Ronettes. "Baby You Crazy" recalls the Sonics at their loudest.

“Reform School Girl” is a culmination of Curran’s multitude of talents: a throwback to his roots, only amped up to the limit. “I’ve written more songs on ‘Reform School Girl’ than on any other records. I wanted it to have no filler – only good stuff. All my influences are there, from old blues like Lazy Lester and T-Bone Walker to girl groups like The Ronettes and The Shangri-Las, to Guns N Roses.” The album also features a couple of appearances by some of Nick’s close personal friends including a duet on the song “Flyin’ Blind,” co-written with Blasters’ frontman Phil Alvin, as well as harmonica ace Jason Ricci on “Reel Rock Party.” Catch Nick Curran as he shakes, rattles and rolls a head-spinning combination of genres and tunes into a cool, irresistible cocktail that is rough and ready for action.



Code:
http://sharingmatrix.com/file/2077375/NickCurranTheLowlifesReformSchoolGirl.rar


been loving this record for a few weeks now!

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 4:18 pm 
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jsh Wrote:
Stop Breathin' Wrote:
Dalen Wrote:
MGMT – Congratulations - 2010


I'm getting a pretty heavy Of Montreal vibe from this. Granted, one listen.


Yeah, that, and it feels like listening to Mars Volta the rest of the time. Totally not feeling this record. I like it only in moments when they give it some space to breathe, and I like the backgrounded female choir from time to time. "Siberian Breaks" is an interesting track, but I feel like there is very little else to grasp in this record.


mars volta? that an odd comparison...

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 4:27 pm 
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Captain Fish-Fuck Wrote:
Nick Curran And The Lowlifes


This is pretty awesome. Thanks!


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 4:53 pm 
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Eddy Current Suppression Ring

This leaked a fair while ago, but still, it's really growing on me and nothing came up on search. "Tuning Out" is so good. Primary Colours was one of my favs of that year.

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Four Australian guys meet at their factory job, and decide to form a band. Favoring a more straight-ahead sound that looks back at mid-to-late ‘70s proto- and punk proper with hardly a sideways glance, they release a few singles, a couple of great albums, and even manage tour the States a couple of times, all to the acclaim of the punk/garage cognoscenti. A Pulitzer-worthy story this is most decidedly not, as the only thing more remarkable about Eddy Current Suppression Ring’s bare bones tracks is the absolutely unremarkable nature of the four gents who craft them. Not that that’s a problem, mind you — one suspects that a significant part of the band’s appeal and relative success (especially in their home country) is due to the fact that they’ve always written songs that mirror their own disposition as run-of-the-mill dudes.

Basic, unassuming, and calling to mind a grip of classic material without going to great lengths to mimic it, Rush to Relax, the band’s third LP, adds almost nothing new to Eddy Current Suppression Ring’s repertoire. There’s the band-cited Pagans and Troggs similarities, but also bits of the Fall’s slang rants and Wire’s early, deceptively simple primitivism. That’s largely a good thing, though — recorded in a day and often showing it, this album is loose and limber, sacrificing pinpoint precision for an unkempt energy few can match.

Launching headlong into “Anxiety,” ECSR often display a more manic energy this time out, and bound quickly through the equally sharp “I Got a Feeling.” The few surprises here tend to come during the album’s longer songs. “Tuning Out” and its ode to ennui all but run a groove into the ground before turning into an unexpected showcase for some slashing guitar work. Similarly, “Second Guessing” works its way into slightly more benign Mark E. Smith territory, relying on a spooky keyboard to create the band’s usual tension without release.

Adding in a couple one-minute stompers to balance out the group’s more stretched out moments, there’s hardly any fluff to be found on Rush to Relax (save for the solid 18 or so minutes of ocean sounds that close out the CD version of the record, at least), representing a certain efficiency and economy that, while not always great for copy, is excellent from a listener’s perspective. Quietly-laced and hardly lo-fi when quite a few of their contemporaries are anything but, Eddy Current Suppression Ring’s Rush to Relax is that rare record, asking nothing up front, but yielding more and more rewards with each passing listen.

