Bombay bicycle club – flaws 2010


2010 release, a stunningly beautiful acoustic album by Bombay Bicycle Club. Having finished recording their debut LP I Had The Blues But I Shook Them Loose in February 2009, the band went straight back into the studio days after they submitted the master for I Had The Blues, and started the initial recordings for this album. Recorded in between touring over the past year and a half, a few early tracks were laid down at The Church and produced by Neill MacColl (guitarist Jamie’s dad), but the rest was recorded in singer, Jack Steadman’s bedroom and produced by Jack himself. Flaws is characterized by a delicate, heart-swelling beauty and lightness of touch throughout. This more stripped down, acoustic sound – though markedly different from the majority of their debut – isn’t new for the band, as almost every single they’ve released since their earliest days has been accompanied by an acoustic b-side.

http://www.mediafire.com/?uyqmmbtdmim

danny and the champions of the world – streets of our time 2010

highly recommended

not gonna tell you to much about it . just go and listen to it . he is a great song writer

http://rapidshare.com/files/341666040/StreetsTime.zip


deer tick – more fuel for the fire e/p

2009 Deer Tick’s More Fuel for the Fire EP tops off an explosive 2009 for the band that released Rolling Stone’s “country-rock breakthrough of the year” nine months earlier. Taken mostly from a month-long recording session in upstate New York nicknamed “The Black Dirt Sessions”, More Fuel for the Fire features three new studio tracks as well as a live version of “Straight Into A Storm” (from Born on Flag Day) recorded in Charlotte, NC at the Visulite Theatre. The songs have become staples of Deer Tick’s live shows over the past year, and are already fan favorites-and that’s who this one’s for…

http://rapidshare.com/files/315629191/deer_tick_-_more_fuel_for_the_fire_-_ep.zip

fyfe dangerfield – fly yellow moon 2010

Following Guillemots 2008 album ‘Red’, mercurial singer-songwriter Fyfe
Dangerfield has used the window of time created to spread his wings and
lovingly record his beautiful debut solo album ‘Fly Yellow Moon’,.

‘Fly Yellow Moon’ is written entirely by Fyfe and produced by Adam
Noble in Urchin Studios, London the same studios where Guillemots
recorded their first classic E.P. ‘I Saw Such Things In My Sleep’. The
10-track record startles from start to finish, magnificently eclectic,
warm and uplifting, haunting and melodic it sounds like a classic
upon its first listen.

Opening track ‘When You Walk In The Room’ (Free digitally track out
November 9th) strikes the perfect chord for the following nine sublime
tracks, capturing Fyfe’s truly remarkable voice, while flaunting his
daring, expansive and mystical songwriting.

The record flows with highlights including from the beautiful ‘So Brand
New’, the joyous ‘Faster Than The Setting Sun’ to the scintillating
‘She Needs Me’ (First single out January 11th) and the stunningly
reflective ‘Don’t Be Shy’.

Fyfe recorded the album in five days in what he describes as ‘the best
ever little studio’, which ended up being the happiest days he has ever
spent in studio land. The songs were written over a 12-month period in
snatched moments after soundchecks, before nights out, and after
moments of unmitigated lovestruck bliss.

He met up with Bernard Butler to mix a couple of songs (‘She Needs Me’,
‘Faster Than The Setting Sun’) on a 1960s-mixing desk to colour the
record in a different shade. The rest of the tracks remained just as
they were from their first recording session. “It often sounded best
this way, says Fyfe. “Capturing the moment they were recorded and not
being painted over too much.”

“A good time was had by all,” notes Fyfe, and we hope you do too!

http://rapidshare.com/files/336174943/fyfe.rar

monsters of folk – monsters of folk 2009

When M. Ward, Mike Mogis, Jim James, and Conor Oberst announced plans to record together, fans were quick to link the supergroup to the Traveling Wilburys, who blazed a similarly star-studded path 20 years prior. Truth be told, Monsters of Folk’s emphasis on harmony vocals and atmospheric arrangements has just as much in common with the work of Crosby, Stills, Nash & Young, even if the political concerns that grounded the latter group are largely absent here. Instead, the self-titled MONSTERS OF FOLK tackles religion, nature, love, and lust, with all four songwriters sharing vocals and songwriting duties. Mogis, who rose to prominence by playing a central but somewhat surreptitious role in Bright Eyes, receives slightly less screen time than the others, preferring instead to remain behind the scenes as producer and sideman. Even so, his guitar solo during “Say Please” is one of the album’s loudest, rawest moments, and his production helps draw connections between the album’s slew of songwriting styles and genres. “Folk” is defined broadly here, as the album encompasses everything from trip-hop to roots-rock to homely, homespun pop. Spread over fifteen tracks, the combination wears thin at several points, and several songs feel more like their creator’s solo work than a composite product. MONSTERS OF FOLK has moments on undeniable beauty, though, and when the musicians pitch their voices atop one another–as they do to notable effect on the gorgeous “Slow Down Jo”–the benefits of teamwork are more than clear.

