320 kbps | 103 MB | LINKS
The Dears the release of their seventh studio album, ‘Times Infinity Volume Two’, due July 14, 2017 through Dangerbird Records. The album is the second installment of a two-album project from the Montreal band, following the UK release of much-applauded Times Infinity Volume One, with which the band made their return following a six-year absence, earlier this year.
French post-rock duo Birds-Storm’s latest work is described as “some live epiphanies improvised between Middle East and Europe during the year of chaos 2016.” They’ve painstakingly sculpted and woven together vignettes and movements for a monumental album experience.
At times, Oiseaux-Tempête nurture a seamless blend between a track that builds tension and one that releases it. The first two tracks, and the fifth and sixth, do exactly this, with each pair involving a free-time solo building into a deep groove. The sixth track is also elevated by Tamer Abu Ghazaleh’s soulful vocals.
Another strength of this record is the rich tapestry of references. “Carnival” includes a clip of Christian hymn “Wa Habibi” sung by famous…
…Lebanese singer Fairuz, Before going into a distorted synth riff and off-kilter drums. “Electric Resistance” opens with a bit of self-defense, and ends with a siren that blends into the next track. “The Offering” sets an excerpt of the Palestinian poet Mahmoud Darwish reading his own poem against a soundscape including some funky drumming and a 7/8 synth ostinato.
The 17-minute centerpiece, “Through the Speech of Stars,” boasts an explosive first movement and then falls back as the clues and songs of street protest passes by, leading to GW Sok’s dramatic reading from Darwish’s poem. White Man. ” Then, it builds back up to a pummelling climax worthy of Godspeed You! Black Emperor or Swans.
Fans of post-rock and experimental music styles, will devour the sumptuous textural palette this record provides. For those who seek political and personal truths, AL-‘AN! Also weaves critical dissent together with complexity and compassion. — exclaim
320 kbps | 101 MB | LINKS
On his latest Little Dog Records album, No Black No White Just Blues, Willie explores themes of loss and heartache, mostly with some kick ass beats and good lyrics. He wrote all of the ten songs on the album and that infuses the entire disc with his distinctive personality.
Lightnin’ Willie handles the guitars and vocals, and he’s joined by Producer Pete Anderson on bass and harmonica; Michael Murphy on piano and organ; Skip Edwards on Hammond B3 and accordion; Dona Oxford on piano; Jesper Kristensen and Jerry Olsen on drums; Ron Dziubla on sax and Luke Miller on strings on Thinking Of You.
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320 kbps | 106 MB | LINKS
Nick and Tyler form an alternative sound that balances sibling-blood- harmonies with their instrumental ensemble of guitars, mandolin, harmonicas and percussion.
320 kbps | 142 MB | LINKS
The Gospel Blues Volume One by Various Artists presents a solid collections of the best independent Gospel Blues song written. This Volume also includes 2 well known covers recorded and performed by Mandy Brooks. All the artists were brought to Bongo Boy Records with the collaboration from Bill Kenton from the popular radio station Bill and Kat Radio in Cincinnati, OH.
Tracklist:
01. Big Chris & D’Bare Bones Band – When Your Time Comes (2:48)
02. Barb Maxey – Day By Day (4:14)
03. Bob Birthisel – Walkin’ (To The Beat Of The Lord) (3:47)
04. Mandy Brooks – God Don’t Ever Change (3:20)
05. Terry Fellers – Lay Your Hands Upon The Rock (3:07)
06. Terry Fellers – He’s Alive He’s Alive (2:24)
07. Wily Bo Walker – Long Way To Heaven (Feat. The Brown Sisters Of Chicago) (4:12)
08. The Rev Jimmie Bratcher – Pray For Me (3:57)
09. Bill Irwin – Jonah (4:44)
10. Blind Dawg Ben Miller – I Need To Pray (5:18)
11. Gar Francis – God’s On My Side (3:31)
12. The Rev Jimmie Bratcher – One Rock (3:34)
13. The Hallelujah Blues Band – Saved From Hell (3:10)
14. Mandy Brooks – You Gotta Move (3:16)
15. Bill Irwin – Standing On The Rock (4:03)
16. K.L. Williams & Rebel Soul – If You Don’t Have Jesus (4:40)
mp3 320 kbps | 109 MB | LINKS
Tracklist:
1. Mike Zito, Sonny Landreth – Fortunate Son
2. The Mynabirds – Bad Moon Rising
3. Blitzen Trapper – Proud Mary
4. Spirit Family Reunion – Down On The Corner
5. Dead Man Winter – Have You Ever Seen The Rain
6. Leroux – Looking Out My Back Door
7. Duke Robillard – Who’ll Stop The Rain
8. South Memphis String Band – Up Around The Bend
9. Will Wilde – Susie Q
10. Smokin’ Joe Kubek – Run Through The Jungle
11. Kirk Fletcher – Green River
12. Trampled Under Foot – Born On The Bayou
320 kbps | 70 MB | LINKS
Violent Femmes’ ninth studio album and first full-length collection in more than 15 years, We Can Do Anything is among the most provocative and playful in the legendary trio’s remarkable canon. As the album’s title makes plain, the band – singer/songwriter/guitarist Gordon Gano, bassist Brian Ritchie, and drummer Brian Viglione – remains as intrepid and fearless as ever before, traversing genre and emotion via their immediately identifiable, still utterly idiosyncratic, mash of rambunctious folk, minimalist punk, cubist blues, cosmic jazz, and backwoods rock ‘n’ roll.
