The Cumshots - A Life Less Necessary [2009]

Download this now for your own sake! This is music at its best. Rock combined with metal with gallons of emotion poured in. Catchy, interesting, complex, amazing. I can't stress how amazing this album is. Hailing from Norway you'd think with their comic name The Cumshots' music would be the same but this is not the case, it is full of profound music. If you like any rock or metal you have to listen to this, no excuse.

220+ kbps VBR

Re-upload notes: Uploaded due to request but I really do encourage everyone to download, and then buy, this brilliant rock album.


Mediafire

Lifelover - Konkurs [2008]

The best Lifelover album. Although Erotik is better-received, this has better songs. And when you're listening to this sort of combination of black metal and depressive rock, songs keep the album from descending into monotony (like this year's Sjukdom, which had good ideas, but none which were good enough or extended enough to make any individual song interesting). In particular, listen to 'Mental Central Dialog' and 'Cancertid'.

320 kbps

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Cows - Taint Pluribus Taint Unum [1987]

This will probably be the only album today, but I assure you, it's a cracker. I chanced upon it on the excellent No Beast So Fierce blog on his 'Left Field Sundays' series, so plaudits there. It's really good noisy rawk. Hugely entertaining.

192 kbps

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Lifelover - Erotik [2007]

It seems that in this day and age every man and his dog has formed a very strong opinion on Lifelover - apart from me. I think they're good, but nothing incredible. The reason why I'm posting them then? A recent bereavement amongst their ranks is one reason - but also to allow some more of my readership to form an opinion on them. This isn't my favourite album of theirs, but it's probably their most critically acclaimed. Essentially, their sound has elements of (depressive) black metal mixed with the hooks of rock - particularly the likes of The Cure. Not much more needs saying - it's an enjoyable album, but not one you're likely to want to listen to often.

~230 kbps VBR

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Deep Purple - Machine Head [1972]

Whether you like clean vocals or not, there is no question that Deep Purple's Machine Head was revolutionary in the development of metal - the likes of 'Smoke On The Water' gave the genre a little more mainstream credibility after the supposed 'satanism' of Sabbath, and the whole album had a rockin' vibe which, although inferior in my eyes to In Rock, has not been reached often since.

256 kbps

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REVIEW: Patti Smith - Horses [1975]

‘Jesus died for somebody’s sins, but not mine’. Thus opens ‘Gloria’, the opening track from Patti Smith’s seminal debut album Horses. The track itself is actually a cover of a Van Morrison song, originally written for Them, but Smith recreates it – including a reinvention of lyrics to include said opening line – in such an idiosyncratic manner that the song sits quite happily among the rest of the album, well-disguised as a Smith original.

But idiosyncrasy was always one of the main objectives of the then-budding punk movement; a fact which was somewhat forgotten by the better-known English bands after the original rush of ’77. Smith used the lyric as a method of rebellion against the institutionalized religion she felt had been forced upon her; the three-chord progression was the style which came to be known as the ‘punk style’, sure, but by the time the likes of the Sex Pistols attempted to see commercial success past the surprising success of Never Mind The Bollocks, their attempts fell flat – not so much, I believe, due to the lack of another full-length, but more so because the style had had its 15 minutes.

So when the Pistols came stateside, performing just down the road from Patti Smith one night and frontman John ‘Rotten’ Lydon talked about ‘some woman singing about fuckin’ horses’ (or words to that effect), it was evident that they had lost touch with the roots of the movement. The diversity in Smith’s influences is evident throughout this album – for instance, second track ‘Redondo Beach’ takes a bouncy approach akin to reggae, predating ska punk by several years, whereas the first 9-minute epic of the album, ‘Birdland’, is loosely based around a piano ballad throughout.

When she actually becomes violently passionate during a song, therefore, it comes as quite a surprise – the first chorus to ‘Free Money’ comes out of seemingly nowhere, as does the vocal attack when past the introduction to ‘Land’, which for all intents and purposes is the title track. The point is this; although the instrumentation is interesting, sure, the focal point of this album is Smith’s outstanding vocal performance – one which has not since been paralleled in popular music.

