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TCM
 
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Inläggav TCM » 2012-11-24 23:42

phloam skrev:
FalloutBoy skrev:Här är iaf ett livstecken från mig


Härligt att se, vågar påstå att jag inte är ensam om att ha undrat och saknat tipsen ::)


Inte ensam sa Bull :)
When routine bites hard

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Koffe
Redaktör
 
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Inläggav Koffe » 2012-11-25 22:53

Efter som jag älskar den här filmen:

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Hittade jag:

Jocelyn Pook - Untold Things. Grymt! Lyssna nu. Annars skjuter jag valpen.

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phloam
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Inläggav phloam » 2012-11-27 03:18

Tack Koffe! ruggigt bra :) Detta gillar du nog:

Ska tipsa lite utanför mina vanliga domäner så stäm mig om det blir fel;

James Blackshaw spelar 12-strängad gitarr på ett alldeles eget sätt, det är independent, det är Sylvian, det är.... ja, spännande och inte mossigt iaf :)

Love Is The Plan, The Plan Is Death (2012)
http://open.spotify.com/album/2NvPx9306CugZhaOqTH112
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eller kanske

All Is Falling (2010)
http://open.spotify.com/album/0nBMqusMqnOvYBZHXBHp5i

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phloam
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Inläggav phloam » 2012-11-27 03:34

FB, särskilt tack för Tim Hecker och Julia Holter, alldeles lagom experimentellt för mig :)

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FalloutBoy
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Inläggav FalloutBoy » 2012-12-01 22:12

TCM skrev:
phloam skrev:
FalloutBoy skrev:Här är iaf ett livstecken från mig


Härligt att se, vågar påstå att jag inte är ensam om att ha undrat och saknat tipsen ::)


Inte ensam sa Bull :)

Trevligt att höra. :D

Koffe skrev:Jocelyn Pook - Untold Things. Grymt! Lyssna nu. Annars skjuter jag valpen.

Jag lovar. 8O

phloam skrev:FB, särskilt tack för Tim Hecker och Julia Holter, alldeles lagom experimentellt för mig :)

Ingen orsak. 8)
Och tack själv för tipset om senaste från James Blackshaw. Hade missat den.

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FalloutBoy
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Inläggav FalloutBoy » 2012-12-01 22:28

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Crystal Castles - (III) (2012, Fiction)

Crystal Castles har just släppt sitt tredje album, (III), efter de två tidigare succéerna från 2008 och 2010. Det senaste albumet spelade de in i Warszawa, Polen och redan i somras fick vi ett smakprov på albumet när de la upp en kryptisk youtube-video till låten Plague. Duon, som består av Alice Glass och Ethan Kath, har med det tredje Crystal Castles-albumet bevisat att deras experimentella och elektroniska musik fortfarande trollbinder och fascinerar tusentals fans. Men det är inte enbart musiken som chockar; duon har också ett gott rykte om sig att ställa till med helt galna liveshower. Frontfiguren och sångerskan Alice Glass har för många blivit en ikon med sitt speciella, gotiska och ganska slitna yttre. Deras fans är hederligt hängivna till bandet, men hängivenheten går åt båda hållen. Under en period när de turnerade med det andra albumet bröt Alice benet mitt och till skillnad från andra artister ställde dem inte in konserter. Istället fortsatte de turnera trots att hon inte kunde gå ordentligt och showerna blev ännu mer spexiga.

Crystal Castles bildades i Toronto, Kanada 2004 när Ethan träffade den då 15 år gamla Alice som redan var med i ett punkband. Han såg något väldigt speciellt i Alice och bad henne sjunga ett antal låtar han hade gjort. Efter det hade duon inte mycket kontakt med varandra men Ethan lade, utan Alices vetskap, upp låtarna på nätet och låtarna började öka i popularitet. Snart var det ingen tvivel om att duon hade gjort något speciellt. Åtta år senare är duon precis lika heta som de var innan om inte mer och det efterlängtade tredje albumet har mottagits väldigt bra av både fans och kritiker. Alice Glass berättar bl.a. i en intervju att inspirationen bakom albumet kommer från många av de hemskheter som hennes vänner gick igenom sedan de skrev det andra albumet och det centrala temat i albumet kretsar kring begreppet förtryck. De flesta av låtarna är inspelade på endast en tagning då bandet anser att den första tagningen alltid ger det råaste intrycket. Crystal Castles har lyckats behålla det mystiska och speciella elektroniska ljudet som kännetecknar dem men har ändå mognat tillräckligt i sitt musikskapande för att skapa något som inte låter precis likadant som deras tidigare material. För många kan deras musik uppfattas som flera minuter av ett konstiga hopkok av ljud men om man lyssnar riktigt noga kan man hitta spår av rena melodier, distinkta betas och poetiska texter. Det finns verkligen en djupare mening med musiken som man finner om man låter de olika låtarna sjunka in och växa hos en. Crystal Castles är ett band som möjligtvis i framtiden kommer att betraktas som ett tidstypiskt kännetecken för vår generation och med det senaste albumet har de visat att de verkligen kan leverera bra musik.
-- http://radarzine.com/2012/11/crystal-castles-iii/


http://open.spotify.com/album/5Sb7q6PS9VSG7N8kUpJv1D

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Inläggav FalloutBoy » 2012-12-01 23:08

