Tuesday, May 31, 2011
Albums: The Great Polka Swindle
Release date: 2007
Quality: mp3 CBR 320
Size: 112 MB
POLKAHOLIX definitely prove that the best party music is polka with their incredible energy and musicianship. They bring a new life to the biergarden that is completely insane and irresistible. FUN is something often lacking in today's music, but POLKAHOLIX bring it back in a huge way. A non-stop polka party for everyone! ~ SCENE ZINE (USA)
Monday, May 30, 2011
Artist: Владимир Ойдупаа
Albums: Divine Music From A Jail
Release date: 1999
Quality: mp3 CBR 320
Size: 131 MB
Oidupaa Vladimir Oiun is a famous throat singer from Tuva (a southern Russian republic) who sings in the kargyraa style, a deep undertone technique. Oh, and he sings while accompanying himself on the accordion. Oiduppa’s singing is more emotional and less traditional than typical kargyraa but, then again, Oiduppa was a non-traditional guy, spending more than half of his life in jail. This song, written by Oiduppa and dedicated to the Tuvan people, comes from the album, Divine Music From a Jail. ©
Friday, May 27, 2011
Wednesday, May 25, 2011
Artist: Richard Cheese
Albums: Live At The Royal Wedding
Release date: 2011
Quality: mp3 CBR 320
Size: 84 MB
On 29 April 2011, Richard Cheese & Lounge Against The Machine were performing at the royal wedding reception for Prince William and Kate Middleton at Buckingham Palace in England!
The new "Richard Cheese: Live At The Royal Wedding" album containing live recordings from this historic performance, was produced and released mere days after the event, on May 1, 2011!
Monday, May 23, 2011
Sunday, May 22, 2011
Friday, May 20, 2011
Albums: Thai? Dai! The Heavier Side Of The Luk Thung Underground
Release date: 2011
Quality: lossless (FLAC tracks)
Size: 302 MB
It's possibly a misnomer to label music recorded outside of the USA or Europe with terms such as `psyche' or `surf' as it is often just a stylistic innovation based on exposure to foreign records via the radio or music stores. It doesn't necessarily chime in with any of the social shifts or changes that accompanied the music's development in the West. Even in America, the concept of teen culture was relatively new during the height of these genres popularity. People who could afford to take advantage of these new freedoms often had the financial cushioning to do so. This factor was amplified in South East Asia, and the music shouldn't be considered nationally representative - it's a more scaled down phenomenon, relevant to a small cross-section of society. By the same token, this wasn't just bland copycat music to widen a band's audience, or to entertain expat patrons in bars or clubs. This was a sincere desire to experiment and repackage local sounds without necessarily needing to make a statement. The musical information was processed and partially recast amidst a blend of local music and arrangements, transposed onto drums, electric bass, guitar and keyboards. Although in the mid-70s there was a wider protest movement in Thailand that found it's musical outlet in the `songs for life' of Caravan and Carabao, the music collected here was not part of the same aesthetic, although it's possible there was some musical overspill. The styles featured on this compilation fall somewhere between Luk Thung (`song of the countryside') and Luk Krung (`song of the city'). Bangkok was a particular melting pot for the evolution of these two genres, the former alluding to musical themes and lyrics aimed at the wider national population, the latter looking westwards with a more urban `sophisticated' audience in mind. The tracks here were experimentations or dice rolling by both little known groups, as well as established figures like Plearn Promdan. Some tracks might represent a specific artist's only foray into this musical area. Even within Thailand the majority of these tunes remain unissued, so it's with great pleasure that we present this glimpse of the strange underbelly of Thai Luk Thung in all its unique, original and outlandish glory - a small snapshot of an otherwise forgotten era.
