Cantora, guitarrista e compositora folk alemã. Premiada e preciosa!
Antje Duvekot is one of the brightest singer-songwriters to rise out of Boston's competitive acoustic music scene. She is releasing her second studio album, “The Near Demise of the High Wire Dancer” on Black Wolf Records on March 17, 2009. Antje chose one of her favorite songwriters, Richard Shindell to produce the album. Richard lent his talent to the record and brought in well respected musicians such as John Gorka, Lucy Kaplansky and Victor Krauss. “What a blessing to have worked with someone as talented as Antje. With a voice like hers, and songs as good as these, a producer (especially a first-time producer!) just tries to get out of the way, to do no harm, and to let the artist speak for herself.” - Richard Shindell “The Near Demise of the High Wire Dancer" demonstrates why, according to The Boston Globe, "Antje Duvekot's provocative, dark-eyed ballads are becoming the talk of the folk world. Duvekot has gotten hotter, faster than any local songwriter in recent memory." The songs on the album reflect both Duvekot’s personal journeys and her observations of those of others. Antje remarks “I've come to find that writing about someone else's struggles or happiness feels just as cathartic as writing about my own.” Along with 7 new songs, Antje and Richard decided to add studio versions of some of her best known songs such as, “Merry Go Round”, which was used in a Bank of America national TV ad campaign as well as radio favorite “Long Way”. “Since I first recorded this older material live, I have become a better performer”, Antje explains “I decided to revive the songs that were worthy and produce them properly so that I should not be such a bad mother to them”. Singer songwriter Ellis Paul says “Antje is the rare artist that can write about the social and the personal in the same breath. She is as understated as she is wise and her songs go down mentally as well as soulfully. Her voice has a sound of innocence and naivety which makes razor sharp insights into the human condition.”
Antje Duvekot - The Near Demise Of The High Wire Dancer (2009) http://rapidshare.com/files/212213250/AD_ND.rar
The Avett Brothers (pronounced /ˈeɪvɨt/) are a folk-rock band from Concord, North Carolina. The band is made up of two brothers, Seth Avett and Scott Avett, who play the guitar and banjo respectively, and Bob Crawford who plays the stand-up bass. They are often joined on tour by cellist Joe Kwon. Risen from the ashes of Seth and Scott's former rock band Nemo, The Avett Brothers combine bluegrass, country, punk, pop melodies, folk, rock and roll, honky tonk, and ragtime to produce a sound described by the San Francisco Chronicle as having the heavy sadness of Townes Van Zandt, the light pop concision of Buddy Holly, the tuneful jangle of the Beatles, the raw energy of the Ramones." The group itself eschews labels, feeling that "none would do the music the justice. It's simply left up to each person to extract his or her own account from the Avetts' music." The Avett Brothers have been described by critics and fans as "indie roots", "folk-punk", or "grungegrass". Their live performances showcase their use of three-part harmony and southern rock feel, and are noted for being intense, energetic, and soulful. Their new album I and Love and You was released in stores on September 29, 2009.
The Avett Brothers - I and Love and You (2009) http://rapidshare.com/files/296773423/ILU.rar
Eu que, apesar de curtir, geralmente torço o nariz para os projetos e trabalhos de Jack White, sou obrigado a dizer que ele acertou muito em participar de uma banda com Brendan Benson. Benson faz um som pop, sem ser cliche, com muita personalidade e qualidade. Lançou esse ano, enquanto o Raconteurs está parado, seu novo disco solo, My Old Familiar Friend. Na minha opinião seu trabalho mais maduro. Um pouco mais pesado que os anteriores, com algumas influencias claras de rock classico, Brendan consegue agradar, de forma bem eclética, quem está procurando sons novos e sinceros. Para quem está perdido, The Alternative To Love é recomendadíssimo! Abraços e boa semana a todos.
Late afternoon, Miami, and Iggy Pop and I were standing watching for a manatee that occasionally swims up along the river at the end of his garden. Pop was bare-chested in cerise trousers, talking about Brendan Benson. "Well you know Brendan," he said, “you how Brendan is, how Brendan sounds…” and as he spoke he waved his hand, stirring the warm air. He was telling me why he had invited Benson to sing on a track on the Stooges’ 2007 album the Weirdness. "I wanted a sweet, clean, effortless American voice on that particular chorus," he explained, as we looked down the river. "And Brendan had the voice." It wasn't until this moment that I truly realised the Americanness of Brendan Benson. I'd long had him pinned as an Anglophile; heard in the glint of his lyrics, in the texture of his music, the influence of Elvis Costello, the Beatles, Bowie. But as Pop pointed out, it was an Americanness lay in that voice. Benson’s voice has a gleam to it, a West Coast shimmer, the shine of a sleek new fender. When I hear Brendan Benson sing I think of the furl on a Coca Cola bottle, of broad Midwestern skies and bright yellow mustard. It was there in the biography of course: a lifetime spread across four states, from a childhood spent on the outskirts of New Orleans, to his years in Detroit, Michigan, sojourns in Los Angeles and San Francisco, and a more recent relocation to Nashville, Tennessee. Inevitably this has brought an itinerant quality to his songwriting, a geographical and emotional search for