Dröner Kebab
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otro que le va a hacer especial ilusion a dan horny:
eluvium / nightmare ending (temporary residence, 2013)
@2zgu1yne:
Nightmare Ending is the first proper Eluvium album released since 2010's Similes, the unexpectedly vocal-heavy ambient-pop record that simultaneously delighted and confounded longtime fans. But the Nightmare Ending story actually began years earlier, as it was intended to be the follow-up to the watershed album, Copia. Conceived as a way of helping loosen his self-imposed ideals of perfection, Cooper labeled each Nightmare Ending track as either a "dream," or an "imperfection" – a way of differentiating the philosophical concept of "dream vs. reality," couched in the more tangible technical distinctions of "flawless vs. flawed." With each progressive listen those differences naturally challenged themselves, and without relying on the standardized perfection protocol, Cooper became increasingly reluctant to release any of it. He shelved it, and pursued Similes instead. But Nightmare Ending wouldn't go away; it lingered in the back of his mind, the abandoned fruits of a truly worthwhile and noble journey towards a less creatively constraining mindset. Cooper returned to it with renewed vigor, writing and recording in a blur of time that spanned several years. The result is a body of work that encompasses everything remarkable about past Eluvium albums, executed more powerfully and poignant than ever before.
http://shop.temporaryresidence.com/trr214
david grubbs / the plain where the palace stood (drag city, 2013)
@2zgu1yne:
In plain and stately tones, a legacy is repossessed and a guitar tone is unleashed once again. Pop experiments with pop. Not all mid-life crises have to be so gauche, you know? This album is a class act — college credit will apply.
http://www.dragcity.com/products/the-plain-where-the-palace-stood
ensemble skalectrik / trainwrekz (emego, 2013)
@2zgu1yne:
Ensemble Skalectrik is a side-project of Nick ‘Ekoplekz’ Edwards. Previous emissions include the self-released psycho-geographical abstraction of “Snuff Mill Tapes” and a homage to Maurizio Bianchi via Feral Tapes. Focusing entirely on spontaneous composition and one-take improvisation, Ensemble Skalectrik represents the most raw, extreme performance-based electronic music in Edwards’ repertoire.
On ”Trainwrekz”, Edwards has dusted-off his turntables, grabbed a stack of old vinyl (mainly sound effects and easy listening albums), added a selection of sound-shaping devices (filters, equalizers, loop-pedals) and proceeded to record a series of delirious, derailed sonic sketches that sound like nothing else in his rapidly expanding discography. -
amada rachel…
rachel grimes / compound leaves (self-released, 2013)
@2qa0ad47:
Re-imagined versions of 5 songs from Book of Leaves, with 3 alternate perspective string-only versions.
http://rachelgrimes.bandcamp.com/album/compound-leaves-with-card-set
pharmaton complex. ojo a las contraindicaiones.
pharmakon / abandon (secret bones, 2013)
@2qa0ad47:
Margaret Chardiet was born and raised in New York City She has been making power electronics/death industrial music under the name Pharmakon for five years. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release.
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greg haines / where we were (denovali, 2013)
@22b0p3x9:
“WHERE WE WERE”, the new album from GREG HAINES, may come as a surprise upon first listen. The cascading strings that played such an important role in his prior work have disappeared, and in there place are intricate layers of tape-worn synthesizers. Any recordings of piano have been transformed and affected until their sound is at times barely recognizable. Moments of quiet, slowmoving textures can still be found, but they are nestled between upbeat, rhythmically-driven tracks that at times could even be considered for deployment on open-minded dancefloors. Although taking a year to complete, the nature of this record is born in its spontaneity and impulsiveness. The acoustic instruments such as piano, vibraphone and other percussion that found there way on to the album were not the result of months of composing - rather they were entirely improvised and often left completely unedited and raw. At first the idea was these rough tracks, full of noises and hiss, would later be re-recorded, but as the process drew on, it became clear that these kind of loose, half-thought moments were what defined the album - often “out-oftime” or “out-of-tune”, but always adding another dimension to the hazy, analog world of sound. This hand-crafted approach led to almost everything being constructed in the old-fashioned way; not with mouse-clicks, but with two hands moving dials and everything running to an aged tape machine.
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Tanto la peli como la BSO me tienen totalmente absorbido…
Shane Carruth - Upstream Color Score
https://mega.co.nz/#!3c9lAYyT!HnS5bGzj2PDt0pUzoLW0kGHXust-wawY-u4lddqn_T0 -
Maravilloso el de Eluvium.
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chris abrahams / memory night (room40, 2013)
@2fky9yrz:
Chris Abrahams’ Memory Night is his third edition for Room40 - Play Scar and Thrown preceding this album. Widely recognised as the pianist for Australian liminal improvisation trio The Necks, Chris Abrahams’ solo work etches out an entirely different universe. It’s a place that is entirely his own, unashamedly unique and at times startling - yet always alluring.