Code:
http://hotfile.com/dl/29314317/a04cb34/Eddy_Current_Suppression_Ring-Rush_To_Relax-2010-FRAY.zip.html

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:09 pm 
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thanks man, I wanted to hear this.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:18 pm 
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shiv Wrote:
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Quote:
Following through on 2008’s devastating one-two punch (January’s Tintype & August’s Funeral Mixtape), we kill computers is the Pack a.d.’s third album and it marks a bold departure away from the blues and headfirst into straight up garage rock/pop/punk. Recorded live off the floor to analog tape at Hive Studios in Vancouver by Jesse Gander (Japandroids, Bison b.c.) and then mastered at GhettoRecorders in Detroit by Jim Diamond (Dirtbombs, Detroit Cobras), we kill computers is a rapid fire assault of 13 heavy, heavy songs.

When The Pack a.d. plays a show they hand the audience their guts - and they did just, 157 times in 2009 alone. That’s why we kill computers, a full year in the making, captures that same live energy – fierce, unapologetic, and loud as hell. Lyrically, The Pack a.d. offers up their general mistrust of humans and their motives, while tipping off that animals have got it right. Sonically charged and relentless, The Pack a.d. don’t play a song so much as attack it - and we kill computers is them coming at you at a run.


http://moourl.com/xjdus

riyl: the black keys, the white stripes, the kills


Listened to about half of this today and it at least lives up to your RIYL's--will definitely give it some more listens and see how it sticks.

Also listened to that Glossary and it's pretty good: Definitely want to give it some more play and get into the substance of the songs. Major potential.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:29 pm 
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Yail Bloor Wrote:
shiv Wrote:
Image

Quote:
Following through on 2008’s devastating one-two punch (January’s Tintype & August’s Funeral Mixtape), we kill computers is the Pack a.d.’s third album and it marks a bold departure away from the blues and headfirst into straight up garage rock/pop/punk. Recorded live off the floor to analog tape at Hive Studios in Vancouver by Jesse Gander (Japandroids, Bison b.c.) and then mastered at GhettoRecorders in Detroit by Jim Diamond (Dirtbombs, Detroit Cobras), we kill computers is a rapid fire assault of 13 heavy, heavy songs.

When The Pack a.d. plays a show they hand the audience their guts - and they did just, 157 times in 2009 alone. That’s why we kill computers, a full year in the making, captures that same live energy – fierce, unapologetic, and loud as hell. Lyrically, The Pack a.d. offers up their general mistrust of humans and their motives, while tipping off that animals have got it right. Sonically charged and relentless, The Pack a.d. don’t play a song so much as attack it - and we kill computers is them coming at you at a run.


http://moourl.com/xjdus

riyl: the black keys, the white stripes, the kills


Listened to about half of this today and it at least lives up to your RIYL's--will definitely give it some more listens and see how it sticks.

Also listened to that Glossary and it's pretty good: Definitely want to give it some more play and get into the substance of the songs. Major potential.


It lives up to the RIYLs, but I wasn't crazy about it. My main problem with it is, if you have only a guitar and a drum, it better be an awesome or at least interesting guitar. It was kind of ho-hum guitar for me, which made it seem bland.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:34 pm 
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jsh Wrote:
Stop Breathin' Wrote:
Dalen Wrote:
MGMT – Congratulations - 2010


I'm getting a pretty heavy Of Montreal vibe from this. Granted, one listen.


Yeah, that, and it feels like listening to Mars Volta the rest of the time. Totally not feeling this record. I like it only in moments when they give it some space to breathe, and I like the backgrounded female choir from time to time. "Siberian Breaks" is an interesting track, but I feel like there is very little else to grasp in this record.


very much agree. after one listen, i'm big time disappointed. will listen a few more times to see if this grows.


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:39 pm 
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Dalen Wrote:
Yesssa! listening now, and enjoying it immensely.

Image

Here We Go Magic – Pigeons - 2010

Code:
http://bit.ly/c6qhAD


this album is definitely awesome. heard it the whole day on repeat and still cannot get enough of it.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:42 pm 
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berliner Wrote:
jsh Wrote:
Stop Breathin' Wrote:
Dalen Wrote:
MGMT – Congratulations - 2010


I'm getting a pretty heavy Of Montreal vibe from this. Granted, one listen.