somewhere to belong. It is there in many of the titles: One Mississippi, Lapalco, Metarie, House in Virginia, Life in the D. But it is there, too, in the songs’ tale of perpetual quest, both literal and emotional: is this the place? he seems to be asking. Is this the girl? Is this What I'm Looking For? Somehow Benson has shaped these restless-hearted stories into songs that fit together with near-mechanical neatness, that carry the delicious clunk-click of rhyme: ‘hop’ to match ‘shop’, for example, or ‘shade’ for ‘esplanade’. These are songs that arrive perfectly formed, immaculate, well-polished, songs that are musical Model Ts. It is a style he has honed, of course. On 1996’s One Mississippi, the songs came rough-hewn but charged with hooks and with wit; 2002’s Lapalco brought a perfect pop ripeness, and by The Alternative to Love in 2005, there was something quite brilliant, quite burnished about his songwriting. Along the way he has co-written and recorded two spectacular albums with the Raconteurs, Broken Boy Soldiers and Consolers of the Lonely. For Benson, The Raconteurs was not just an opportunity to play with close friends Jack White (The White Stripes) Jack Lawrence and Patrick Keeler (The Greenhornes) but also an chance to roll around in the rock, psychedelia and blues that had shaped his musical taste. He once told me how he fell in love with the Blues when he first heard Cream playing Rollin' and Tumblin' on the radio; how this led him to Howlin Wolf and to a guitar style that is “scuffed, scruffy, flappy.” “My stuff is all chords and melody,” he said. “And so playing with the Raconteurs is so liberating because, when you play the blues with other people, you're all on common ground, you all know the same basics.” This year's offering, My Old, Familiar Friend, gathers together all of these influences — the Americanness, the Anglophile twist, the geography, the rock and the pop to create something truly exceptional. Recorded in Nashville and London, mixed in LA, produced by Gil Norton (Pixies, Echo & the Bunnymen, Foo Fighters) and mixed by Dave Sardy (The Rolling Stones, LCD Soundsystem, Oasis) it is a marriage of passion and perfectionism, an illustration of all that is special about Benson - from the glimmer of “Feel Like Taking You Hom”e to the “Motown” swoon of Garbage Day. The key to Benson’s talent has always rested there in the music itself. Through all of his songs ribbons a delight in melody. It was there in One Mississippi’s Bird’s Eye View, just as it is there in My Old, Familiar Friend’s Poised and Ready. For Benson, words themselves are musical instruments; feel it flutter through the rhymes of Don't Wanna Talk: "I hear you loud and clear/ But now I fear this ear/ I'm lending/ Is falling off/ And all is lost/ And it seems never-ending." Benson’s musical approach is detailed, craftsmanlike, fastidious. Take for instance A Whole Lot Better from the My Old, Familiar Friend, in which harmonies, hand-claps, guitar are layered to produce a work of such heart-filled buoyancy, a work that culminates in the sweet, dove-tailing swoop of its refrain: “I fell in love with you/ And out of love with you/ And back in love with you/ All in the same day.” Down by the river we waited for hours, but the manatee never came. The lights came on in the houses over the water, and someone started playing Nat King Cole. There are many things I remember from that afternoon with Iggy Pop, a buff-coloured lizard on the table, a Head & Shoulders bottle in the bathroom, but there are three memories that always burn brightest — the warmth of the air, a shade of cerise, and that perfect description of Brendan Benson’s voice: Sweet. Clean. Effortless. myspace
Brendan Benson - My Old Familiar Friend (2009) http://hotfile.com/dl/10517742/0f69e47/Brendan_Benson_-_My_Old_Familiar_Friend_(2009).rar.html
Brendan Benson - The Alternative To Love (2005) http://rapidshare.com/files/273954452/The_Alternative_To_Love.rar.html
Folk delicioso para se ouvir em uma tarde tediosa, como a de hoje! espero que gostem. bom domingo para todos!
William Elliott Whitmore has the ancient sounding voice of an 80-year-old Appalachian moonshiner, and while he is yet to turn thirty, his bleak and death-haunted tales are full of the kind of regrets that only a long life full of loss and struggle can validate. On Hymns for the Hopeless, his debut release, Whitmore mines a strip of narrow Americana that conjures Dock Boggs more than it does Ralph Stanley, and if this isn't exactly the blues, well, it sure isn't bluegrass, either. Actually, the simple, stark three-note melodies of Whitmore's dirges sound more like church hymns than anything else, and his ragged crow-croak of a voice (which makes Tom Waits sound glib and Leonard Cohen sound like a pop diva) comes from a place where the blues and gospel first converged into country. From the first track, the unaccompanied "Cold and Dead," Whitmore begins an unrelenting search for redemption and reaches out for death as the only true reckoning of a man's life, and if he seems to share little of a street preacher's faith in a paradise beyond that reckoning, he seems to reach out for it anyway, and by the album's closer, the full-tilt gospel romp of "Our Paths Will Cross Again," he seems to suggest that yes, there's hope, even for the hopeless. This is timeless stuff, delivered in stark arrangements of just banjo or guitar, with occasional touches of junkyard percussion, and throughout there is Whitmore's harrowing, convincing voice that sounds like it has crossed the River Styx and returned to preach to the living. If there is a problem with this striking album, it is in a lack of variety, as each song unwinds at the same slow pace, and occasionally Whitmore simply tries too hard and loses believability, as he does with "From the Cell Door to the Gallows," which, although striking, suffers from an obvious case of jailhouse noir, and it is the lone track where Whitmore fails to completely inhabit his voice. In the end, this is an amazing debut, a country album that is as far from today's hat acts as a hat can get, an album of rare artistic courage, one that faces death, embraces it, and comes out the other end in a gospel hoedown. Hymns for the Hopeless is a brilliant beginning for William Elliott Whitmore. heavenlyhouseboatblues