This performance demonstrates quite capability the sheer range of Smith’s vocal styles – although upon one’s first listen to the album, one might remember the ‘monkey noises’ during the chorus of ‘Gloria’ and Smith’s tendency to take her pitch sharply upwards at the ends of vocal lines, but equally memorable upon repeated listens are the cavernous vocals utilised in ‘Land’ and the percussive approach used in many verses, which really aids in the appreciation of the quality of the timbre of her voice.

In essence, the variation in this album means that the post-punk genre is here before much of the groundwork of punk itself had been laid down. It may seem strange, a ‘post-‘ genre being spawned before its suffix was fully created, but that is the only way to demonstrate aptly the full level of innovation of this album. This album was, and is, one of a kind. Patti Smith did indeed go on to make more wonderful music with the likes of Radio Ethiopia, but this is by a long shot her best. An absolutely wonderful album.

Download here.

Kyuss - Blues For The Red Sun [1992]

Josh Homme, for those who don't know, is most commonly known as the singer/guitarist/head honcho for Queens Of The Stone Age. Before that he was part of the heavy, stomping machine that is Kyuss and this album, Blues For The Red Sun, is by far my favourite of theirs.

This album is regarded as a seminal stoner rock album (along with Sleep's Holy Mountain (Persona 101: I disagree that Holy Mountain is a rock album, but whatever)) and it's easy to see why with the instrumentation/production. The guitar is a wall of chunky heavy sound, the bass rumbling underneath and a slight hollow sound to the drums creating a lazy attack on each beat.

Now a thick, heavy sound is all very well and good, but what of the songs? Well, tracks such as 'Green Machine', 'Apothecaries' Weight' and 'Writhe' should answer that question for you as most tracks on this album are very heavy and, perhaps more importantly, catchy .

Overall this is an album that is always heavy (but not metal) and mostly catchy/interesting. A criticism of this album is that it's a bit too long and by the end I find myself tired of the album (as the sound on this is album is pretty much constant).

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256 kbps

Marilyn Manson and the Spooky Kids - Family Jams [1992]

What is this? Marilyn Manson before he was known and hadn't the need to try to change the world or create things for the "music market"? Hell yes! At this time Manson had a almost democratic relation with his band and was satirizing America in a more humorous way that's clearly superior to his "serious" side, at least for me.

Mp3, 128Kbps

Mediafire (there's a "n" missing in the file name, but I noticed it after uploading it and I'm not uploading everything again)

Ghost - Demo 2010 [2010]

Apologies for the poor artwork quality.

Whatever you think of Ghost and their brand of rocky heavy/doom metal which just happens to be popular at the moment, along with bands like The Devil's Blood and Blood Ceremony, there is no denying that they are effective at what they do. However, this is unnecessary to all but the greatest fans, or those who don't have the full-length. It essentially sounds the same, but with poorer sound quality.

256 kbps

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REVIEW: Joss Stone - LP1 [2011]

This may be something of an oddity for this blog, but Joss Stone is probably my favourite female solo artist, which is quite the achievement considering up until about two months ago I hadn't heard any of her albums. But it's always nice when you start listening to an artist just as they're making a new album, as it means you don't have to wait long for new material.

Here then is Stone's 5th album, heralded as something like the third re-invention of her career, after exploring terrain such as traditional R&B and alternative hip-hop (as in 2007's "Introducing"). This album focuses more on the rock/funk side of the soul genre, with its share of ballads (such as the album opener "Newborn" and "Boat Yard") to the more aggressive tracks (such as "Karma" and "Don't Start Lying To Me Now"). That being said, Joss isn't exactly the heaviest of musicians, so perhaps 'agressive' is the wrong word. 'Fiery' may be more accurate, in a 'my lover left me but I'm still going strong' kind of way.

This album is full of traditional funky instruments, which give it a very warm feel. However, in some places (the track "Karma" being the biggest culprit of this) the electric organ and cheesy slap bass, combined with Joss' extremely feminine wails and moans make the music sound ever-so-slightly suspicious (at least, enough to turn the head of whoever's sat next to you on the bus when you're listening to it). Furthermore, on some tracks on this album you can really hear Stone straining her voice in ways she hasn't on previous albums, but then on others it sounds as subtle and reserved as it did on her debut, eight years ago.