Artist: Little Miss Higgins
Release date: 2009
Quality: mp3 CBR 320
Size: 130 MB
Little Miss Higgins- Live: Two Nights In March is the first “live” album from lead guitar player, singer and songwriter Little Miss Higgins. The album captures the vibrant energy of Little Miss Higgins’ live performance. Her partner in crime and guitar player, Foy Taylor, performs on both nights, including singing harmonies on a previously unreleased song, “Snowin’ Today: A Lament for Louis Riel”.
The first night in Saskatoon, Saskatchewan, and the first seven songs on the album, includes guest players Joey Lorer on bass and “Jimmie” James McKee on trumpet. It was a rowdy night at Amigo’s Cantina, one of Little Miss’ favourite places to play.
The Engineered Air Theatre in Calgary, Alberta set the stage for the second night to a sold out audience. Cedric Blary, of the High Water Jug Band, joined Little Miss and Foy to round out that old-time sound. They even performed the Memphis Minnie song, “Killer Diller”, impromptu and unrehearsed, which turned out to be a crowd favourite.
This album, comprised of songs from LMH’s first two releases (Junction City 2007 & Cobbler Shop Sessions 2005), also includes ‘live-takes‘ of two brand new songs. An engaging 54 minutes of music and storytelling, this album is sure to make you want to catch Little Miss Higgins “live” in performance! ©
Wednesday, May 18, 2011
Artist: The Johnson Family
Albums: No Forwarding Address
Release date: 2008
Quality: mp3 CBR 320
Size: 90 MB
Not many bands can boast a higher pedigree than the Johnson Family. Each member is a successful and well-respected artist in their own right. Nigel Lewis, one time original member of Psychobilly band The Meteors, as well as his other successes which include The Tall Boys, has maintained a huge cult following for over 25 years.
Ricky Lee Brawn was an original Stargazer who also founded The Space Cadets and The Big Six. Helen Shadow is a respected guitarist/writer/singer from The Queen Bees as well as solo work. Despite having released singles over the past 10 years, this is the bands first full-length album. It contains 14 brand new songs, never before released and all recorded at the skilled hands of Ricky Lee Brawn and his vintage equipment.©
Tuesday, May 17, 2011
Artist: Cyril Diaz & His Orchestra
Albums: Voodoo [10” EP]
Release date: 2011
Quality: mp3 CBR 192
Size: 18 MB
This four track EP, limited to 1500 copies, includes 4 orginal 1950s instrumental calypso recordings from Cyril Diaz who became renowned for the “rich and smooth tone” of his tenor sax playing. On this EP four of his tracks are presented including the traditional Cuban standard ‘Tabu’, the Haitian inspired ‘Voodoo’ and ‘Serenal’ with it’s alternate version ‘Chive Soup Merengie’ both derived from Trinidad’s Latin music tradition
Monday, May 16, 2011
Artist: Man Man
Albums: Life Fantastic
Release date: 2011
Quality: mp3 CBR 320
Size: 100 MB
Man Man are full of contradictions: They make great studio records that can't compare to the intensity of their physically demanding live show. Oh, but you really gotta pay attention to the lyrics. And their best songs are the slow ones. Their facepaint, percussion, and piano-pounding portray them as wild men, but Honus Honus' junkyard-dog howl is the projection of an old soul. This duality is more pronounced than ever on their fourth LP, Life Fantastic. On one end, it's by far their most tasteful and well-produced record to date. But it contains the darkest, most frightening lyrics Honus has written-- which is really saying something.
It makes sense that the band brought in Saddle Creek house producer Mike Mogis, not just for his mastery of reining in orchestral bric-a-brac but also for his experience with the most caustic emotional bloodletting. But not even early Bright Eyes can hold a candle to the absolutely scorching self-immolation of Life Fantastic. Leadoff "Knuckle Down" casts Honus as an all-too-willing supplicant in an emotionally and sexually draining relationship. But at least someone's getting their rocks off there-- more typical is the atomic "Dark Arts", which details an accident Honus suffered before the Life Fantastic sessions.