Quase desconhecido no Brasil, Nick Drake produziu vários discos que chamam a atenção pela beleza singular. O cantor também é reconhecido como um dos grandes nomes do folk rock inglês, além de ser citado como influência por diversos letristas da nova geração. Drake é constantemente comparado a Van Morrison, mas foi muito mais influenciado pelo cantor Donovan, principalmente em seu estilo de cantar, nas fortes melodias e no arranjos acústicos que ele ajudou a disseminar entre vários cantores, de vários estilos. Muitas de suas canções são extremamente melancólicas, tratando de amores perdidos, mortalidade e assuntos depressivos. Talvez por isso, o cantor só começou a ser reconhecido pelo seu trabalho depois de morto. Os motivos para Nick Drake não ter feito tanto sucesso, foi, em parte, a sua relutância em fazer shows ao vivo, ainda assim, foi durante uma destas poucas apresentações que um integrante da banda Fairport Convention viu Drake e o recomentou ao produtor Joe Boyd. Boyd já trabalhava com outros artistas folk e pediu que Drake enviasse uma de suas gravações. Impressionado com o material, Boyd ofereceu um contrato pra Drake em 1968, quando o músico tinha apenas 20 anos. Seu primeiro disco, Five Leaves Left, foi lançado no ano seguinte e, de acordo com a crítica especializada, é apenas o primeiro exemplo de trabalhos impressionantes e bem feitos. Junto ao baixista Danny Thompson, Drake criou atmosferas assustadoras, as vezes usando cordas barrocas para modificar seus arranjos. Em seu segundo disco, Bryter Later, de 1970, Drake arrisca-se um pouco mais, deixando a simplicidade de lado e apostando em arranjos com traços do jazz, sendo ajudado nisso pelo pessoal do Fairport Convention. Nenhum dos dois trabalhos venderam bem e Drake sentiu o baque e entrou em forte depressão, o que o deixou incapacitado para escrever, trabalhar, ou até mesmo andar e falar. Ainda assim, Drake conseguiu trabalhar em mais um disco, Pink Moon, lançado em 1972, considerado um dos discos mais diretos da história do rock, por desnudar os problemas vividos pelo vocalista de forma direta, sem muitos rodeios. Drake ainda gravou mais algumas canções antes de sua morte, mas não completou um disco. As canções, e outras inacabadas, foram lançadas em uma coletânea chamada Time of No Reply O cantor passou seus últimos anos enfrentando problemas psiquiátricos e acabou sendo hospitalizado por várias semanas. Ele raramente fazia apresentações ao vivo e, em determinado momento de sua vida, afirmou que nunca mais gravaria uma canção novamente, apesar de continuar escrevendo para outros artistas. Em 26 de novembro de 1974, Drake morre na casa de seus país devido a uma overdose de antidepressivos. A imprensa e a polícia especularam, na época, se havia sido suicídio, inclusive alguns de seus familiares pensaram na hipótese. Drake morreu antes da hora, assim como vários poetas do século 19, mas hoje é influência para diversos letristas da nova geração. http://discografiananet.blogspot.com/
Nick Drake - Five Leaves Left (1969) http://sharebee.com/9f67f7bc
Nick Drake - Bryter Layter (1970) http://www.megaupload.com/?d=U432TQVM
Nick Drake - Pink Moon (1972) http://www.mediafire.com/file/mnmadmduyxm/ND_PM.zip
Fujiya & Miyagi é uma banda inglesa formada em Brighton no ano 2000. A origem do nome da banda veio do personagem do filme Karate Kid e de uma marca de um toca discos. Eles se consideram fortemente influenciados por bandas de krautrock dos anos 70, como Can e Neu! e também por artistas eletronicos do início dos anos 90, como Aphex Twin, Brian Eno e Kraftwerk. Eu tenho uma relação estranha com essa banda, eu precisei de tempo pra começar a gostar dela... enfrentar alguns preconceitos, e hoje, eu gosto bastante desse som. Sem contar que os videoclips deles são incríveis! Espero que gostem! adiós!
Qual você considera o ponto de virada na sua carreira? Acho que foi com o lançamento de Transparent Things. Começamos a receber resenhas positivas em blogs e sites como o Pitchfork, e aí começamos a fazer mais shows e receber uma resposta maior do público. Esse tipo de publicação realmente impulsiona novos artistas e faz a diferença na música hoje em dia.
Vocês participaram da criação do clipe de "Ankle Injuries"?? O conceito foi elaborado pelo diretor do vídeo, Wade Shotter, nós apenas gostamos muito e demos o OK. Mas toda a idéia foi de Wader.
Vocês se dizem influenciados pela música eletrônica produzida na década de 90. E hoje, ainda ouvem esse tipo de música? Nem tanto. Naquela época gostávamos muito de coisas da Warp como Aphex Twin e Squarepusher. Hoje ouço soul e coisas mais antigas dos anos 60. Acho que o Steve está mais ligado à música eletrônica hoje em dia.
Vocês já tocaram em algum evento gratuito como o que vocês vão participar aqui no Brasil? Tocamos uma vez em um evento gratuito em Nova York para 50 mil pessoas. Eu gostei da experiência, havia pessoas bem diversas e todos pareciam felizes de estarem assistindo aos shows sem precisarem pagar nada por eles.