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AUN - Phantom Ghost (2012, Denovali Records)

AUN are a peculiar monster. The Quebecois duo of Martin Dumais and Julie Leblanc isn’t all that easy to categorise, as they’ve drifted between guitar drones and synth-based ambience since the inception of the band. Two things are certain, though: one, they don’t sound like anything else you may have heard, and two, they aren’t afraid to experiment. Yet despite the fairly wide palette of sounds they’ve treated us with thus far, they’ve always been pitch black in heart and soul.

Well, not quite so this time around. “Phantom Ghost” is nothing like AUN’s previous material; in fact, if there’s ever been a moment when this sort of music could break into the relative mainstream, this album would be it. The absence of deep drones, the addition of female vocals and disco-like beats… Afraid? Don’t be. This is no meagre attempt at reaching a wider audience. This is melancholy unleashed in all its facets: bittersweet emotions, psychedelic dreams, flashbacks of vague memories, only somewhat based on actual events. It’s a record that’s utterly emotional. This isn’t to say that all the dark magic AUN’s so good at creating has vanished. Not at all; for such a radically different-sounding record, “Phantom Ghost” has retained surprisingly much of that signature sound that the band is famous for. Somehow, although I can’t really put my finger on it, amidst that torrent of emotions unleashed upon the listener, there’s a distinctly AUN-ish vibe. You’ll recognise the same band that made “Black Pyramid” (Cyclic Law, 2010), just in a much more recognisable setting. This is one of the album’s most bizarre points – the band’s music has never sounded so accessible, yet, at the same time, there’s a whole new complexity to it.

The album opener, “Phantom”, has subtle female vocals at the forefront, backed by subtle synth-laden melodies throughout, instantly hinting that something has changed in the sound. Just when you’ve adjusted your senses accordingly to embrace the new sonic space, “Out Of Mind” explodes almost violently, like a supernova of creativity held back for too long. This erupting volcano of a song bustles with fragments of emotions just popping up here and there completely randomly, moving in all directions, while lavish streams of intensity rush down to engulf everything. The fact that it has an actual beat, rhythm and something of a chorus makes it so surprising and hypnotic, so intricately layered and dense, that there’s no chance you don’t end up completely transfixed and captivated by it. The rest of the album is essentially this eruption slowly subsiding, becoming calmer and calmer with each passing track, although this reduction in intensity doesn’t necessarily mean the same in complexity. It feels like browsing through an old photo-album, really – the actual photo is only half of what you’re really seeing. Think Celer, and you’ll have a fairly good idea of what to expect. Once the album has reached its end, AUN’s shift in sound will be the last thing on your mind. You’ll be too consumed by thoughts of how beautiful an experience you’ll have just witnessed.

Remember all those bands who’ve tried (and failed) to justify their self-imposed commercialisation by breaking the mould, freeing themselves from the shackles of their genre or evolving musically? Well, AUN have done all that, without compromising their integrity one bit. Every single note of this record drips with sincerity as much as with emotions. You can hear that this is what feels right for AUN at the moment. “Phantom Ghost” is dark, but a different kind of dark. The beautiful, masochistic, familiar dark. Why, just look at the cover.
-- http://www.fortheinnermost.com/2011/09/ ... ghost.html


http://open.spotify.com/album/6lTFGrDIWKyA2MFG28xfsg

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Inläggav FalloutBoy » 2012-12-05 14:59

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Cold Showers - Love And Regret (2012, Dais Records)

Cold Showers, a band formed in Los Angeles, CA in 2010, fuses the brash power of the shoegazers with the smoky compulsions of the no-wavers—Cold Showers would fit comfortably within the dusty catalog of Factory Records, if only for an industrial subtlety in terms of electronics and acoustics. A piston-precision rhythm section drives all these loud, crafty pop songs. This is the pervasive pop mode against which Cold Showers cast themselves, but they aren’t fired in steel to the darkside. Founding members Jonathan Weinberg, Jessie Clavin, Brian Davila, Renee Adams and Chris King, added since, have a lumbering, sometimes terrifying beast of a band—we’d be remiss not to follow its caustic, addictive trek.
-- http://www.daisrecords.com/


http://open.spotify.com/album/2ab5bIWfRt6oolnNoZRYcl

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Inläggav FalloutBoy » 2012-12-05 15:08

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Tamaryn - Tender New Signs (2012, Kemado Records)

Tender New Signs is the kind of record that exists where experiences connect to the senses, where memories emerge and bring with them all the feeling and imagery that had been resting just below the surface of consciousness. It’s the title of Tamaryn’s second album, in partnership with her longtime collaborator and San Francisco native Rex John Shelverton. Informing the layers and textures found on their debut full length The Waves, this new opus takes a bold step forward in structure and form. With it’s sky-gazing pop songs and impressionistic sketches of once well-guarded emotions, Tamaryn and Rex have created a defining work.