The autobiographical details are a bit stifling at times, but Honus' other lyrical subjects are no better off: Within the subtly hooky vocals of the title track, children find a corpse at a picnic and are informed by their parents that "the world is dying." If there's a better marimba-led tango about a killer who turns his victims into household items ("The fireman is an ashtray/ The DJ spins as fan blades"), I haven't heard it. And in the tradition of OutKast's "Toilet Tisha", don't let a silly title ("Spooky Jookie") distract you from a harrowing and grotesque account of a life slipping away to drugs ("She broke her teeth/ On an unsheathed piece of hard-tasting candy").
While Honus continues to prove himself one of rock's best working lyricists, Life Fantastic contains as many musically compelling moments as Rabbit Habits and Six Demon Bag. They've dialed down the wacky factor-- not as many cartoon voices, no kazoos-- though it's not a simple matter of having a "real producer" for the first time. Clearly, Mogis cleans them up nicely, importing lovely string sections for the title track and "Oh, La Brea". But for every song such as "Knuckle Down" that packs a sturdy, forceful melody, others struggle to fit the contours of Honus' syntax. Pay too much attention to the words and the songs can bleed into each other, or recall older Man Man material.
That's not a sin, considering Man Man have created a niche that's wholly theirs. It's natural for them to embrace this established identiy, most clearly expressed on closer "Oh, La Brea". Settling in Los Angeles after a few itinerant years, Honus finds himself disenfranchised by the west side ("Sepulveda and Pico, what the hell do they know about me?") as well as the artsier east side. He finds comfort in the thoroughfare sharing its name with a tar pit-- fitting for a pitch-black record that reveals as many skeletons as you're willing to dig for. ~ Ian Cohen
Artist: The People's Temple
Albums: Sons Of Stone
Release date: May 2011
Quality: mp3 VBR ~250
Size: 80 MB
On paper, the People's Temple might look like a band built from shopworn Nuggets-era garage and psych clichés. Their name comes from the cult that committed mass suicide in 1978. They're from a Midwestern town (Lansing, Michigan) like the McCoys and the Trashmen before them. They play grimy rock'n'roll with a sneer and without much thought about recording quality. But somehow, they manage to imbue these familiar elements with a healthy dose of personality.
"Sons of Stone", the title track from their debut LP, introduces the record with an over-the-top, middle-of-the-desert riff that plays on loop for the majority of the track. That hook is almost defiant in how catchy it manages to be throughout the song's five minutes, invoking a mutant strain of hazy, psychedelic sultan rock before cranking into some grunged-up power chords. Though there's plenty of gripping melodrama along the way-- see lyrics like "Would you even care if I died?" and the false ending-- the song's central groove is hypnotic and undeniable enough to hold it all together and make room for such theatrics. And while the People's Temple easily satisfy the "stare into the lava lamp" requirements as they douse everything in atmosphere, they also put the songwriting front and center, resulting in a track that feels grounded in the moment even as it nods to the past.©
Sunday, May 15, 2011
Wednesday, May 11, 2011
Monday, May 9, 2011
Albums: Anatolia Rocks: A Musical Trip Through Turkey Vol.1 & 2
Released: 2009 / 2011
Quality: mp3 CBR 320
Size: 153 + 119 MB
Anatolian rock (Turkish: Anadolu Rock) is a fusion of Turkish folk and rock music. It emerged during the mid-1960s, soon after rock groups such as The Beatles, The Rolling Stones, Led Zeppelin, Yes, Status Quo, and Omega became popular in Turkey. Examples of this style include Turkish musicians such as Cem Karaca, Barış Manço, Erkin Koray, Fikret Kızılok, Murat Ses alongside bands such as Moğollar, Kurtalan Ekspres, Mavi Işıklar, Apaşlar and Kardaşlar. Today, Anatolian Rock is a general term used to describe music derived from both traditional Turkish folk music and Rock.