Quais seus próximos planos? Terminamos o nosso novo álbum na semana passada. Ele vai se chamar Light Bulbs, então devemos tocar material novo e músicas do Transparent Things em nosso show no Brasil. Estamos com um novo baterista também, chamado Lee Adams, que participará de nossas próximas apresentações. rrraul
Imagine that Fujiya & Miyagi are mask-wearing technicians dissecting music, keen to magnify particles of sound to create a pulsing antidote to the ordinary. They speak in tongues, using language as a rhythm, picking words that sound good, rhyming ‘jigsaws’ with ‘carnivores’. Their songs are incisive snapshots of real lives that make household appliances sound threatening. They are steeped in vintage music from evocative krautrock to deep soul, with wafts of early Human League synth, Floydian Englishness and the throbbing groove of Tom Tom Club, all filtered for modern times. In total, Fujiya & Miyagi don’t really sound like anything. Instead, they sound like everything condensed into perfectly arranged three minute chunks of infectious pop music, a strange hybrid of James Brown on Valium and Wire gone pop. Or maybe Serge "Gainsbourg with a PhD in electronics backed by David Byrne’s Eno-produced scratchy guitar mixed by MF Doom. It’s Darwinism gone mad. Formed in 2000 as an electronic duo of David Best (guitars and vocals) and Steve Lewis (synths, beats, programming), they released Electro Karaoke In The Negative Style two years later, a minimal electronic set it hangs eerily on Best’s distinctive whispered vocal. Adding bass player Matt Hainsby in 2004, they released a series of ten inch EPs that took them to the hearts of fanzineland. Gathered together these parables of personal injury, both physical and mental, made up three quarters of the well-received (Pitchfork, NME, MOJO, etc) album Transparent Things in 2006. Named after a Nabokov brain dump on the relationship between the past and the present. It sums them up. A Regal seven-inch, Uh, further concentrated their sound. A set of vocal ticks, a funky bass and a storyline about a relationship as prickly as two porcupines, it made small talk sound sinister over an infectious groove. It was the perfect set up for their third album, Light Bulbs – imagine 11 classic ideas clicking on above your head, now with real drums in places, courtesy of Lee Adams, and the picture is complete. Fujiya & Miyagi stay away from lyrical themes that have been done to death. Using old synths to punctuate their beautifully-observed anecdotes on romantic triumphs and disasters, heroes and villains and the world at large, their rhythms palpitate to produce modern symphonies like no-one else. Light Bulbs is a journey littered with fragmented images, anecdotes from the sublime to the ridiculous, blurry stories that you feel you shouldn’t have overheard. Each track an aural contamination set to itch your inner ear every waking moment. “I’ll never be Big Maybelle,” says David Best of his unique singing style. True, but as a stylist fronting a band inspired by their evolution, plundering the past but set in the future, Fujiya & Miyagi’s Light Bulbs carves a niche of its own. This is truly contagious music, a completely unique take on modern pop music that’s completely their own. -Dave Henderson, Summer 2008
a mi me gusta! música divertida cheia de ritmos latinos e dançantes! conheçam o Pambrosia, disco sensacional e bem difícil de ser encontrado! divirtam-se!
The group was formed in October 1995, This eclectic ensemble was created with the idea to bring back the old 'Copacabana style' dinner theater. Pepe integrates original wardrobe designs, dialogue and choreography with his "twelve piece" Latin/Swing band, bringing onto the stage the artistic edge reminiscent of Musical Theater. Combining the three-part harmonies of the Bottle Blondes with the percussion and horns of Pepe's own Latin orchestra, Pepe & The Bottle Blondes create a strong performance that echoes the indulgence of 1950s' nightclub chic. Pepe Raphael's piquant pulsations have taken him from Madrid (where he was born) to New York City (where he performed) to Portland (where he now lives). Pepe has performed leading roles in Evita with Music Theatre of Oregon and in West Side Story with the Musical Theatre Company and with The Portland Opera. Pepe has also appeared in several major motion pictures and television movies. Pepe successfully blends dance, opera and musical theatre experience with his 'original songwriting' and 'comedic' wit to deliver a fresh and innovative performance. Born in Madrid, Spain, Pepe began his dance career with the National Ballet of Spain. He then worked with Ballet Liceo of Barcelona and upon moving to the United States, danced with Ballet Hispanico of New York, Princeton Ballet, Pennsylvania Ballet and, most recently, Oregon Ballet Theatre. myspace
Pepe & The Bottle Blondes - Pambrosia (2005) http://www.4shared.com/file/140911119/84024666/pepe__the_bottle_blondes_-_pambrosia.html
Pepe & The Bottle Blondes - Latenight Betty (2000) http://www.megaupload.com/?d=GYX3EWAH
Um dos maiores compositores americanos está com disco novo. E está muito bom! O bipolar Daniel Johnston compõe e desenha muito bem. Para dar uma conferida no seu trabalho chequem a página oficial do cara. Suas músicas apresentam uma sinceridade tremenda, difícil de encontrar hoje em dia. Daniel não se importa em mostrar como realmente se sente, e isso nos faz identificar com seu trabalho. Destaque para a divertida Fake Records of Rock 'n' Roll, que faz uma crítica(queria eu saber a quem) a novas bandas de rock e aos seus ouvintes. E Queenie The Dog, canção feita ao cãozinho Queenie que veio a falecer. Como já disse o criador do blog folkse, Daniel Johnston não é um simples cantor de folk, ele já é um personagem folklórico. E diga-se de passagem, dou todos créditos ao folk-se pelos links dos album, um ótimo trabalho! Tá de parabéns! Aconselhadíssimos os álbuns Yip Jump Music, Artistic Vice, Hi, How Are You e o último, Is and Always Was. Aliás, o cara tem pouco disco ne... inspiração pouca é bobagem. Bom domingo!