For this album, Joss has teamed up with Dave Stewart (formerly of Eurythmics) which has resulted in an album sounding like it's being played live. Any studio wizardry that has been used has been very well concealed by the Stewart/Stone superstar production tag team. Other than that, there isn't really a great deal more I can say about the production, it hasn't exactly made the album but it certainly hasn't hindered it.

Overall then, this is probably the most fulfilling of Joss' albums so far (upcoming supergroup effort Superheavy notwithstanding), but even though it's a conscious return to more traditional R&B styles, it doesn't quite nail it in the same way as "The Soul Sessions". Lastly, in the wake of fellow 'Soul-er' Amy Winehouse's death, where everyone is going out and buying "Back to Black" again, if you want a much more consistent and - frankly - much better soul/R&B album, get this instead.

8/10

Thin Lizzy - Live and Dangerous [1978]

Referred to by many as one of the greatest live albums of all time, "Live and Dangerous" fully captures what it must have been like to be at a Lizzy gig in their heyday. And although it has been quite obviously dolled up in the studio a bit, this album and its renditions of some Lizzy classics are simply great. A particularly fantastic part of the album is "Cowboy Song" and how it seamlessly blends into "The Boys are Back in Town".

As you can probably tell, I love this album and think that you most likely will as well.

M4a, ~320 kbps (VBR)

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Thin Lizzy - Jailbreak [1976]

Although Thin Lizzy these days is little more than a glorified tribute band, back in "the day" they were one of the best rock bands in the world. And they certainly do their best to live up to that status on this record.

Containing such classics as the title track and "The Boys Are Back In Town" (arguably one of the most iconic songs of the '70s), this album brilliantly showcases the writing and playing talent not just of frontman Phil Lynott, but also Scott Gorham and the two Brians. As a result, this album remains as enjoyable to listen to as it is catchy. An absolute must for any music fan.

Mp3, 320 kbps

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Tom Waits - Mule Variations [1999]

Tom Waits.You may not know this old american singer, you'll never forget his voice, described as sounding like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car. Singing since the seventies, he composes all his songs himself, or sometimes with his wife, and he is not afraid to explore some experimental sounds, usually evolving in a sort of gloomy blues, sometimes rock influenced or jazzy. What about this album? It marks the return of Tom Waits after seven years of silence. Apparently, these long years have saddened the old man... As shown in the cover, the mood is not conducive to smiles. This album sweats sadness, darkness, and melancholy. However, even if it sounds sometimes disturbing, uncomfortable, you'll always find a kind of beauty trough the songs...A masterpiece.

MP3, 320kb/s

Mediafire

Radiohead - Amnesiac [2001]

This is my personal favourite Radiohead album. This being due to its fine balancing of experimentation and the songs that put Radiohead where they are today, it's not one to pass up.

160 kbps

Link taken down. Comment to see a reupload!

Rammstein - Reise, Reise [2004]

Wee Xylem isn't the only one who enjoys the 'Stein from time to time around here! Except I personally prefer this album to Mutter, due to the higher quality of songwriting to be found. Like all Rammstein albums, the second half is full of filler, but the first 25 minutes is great.

160 kbps

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Radiohead - The Bends [1995]

This is not just an extreme music blog, and Radiohead are a band who I take great pleasure in listening to. This is a collection of great songs, and is not to be dismissed, despite the lower quality of their later material.

Similar artists: R.E.M., Thom Yorke, Snow Patrol (really, fuck knows)

160 kbps

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REVIEW: Iron And Wine - Kiss Each Other Clean [2011]

N.B. This is the first of a series of guest posts from HeySharpshooter.

Sam Beam, or perhaps better known as his moniker “Iron and Wine,” has been one of the defining artists of his generation. Beam’s first three musical outputs, the EP Sea & the Rhythm, his debut full length Creek Drank the Cradle, and his most beloved album Our Endless Numbered Days, brought American folk music to a new generation. Legions of lesser artists are still imitating his lo-fi, “whisper folk” sound even to this day.