http://www.mediafire.com/?znzm25mmvng

mumford and sons – sigh no more 2009

Mumford & Sons finally release their debut album Sigh No More under a tremendous weight of expectation.
Having been buoyed by the enthusiastic response given to their various single and EP releases, as well as comparisons to both Crosby, Stills and Nash and Kings of Leon, they have a lot to live up to in ensuring the long-player realises the hype.
Fortunately, it does. While certainly perhaps more of an acquired taste given the propensity for country-tinged harmonies and banjo-heavy instrumentation, it’s a fine listen that signals the arrival of a major new talent.
Mumford & Sons are Marcus Mumford (vocals, guitar, bass drum, and tambourine strapped to his left foot and right), Ben Lovett (keyboards), Country Wilson (banjo, dobro, electric guitar), and Ted Dwane (bass)… and just from that roll call you can tell how musically talented they are.
Indeed, the scope of their instrumentation, and the way that they layer it into their engaging songwriting, is one of the major pluses of listening to Sigh No More.
Songs such as Winter Winds, for instance, contain a tremendously uplifting vibe courtesy of the keen mix of banjo and bass, while arriving in stark comparison to the more intimate likes of Roll Away Your Stone, which begins in utterly disarming fashion before opening up to grand heights.
The lovelorn White Blank Page is another tender slow-builder, with Mumford’s husky, lived-in vocals particularly effective in declaring his love against a slow-building instrumentation and ever more despondent lyrics (“oh tell me now where was my fault in loving you with my whole heart”). It’s a mini-epic and one of several highlights.
Another is former single Little Lion Man, a rousing a rampage about regret and unresolved heartbreak that contains thrilling banjo licks, and a rollicking sensibility that’s utterly infectious in spite of its downbeat lyrics.
The lyrics (“I really fucked it up this time, didn’t I my dear”) are also honest, heartfelt and pleasingly no-nonsense – and somehow designed to make you want to sing along.
And Awake My Soul is another slow-builder of terrifically rousing quality, unfolding into a foot-stompingly lively blend of banjo and percussion that enlivens lyrics such as “you were made to meet your maker”.
The album closes out with Dust Bowl Dance and the bluegrass After The Storm to ensure that it ends on as big a high as it began.
Mumford & Sons look like they’re here to stay… and should win countless fans along the way.

http://www.sendspace.com/file/64jk8c

sorry again its sendspace but mediafire playing me up today

the wooden sky – if i dont come home you know am gone 2009

woodensky

i seriously recommend this album to you guys . since changing there name from friday mornings regret to there new monic of the wooden sky they have been taken the folk scene by storm . hailing from toronto canada and fronted by . gavin gardener the wooden sky are heading for big times and giving this genre of music a much needed kick up the ass it was yelling out for .

http://rapidshare.com/files/266911010/the_wooden_sky_-_if_i_don_t_come_home_you_ll_know_i_m_gone.rar

langhorne slim – be set free 2009

langhorne slim

Something of a one-man mixture of the Cramps, Beck’s early indie records (circa One Foot in the Grave), and the soundtrack to O Brother Where Art Thou, singer and guitarist Langhorne Slim offers a sardonic, modern take on traditional folk, country, and blues. Fancifully dubbed “the bastard son of Hasil Adkins” in some of his early press releases, Langhorne Slim is in fact a Pennsylvania native who resettled in Brooklyn after his graduation from the State University of New York at Purchase. After a self-released demo garnered some local and online attention (as well as a semi-regular gig as the opening act for indie novelty outfit the Trachtenberg Family Slideshow Players), Langhorne Slim signed with the indie label Narnack Records and released his first EP, Electric Love Letter, in March 2004. The more varied and band-oriented full-length When the Sun’s Gone Down followed in the spring of 2005. Much touring ensued over the next year, including support dates with Lucero and Murder by Death, with drummer Malachi DeLorenzo and upright bassist Paul DeFiglia (aka “the War Eagles”) in tow. In 2006, Langhorne Slim signed with the larger (though still not major) label V2 Records, which released the all-new EP Engine in September of that year, as the singer was finishing recording his second full album, produced by Josh Ritter’s keyboardist, Sam Kassirer. The deal fell through, however, and the band was left labelless. Langhorne Slim found a new home on Kemado Records, who released the self-titled album in the spring of 2008

http://rapidshare.com/files/285417599/langhorneslim.zip

10 songs hand picked by vetiver (mixtape series)

vetiver

 

Andy Cabic of the San Francisco based group vetiver hand picked these 10 songs to compile a great mix tape . there is some rare country folk tunes on here so i recon you guys need to grab this .

mixin with vetiver

http://www.mediafire.com/?mo2mqznyggm

mazes – mazes 2009

mazes

debut album from mazes and i only stumbled across this by accident while trawling thru myspace . its a nice little album in the folk indie pop genre . i guess it would be nice if you have friends around and you want something easy on the ears that wont impose to much attention . my girlfriend really likes and and a bunch of her friends say its good . so if you wanna give your chic something its a safe bet .

http://rapidshare.com/files/230017820/maso.cantstopthenoize.rar

if your still not sure about it then check out there myspace

best song on the album for me is i have laid in the darkness of doubt

devendra banhart – nino rojo

nino rojo

With NINO ROJO, San Francisco Bay Area neo-folkster Devendra Banhart brings forth a companion to his acclaimed REJOICING IN THE HANDS, released earlier in 2004. Sitting barefoot by the metaphorical campfire next to Beck, Tiny Tim, Karen Dalton, …    Full Descriptionand Vincent Gallo, Banhart plays acoustic guitar and sings in a manner that’s quirky, catchy, and a bit spooky. Here the tunes range from loopy ditties (“We All Know”), warbled mantras (“Ay Mama”), and half-crooned/half-whispered sing-alongs (“A Ribbon”) to works that include a little help from his likeminded friends, including Vetiver’s Andy Cabic (“At the Hop”).