"As Johnston's cult following has grown with the years, those early efforts have continued to define his approach in the studio for good or ill, as attempts to craft more professional albums have found him collaborating with sympathetic musicians attempting to make sense of his idiosyncrasies. [..] But with Is and Always Was, producer Jason Falkner has embraced a new approach; seemingly ignoring the artist's past work, Falkner has given Johnston's melodies a polished pop sound that reveals just how good the tunes can sound when given the right treatment. [..] However, all that changes when Johnston starts to sing — earlier attempts by producers to reach some middle ground with his music have given his quavering and uncertain vocals a reasonably fitting context, but the sheen and snap of Falkner's backing tracks make for an uneasy balance with his voice. [..] Until Johnston's craft as a vocalist can rise to the level of Falkner's well-crafted soundscapes, he's going to sound out of place on his own albums if he keeps making records like Is and Always Was." AMG
Daniel Johnston - Is and Always Was (2009) http://rapidshare.com/files/290455875/iaaw.rar
Daniel Johnston - Fear Yourself (2003) http://www.mediafire.com/?ax0ziob1tmi
Eu não costumo postar VAs aqui, mas muita gente tem me pedido por esse disco. O norte-americano Mark Mulcahy , fundador dos Miracle, conseguiu unir um time formado por artistas como Thom Yorke, Dinosaur Jr., The National, REM, entre outros. O CD surgiu da necessidade de Mark sustentar suas filhas gemeas de 3 anos, após a morte de sua esposa. Apaixonante a cada faixa! Bom sábado a todos! Para mineirismos roots e afins, chequem esse http://www.myspace.com/pedrocezar
Indie icon Mark Mulcahy (Miracle Legion, Polaris) lost his wife unexpectedly last year and proceeds from the sale of this tribute album will help Mulcahy raise his young daughters and continue his music career. The common listener probably has no idea of Mulcahy's previous bands or solo work but I guarantee you will know the contributing artists, that have reached out to support their friend. The album features 21 exclusive recordings of Mulcahy songs, which kicks off with Thom Yorke and also includes The National, Michael Stipe, Dinosaur Jr., Frank Black, Vic Chesnutt, Unbelievable Truth, Frank Turner, Ben Kweller, Josh Rouse, The Autumn Defense, Hayden, Juliana Hatfield, Mercury Rev and Elvis Perkins - to just name a few! Not many compilations can brag about the talented lineup here. This record is not only a great introduction to Mulcahy's work but an outstanding nod to human compassion and reaching out displayed in grand fashion. Along with this record release there will be a special digital only release, that has another 20 tracks which features A.C. Newman, Buffalo Tom, Laura Veirs and Joe Purdy. Not that the music itself could be enough but to coincide with the release, there will be two concert events, one in London and one in New York. Ciao My Shining Star is an easy cause to get behind and has a spectacular lineup that gives you no reason to not join in! the fire note
01 Thom Yorke - "All For The Best" 02 The National - "Ashamed Of The Story I Told" 03 Michael Stipe - "Everything's Coming Undone" 04 David Berkeley - "Loves The Only Thing That Shuts Me Up" 05 Dinosaur Jr. - "The Backyard" 06 Chris Harford & Mr Ray Neal - "Micon The Icon" 07 Frank Black - "Bill Jocko" 08 Vic Chesnutt - "Little Man" 09 Unbelievable Truth - "Ciao My Shining Star" 10 Butterflies Of Love - "I Have Patience" 11 Chris Collingwood (Fountains Of Wayne) - "Cookie Jar" 12 Frank Turner - "The Quiet One" 13 Rocket From The Tombs - "In Pursuit Of Your Happiness" 14 Ben Kweller - "Wake Up Whispering" 15 Josh Rouse - "I Woke Up In The Mayflower" 16 Autumn Defense - "Paradise" 17 Hayden -"Happy Birthday Yesterday" 18 Juliana Hatfield - "We're Not In Charleston Anymore" 19 Mercury Rev - "Sailors And Animals" 20 Elvis Perkins - "She Watches Over Me" 21 Sean Watkins - "A World Away From This One"
VA - Ciao My Shining Star (2009) http://rapidshare.com/files/286689860/VA-CMSSTSOMM.rar
Aparentemente, no rompimento do namoro entre John Dragonetti e Blake Hazard, quem saiu ganhando fomos nós. Após serem apresentados por um amigo em comum, logo começaram a namorar e a fazer shows juntos. O relacionamento durou 4 anos, tendo fim em 2004. Tanto John como Blake continuaram a compor músicas, e como Blake continuava a gravar suas canções no estúdio caseiro de John, o casal logo percebeu que as músicas que eles tinham escrito era sobre eles mdsmo e a tristez` sobre o fim do relacionamento. Sabido isso, o duo decidiu trabalhar em algumas músicas e eventualmente se reataram. As músicas que foram trabalhadas nessa época viraram o primeiro disco da banda, Declare a New State! de 2006, um ÓTIMO disco!
The Submarines write LOVE songs, but they aren't all sweetness and light. Sure, many of their songs are widescreen paeans to the power of romantic love to save the world. But their music has a political undercurrent to it. Take "You, Me and the Bourgeoisie," their single that has become nigh-on ubiquitous thanks to its placement in multiple Apple ads on television. It's really not JUST a love song. You'll see. pandora
The Submarines - Declare a New State (2006) http://rapidshare.com/files/46614926/Declare_a_New_State_.zip
The Submarines - Honeysuckle Weeks (2008) http://www.mediafire.com/download.php?mmnndgy3non
Trip-hop lindo e maravilhoso! La Jetée é um projeto colaborativo entre Shitao(França) e Son of a Bricklayer(Dinamarca). De início eu preferi as músicas do Shitao e me interessei pelos seus trabalhos anteriores, o que me levou direto ao disco Lines! Ótimo pra quem gosta de um som mais viajado(sem fazer trocadilhos com o nome e capa do disco) e experimental! Agora ouvindo com um pouco mais de calma, as músicas do Son of a Bricklayer mostram suas qualidades com batidas simples e harmonias um pouco mais dark porém muito gostosas de serem ouvidas! La-Jetée-is-2009-MUST-HEAR!