It’s a wonder that Beam has spent the last 5+ years doing everything he can to escape the sound that made him so influential. It was obvious Beam planned to up the volume a bit in 2005 when he released the fantastic, bluegrassy Woman King EP early that year and then performed with Alt Country legends Calexico on the album In the Reigns. But fans were not prepared for 2007’s The Sheppard’s Dog, which had Beam completely abandoning his roots in favor of psychedelic Country rock and smoky Blues rhythms. It was a lot to take in for fans, and it left his massive fan base shell shocked. In the end, The Sheppard’s Dog proved both brilliant and folly: an album that makes a bad first impression but grows on you like weeds in a flower bed.

So the expectations for Kiss Each Other Clean, his newest offering, were obvious: another major step away from his whisper folk sound into another new sound. And indeed, Kiss Each Other Clean is filled with tracks completely different from anything Beam has ever done. It’s an album that is most defiantly looking forward, but also takes a deep, introspective look back on the sights and sounds of the past. It’s both a defiant challenge to long time listeners and a concession to their desires. And it is because of this contrasting focus that Kiss Each Other Clean is arguably Beam’s finest work. It’s an album that’s brilliance shines through instantly and enthralls the listener, begging them to delve deeper into it.

The albums opener, “Biting Your Tail”, shows just how far Beam is willing to go: an electronic, almost light rap/R&B tune with a head-bobbing bass line and plenty of electronic beeps and a heavy dose of synth. Beam rhymes through the whole song, playing up the hip-hop angle seemingly just to drive fans of his older material insane. Beam does not stop challenging his listeners here, however: “Tree By the River” is classic 70’s soft rock with a folksy undertone, “Me and Lazarus” plays up the funk to 11, and the albums best track, “Your Fake Name is Good Enough For Me” is filled to bursting with saxophones, jazzy electric guitars and funky percussion before evolving into an almost operatic Rock song that ends in a crescendo of static, blasting guitar licks and Beams falsetto hauntingly proclaiming “we will/become, become.”

Tracks like “Half Moon” stand in stark contrast to these to those songs: it’s classic Beam, just him, his acoustic guitar, a little piano and a little female back-up vox. Beam’s voice, which was once only a whisper for both stylistic and ability reasons, is stronger than it has ever been, and the only difference between “Half Moon” and the rest of Beam’s early catalogue is his strong voice, which now soars over the song as opposed to melting in with it. “Glad Man Singing” follows a similar path, and while “Godless Brother in Love” makes extensive use of piano and layered voices, the overall structure of the song would fit in perfectly with any track on Our Endless Numbered Days. The albums single, “Walking Far From Home” is a unique combination of both the new Beam and the Old: lyrically, its pure folk, but musically it’s a mix of drums, layered voices, synth, piano and guitar. It’s such a perfect unison of the two Beam’s as to be almost glorious(a certain Greatest American Artist of All Time keeps it from being great.)

Perhaps the saddest thing about Beam’s musical evolution is that so few seem to be truly enjoying it for the glorious transformation it is: his sudden shift in style has left a lot of his fan base cold and an unforgiving media furious. Where once Beam was named among the great songwriters of his generation, he is now an afterthought among most still bitter over the changes made. This has not deterred Beam in the slightest, and if ever there was a thing to be thankful for, it is that.

Grade: 10/10



No download presently available.

Blue Cheer - Vincebus Eruptum [1968]

Blue Cheer are somewhat unconventional, perhaps, for this blog, but they were instrumental in the development of metal; their proto-metal interpretation of 'Summertime Blues' herein was probably the heaviest thing around for its time, aside, of course, for the rest of this album.

192 kbps

Similar artists: Black Sabbath, Jex Thoth, Black Widow

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Ulver - Wars Of The Roses [2011]

This is the first album I have ever posted without hearing first, so the genre tags will be based on reviews, but Ulver have not yet released an album which is any less than excellent. Catch them at Damnation Festival in Leeds.

320 kbps

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EDIT: I've been listening to this over the past few days, and it is excellent. Well worth downloading.

XII Boar - XII EP [2011]

Yet another good EP - this one is very simply sludge with a bit of southern rock drawl (despite hailing from the UK), but it's well-done, and the likes of 'Train Wreck' have a 'don't fuck with this' vibe to them that sits very well with my ears.

320 kbps

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