Zajimavy desky ke stažení

  • Zajimavy desky ke stažení

    Napadlo me ze by nebylo od veci sem hazet linky na zajimavy desky, ktery jste sami nekam nahrali anebo jenom nasli link ...

  • Pro zacatek

    Tady je neco ode me pro zacatek:

    THEMA ELEVEN - Great Misanthrop (2007)

    SELFBRUSH - Three Names (2007)

    HOT CHIP - remixes (2006) Celkem fajn remixy tam sou ...

    • daremes said...
    • Subscriber
    • 14 May 2007, 01:10

    mono - The Phoenix Tree [2007]

    - ještě jsem to nestahoval, takže nevim, jaký to je...

    Today we've started to sell our new CD for TIC which is the limited edition CD mail order series of Temporary Residence Limited.

    It is available only through TRL mail order subscription, not in stores.
    We'd like to explain why we named this CD "The Phoenix Tree".
    There are four songs in this mini album. They are about the atomic bomb dropped in Hiroshima which we tried to express our view since our 3rd album "Walking Cloud~".
    We've completed our work on this theme with this album.
    We've planted all our wish and the message which we think we should never forget.
    The first song "gone" is the symbolic song of this album, inspired by thepainting "The myth of tomorrow" by Taro Okamoto who we respect most as artist. He said "Don't let it get you down. Don't grieve over the past. Spread your wings and fly to the future." when he talked about the atomic bomb in Hiroshima and the tragedies caused by the wars in the past.
    Phoenix tree is a tree. You see a lot in Hiroshima. Even the trees were burnt by the bomb, the roots of the trees survived and started their life again. 60 years later, they are absorbing the energy from the earth, still growing and spreading their branches into the sky. Every spring, the young leaves sprout and blossom with flowers. Every year new life is born for future. It is a hope.
    The second song is "black rain". As many of you have already known, the black rain fell on the city of Hiroshima right after the atomic bomb was exploded.
    The black rain covering the completely destructed town... It must be unimaginably depressing for the survivors who were looking for their families, friends and all the loved ones in the debris.
    Our friend, Giovanna, singer of Bellini and Uzeda, wrote the poem and read.
    We asked her because we wanted a lay of light in the darkness.
    The third song is "rainbow". After the black rain, a beautiful rainbow appeared in the sky. It's true. The survivors witnessed. (After the rainbow, the fire started in the town and burnt it down.)
    It must be a happening of a few minutes, maybe less than a minute. What did people feel when they saw the rainbow?
    We never know, but we tried to express people's feeling of that moment.
    The fourth song is "little boy". It's the name of the atomic bomb dropped in Hiroshima.
    The bigger one which was dropped in Nagasaki was "fat boy".
    We added "1945-Future" in the title. We mean "little boy" children of our future.
    To all children of our time, children of future and all people;
    with our deepest wish not to repeat the tragedy and best wishes for our future-.
    We believe, the late painter Taro Okamoto's message is we must have learned from the atominc bomb in 1945 for our tomorrow (future).
    The wars are still going on on this planet.

    With love,
    April 20 ,2007 MONO

  • daremes said:

    - ještě jsem to nestahoval, takže nevim, jaký to je...

    Recenze tady:

    • daremes said...
    • Subscriber
    • 14 May 2007, 01:20

    Flunk - Personal Stereo [2007]

    • daremes said...
    • Subscriber
    • 14 May 2007, 01:45

    Melt Banana - Bambi's Dilemma (2007)

    - nová deska - japonská noiserocKeřina>těžká dřina

    • daremes said...
    • Subscriber
    • 14 May 2007, 01:47


    lilac: dík za link na recenzi...

    • daremes said...
    • Subscriber
    • 14 May 2007, 01:54

    glenn branca - indeterminate activity of resultant masses [atavistic, reissue 2007]

    - škandál! :)

    In the middle of July 1982, Glenn Branca had a piece, “Indeterminate Activity of Resultant Masses,” performed at the New Music America Festival in Chicago. John Cage was at the performance. The following day Cage had a taped conversation with Wim Mertons of the Belgian label Les Disques du Crepuscule on Chicago’s Navy Pier, where he basically called Branca a fascist, a quip that gets mentioned to this day any time anything is written about Branca. Thus was born one of the more entertaining clashes in contemporary art music, which this reissue attempts to document.