Two joints from Shitao. First up is Lines... Honestly, the first time I heard Lines I was blown away... I had the same feeling that I had the first time I heard Endtroducing (DJ Shadow). Lines is a statement, Lines says I am Shitao and I am fucking ILL. Lines is a must have, or at the very least, a must hear effort... Certified CDC sickness on this one. Second is La Jetée... La Jetée is a collaboration with Son of a Bricklayer from Denmark, who is killing it and who slightly over shadow's Shitao on this effort, which is saying a lot... Some of you may be familliar with Son of a Bricklayer from "Shades of Grey" his solo effort. Here they are... as usual support the artist whenever possible. noshepherds4sheeple
Son of a Bricklayer & Shitao - La Jetée (2009) http://www.groundfloorrecords.com/downloads/gfr27ep-son_of_a_bricklayer_&_shitao-la_jetee-2009.rar
Eva cresceu na pequena cidade de Bowie, nas cercanias de Washington, DC. Desde sua infância, demonstrou ter talento artístico e musical. Sempre foi apaixonada por música, independentemente do estilo, e adorava ouvir rádio. Com um dom nato para harmonia, Eva aprendeu a tocar violão com seu pai e, juntamente com seus irmãos, integrou uma banda que se apresentava em reuniões familiares e festas escolares. Deixou de se apresentar com o grupo em razão de sua timidez. Ao cursar o Ensino Secundário, se interessou por atividades artísticas e pela defesa dos direitos das minorias raciais. Nunca teve grande interesse em praticar ou acompanhar esportes e pouco namorava. Demonstrava também pouca ambição profissional. Nessa época, ela se integrou como cantora a uma banda local chamada Stonehenge. Aos 18 anos, Cassidy iniciou sua carreira profissional, cantando e tocando violão na banda Easy Street, que se apresentava em casamentos, festas corporativas, bares com música ao vivo, executando vários estilos musicais. Durante os anos 1980, Eva Cassidy se apresentou com várias bandas. Em 1986, conheceu o baixista e produtor musical Chris Biondo, que a encorajou a fazer registros em estúdio e ajudou a encontrar trabalho de backing vocal para bandas conhecidas no cenário musical da capital norte-americana. Em 1990, Biondo e Cassidy criaram a Eva Cassidy Band, que se apresentava regularmente na região. Seu talento foi reconhecido localmente e, em 1993, Cassidy recebeu dois prêmios Wammie da comunidade musical de Washington, nas categorias Female Vocalist Roots/Traditional R&B e Vocalist Jazz/Traditional. Finalmente, em janeiro de 1996, Cassidy gravou seu primeiro álbum solo - Live at Blues Alley. Em julho do mesmo ano, Eva foi diagnosticada com melanoma, já com metástases. Sua saúde piorou rapidamente e ela morreu em novembro com apenas 33 anos de idade. Apesar de exibir tantas qualidades, Eva nunca conseguiu um contrato com gravadoras. O principal obstáculo foi sempre sua recusa a ser enquadrada em um gênero musical específico. Mas a morte não encerrou sua trajetória musical. No começo de 2001, após um trabalho de divulgação da rádio BBC, o álbum Songbird alcançou o 1º lugar em vendagem na Grã-Bretanha. Os álbuns lançados postumamente já venderam mais de 4 milhões de cópias.
The late Eva Cassidy gained a loyal following in the Washington, D.C., area through appearances in small clubs, utilizing her pitch-perfect singing voice to interpret a variety of tunes ranging from standards to modern-era pop songs. A notoriously shy performer, Eva Cassidy had a somewhat stiff stage presence, but she endeared herself to her audiences by performing songs she obviously loved, combining elements of soul, gospel, blues, and jazz. Live at Blues Alley is an excellent showcase for her vocal talents and her ability to make even the most familiar tune uniquely her own. Admittedly, the titles on Live at Blues Alley seem like a set list for a bad Vegas lounge act; songs such as Irving Berlin's "Cheek to Cheek" and Louis Armstrong's "What a Wonderful World" have been done to death for decades. Fortunately, Eva Cassidy had an obvious affection for these standards. She sounds as if she had a ball performing the Irving Berlin number, while her subtle reading of the Louis Armstrong tune is nothing less than extraordinary. She was equally successful with more contemporary pop classics like "Bridge Over Troubled Water" and "Take Me to the River." Ultimately, the slower songs are the most stirring, particularly her rendition of "Fields of Gold." Her tear-jerking version of the Sting tune could very well be one of the greatest cover songs ever recorded. Eva Cassidy's popularity slowly began to spread outside of the D.C. area upon the release of this album in early 1996. Unfortunately, Eva Cassidy passed away later that year, just as she began laying the groundwork for what could have been a stellar career in music. However, her posthumous success has been astonishing, with worldwide critical acclaim and extensive exposure on British television that helped her album Songbird climb to number one on the British album chart in March, 2001. Live at Blues Alley was the only solo album released during Eva Cassidy's lifetime (an album recorded with Chuck Brown, The Other Side, was also released), and it's an excellent introduction to a performer who never lived to witness the impact her voice made on her fans all over the world. All Music Guide
Eva Cassidy & Chuck Brown - The Other Side (1995) http://www.4shared.com/account/file/54321909/dfb06d82/Chuck_Brown__Eva_Cassidy.html
Eva Cassidy - Live At Blues Alley (1996) http://rapidshare.com/files/280130793/EvaC-LABA.rar
Eva Cassidy - Songbird (1998) http://www.mediafire.com/?6mih52dhylt
Eva Cassidy - Method Actor (2002) http://www.mediafire.com/?9nudczezucm
Eva Cassidy - Somewhere (2008) http://fullalbumse-h.blogspot.com/2008/09/eva-cassidy-somewhere-2008.html
Foals é uma banda britânica incrível que consegue como poucas, chamar a atenção tanto pelo ritmo dançante quanto pelas letras e pelo experimentalismo. Eles tem apenas um disco que foi lançado no finalzinho de 2008 e alguns singles. É estranho, pq eu tenho esse disco faz tempo, e só esse mes que ele realmente me pegou pelas pernas e me sacudiu. Vai entender né!? Essa aqui é minha música preferida deles, espero que voces gostem! ;D
Aqui vai uma entrevista bem bacana da época que eles vieram ao Brasil: Dizem que grupos como vocês e os Battles fazem parte de uma onda chamada de "rock matemático", o math rock. Você concorda?
Não, não tem nada a ver. Sei o que querem dizer quando usam esse rótulo, mas eu considero isso apenas uma piada. Nós tentamos tocar pop rock, que é o oposto do que consideram math rock. Acham que um som que soe estranho, bizarro, pode ser definido assim. Mas talvez, se quiserem um rótulo para a gente, o mais adequado seja pós-rock. Somos amigos do pessoal do Battles, mas nós fazemos pop music, e o que eles fazem se aproxima mais de conceito de live art.
Bom, há também aquilo que se convencionou chamar de new rave, que inclui bandas como Klaxons e New Pony Club. Você gosta?
Não é do meu gosto pessoal. Ouço muita coisa, e não de um gênero só. Gosto muito da old school, do krautrock de bandas como Can.
De vez em quando, volta à tona a idéia de que o rock britânico se divide em experimental, e aí estaria o Radiohead, e o som de pulsão primal, e aí estaria o Oasis. Vocês ficam de que lado?
