???????????: Laos
??????: We Want It
????: Melodic Hard Rock
??? ??????: 1990
??????: FLAC (image+.cue, scans)
????????: Lossless
??????: 1.58 Gb
??: gigapeta/turbobit/katfile/depositfiles/uploadboy
320 kbps | 107 MB | LINKS
Tracks:
01. When a Good Dog Goes Bad 4:42
02. Storm 4:48
03. Take Care of Me 5:22
04. Tired 6:20
05. Spider on the Wall 6:18
06. Fairies Wear Boots 6:40
07. Mr. Green 6:44
08. Long Damn Ride 5:47
320 kbps | 86 MB | LINKS
Manchester trio Beach Skulls are back with their second album Las Dunas, the follow-up to the acclaimed debut album Slow Grind from 2016 which brought the band the attention of the likes of The Line of Best Fit, Clash, GoldFlakePaint and Under the Radar. Summery garage pop mixed with psych and dream pop influences, Las Dunas finds Beach Skulls refining and expanding their sonic palette, coupled with their strongest set of tracks yet and the band will be touring the UK and Europe around the release.
320 kbps | 81 MB | LINKS
Richard Edwards felt almost human when he returned to Los Angeles to record songs for what became Verdugo, out June 1, 2018. It’s the follow-up to the Indiana singer’s 2017 album Lemon Cotton Candy Sunset, a beautiful, personal release that was deeply unpleasant to make. Not only was he afflicted at the time by an intestinal ailment that often left him unable to stand, let alone sing, his marriage fell apart midway through making the album.
If Lemon Cotton Candy Sunset ended up being a record about letting go, Verdugo is the album where Edwards pulls himself up after falling down. “The making of it was kind of my recovery from all the stuff,” says Edwards, who worked again with producer Rob Schnapf (Elliott Smith, Beck) in L.A. “I went back and wasn’t as sick, so making the second one, and finishing it, was a much, much more joyous event.”
Verdugo features 10 new songs that showcase Edwards’ considerable and longstanding talent as a writer, and also a new way of singing: Edwards’ chronic pain meant finding a vocal approach that didn’t make him feel like throwing up. “I sing in a half-falsetto high range that came out of not being able to belt stuff out for a year,” Edwards says.
His new vocal style deepens the air of melancholy on the atmospheric “Strange,” takes on a wistful cast on “Beekeeper” over subtle drums and a distinctive guitar part, and is lifted aloft on a soaring blend of guitars, drums and backing vocals on “Minefield.” “They kind of disappear in this weird sky sonically now, because of this range,” he says. “They don’t feel rooted anymore, they fly all over, and that falsetto — if you’re looking at it as a picture, it goes higher up in the room than it used to.”
320 kbps | 164 MB | LINKS
Midnight Vinyl’s The Other Side is a passionate love letter to vintage American roots rock that will inspire you to dust off your turn table and play it loud.
Midnight Vinyl is
Eliot Wadsworth – acoustic and electric guitars
Lanny Ball – keys and backing vocals
Frank Sellman – lead vocals, acoustic, electric and slide guitars
Jaco Lindito – drums, percussion, acoustic guitar and backing vocals
Jay Kechejian – bass guitar
Samantha Murtha – lead and backing vocals
Horns on Speak It and We Alright arranged and performed by
Jason Polise and Ben Kibbey
320 kbps | 77 MB | LINKS
Butter is Karen Jonas’s third album and her first since 2016’s Country Songs. If you’re familiar with Karen Jonas you know exactly what to expect from her third album. She produces great country tunes with a knack for storytelling and she has improved all around on this record. There are even moments of ragtime blues, jazz and soul to give the album an old time feel. Butter has a running theme of circuses whether it’s the circus of life or the actual circus. Let’s dig a bit deeper into some of these tracks.
The title track of the album, “Butter” sounds like it would fit in a smoky jazz lounge room in the 1920’s complete with a full horn section. It’s a sultry track that needs a music video to match the visuals the song creates. Another favorite is “Gospel Of The Road”. It’s a country ballad for all the vagabonds that is about living the normal life while the dream of the road lingers. I also really like “Mama’s First Rodeo”. This pedal steel is thick on this track and it’s a good one. We all know the phrase that inspired this track and Karen Jonas does not disappoint delivering a great song based around that.
The album closes out with a trio of tracks that blend into each other for a grand finale. “Dance With Me” is another country ballad about how rough life is and challenges the rich to “step down from your mansion and dance”. It is filled with an optimism that quickly goes out in the next tracks. “Dance With Me” flows into “Mr. Wonka” which is a much more whimsical circus inspired tune. It uses the Wonka character to describe someone who promises false riches with all the fake flair and pomp and circumstance that you can buy on a budget. It takes the character of this trilogy of songs into the new and strange world they find themselves in when “Mr. Wonka” continues into the final ballad of “The Circus”. Here, the character finds herself actually drawn in the circus but does not find it as appealing as it looks from the outside. So in this trilogy of songs that are tied together, Jonas touches on the optimism one can have early on, even while dealing with hardships, the false promises of those that would try to lure you in and finally, the overall circus and how unappealing it can be to be actually in it. It is possible these 3 tracks could be touching on her feelings of the country music industry, but it’s done so in a way that leaves them open to the interpretation of the listener, which is very clever.