    First, the piece itself. Recorded shortly after Branca’s early masterwork The Ascension, though never previously released, “Indeterminate Activity of Resultant Masses” documents the continued development of Branca’s early guitar army. The ensemble includes all his early mainstays: Ned Sublette, David Rosenbloom, Lee Ranaldo, and Jeffery Glenn are back from The Ascension (with Glenn on guitar instead of bass), and are joined by Thurston Moore, Barbara Ess, and three other guitarists for a grand total of 10 guitars. I wish I could have been there to see them live, because judging by the sound on this disc, they were a force to be reckoned with. No recording can do justice to the swirling mess of overtones one guitar produces, let alone 10, so the piece, as recorded here, is only a shadow of the original. But it still has everything you would expect from Branca in this period, from the opening gamelan-like chords that gradually coalesce into a dense wall of notes, to the slowly mutating drone in the middle, to the metallic cacophony at the end. What makes Branca’s composition so genius is that while it often feels like pure chaos, there is precise structure to what each guitarist is doing so that each individual chord figures into the mass in a very proscribed way. In a way, he’s taking ideas from Penderecki and Ligeti and applying them to electric guitars.

    Next, Cage’s response to the piece, originally released on Les Disques du Crepuscule. Before I talk about Cage’s actual words, it is worth mentioning that the recording could almost be an early-’80s Cage piece in its own right. It feels less like a conversation than two people talking around each other with occasional pauses. Add in the particular timbres of Cage’s and Mertons’s voices (Cage with his dry, Capote-esque alto, and Mertons with his distinctive Belgian accent) and the ambient noise of the boats and birds from Navy Pier, and you have yourself a fairly enjoyable piece of music. But it is Cage’s words that matter most. His main objection was Branca’s domination of every aspect of the performance, with the only release being when an amp breaks. There is no space for any random occurrence or individual voice, with Branca as either the field marshal or doctrinal enforcer. Cage then abstracts this to society as a whole, stating that he “wouldn’t want to live in a society” based around that set of implications, that it would be “something resembling fascism.” Cage further objects that Branca (and his contemporaries Laurie Anderson and David Tudor) needs to be present for his music to be performed, calling it a “return to the middle ages,” whereas Cage’s music can be performed by anyone, anywhere, anytime. And finally, according to Cage, Branca’s music evokes the European tradition of musical climax, resembling Wagner’s constant climax more than anything. On a certain level, Cage seems to be suffering from a generational gap, coming across as a cantankerous old man unwilling to accept what the kids are doing. He even goes so far as to say that while Anderson and Branca may be popular now, their music won’t be talked about in 10 years, while his will. Many of his arguments seem overly subjective, coming from Cage’s own ideological framework. However, he is still John Cage, father of American avant-garde music, so his statements still carry popular weight, even if their reasoning is suspect.

    The “controversy” doesn’t end there: Branca would comment on the whole situation in a 1997 letter to Musicworks Magazine that is printed in the liner notes. In the end, the whole situation seems like a lot of hot air, even if it has garnered Branca a sobriquet. But if it gives us an excuse to exhume a pair of previously unreleased Branca works (“Harmonic Chord Series,” an orchestral work unrelated to the rest of the goings on), we can’t fault Atavistic for packaging it as such.

  • hehehe, glen branca ))) prave sem na tour s battles a jejich kytarista vypravel jak hral v brancove stokytarovym orchestru, resp. 80 kytar a 20 bas. a ja od toho chlapika nikdy nic neslysel, ale podle vseho to je blazen ...

    • daremes said...
    • Subscriber
    • 14 May 2007, 14:17
    tý brď já to slyšel: je to Symphony no. 13 "Hallucination City", která byla uvedena (myslím) jen jednou - a to ve WTC někdy před 9/11 (můžeme se jen dohadovat, zda to nenarušilo statiku budovy). Ta "no. 13" není sice jeho masterpiece, ale 100 kytar to vynahradí...(to jsem nevěděl, že 20 z nich jsou basy!).
    No muselo to být působivý, to zas jo...
    Kdo z Battles hrál v tom orchestru? Zaměřeím k tomu má asi blízko ten Tyondai Braxton...?