The roots of this musical partnership started over a decade ago. “Rex and I met in New York City where I was living in the early ‘00s,” says Tamaryn. “We bonded instantly and over time started sharing ideas for songs. Eventually we began to collaborate on some recordings, traveling between coasts until the project inspired me to move to California indefinitely.” These activities culminated in a slew of singles and the Led Astray, Washed Ashore EP. In 2010, Mexican Summer released Tamaryn’s critically acclaimed LP The Waves, a collision of hypnotic psychedelia and bittersweet dream pop.

Tender New Signs’ nine songs showcase stadium-sized guitars, surging with softly-lit, languid melodies and a familiar sense of purpose anchored by Tamaryn’s intimate vocal delivery and unmistakable presence. The choice to continue self production seems to be key in persevering their sound. Tamaryn explains how the writing process is intrinsically linked to the recording process, “Rex finds that getting in the studio and taking things apart to adjust the subtleties of their sonics inspires him to want to play guitar more in general, and therefore is probably the biggest influence on how we make music. We like the idea of seeing how far we can take what we have, and we work best together without too many other distractions. The Waves found us in this ‘minimal wall of sound,’ so we took that style and applied it to these more defined song structures.”

Tracks like “Heavenly Bodies” are anthems of surrender and reflection, while “The Garden” evokes those tiny moments of change when numbness gives way to feeling, and projects them into gigantic rock and roll epiphanies. Tender New Signs creates its own hope and transforms it into something sublime. “In making this record, I hoped to transcend the mundane world, by living in a new one of my own creation, ” Tamaryn says, “now it’s time to invite everyone else in it with me.”
-- http://www.mexicansummer.com/shop/tamar ... new-signs/


http://open.spotify.com/album/0vmVFmOBKo9kzyOwOteaR8

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Inläggav FalloutBoy » 2012-12-05 15:25

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King Dude – Love (2011, Dais Records)

To put it simply, King Dude’s Love may be one of the first truly American neofolk albums. Too often entrenched in the trappings of traditional English folk, neofolk artists have lived in the shadow of Death in June, Sol Invictus, Current 93, and the other monoliths of the genre for far too long. Undergoing a bit of a renaissance, artists such as Cult of Youth, Waldteufel, and Skurv are taking neofolk and twisting it into their own craven images. Influenced by tropicalia, punk, black metal, and anything else that may cross their ears, theres a generative spirit in all of these bands (and many more) that’s breathing life back into a genre that seemed to be dying with the retirement of the old guard. In the case of King Dude ( TJ Cowgill of Book of Black Earth, and creator of the brand Actual Pain), Love plays out like a Smithsonian Folkway recorded at an Appalachian Satanic commune. Dais records cites Woodie Guthrie and Johnny Cash as two prime influences on this record, but after a few listens it’s clear that his record is a paean to the apocalyptic spirit that inhabits the dark corners of this countries traditional music. There’s murder ballads, love songs to ghosts, spirituals about lucifer; though Cowgill hails from the rainsoaked Pacific Northwest, Love feels like a journey around the frost rimed back roads of all this countries forgotten towns.
-- http://www.cvltnation.com/love-king-dudereview/


http://open.spotify.com/album/205w3QAuhoqfGk8Z7tfWB0

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Inläggav FalloutBoy » 2012-12-07 23:36

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Will Samson - Balance (2012, Karaoke Kalk)

Just over one year after the release of his first vocal album Hello Friends, Goodbye Friends, 23 year old Will Samson presents a brand new album of his own personal fragile blend of experimental folk and ambient electronics. The record began its life in Summer 2011, whilst Samson was living in a tiny bedroom in a shared apartment with 5 other people. One of whom was Joel Danell – a wonderful musician from Sweden making music under the pseudonym of ‘Musette’. When Joel moved back to Stockholm towards the end of the summer, he kindly left behind a collection of old cassettes, a Tascam 8-track and a cassette deck for tape mastering – it was then that Will set to work on some new songs. Floating in a gentle haze of melodies, soft white noise & intimate tape crackles, Balance manages to retain the spirit of the aged cassettes and equipment it was made with, whilst offering something altogether unique & new.
-- http://boomkat.com/cds/586398-will-samson-balance


http://open.spotify.com/album/1K0PkdX4h8El1CqM5diuNI

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Inläggav FalloutBoy » 2012-12-07 23:52

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Dusted - Total Dust (2012, Polyvinyl Records)

Brian Borcherdt is best known for his role with admired Canadian electronica merchants Holy Fuck who have swept the world with their melodic and ambient sounds. Along the way he’s also managed some more lo-fi guitar-based singing and songwriting, as in the two Remains of Brain Borcherdt records and the ulitimate escape into the woods of 2008 solo outing Coyotes.