Essa coisa me lembra a imagem de um cachorro procurando uma presa perdida na mata. É a indústria em busca de seu rabo perdido. A indústria britânica de música vive de vender essas polarizações. O mainstream busca isso para sobreviver. Radiohead é uma exceção, eles mudam conforme o tempo passa, não se fixam em rótulos. A indústria não apóia o que é mais ousado. O que vejo é uma predominância de bandas que soam exatamente iguais às de 20 anos atrás. E até se vestem e cheiram como aquelas bandas de 20 anos atrás. Parecem cadáveres reanimados. As bandas do passado que eu admiro, como o Cure, tentam ir adiante. A verdadeira questão hoje é separar o que é real do que é irreal.
Seu pai era grego, não? Você se julga influenciado por essa cultura paterna?
Sim, meu pai veio da Grécia nos anos 60. De certa forma eu me sinto conectado, gosto do som de alguma música folk da Grécia, tenho curiosidade pelos instrumentos típicos. Mas meu pai e minha mãe não ouviam música folclórica. Eles ouviam Jimi Hendrix e Led Zeppelin, como qualquer jovem de suas idades, então não tenho nostalgia de coisas que não conheço.
Tem uma música chamada Cassius no seu disco. Alguma conexão com a banda francesa?
Nenhuma. É mais como um personagem, todo o disco é composto com diferentes personagens. Essa música fala de conspiração e julgamento, mas não tem nada a ver com a onda francesa.
O que sabem sobre o Brasil? Não muito. Conheço a capoeira, tenho amigos que jogam a capoeira na escola. Já ouvi também o Cansei de Ser Sexy. Não é minha preferência, mas eu entendo e compreendo o som. No mais, espero que o Brasil seja o contrário de minha chuvosa terra, que seja colorido e alegre. Teremos 4 dias de folga e tenho um amigo no Brasil. Ele pretende nos mostrar alguma coisa de São Paulo. O Bloc Party também vai estar aí e nós somos amigos, vamos tentar fazer algumas coisas juntos. Jornal da Tarde
The Pains of Being Pure at Heart é uma banda noise-pop-indie-que-saco-definir! formada em Nova York nos idos de 2007. Seus membros são Kip Berman (Guitar and Vocals) Peggy Wang-East (Vocals and Keyboards) Alex Naidus (Bass) Kurt Feldman (Drums) Todos os discos são bons; a banda me parece ser influenciada por grupos fortes dos anos 80, como The Cure, porém com identidade e todo o apelo do indie pop. Ah, e o vocal lembra um pouco do Morissey, pra quem gosta, taí. enjoy!
PRESS:
On Higher Than the Stars EP Pitchfork - 8.0 At their core, Pains aren't about scuzz or even shoegaze, they're a classic bookish indie pop band-- twee, you might even say-- and Higher Than the Stars, an EP of four new songs and one excellent remix, drives that point home very clearly...Pains could be the most promising indie pop group around.
Quick Before it Melts A pure indie pop treat; something that their influences never could have pulled off... the Pains of Being Pure of Heart manage to cram more doe-eyed optimism and fun into 5 songs than most people can do in five albums.
Skatterbrain Staying up all night in the rain with my friends on what was effectively the last night of my Summer, followed by a heavy-eyed morning watching the sun come up with coffee in hand and "Higher Than The Stars" blasting as well as it could out of my tiny macbook speakers is what really made it sink in. Contextually, this experience hardly meshes with the song, but those dreamy keyboards and that hypnotic vocal melody are making me feel more than any words possibly could at this very moment. The Pains of Being Pure at Heart fucking matter.
On The Pains of Being Pure at Heart LP
New York Times On its excellent self-titled debut album there’s a mild hauteur drawn from new wave, a thickness derived from shoegaze-pop and a pulse passed down from dance-punk. The Pains of Being Pure at Heart might paint within the lines, but they do so with panache... Warm on the outside, the Pains of Being Pure at Heart seethe with refreshingly mordant wit."
Pitchfork - Best New Music - 8.4 Songs that will appeal beyond the confines of subcultures: Anyone with a weakness for trebly, melancholy pop music will find a lot to like about this record.
Drowned in Sound The Pains Of Being Pure At Heart have crafted an impeccable debut way beyond their years, and any misconceptions about them being mere revivalists will surely be diminished instantaneously upon hearing this most accomplished of long players
Skatterbrain My infallible love for The Pains Of Being Pure At Heart is no secret at all. I think I summed it up to the best of my cheesy abilities in the fanzine included with their Atomic Beat split 7" earlier this year. What they're doing is beautiful and perfect and wonderfully genuine – AND not to mention – totally fucking consistent! Have they got a bad song? Nope. And they probably never will as long as they keep moving in the direction they're headed in. Their new single "Everything With You" is the perfect noisy pop song. Kip and Peggy's vocal harmonies sound gorgeous floating above the ringing guitar wash and OH HEY SOLO! "Everything With You" is the first single from their previously mentioned debut LP and will be out on the mighty Slumberland Records (US) and Fortuna POP (UK) in the fall. BUT! You can go hear it right now streaming on the Pobpah MySpace and bask in it's life-affirming fantasticness! God I love pop songs.
Chicago Reader "Their recent Slumberland debut is nearly flawless: rife with urgency and big hooks that keen and carom through epic guitar fuzz."
NME it’s much more than the sum of its parts and too effortlessly effervescent to be studied. Pure indie-pop to hold close to your heart.
NME - Live Review Swelling, surging dream-gaze jubilance, that never loses itself in the walls-of-sound. There's a sharp, crystal melody to all their tracks that leave the songs swirling round your head like giddy school girl on her way home from being asked out by her dream boy after math class.