  • jo, byl to braxton a bylo to ve wtc, rikal ze tesne nejak pred atentatem :)))) rikal ze mi pusti nejaky video jestli to najde ..

  • Dirty Projectors - The Getty Adress

    Tohle je jedna z mejch nejoblibenejsich desek za poslednich par tydnu ....

    • emobear said...
    • User
    • 16 May 2007, 10:24
    Battles - hrozná úchylárna, ale baví mě to.
    Dirty Projectors - slyšel jsem zatím věci na majspejsu a je to tak na mě tak nějak moc:))
    Jinak já jsem si připravil něco speciálního, ehm...

    my name is marty and i can party
    • [Deleted user] said...
    • User
    • 16 May 2007, 19:28
    hallucination city

    blbej zvuk.. ale zajimavy

    • trisuli said...
    • User
    • 16 May 2007, 23:32
    ty jo dobra bych chtel videt zive!

    • daremes said...
    • Subscriber
    • 17 May 2007, 19:30


    Dirty Projectors - supr, baví mě to, dík moc - kdyby se časem objevil link ještě na nějakou jejich desku, vůbec bych se nezlobil :)
    Velké poděkování také Mtymu za nejdivnější, nejnepochopitelnější a "vážně srandovní" (- doslova) desku od Leonarda Nimoye - nebo vlastně asi spíš od skutečného Spocka...Vulkánci mají také city, víte? Hluboko, ale jsou tam...:)) A když je rozčílí něco iracionální a nelogické, napíšou o tom písničku. (viz. track 12: "highly illogical")
    Stáhněte si to! Lepší než všemožný indie sračky.

  • oldies

    tady jsem pro nekoho stahoval a uploadoval dve sedesatky, ale mozna to nekoho z vas bavi:

    THE BYRDS - Mr. Tambourine Man

    SMITH - A Group Called Smith

    A stahnete si okamzite vsichni Dirty Projectors, je to dokonala kapela ...

  • ad Nimoy - Marty, tak ses konecne po sto letech vytasil s timhle svym tajnym objevem? :)))))

    • emobear said...
    • User
    • 22 May 2007, 18:59
    Noisewriter: ty voe, dobry!
    Lilac: No, Leonard je buh. Jdu stahnou ty Dirty Projectors, nechci te nastvat.

    my name is marty and i can party
    • daremes said...
    • Subscriber
    • 28 May 2007, 19:06

    The Ex - Turn (2004)

    Disk 1
    Disk 2

    Jelikož mi Mty nedávno oznámil, že se u nás objeví (v listopadu?) kultovní The Ex, uploadnul jsem v eufórii jejich zatím poslední řadovku "Turn", kterou nahráli s Albinim a vyšla myslím na Touch And Go.

    • daremes said...
    • Subscriber
    • 30 May 2007, 16:08

    Throwing Muses (1986)

    Podle mě jedna z nejlepších desek "alternativního rocku" vůbec.
    (Ne)uvěřitelná atmosféra, kterou dakázala tato převážně ženská kapela vymáčknout z klasického "písničkového" přístupu k hudbě ve formaci dvě kytary, basa, bicí...
    4ad klasika.

    Throwing Muses' self-titled 1986 debut is still a startling collision of punk energy, folky melodicism, and Kristin Hersh's mercurial voice and lyrics. The violent, vibrant mood swings on songs like "Call Me" are a testament not only to Hersh's unique talent, but the elasticity of Tanya Donelly, David Narcizo, and Leslie Langston's playing. Even if the volatile moods on songs like "Hate My Way" aren't easily understood, they're easily felt; the twists and turns "Vicky's Box" and "Rabbits Dying" take are guided purely by the intense emotions they carry. Throwing Muses is almost as varied musically as it is emotionally, ranging from the scary punkabilly of "America (She Can't Say No)" to "Stand Up"'s angular, acoustic post-punk to the cathartic thrill of "Delicate Cutters"'s unsettling folk. Donelly contributes the surreal, ethereal love song "Green"; even at this early point in the Muses' career, it's clear that she is a more accessible, straightforward songwriter, despite the care taken to make the song sound more like the rest of the album. A powerful debut, Throwing Muses puts the work of most self-consciously "tortured" artists to shame; its fluid, effortless emotional shifts may not make for the most accessible music, but they're unquestionably genuine. ~ Heather Phares, All Music Guide