He has now teamed up with producer Leon Taheny to form Dusted, and the album Total Dust is the result. Recorded at leisure in Taheny’s garage/studio it occupies a musical landscape that’s many miles away from Holy Fuck. It has a lo-fi, ambient pastoral grunge tone to it, driven by fuzzy guitar and equally fuzzed-up vocals, with lyrics that are almost alt.country in their sense of longing and isolation, and tunes that creep up and grab you through the complex soundscape to stick in your mind.

The tone is set by the opener ‘All Comes Down’. With its Wistful high voice and an aching tune in the chorus, loss is in the air. This segues into ‘(Into the) Atmosphere’ which manages to combine a joyous catchy chorus and jangly guitar hook with an edgy atmosphere. ’Cut them Free’ is a hand-held whirling indie-cinematic song about something disturbing in the trees and in the air between two people. This slightly dreamy lyrical soundscape continues with songs like ‘Bruises’ – full of haunting melody and longing – and ‘Pale Light’, a beautiful ode of regret and incomprehension at the fizzling out of a relationship. ‘Property Lines’ gives a panoramic view of a huge landscape, with catching melody and guitar riffs that worm their way into your consciousness – like the best kind of Neil Young but with a dreamier voice. The title track ‘Dusted’ perhaps best sums up the record – a howling coyote chorus and brooding guitar strumming. The album ends with a quiet ‘There Somehow’ with an almost absent-minded fade out.

This is a great collection whose gritty grunge/pastoral sound and switches from huge vistas to acute personal detail will keep you gripped throughout. Underneath the fuzz there’s real yearning and attractive melody that burns through like sunshine in mist. One to be listened to a lot.
-- http://www.thelineofbestfit.com/reviews ... ust-101762


http://open.spotify.com/album/4hXTAkuVJAFFvj4ljGxCpv

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phloam
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Inläggav phloam » 2012-12-10 11:25

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http://open.spotify.com/album/2EfLTKrVDIwV2GIjNsLzjk

Snubblade över denna platta som innehåller snorbra drömsk elektronika - fynd! :)

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FalloutBoy
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Inläggav FalloutBoy » 2012-12-17 01:45

Kom på ett album jag borde postat i tråden för länge sedan.
Rekommenderas varmt! 8)

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Portico Quartet - Portico Quartet (2012, Real World Records)

Grand statements re how Portico Quartet are indubitably the success-bound new faces of jazz are ostensibly bandied about non-stop whenever they release a new album. Sure, they’ve come a long way: gone are the years and months spent busking outside the National Theatre; auspicious debut 'Knee-Deep In The North Sea' was nominated for a Mercury. But the crits’ predictions have never really foretold the truth: follow-up 'Isla' passed most of us by and the band has never truly broken down the barrier between jazz and pop. No one really ‘got’ mesmeric post-jazz.

But fast forward to now and the eponymous 'Portico Quartet' may have just flouted all that. For what we have here is an album which grabs the zeitgeist but still stays true to its roots: callipygously shuffling, painlessly seguing, mingling the darkest rags ‘n’ bones of dubstep, d ‘n’b and off-kilter jazz, all the while interweaving heck loads of new-found textures and electronics. It’s a forward-thinking game-change which feels rich, warm and – quite simply – astounding.

Fleeting opener ‘Window Seat’ is ambient but not exactly easy on the ear – creaking strings and spectral synths give way to clattering layers of fuzz. It’s spooky and cinematic like a curt Phillip Glass piece but as if its creator was brought up in a world teeming with Oneohtrix Point Nevers and Laurel Halos. Single ‘Ruins’, meanwhile, led by their trademark use of reverberating double bass and hang (the latter a 21st century Swiss-developed tuned steel drum-ish instrument), brings in a Jamie XX beat before a celestial tenor sax line soars high up above. Everything is beaten into a glorious pulp as the tune then climaxes in peals of Colin Stetson-worthy sax squeals.

And there is no subsequent chaff. Every track on this record is a standout, be it the booming bass swings and arpeggiating synths of ‘Spinner’, the 9-minute nuclear cacophony ‘Rubidium’, the croaky, morose narratives of guest vocalist Cornelia on ‘Steepless’ (“at the end of times…”, she ruefully repeats) or the wonky grooves of ‘City Of Glass’. In short – this record is a playful, daring and capricious listen, and one of the first truly remarkable records of 2012.
-- http://www.thisisfakediy.co.uk/articles ... o-quartet/


http://open.spotify.com/album/2Y83b1uzgf5pDfQHdFKgjm

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FalloutBoy
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Inläggav FalloutBoy » 2012-12-22 00:40

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Olan Mill - Home (2012, Preservation)

Home is the third album by Olan Mill.

Olan Mill is the recording project of UK composer and producer Alex Smalley, who to date has received rapturous acclaim for his work that holds a sublime measure between the realms of modern neo-classical composition and ambience. On Home, Smalley has mined his most expansive territory yet to create a thrillingly evocative and deeply felt body of work.