The Yellow Stereo- "Everything With You" The single just screams for continuous replay, as the catchy boy/girl harmonies wonderfully gel with the jangly, distorted guitars that echoes early My Bloody Valentine and Black Tambourine. There’s also this guitar solo near the end of the song that completely rocked my face off, considering i’ve never heard anything of the ilk since possibly the 90s (no joke, no one does solos like this anymore).
Pop Tarts Suck Toasted The record is one of those records that takes absolutely no time to fall in love with. From the opening notes of the lead track "Contender" you know you are listening to something powerful, catchy, and brilliant. It's not so much that they just write great pop songs, it's that they feel like they are opening their veins and bleeding on the paper each time they write lyrics and it all comes through with an eerily sunny sound...this band is the real deal
Dusted This is an important record for these times, a game changer
Colour Me Impressed The best indiepop album of the last 10 years and what may possibly be the best album of 2009
Sound Bites A total charmer: 10 songs, endless hooks, clever lyrics, bad puns, and fuzzy guitars.
Losing Today "Everything With You" "‘everything with you’ is your pure unadulterated fix of dogs bollocks bright eyed and cute with it radiant pop the kind that makes you tingle from the inside out, lovingly sugar dipped in sheens of pulse racing effervescence and to these ears sounding not so dissimilar to the kind of stuff mined for your discerning delight by the likes of imprints such as Bus Stop, Summershine and HOL / MBV era Creation while blissfully gliding about your senses like some sun soaked honey combed slice of heart string tweaking bliss pop happily being crafted by a three way collaboration between the Pastels, Velvet Crush and early career Teenage Fanclub. Does it for us...buy on sight."
Contact Music - "Come Saturday" 9/10 ‘Come Saturday’ just might be the fizziest, most incessant three minutes of sprightly pop these ears have been exposed to all year. Combining the glorious, pastel-shaded fuzz of a pre-Creation My Bloody Valentine with the danceable quirkiness of The Shins, ‘Come Saturday’ is one of those songs that demands your attention and then won’t go away for months, not that you’d particularly want it to, of course…
The Guardian "Possibly the lushest piece of noise-pop to come out of the Big Apple in 2008, if not the US."
Indie-Mp3 I think it's safe to say that even if POBPAH split tomorrow, people would still be talking about them and listening to their records for years to come. They're not an ordinary band, they're something special, something exciting, something to celebrate. They're the band that, in my opinion, typify everything that's great about indiepop at the moment.
The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (2009) http://rapidshare.com/files/186219015/TPOBPAH_TPOBPAH.rar
The Pains of Being Pure at Heart - Higher Than The Stars EP (2009) http://www.megaupload.com/?d=ONS0Y3CM
The Pains Of Being Pure At Heart - Live at OFF Festival (2009) http://www.zshare.net/download/65921721b51a2c7f/
Talvez uma das mais expressivas vozes do soul music atual, Lee Fields ficou esquecido durante décadas, e agora está de volta! Sua carreira musical teve início no começo da década de 70. Acompanhado da banda The Expressions, esse cara conseguiu fazer um disco fantástico! Obrigatório para qualquer fã de funk e soul! Impossível não lembrar de Mr. Dynamite, influencia clara!
Lee Fields is a bona-fide, 100%, unadulterated, pure, gut-bucket soul singer. While the crate-digging funk and soul community bestowed "legendary" status upon him due to his undeniably solid series of rare 7" singles (and one LP) recorded and released on his own independent labels in the 70s, he's never been one to sit in a dusty corner. New York label/production team Truth & Soul, are ready to bring him to light with a brand new album of beat-heavy, deep soul ballads that will show soul-revivalists the world over what real soul is.
After his rediscovery in the mid 90s, his faithful have featured him on a slew on singles, a full-length on Desco Records entitled "Let's Get It On', a full-length on Soul Fire entitled "Problems", and on Sharon Jones's critically acclaimed album, "Naturally". Most recently, he has featured on a number of tracks by French house producer, Martin Solveig. Suprisingly, many of of those songs have become top ten hits for Solveig and have turned Lee Fields into a bonafide celebrity in France and other parts of Europe. Yet, outside of a rabid cult following, his story remained untold in America.
When Truth & Soul rose from Soul Fire's ashes in 2004, the first mission of label owners/producers Jeff Silverman and Leon Michels, was to record a sweet soul record that would be modeled after the near perfect formula that bands like The Moments, The Delfonics, and The Stylistics had created. But with a decidedly modern bent. The two producer/songwriters were perfect for the job, having dedicated their talents to the likes of Adele, Iggy Pop, Amy Winehouse alongside Just Blaze, Ghostface Killah and Jay Z
Turning their attention to Lee Fields, the duo wanted an album full of music that was both tough as nails and sweet as honey. They wanted ballads laced with lush strings and smooth vocal harmonies layered over a hard-hitting rhythm section. Michels and Silverman enlisted the service of a the group of New York studio musicians that have provided the back drop for records by The Dap Kings, Amy Winehouse, Bronx River Parkway, El Michels Affair and TV on The Radio. Those musicians include Leon Michels, Homer Steinweiss, Quincy Bright, Nick Movshon, Thomas Brenneck, Toby Pazner, Aaron Johnson, Dave Guy, Michael Leonhart, and members of legendary doo-wop group, The Del-Larks.
Four years later and Lee Fields & The Expressions have successfully created a unique and personal sound that can hold court with the bands they set out to emulate. However, what they’ve created in the process goes beyond just a carbon copy of a sweet soul music from the 60's and early 70's. The formula has remained the same but the style has been adapted for the ears of youngsters whose experiences with soul began with Amy, not Al, Otis and Marvin. Thirty years of retrospection has colored this cross-generational melding of the minds. It sounds odd on paper, but the results are classic: hip hop-reared record collectors come full circle to produce an album of beatuful soul music with one of the progenitors who made it all possible. indangerousrhythm
Lee Fields - Problems (2002) http://www.mediafire.com/?gp3zj57dphd
Lee Fields & The Expressions - My World (2009) http://rapidshare.com/files/247599075/fields-09.rar