“Little Yellow Spider” comes off like a perverse Raffi record, as interpreted by Mississippi Fred McDowell. Later, Banhart channels the vocals of both Blind Willie McTell and Marc Bolan for “Noah,” which includes whistling and a mournful piano. The enhanced CD presents a great, “psychedelicized” video of Devendra and friends jamming on “At the Hop,” which will surely cause pleasant flashbacks for anyone who’s ever spent a weekend in a woodsy cabin full of hippies.

ok so a little different from what i have been posting but today has been a little weird for me so i got pretty drugged up and thought i would put this on my ipod . and it all made sense in the end to me . dont ask me to explain this album or even figure it out but it works when your tripping in the sun . do try it you may like it and i dont mean the drugs thing thats just my choice .

http://www.mediafire.com/?k9z42xnuu4y

bonnie prince billy – sings greatest palace music

 

 

bonnie

Those who like the earlier versions of these songs may take issue with the cleaned-up updates and how the steady vocals of Bonnie “Prince” Billy-era Oldham supplant his Palace-era yelp. But there is something undeniably intriguing about hearing … “Ohio River Boat Song” with a female backing chorus and weeping, countrified electric guitar, or rich strings and saxophone supplementing “Viva Ultra.” The songs themselves, of course, are strong as ever, and many Palace music devotees will enjoy hearing them recast. The top-notch production and country arrangements should win some new converts to Oldham’s back catalogue as well.

http://www.mediafire.com/?etzemtbgeyy

my girlfriend says to me everytime i put this album on “what the fuck is wrong with you ” cause everytime i put it on i drift into my own little fucked up world were nothing can touch me or even get close to me . this album is always guarenteed to take me to this next level i just sit chill out eyes closed and batter into the wine . go on try it you will love it

yeasayer – all hour cymbols 2007

yeasayer

If most recent indie music is suggestive of a stylistic revisionism from the very recent past, Brooklyn outfit Yeasayer stretches far and wide to vast musical vistas–combining various pre-modern and pan-ethnic traditions into their own volatile … brand of psychedelia. ALL HOUR CYMBALS, the band’s debut release, hints at the spiritual possibilities of ritual music. Gospel-inflected chorales, chants, and whirling drones meld into powerful multi-part harmonies. But rather than succumb to cheap ethnocentric tropes, Yeasayer imparts a highly personalized aesthetic and symbology to their sonic omniverse.

A sense of existential dread and apprehension toward the hereafter characterizes vocalist Chris Keating’s lyrics. On the Celtic-folk dub number “2080,” Keating confesses, “I can’t sleep when I think about the future I was born into.” While interlocking polyrhythms and modal guitar create a dreamy tapestry of hazy psych-folk atmosphere, the chorus billows into a furious communal chant. But the album’s luminous spiritualism is best represented on the opening track, “Sunrise.” Tumbling tribal percussion and ominous organ drones create an unsettling atmosphere that eventually gives way to a transcendent, gospel-inflected vocal part. Reveling in music’s transformative, cathartic power, Yeasayer have crafted a bold, astonishingly original take on anthemic rock.

http://rapidshare.com/files/75140211/Yeasayer.zip

i stumbled across this band while i bought the mojo magazine this month . now i have seen them being hawked around but never really gave them a listen till it was on this free compilation and the track just blew me away . its called sunrise . even my girlfriend likes it and thats saying something

YeasayerSunrise (Black Dominoes Remix)

 

fleet foxes – fleet foxes 2008

fleet foxes

something for the weekend

this weekend for me has all been about the fleet foxes and it has got me through this weekend some nice wine and a little weed this will be looked at on years to come as a master piece and classic album if you dont have this already were the hell you been .

With their self-titled full-length Sub Pop debut, Fleet Foxes unveil an impressively confident and engaging set of indie-folk tunes. While singer/guitarist Robin Pecknold’s warm, resonant voice clearly brings to mind My Morning Jacket’s Jim …   James, his tight vocal harmonies with other members of the Seattle-based band evoke vintage Beach Boys more than anything else (see the airy “He Doesn’t Know Why”). And though the group’s gentle instrumentation and pastoral aesthetic affectionately acknowledge 1960s/’70s British folk, they steer clear of self-consciously quirky “freak folk” meanderings, and opt instead for immaculately crafted chamber-pop, best evinced by the swooning “White Winter Hymnal.” One of the finest indie releases of 2008, FLEET FOXES casts an undeniably enchanting spell.

http://www.sendspace.com/file/6mjkn1