The tender clusters of sound that have defined Olan Mill’s tonal space take on a new soaring quality in using voice to propel Home with a new emotional surge. Alongside soprano Patricia Boynton featuring throughout, Smalley has assembled an ensemble of musicians playing woodwind, piano, pipe organ and violin to augment his guitar and field recordings. Together they combine for both moments of heart-rending intimacy and bursts of flowering, floating orchestral sound. Inspired by travels abroad, Home is a both an urban and exotic panorama, keening with waves of joyous energy and direct pulse, as well as the ultimate comedown from such pure euphoria. Recorded by Smalley in his home – a place lived in by his family in generations past – the album has an earthy air that magically weaves through its otherworldy radiance to portray the compelling dynamic at the heart of Olan Mill.
-- http://www.preservation.com.au/product/olan-mill-home


http://open.spotify.com/album/5o54QdgcfWnaYoxNIg4904

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FalloutBoy
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Inläggav FalloutBoy » 2012-12-25 16:15

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Grand Salvo - Slay Me In My Sleep (2012, Preservation)

Under the guise of Grand Salvo, Paddy Mann has established himself as a songwriter of unique heart and soul with a depth of lyricism matched by a warm but widescreen musical vision. 2009’s Soil Creatures sealed his reputation, being his most stark and concise statement yet. With Slay Me In My Sleep, Mann has crafted a song cycle narrative similar to his epic fairytale from 2008, Death. An exploration of time and memory, it is a tale of star-crossed lovers. A delinquent boy breaks into an old woman’s home and discovers an antique photo of a girl, instantly falling in love. When he returns again for the photo the old woman is waiting, and so it begins...

Set to expansive and joyous instrumentation, Slay Me In My Sleep is a lavishly decorated and unabashed romantic melodrama. Intricate percussion, harp, recorder and woodwind play to the quick, restless pulse of youth, while in the sparer settings cello, gentle guitar and delicate piano reflect the melancholy of old age and longing. Slay Me In My Sleep also marks the first use of an electric guitar in any Grand Salvo recording.

Slay Me In My Sleep was largely recorded and co-produced in Berlin by composer Nils Frahm, who has worked extensively with other singular artists such as Peter Broderick and Greg Haines. Frahm's exquisite piano work appears throughout, alongside vocal contributions by Heather Woods Broderick, Laura Jean and Luluc’s Zoe Randall.

After the masterful Soil Creatures, Paddy Mann has once again extended himself on Slay Me In My Sleep, telling a tale of strange love with vivid detail, whimsy and beauty, in the special way only he knows how.
-- http://www.preservation.com.au/product/ ... n-my-sleep


http://open.spotify.com/album/6OsxPeYx8NhlzF5lqYmDmB

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phloam
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Inläggav phloam » 2013-01-02 05:47

"Iswayski says ur good bread"

http://open.spotify.com/album/3LAELOKu3ANzThkzufje1Y

Detta är en samling..... eh.... weird... varierat...... umm..... äh, lyssna istället.:)

(hittat via nattens favorit KNOX som också är med)


FalloutBoy - långa titlar, det gillas :D (Gran Salvo) Tack som alltid :)

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Inläggav FalloutBoy » 2013-01-06 17:31

phloam skrev:"Iswayski says ur good bread"

http://open.spotify.com/album/3LAELOKu3ANzThkzufje1Y

Detta är en samling..... eh.... weird... varierat...... umm..... äh, lyssna istället.:)

Ok, jag får väl göra det då. ;)
Tack för tipset.

FalloutBoy - långa titlar, det gillas :D (Gran Salvo) Tack som alltid :)

Ingen orsak. :)

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Inläggav FalloutBoy » 2013-01-06 17:36

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Samantha Glass - Mysteries From The Palomino Skyliner (2012, Not Not Fun)

It's not every day you think to drop Religious Knives, Stereolab, The Velvet Underground and Peaking Lights in the same sentence but that's exactly what Beau Devereaux has done with Samantha Glass. After a handful of well-realized tapes on Digitalis, Golden Cloud and Not Not Fun, 'Mysteries from the Palomino Skyliner' is Devereaux first 'proper' album under the moniker and shows the gamut of his influence and reach. The production is skeletal and artfully restrained, but under the flurry of bitcrushed hats and a wave of syrupy synthesis there are real songs to be found. Like Stereolab, the lounge-esque production gives a melancholy resonance, but 'Mysteries...' really takes off when Devereaux uses his voice, lending the album balance and a cool, dry cynicism. An unusually downbeat album for Not Not Fun, but one that pays off in spades.
-- http://boomkat.com/downloads/570416-sam ... o-skyliner


http://open.spotify.com/album/6Y3hUtneglQuBac20WcG1c

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zidanefromhell
 
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Inläggav zidanefromhell » 2013-01-29 12:16

The knife släpper ny singel. Riktigt mörkt mystiskt och bra. Lite DAF möter Aphex twin.

http://open.spotify.com/track/2HTshH6gXxhS9hrqjGSSIR
"stewie just said that!"

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FalloutBoy
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Inläggav FalloutBoy » 2013-01-30 20:02

zidanefromhell skrev:The knife släpper ny singel. Riktigt mörkt mystiskt och bra. Lite DAF möter Aphex twin.