Produced by Jeff Hamilton – a longtime member of the Horns of Dilemma, Violent Femmes’ ever-evolving cabal of multi-instrumentalist backing musicians – and mixed by the legendary John Agnello (Sonic Youth, Kurt Vile, Dinosaur, Jr.), We Can Do Anything was recorded in studios in Brooklyn, Nashville, Los Angeles, Milwaukee and Denver, while on tour during the summer of 2015. The album’s cover image was drawn by Barenaked Ladies’ Kevin Hearn, who also contributed accordion, guitar, keyboards, and backing vocals on several recordings.
320 kbps | 254 MB | LINKS
Buffalo Tom (Bill Janovitz, Chris Colbourn and Tom Maginnis) formed at the University of Massachusetts at Amherst in 1984 – a breeding ground of post punk guitar bands like Dinosaur Jr. and Pixies. They thrived on college radio in the late 1980’s and toured extensively in Europe, the US, Australia and Japan. In 1992 the band recorded their third album Let Me Come Over with a varied group of songs they had been developing at home and on the road – mixing their live power trio sound with some more acoustic based guitar ballads. The album’s single “Taillights Fade” would become their signature song.
2017 marks the 25th anniversary of this album, and to celebrate, Beggars Arkive will reissue it together with a live album – in fact the first ever live release from Buffalo Tom. The show was recorded in early 1992 just prior to the release of Let Me Come Over at U.L.U. which stood for University Of London Union (and is now known as Student Central). The band mixed the live album at Q Division in Boston, and it was mastered at Abbey Road. The double LP contains 10 live tracks, and the cd + digital edition contains the entire show (17 songs).
Buffalo Tom have never really stopped making music or playing shows, and 2017 has seen them celebrating the album’s anniversary with commemorative live shows. For these shows, they have been performing two sets – the first being Let Me Come Over in full, and the second being favorites from throughout their career. They have also funded a new album via Pledge Music which will see release later this year.
On its first two albums, Buffalo Tom constructed towering guitar-scapes and mastered a naturalistic version of quiet-to-loud dynamics. So, for its third, we found Buffalo Tom shedding a bit, but not all of the skin it had worn and emerging with its charms more front and center. Let Me Come Over is the sound of the trio exiting the insular underground for the wide world of “alternative” rock–but more or less bringing its best moves along with it, too. Previously loosely linked with fellow travelers Dinosaur Jr. and Uncle Tupelo via a similar three-piece format, stunning depth of songwriting and association with Boston’s Fort Apache Studios–it’s not hard to imagine Buffalo Tom wanted to stake a claim stylistically. Yet, LMCO never feels like a break with the past, it’s a transition. Inside that abstruse cover are undeniably magnificent tunes.
“Staples” is emblematic of a band in flux with a grungy lyrical conceit rendered with hi-fi guitar squalls. It’s the first single “Taillights Fade,” however, where the band appears to find a new comfort zone, at an unhurried speed where Janovitz’s storytelling and car crash metaphors stand the best chance of making an impression. It plays with quiet-to-loud dynamics, and as for emotional expression, it swings for the bleachers–and a place on alternative rock radio. “Mineral” jangles in a similar vein and makes grand gestures. “Darl” and “Larry” (referencing the brothers from the Newhart show I always thought?) are solid but disparate cuts. Colbourn’s “Darl” feels a bit like an outlier with its thrashy feel–it sounds better louder. “Larry” has a sweetness to it that’s augmented by its busker’s strumming.
Released as a second single, “Velvet Roof” had given us a taste of what was newly possible, a hook-heavy stomper with a densely woven rhythm matched by tight lyric writing–each piece expertly crafted to go into the next, no frayed ends here–and a snazzy mix by Ron Saint Germain, a pro who would later bring out the best in Soundgarden. A wailing harmonica solo gives it all a swagger that’s kind of new for the band. “Stymied” summons the emotional intensity of Birdbrain–it’s probably the album’s darkest moment. Somehow both life-affirming and wistful “Porchlight” contrasts with the way “Saving Grace” blazes through the barroom like a ‘Mats tribute. There’s no filler to be found here. “Frozen Lake” sees the band caressing acoustic guitars in comedown mode.
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![DMC Re-Grooved Remixes Vol 4 [The Bootleg Sessions] (2017)](http://i.imgur.com/XWcUNr6.png "DMC Re-Grooved Remixes Vol 4 [The Bootleg Sessions] (2017)")