Saturday, May 7, 2011
Friday, May 6, 2011
Artist: 17 Hippies
Albums: Phantom Songs
Release date: May 2011
Quality: mp3 VBR ~224
Size: 89 MB
Based in Berlin, Germany, the 17 Hippies started off in 1995 as a trio playing the otherwise unlikely mix of Cajun and Baroque music. Gradually, they expanded their line-up and eventually ended up as an orchestra consisting of twenty, sometimes even thirty musicians. Coming from different backgrounds like rock, jazz and classical music, the band members assimilated virtually any musical style available and blended all of this into their own unique sound. Thus, they feel equally at home whether playing at boisterous wedding parties or in the chamber music room. Appearances at the renown SXSW festival in Austin, Texas in 1998 or the simultaneous release of CDs in French, German and Italian in the respective countries in 1999 all contributed to the growing global reputation of this ensemble of world citizens. The band also pursued other projects such as the release of a book of music for children (1999) and the soundtrack for the Andreas Dresen movie Halbe Treppe (English title: Grillpoint) (2002) which won a prize at the 2002 Berlinale, the renown Berlin film festival, and is one of the highlights of post-reunification German cinema. ~ Frank Eisenhuth, Allmusic.com
Thursday, May 5, 2011
Artist: Salah Ragab & The Cairo Jazz Band
Albums: Egyptian Jazz 1968-1973
Quality: mp3 CBR 320 (vinyl rip)
Size: 91 MB
Drummer and multi-instrumentalist Salah Ragab was a central figure in the history of jazz in Egypt. A sometime collaborator with Sun Ra, Ragab founded the Cairo Jazz Band in 1968, the same year that he became the head of the Egyptian Military Music Department. The Cairo Jazz Band was Egypt's first big band, mixing American jazz with North African music, combining jazz instrumentation and musical style with indigenous melodies and instruments, like the nay (bamboo flute) and the baza (ramadan drum). Such musical cross-fertilization was not unusual in itself; American musicians from Sun Ra to Yusef Lateef had long been fascinated by the music of Islam and North Africa, incorporating both the instruments and musical forms of the Fertile Crescent into their work. But Salah Ragab’s music presents a topsy-turvied perspective, a view from the other side of the musical equation of West meets Middle East.
More importantly, however, The Cairo Jazz Band seriously swings. While there have been some tantalizing tidbits from Ragab available in the past, such as the Sun Ra Arkestra Meets Salah Ragab in Egypt release on Leo Records, this reissue is the first time such a wide variety of Salah Ragab and the Cairo Jazz Band's music has been made available outside Egypt. Collecting material from 1968-73, Egyptian Jazz is published by the UK imprint Art Yard, who have hitherto exclusively released an outstanding series of vinyl-only Sun Ra recordings. It's no surprise, then, that there's much here to appeal to Sun Ra aficionados, but with songs like the swaggeringly cocksure “Egyptian Strut” and blow-outs like the scorching “Ramadan in Space Time” and the ultra-groovy “Neveen,” this record more than stands on its own. As head of the Egyptian Military Music Department, Ragab had access to some of Egypt's finest instrumentalists, and he drew deep from this pool of musical talent. The ensemble playing is top-notch throughout and there are stand-out solos on flute, sax, and keyboards, notably on the percussion-heavy "Neveen." Susanna Bolle, Dusted
Artist: Holly Golightly
Albums: No Help Coming
Date of release: May 2011
Quality: FLAC (tracks)
Size: 226 MB
Holly Golightly was born in London and named after the heroine in Truman Capote’s novella Breakfast at Tiffany’s. She fell under the spell of American roots music the minute she heard her first Stax single and started her musical career playing guitar and singing in punk bands like Thee Headcoatees. Golightly started recording her own albums in the mid-‘90s, drawing on the American singles in her massive collection for influence. She was particularly taken with gospel, blues, and other styles of music from the American South, as evidenced by her original songs, which have a strong retro feel. In 2005, Golightly started performing as a duo with Lawyer Dave, a Texas born one-man band that plays guitar, drums, and occasionally the banjo. No Help Coming is the fourth album they’ve cut as a duo, with Golightly singing and Dave acting as another vocalist and backup band.