Vågat val av förstasingel. Ska bli intressant att höra albumet när det släpps.

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Inläggav FalloutBoy » 2013-01-30 20:05

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Talvihorros – And It Was So (2012, Denovali Records)

Talvihorros is London based composer Ben Chatwin’s study of guitar and electronics. Numerous techniques are used to coax a myriad of sounds from both acoustic and electric guitars. Home-made and vintage electronic equipment are used to loop, process and manipulate improvised material into dense and dark sound collages.

What started out as a personal challenge to make an album in 7 days grew into something else entirely. Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, 'And It Was So' features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola).

If last years album 'Descent Into Delta' was reminiscent of plunging into the murky depths, his latest offering 'And It Was So' evokes the expansiveness, dynamicism and density of the cosmos. Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully.

'Let Us Be Thankful We Have Commerce' was the inaugral, cassette-only release on London-based publishing house My Dance The Skull. It was composed as a response to the worrying grasp of consumerism over much of western society. Inspired by the first few Talvihorros live improvisational shows a small, primitave set-up consisting of guitar, mixer, casio keyboard, effects and percussion were used to create two long, vibrant and constantly shifting pieces. It now sees the light of day again as a limited 10'' rerelease via denovali records

Merging the textural noise of Tim Hecker with the psychedelic, guitar soundscapes of artists such as Barn Owl and Sun Araw.
-- http://denovali.com/talvihorros/


http://open.spotify.com/album/43u2z0VRCajGBgDpn4Htt6

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FalloutBoy
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Inläggav FalloutBoy » 2013-01-30 20:17

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Ian Hawgood - The Shattered Light (2012, Koen Music)

‘The Shattered Light’ is many things, all at once – the maiden release of a new imprint, a welcome return after a self-imposed silence, a sincerely personal project many years in the making, a tribute to loss, a reversion to a simpler technique. Also most importantly, music made for the sake of it, free of expectation.

The lengthy six tracks are the rumbling hum of a grand machine, cogs of plaintive guitar squall fed slowly through fizzing tape reels. A recent review used the word “icy” in relation to the tone; totally accurate, likening it to the detail of the intricate patterns of ice you scrape from your windscreen on a winter morning as heavy frost crunches underfoot.

Amongst many highlights, the twenty-one minute behemoth title track – buzzing hornets of choral guitar that dart between howling noise and anaesthetic silence. The album makes demands, many tracks requiring vigilant attention to be understood on their own terms. Within the hertz-y grumble of “The Truant Heart” the detail is startling, but if listened to without full concentration the effect is lost; a flickering trick of the light.

A Sistine Chapel of sound, needing readjustment of depth perception to appreciate; the ceiling, walls, windows, tiles, paint, architraves and tapestries all need the listener to stop and look up, to be quiet and stand still. When the effect breaks at the 1:30 minute mark in “Seas Of Silence”, the thud of returning to Earth is audible.

The project was completed with a self-imposed constraint: no digital trickery. It seems hard to believe, listening to the results. The far corners of the record have the textural complexity of diligent digital layering, but are in fact the actual physical depth of fragmentary sketches, captured without revision.
-- http://www.fluid-radio.co.uk/2012/07/ia ... red-light/


http://open.spotify.com/album/2cGnZWlbSY63PMg0MQ8uXi

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Inläggav FalloutBoy » 2013-02-01 14:25

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Heathered Pearls – Loyal (2012, Ghostly International)

Nestled under textured loops, there’s a sense of doom tethered to the dripping drones underlying Jakub Alexander’s ambient project, Heathered Pearls. The Polish-born Brooklyn transplant stitches a flecked tapestry of sounds with Loyal, steeped with intricacies and a restless fury underneath the surface.

An aesthetic and sonic unity dominates Loyal, from the cover art depicting Alexander’s own mother and aunt to the waves of ambience in all its forms, oscillating from distant white noise to pleasantly present in a seamless matter of seconds. Like building trust in someone, Loyal comes on slow. The more listens, the more the you become bound not only to the foundations of what loyalty is, but also the strained seams that challenge the binds themselves.

Two opposing forces dominate Loyal: ambience and noise. Yet the two fold gently into each other as opposed to becoming dueling forces, balancing handsomely to create what has to be a dream. The dripping keys of “The Worship Bell” fade in like a barely visible mist that envelops you whole, while the gossamer drones of “Steady Veil” and the trance-inducing lulls of “Ringing Temple” warp the senses much like fellow noise contemporary Infinite Body’s roaring drones do.

But it’s the quiet ones you have to watch out for, as the subtle elements of the softer tracks on Loyal are the most unsettling. Muffled keys in “Docile Touch” resonate with such visceral effect that it’s nearly uncomfortable, like standing in a room devoid of furniture. The volume of the instruments in “Precious Dive” increases but in the most minuscule of increments. By the time you realize where you are, you’re already submerged six feet under a cacophony of dissonance and distortion.