On Memory Night, Abrahams’ expands his sonic palette, building on the uneasy frontiers of the highly regarded Play Scar. Never content to revisit past glories, Abrahams’ charts course into unfamiliar sound spaces, where electronics and instruments meet in a constant state of tension and release. Nothing is quite what it appears upon first listen and as a result Memory Night demands an attentive ear.
Recorded across 2011 and 2012, Memory Night is a haunted series of compositions that provoke and compel. Chris Abrahams has created what can only be described as a profound rendering of contemporary composition - a powerful, yet delicate evocation of sound, where instruments and electronics melt and are reformed.
http://emporium.room40.org/products/512312-chris-abrahams-memory-night
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@bruce_billis:3nmu145d:
greg haines / where we were (denovali, 2013)
¡Muy bueno! Me ha gustado más que los dos discos anteriores, tal vez me parece más intenso.
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Joder! No funcionan ni el de Eluvium ni el de Upstream Color! No soy capaz de encontrar algún link que funcione. Si alguna alma caritativa los vuelve a poner estaría muy agradecido.
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el de eluvium te lo puedes bajar de aqui. el de la bso de upstream color todavia tira.
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@bruce_billis:2xshsr7z:
el de eluvium te lo puedes bajar de aqui. el de la bso de upstream color todavia tira.
Muchas gracias! Descargando eluvium.
Aunque el de Upstream Color sigue sin funcionarme, pero ya lo buscaré con calma cuando salga del curro. -
@Sr.:
@bruce_billis:qb72wrbi:
greg haines / where we were (denovali, 2013)
¡Muy bueno! Me ha gustado más que los dos discos anteriores, tal vez me parece más intenso.
Pués a mi el Digressions me rechifla, si este es mejor voy a darle ya. Y me lo llevo de finde de retiro espiritual.
@thepenalty:qb72wrbi:
@bruce_billis:qb72wrbi:
el de eluvium te lo puedes bajar de aqui. el de la bso de upstream color todavia tira.
Muchas gracias! Descargando eluvium.
Aunque el de Upstream Color sigue sin funcionarme, pero ya lo buscaré con calma cuando salga del curro.Tiene razón thepenalty y el enlace no es que de error pero se queda en 0% todo el rato.
edito para decir que si que da error: "No disponible temporalmente"
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Forsi, el de Greg Haines sorprende al principio por que es muy diferente al Digresions, con mucha más electrónica y perdiendo un poco el protagonismo del piano. Es algo más "experimental" pero a medida que lo vas escuchando va ganando enteros paso a paso. Por cierto que me he acabado pillando la caja de 5 vinilos que los de Denovali le han sacado, reeditando en vinilo sus trabajos anteriore que sólo habían salido en cd. Tiene una pintaza enorme
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Joder yo voy a por eso, estoy contigo Toxinho, lo escuché una vez y torcí la ceja, tengo que darle más oportunidades pero es que ahora Eluvium ocupa todas las velas que gasto por las noches (se acaban de colar Boards Of Canada), deu meu.
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Os dejo una cosita a la que le llevo dando unas cuantas escuchas las últimas semanas mientras espero que se edite nuevo material de él por separado o con Adam Wiltzie
Dustin O'Halloran - The Beauty Inside OST
http://www3.zippyshare.com/v/80512118/file.html
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Habeis escuchado el de Kareem?
http://www.youtube.com/watch?v=j1axVruK ... ture=share -
Shampoo Boy "Licht" (Blackest Ever Black, 2013)
@2pxxw0g2:
Blackest Ever Black's deep furrow of new releases in 2013 hits a huge rock in the soil courtesy of Viennese trio Shampoo Boy's fearsome 'Licht'. Combining the uncompromising talents of Peterlicker's Christian Schachinger and Peter Rehberg (Pita, boss of Editions Mego) with Christina Nemec (Chra/SV Damenkraft), 'Licht' manifests an excoriating blend of nerve-shredding noise and choking doom atmosphere evoking the intensity of Rehberg's aktions in KTL with Stephen O'Malley, or the gut-wrenching dynamics of Keiji Haino's trios with O'Rourke and Ambarchi or Pan Sonic when they drop the vocals and go quids-in for the most visceral, atonal guitar noise and electronics. Yet, there's also a sense of discipline, or dare we say Viennese manners which come into play across all four tracks, holding it back from freeform freakout or balls-out catharsis: behind the terrifying screech and cloud-of-flailing-knives distortion lie eloquent chord changes and gloaming harmonics. In 'Gift' the incessant hi-end peal is balanced with a bassline that could almost be from an early ambient AFX, and the chiming shimmer of 'Still' recalls a most reserved Fennesz or even Loren Norell's gamelan transformations. It's probably fair to say that this is one of Blackest Ever Black's most impressive releases to date, and if you know what that means…
http://uploaded.net/file/fpissopa -
Manel, el de Kareem no lo tendras en mp3, no?
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Vamos a hacerlo bien
Kareem "Porto Ronco" (The Death of Rave, 2013)
http://uploaded.net/file/1u7ogh5u
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