On stage, Dave is impressive as he plays drums and cymbals with various foot pedals and wails on slide guitar. It’s natural to think there’s been a bit of overdubbing on the record, although the liner notes are mum on this aspect of the recording process. Still, the duo is responsible for every note on the album, and they make an impressive amount of rhythmic lo-fi noise, emulating the sound of the blues, country, and early rock oldies that inspired their songwriting.
“Burn O’ Junk Pile Burn” opens with a clattering of junkyard percussion and a spooky slide guitar figure from Dave that intensifies the song’s cryptic lyric, the story of a woman trying to scrape by on nothing much. The tune’s vaguely Middle Eastern feel brings to mind the Coasters’ “Little Egypt.” The country blues of the Chess era are the obvious inspiration for “Get Out My House”, a variation on the traditional and oft-covered “Rollin’ and Tumblin’” sporting a catchy chorus and delivered with a jubilantly ragged energy. Dave sings lead on “You’re Under Arrest”, a rocking country-blues tune that details an arrest for drunk driving with plenty of dark humor and a great twang-heavy guitar solo full of distorted chords and gritty bent notes. Golightly takes vocals on the sultry, simmering “The Whole Day Long”, a bluesy song of infidelity. Dave’s erratic slide guitar accents intensify the tune’s sexual tension, while the lyrics are sung at a slow deliberate pace, making every word simmer with a combination of guilt and sinful satisfaction.
The album closes with two covers, Wavy Gravy’s “L.S.D. (Rock ‘n’ Roll Prison)” and “Lord Knows We’re Drinking”, a tune made popular by country crooner Whispering Bill Anderson. “L.S.D. (Rock ‘n’ Roll Prison)” is sung by Lawyer Dave and opens with an impressive psychedelic guitar freak-out, then morphs into a country murder ballad. Dave sings the tune with a cracked, shaky voice that sounds almost comedic, rather than dramatic, which was probably Wavy Gravy’s intent.
Golightly and Lawyer Dave sing “Lord Knows We’re Drinking” as a duet, and it’s one of the album’s most cohesive moments. Anderson’s morality tale is a variation on the Biblical admonition “Judge not lest ye be judged,” a reminder that heaven will welcome all sinners, be they drinkers or teetotalers. The tune has a clever lyric, underlining the problems songwriters face when trying to recreate the feel of yesterday’s hits, and a melody that jumps out at you with a strong tension and release structure. It stands as one of the best songs on the record, with an effortless flow that many of the duo’s originals lack. For fans of retro sounding lo-fi blues, however, there is much enjoyment to be found on the entirety of No Help Coming.©
Wednesday, May 4, 2011
Album: The Roots Of Chicha: Psychedelic Cumbias From Peru Vol. 1 & 2
Released: 2007 / 2010
Quality: mp3 CBR 192 / VBR ~250
Size:82 / 92 MB
Chicha started out in the late 60’s, in the oil-boom cities of the Peruvian Amazon. Cumbias Amazonicas, as they were first known, were loosely inspired by Colombian cumbias but incorporated the distinctive pentatonic scales of Andean melodies, some Cuban guajiras, and the psychedelic sounds of surf guitars, wah-wah pedals, farfisa organs and moog synthesizers.
Chicha, which is named after a corn-based liquor favored by the Incas, quickly spread to Lima. It became the music of choice of the mostly indigenous new migrant population – mixing even further with rock, Andean folklore and Peruvian creole music.
Very much like Jamaican Ska or Congolese Soukous, Chicha is western-influenced indigenous music geared toward the new urban masses who wholly identified with the new hybrid . Chicha is at once raw and sophisticated - and until now, it had never been released outside of Peru. more info