Loyalty’s spins are immersive and pining, and demand much of a listener who’s more invested in the search rather than the convenience. A sort of sonic diver himself, Heathered Pearls mines his craft at the darkest, lowest points possible — resulting in pearls whose luster borders on frighteningly beautiful as opposed to the delicacy they may initially imply.
-- http://consequenceofsound.net/2012/12/a ... rls-loyal/


http://open.spotify.com/album/5A7d6v0Z0rbqlU7izVpPof

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Inläggav FalloutBoy » 2013-02-23 21:54

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Torres - Torres (2013)

Mackenzie Scott's voice conveys raw, urgent desperation, the sort we flinch from instinctually and are attuned, on a primal level, to heed. It is an "I haven't eaten in three days" sound, pitched between stray-dog growl, moan, and sigh. If this voice appeared on a 3am voicemail, your blood would freeze. Like its owner, it fairly lunges to be heard.

Scott, a 22-year-old from Nashville, records as Torres. This is her first album. She recorded it mostly in single live-band takes, close-mic'ed, and many of the album's 10 stark, stunning songs are set for nothing more than a single electric guitar. The lyrics are full of tricky, messy subject matter-- loaded poses of female need, abjection, subjugation, dominance-- and Scott handles it deftly, furtively, like hot stones slipped from palm to palm, or a lighter flicked under a wrist. Her sure touch with these explosive subjects immediately puts her in the league of artists like PJ Harvey or EMA. Like them, she paints in whole-hand smears when the moment calls for it. Her ability to capture and sustain a single a spellbinding mood conjures the hypnotic hurt of the earliest, best Songs:Ohia or Cat Power. Her record is an overwhelming rush of feeling, and it connects with throat-seizing immediacy.

"Honey, while you were ashing in your coffee/ I was thinking of telling you've what you done to me," she murmurs on "Honey", over three muted implications of power chords. It feels like a depiction of a long-unhappily married couple, maybe, confined to a pair of armchairs, the woman silently glaring a hole in the man's oblivious head. The bass in Scott's voice deepens as the guitar flares, but the song never crosses over from "thinking of telling" to catharsis. "Everything hurts, but its fine, it's fine/ it happens all the time," she mutters; the woman remains rigid in her chair, teeth clenched, leaving claw marks on the arm rests. Often on Torres, Scott plays a coiled, hurt figure willing herself to find the courage to transform into a 50 Ft Queenie, and not quite succeeding.

The songs on Torres, accordingly, are not anthems. Scott recorded the album with minimal resources-- a touch of keyboard here, a cello stab there-- and the skeletal backing band feels less like an unfortunate imitation than the album's single best decision. Songs build and build and build and then die, gazing longingly at exhilarating emotional peaks just outside their reach. Like the woman in "Honey", they would explode, if only they had a little help.

The feeling is echoed everywhere in the lyrics, which take baleful stock of emotional wreckage like so many groceries strewn open on the lawn. "Moon & Back” is addressed from a mother to a baby she gave up: "I'm writing to you from 1991, the year I gave you to a mama with a girl and a son," she croons. Check the year and do the math; this isn't Scott’s baby, but this feels like her story nonetheless. "Little baby, if you're reading this/ You're probably all grown, the way most babies do/ I'm sure your eyes are still that pretty blue," she sings, and by the time the song reaches its emotional center-- "Your new family knows/ I did this all for you/ maybe one day, you'll believe them too"-- the song has has joined the Pretenders' "Kid" in a devastating lineage of songs: in which beleaguered moms sadly explain the inexplicable to their children.

The songs veer between rangy indie rock and hushed folk, unspooling in unhurried five and -six-minute lengths. They never insist on their structure, but eventually it becomes clear that they dip and surge at odd, intuitive moments, suggesting a creative songwriting mind. The music on "Chains" is little more than a single, baleful groan of cello, while scraped guitar strings that feel like ligaments tearing ratchets up tension in the background. The song drops off into a muffled-heartbeat blankness of a drum thud; Scott murmurs "Don't give up on me just yet," her voice hooded. The moment hangs, and you wait for the curtain to drop. It doesn't; the end comes two minutes later in a rude snip of the tape that startles me even at the tenth hearing. The mesmerizing lamp-glow of finger-picked guitar that opens "November Baby" could have shown up on an early Modest Mouse record. It is supported by nothing more than a handful of bass guitar notes, and each one hits at a moment of such breath-held sustained tension that it taps you in the solar plexus.