    • daremes said...
    • Subscriber
    • 30 May 2007, 16:31

    John Zorn/Fred Frith - The Art of Memory

    Pro fanoušky Johna Zorna a Freda Fritha je tahle deska klenot. Myslím však, že by mohla zaujmout nejen fandy volné improvizace a free-jazzu. Nástroje jako kytara čí saxofon mají své limity, to je jasný, ale zdá se, že těmto akademikům to nikdo neřekl...
    Kromě několika desek Dereka Baileyho se jedná o špičku svého žánru! (Noise?!)

    Based upon the ancient Roman methodology for remembering architectural sites and the meanings built into their structures, guitarist Fred Frith and saxophonist John Zorn pull out all the stops in creating a body of improvisation that does not rely on symbolic invitations or responses, but is instead a collaboration that builds an imposing musical structure from forgotten trends, hidden sonic languages, and metaphorical tonal construction. From the opening moments of "The Combiner," where Frith twines his guitar from the table into a rope with Zorn's microphonics and multivalent scalar invention, you can hear a sort of communication being authored just beyond your reach. That the dynamics of the collaboration match so perfectly, offering glimpses of both restraint and tension before obliterating them with humor and pure aggression, should be no surprise -- the pair sought to do this from the outset. In "The Ladder," Frith moves himself into a corner with funky soul chords and splattered arpeggios that Zorn picks up and transforms into a mutant vanguard swing. The tempo is dizzying as Frith rips open his chords for their found sonic elements and Zorn goes in to shore up the idea, flipping it over and turning it inside out as only a master improviser can do. By the time you reach "The Fountain and the Mirror," the players have switched roles many times, each playing support and leader, turning what were merely notions for collaborating along a certain path into audible bodies with their own pulses, minds, and blood. This is a revelatory album, and a near matchless collaboration. ~ Thom Jurek, All Music Guide

    • daremes said...
    • Subscriber
    • 30 May 2007, 16:39

    R.E.M. - Monster (1994)

    Jedna z mých nejoblíbenějších od R.E.M. Jsou tam spíš nářezovky...

    Monster is indeed R.E.M.'s long-promised "rock" album; it just doesn't rock in the way one might expect. Instead of R.E.M.'s trademark anthemic bashers, Monster offers a set of murky sludge, powered by the heavily distorted and delayed guitar of Peter Buck. Michael Stipe's vocals have been pushed to the back of the mix, along with Bill Berry's drums, which accentuates the muscular pulse of Buck's chords. From the androgynous sleaze of "Crush With Eyeliner" to the subtle, Eastern-tinged menace of "You," most of the album sounds dense, dirty, and grimy, which makes the punchy guitars of "What's the Frequency, Kenneth?" and the warped soul of "Tongue" all the more distinctive. Monster doesn't have the conceptual unity or consistently brilliant songwriting of Automatic for the People, but it does offer a wide range of sonic textures that have never been heard on an R.E.M. album before. ~ Stephen Thomas Erlewine, All Music Guide

    • V---a said...
    • User
    • 31 May 2007, 23:51
    Jéé, zrovna tyhle Throwing Muses už jsem strašně dlouho nemohla najít, takže jsem se asi před týdnem smířila s tím, že jsem je definitvně ztratila... a!
    Tady je jasně vidět, že mám očividně nějakou protekci "tam nahoře".

    • emobear said...
    • User
    • 1 Jun 2007, 22:31


    V---a said:
    Jéé, zrovna tyhle Throwing Muses už jsem strašně dlouho nemohla najít, takže jsem se asi před týdnem smířila s tím, že jsem je definitvně ztratila... a!
    Tady je jasně vidět, že mám očividně nějakou protekci "tam nahoře".

    Podepisuju. S tím rozdílem, že jsem znal jen sólovky Kristin Hersch a chtěl jsem se dostat i k Throwing Muses. A hned na první poslech se ze mě stal fanda. Tohle je ještě lepší! Monster taky celý neznám a jsem na to dost zvědavej. A ten Zornův noise už podle konceptu vypadá taky dost zajímavě. To zas bude stahování....Díky! Díky!

    my name is marty and i can party
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