Yeah, that, and it feels like listening to Mars Volta the rest of the time. Totally not feeling this record. I like it only in moments when they give it some space to breathe, and I like the backgrounded female choir from time to time. "Siberian Breaks" is an interesting track, but I feel like there is very little else to grasp in this record.


mars volta? that an odd comparison...


... like cramming a two-by-four sound wave right into your ear.


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:48 pm 
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jsh Wrote:
berliner Wrote:
jsh Wrote:
Stop Breathin' Wrote:
Dalen Wrote:
MGMT – Congratulations - 2010


I'm getting a pretty heavy Of Montreal vibe from this. Granted, one listen.


Yeah, that, and it feels like listening to Mars Volta the rest of the time. Totally not feeling this record. I like it only in moments when they give it some space to breathe, and I like the backgrounded female choir from time to time. "Siberian Breaks" is an interesting track, but I feel like there is very little else to grasp in this record.


mars volta? that an odd comparison...


... like cramming a two-by-four sound wave right into your ear.


ok now I know what you mean!

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 5:55 pm 
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yeah 'feels like' more so than 'sounds like'...


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 6:03 pm 
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great, really. though I must confess, I like it. I had ignored their last release because I considered them to be a electro pop band with billboard ambitions but this new album surprised me in a good way.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 7:55 pm 
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Kingfish Wrote:
Yail Bloor Wrote:
shiv Wrote:
Image

Quote:
Following through on 2008’s devastating one-two punch (January’s Tintype & August’s Funeral Mixtape), we kill computers is the Pack a.d.’s third album and it marks a bold departure away from the blues and headfirst into straight up garage rock/pop/punk. Recorded live off the floor to analog tape at Hive Studios in Vancouver by Jesse Gander (Japandroids, Bison b.c.) and then mastered at GhettoRecorders in Detroit by Jim Diamond (Dirtbombs, Detroit Cobras), we kill computers is a rapid fire assault of 13 heavy, heavy songs.

When The Pack a.d. plays a show they hand the audience their guts - and they did just, 157 times in 2009 alone. That’s why we kill computers, a full year in the making, captures that same live energy – fierce, unapologetic, and loud as hell. Lyrically, The Pack a.d. offers up their general mistrust of humans and their motives, while tipping off that animals have got it right. Sonically charged and relentless, The Pack a.d. don’t play a song so much as attack it - and we kill computers is them coming at you at a run.


http://moourl.com/xjdus

riyl: the black keys, the white stripes, the kills


Listened to about half of this today and it at least lives up to your RIYL's--will definitely give it some more listens and see how it sticks.

Also listened to that Glossary and it's pretty good: Definitely want to give it some more play and get into the substance of the songs. Major potential.


It lives up to the RIYLs, but I wasn't crazy about it. My main problem with it is, if you have only a guitar and a drum, it better be an awesome or at least interesting guitar. It was kind of ho-hum guitar for me, which made it seem bland.


she's obviously no jack white or dan auerbach but i thought it wasn't bad. some of the tracks in the middle are really good when she's playing and yelling and the band's going all out. they should be paying royalties to the keys though.

the drummer looks like mick brown from dokken though.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 10:24 pm 
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how the fuck can you guys not like the new MGMT?


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 10:28 pm 
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I mean... c'mon.


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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 10:33 pm 
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Dalen Wrote:
how the fuck can you guys not like the new MGMT?


If we didn't really like the last one, that everyone raved about, would we like this new one?

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 10:34 pm 
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because it's awful.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 10:53 pm 
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does the new MGMT have a hit as good as Time To Pretend?


i reviewed an older Pack AD cd a while ago, i think i still have it. it was good, but def derivative of the keys, white stripes, etc.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 11:03 pm 
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there's nothing on the new MGMT that sounds like time to pretend.

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 Post subject: Re: TWENTYTEN
PostPosted: Mon Mar 22, 2010 11:26 pm 
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DumpJack Wrote:
Dalen Wrote:
how the fuck can you guys not like the new MGMT?


If we didn't really like the last one, that everyone raved about, would we like this new one?


it's entirely different.

was the last one too pop for you DJ? this one is more tripped out, psych.


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