320 kbps | 85 MB | LINKS
Multi-instrumentalist Phil Cook announced the upcoming release of his second solo album People Are My Drug.The follow-up to Cook’s 2015 debut solo LP Southland Mission was produced by his brother (and Megafaun band mate) Brad Cook. The nine-track album includes contributions from Phil’s backing band The Guitarheels, made up of drummer JT Bates, bassist Michael Libramento and keyboardist James Wallace.
Phil Cook, who is also a recording and touring member of Hiss Golden Messenger, issued the following regarding the album’s lead single that Billboard premiered:
“Steampowered Blues” is the first song I wrote for People Are My Drug. I’ve long been drawn to the swing and swagger of New Orleans’ step rhythms. The left-right bass lines get my feet stepping, whereas the drums channel my hip movements and the weightless carefree melodies often coax my arms from my sides toward the sky. Lyrically, it’s playful in a way that I can get behind. Tamisha Waden and Chastity Brown’s vocal expressions are stunning. The payoff when Mountain Man enters at the end of the double-time chant makes me cheer every time. Within my mortal body and experience, this music is my church.”
320 kbps | 104 MB | LINKS
Tracks:
1. Tom Petty T-Shirt 04:37
2. So-Cal Smooth 03:24
3. I Feel You 05:06
4. A Road We Know Too Well 04:14
5. Driver 03:58
6. Two Rivers 04:18
7. Broken Glass 04:34
8. Beneath Perfection 03:38
9. The Garden 04:30
10. Boys in Bars 04:19
320 kbps | 462 MB | LINKS
A selection of 5 classic studio albums packaged together in a new slim line slipcase by the critically acclaimed progressive folk-rock group Traffic, whose members include Steve Winwood and Jim Capaldi. Includes the albums Mr. Fantasy, Traffic, John Barleycorn Must Die, The Low Spark Of High Heeled Boys, and Shoot Out At The Fantasy Factory.
320 kbps | 109 MB | LINKS
At the breakfast table, I mentioned that I was to review an album by Talitha Rise. Across the muesli, I learned that Talitha is a name taken from the Bible, a story about Jesus raising a young girl from the dead. I long ago gave up worrying about what biblical knowledge dropped out of my memory, if ever it was there in the first place, but I did wonder – momentarily – why I could not recall such a distinctive name. A mystery? Well not really, but certainly something else to attract me to Talitha Rise’s new album, An Abandoned Orchid House.
The production is a collaboration between Talitha and Martyn Barker, drummer, engineer and producer. It is his drumming and production skills, working with Talitha, that have created this sound, at times rock, at times African, at times Gaelic. A melting pot.
There is an overall sense of loss in the songs across the whole album, a sense that becomes apparent from the opening track. Orchid House is not so much about death as about abandonment, and subsequent decomposition – “Count the hours of decay”. Departures are explored too in Incantation whereas the intervening Valley (with lyrics by Kathryn Williams) points out that whilst there are big changes, departures, there are many constants. Some things are consistent like the change from day to night to day but some things change forever and this is “always a shock”.
The Lake is a return to the same idea but is also one of three tracks with a clear thread of water running through, the others being Lifeboat and River. It was River that first brought me to the album whilst looking for tunes for another project. A relatively common theme across many genres, rivers work well as allegory. On one level this is about relationships, but the chorus of “Suwannee, Walla Walla, Lackawanna, Susquehanna” introduces other aspects. These are rivers of the US, some heavily polluted, who may be running out of time. Another really interesting thing about this track is that it is reminiscent of those albums of South African musician Johnny Clegg, of the period in the eighties/early nineties, a real mix, now subsumed. More of the melting pot.
I said earlier that perhaps there was a mystery here and in fact, there is, though it is more of a conundrum. In 2015 Talitha Rise was interviewed by Paul Cox for Totally PC (YouTube) when that name seemed to be given to the band which really only consisted of Martyn Barker and Jo Beth Young. An Abandoned Orchid House appears to be by Talitha Rise, one person, i.e. Jo Beth Young. Jo, when not being Talitha Rise, speaks on non-duality and works with people seeking a life of simple beauty and joy. This part of her life, as Jo, clearly mixes with the musician, Talitha, and we find it in overt references to spiritual and philosophical subjects, such as Hungry Ghosts, or “Inanna, Inanna, Ishtar oh Ishtar” in Valley, and in deeper themes within the lyrics.
This explains why I thought that The Abandoned Orchid House is a much deeper and richer album than considered at first listening. It is full of personal loss, searching and eventual recognition, survival and even revelation. It is also full of broader themes, themes that are reflected in the often expansive production. This is certainly a move away from my usual preference. Here there is no intimate voice and simple guitar. Here there is big production, broad strokes, painting on a grand scale; not a miniature nor even a small portrait but one of those large canvases that dominate stairwells in grand houses. Talitha’s voice can at times be small and crackly, though never frail. There is a strength in it, and thus in her. When it is given full vent there is much more than a suggestion that the owner can stand in even the deepest of pits of emotion and sing her way out. This is an album that rewards listening and rewards well.
written by Richard Hollingum