Corralling all of this is Scott's jugular-direct, impressionistic writing. She reels off gorgeous images like this one, which opens "November Baby": "His skin hangs on me like a lampshade/ keeping all my light at bay." Natural images fill her lyrics-- trees, rocks, seasons-- but they are subject to the same disappointments and rejections as the human world: on "When Winter's Over", leaves drop wearily off of sorrowful trees. On the closer "Waterfall", Scott eyes the ceaselessly tumbling water and sees suicide: "The rocks beneath they bare their teeth/ They all conspire to set me free/ I set my teeth and contemplate/ All the possibilities," she sings. The album fades out right before a Big Leap, fading out in a hum rather than a burst. As the tremolo'd guitar behind her dissolves into a fine mist, she either has or hasn't jumped, permamently suspended between doubt and release: "Do you ever make it halfway down and think 'god, I never meant to jump at all'?"
-- http://pitchfork.com/reviews/albums/17558-torres/


http://open.spotify.com/album/1EbIfYtE6PdK30IKwYBoKl

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petersteindl
Der Eiermann
 
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Inläggav petersteindl » 2013-02-24 02:02

Är det ingen annan än FoB som lyssnar på Spotify? 8)
VD Bremen Production AB; Grundare av Ljudbutiken AB; Fd import av hifi; Konstruktör av LICENCE No1 D/A, Bremen No1 D/A, Forsell D/A, SMS FrameSound, Bremen 3D8 m.fl.

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tvett
 
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Inläggav tvett » 2013-02-24 02:14

La till denna listan på min spotify, men lessnade då allt som läggs in är album, inte utvalda guldklimpar från dessa album.

Men tack ändå.
/J

Cygnus resurectum

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phloam
redaktör / tetra
 
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Inläggav phloam » 2013-02-24 02:31

Stopp där, detta är ett "ni måste lyssna!" tips, oavsett vem ni är eller vad ni gillar, bara klicka, orkar inte förklara varför, inget jobbigt bara nåt som sätter sig helt naturligt i hjärnan som bra musik gör:

http://open.spotify.com/track/32QzYpCg6ypP9vALdrh88a

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(Hauschka är egentligen en artist som spelar på preparerat piano, inspirerad av Satie och Cage m.fl. - vilket hörs i introdelen av stycket)


edit:

...från detta album, ej på Spotify tyvärr (ännu)

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Läs mer här!
http://pitchfork.com/reviews/albums/153 ... -amateurs/

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FalloutBoy
Musiktipsens mästare
 
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Inläggav FalloutBoy » 2013-02-24 15:51

phloam skrev:Stopp där, detta är ett "ni måste lyssna!" tips, oavsett vem ni är eller vad ni gillar, bara klicka, orkar inte förklara varför, inget jobbigt bara nåt som sätter sig helt naturligt i hjärnan som bra musik gör:

http://open.spotify.com/track/32QzYpCg6ypP9vALdrh88a

Trevlig remix! Snäppet vassare än originalet faktiskt. Tack för tipset. :)

...från detta album, ej på Spotify tyvärr (ännu)]

Det finns faktiskt:

Hauschka - Salon Des Amateurs
http://open.spotify.com/album/5g0sFvTq9qyPWlSo5MwPjq

och hela remixalbumet:

Hauschka - Salon Des Amateurs Remixes
http://open.spotify.com/album/6DPiMAV3BJld2gkfrTVSuL

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FalloutBoy
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Inläggav FalloutBoy » 2013-02-28 22:05

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Dan Friel - Total Folklore (2013, Thrill Jockey)

Formerly a knob-turner in the melodic noise rock band Parts & Labor, Dan Friel went solo with 2008's Ghost Town on Important Records and now moves over to Thrill Jockey for Total Folklore. He uses cheap keyboards, chained pedals, field recordings, and knick-knacks to brew his blown-out, euphoric tunes, and records them on an ancient PC. The precarious setup translates into punchy instrumentals instilled with the raw energy of punk. This is noise pop that doesn't stint on either side of the bargain, striking a perfect balance between cataclysmic and catchy.

Friel does not remotely fuck around in getting Total Folklore started: "Ulysses" is a beautiful bastard of a noise pop jam that lasts for almost 13 exhilarating minutes. From the filthy bass and shattering drums to his suspenseful squeals and wriggly neon accents, every part is vicious and volatile. Friel corrals all this unruliness with a heaving boom-clap beat that he keeps milling down to an earthquake-low rumble before rebuilding it differently, with audible allusions to prog, hair metal, trancy electro, and even 90s slacker rock.

Meting out earworms and explosive drops until the end, Friel earns every minute of "Ulysses". It fills a good third of the album, and you might imagine it would leave you worn out for the remainder. But "Ulysses" is so energizing that the shorter tracks seem to whiz by, with plenty of highlights among the desultory interstitials. There’s "Valedictorian", a sweetly screaming anthem in the style of M83; "Scavengers", with its nasty groove and drunkenly weaving pitch, and especially "Thumper", where a touching melody ripples rapidly.

Still, no one could be expected to sustain the maniacal force of "Ulysses" for longer than Friel already does, and the following tracks can't help but pale a little in its shadow. They settle into slightly more prosaic electro pop proportions and cadences, becoming more reliant on distortion than structural instability. Long rows of evenly pulsing notes paired with streaming harmonies make for a low-stakes default mode. But when an album's mild downsides are all relative to its overwhelming strengths, it's hard to complain.
-- http://pitchfork.com/reviews/albums/176 ... -folklore/


http://open.spotify.com/album/2J6rwBCWh2S0LFD3Sl6ylp

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