Mogwai - Hardcore Will Never Die, But You Will. [320][MP3]

Hardcore Will Never Die, But You Will. 

Label: Sub Pop Records
Format: CD, Album

Country: US

Released: Feb 2011

Genre: Rock

Style: Post Rock

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Mogwai never seemed like a particularly good bet to age well. They came out of the gate as a band that Meant Something to many people, namely fans of heavy guitar music and rock critics. They established a clear, identifiable, and exciting new sound, but their latest LP-- Hardcore Will Never Die, But You Will-- doesn't change the pattern Mogwai have set for themselves on recent, often middling, releases: There are some anthemic guitar blasts, some prettily drifting comedowns, and one or two vocal tracks.

The band has regained none of its prior fierceness, but Hardcore is, importantly, the band's least self-conscious album in ages. There are no attempts to be really heavy, man. There are no stale electronics. The songs that wander out of the band's comfort zone-- most notably the Neu!-indebted "Mexican Grand Prix"-- are the types of genre exercises a veteran rock band of Mogwai's stature should probably undertake. Hardcore feels comfy and lived-in, backhanded compliments only to those who didn't slog through The Hawk Is Howling and Happy Songs For Happy People.

The price for all this hominess is basically any lingering sense of mystery. Mogwai can chime away pleasantly during "Death Rays"-- featuring the band's best guitar lick in years-- but it can't turn "Rano Pano" into "Stanley Kubrick". This is fine, as long as we're willing to admit that we get different things out of Mogwai albums these days. This is a record of savvy rock vets kicking at distortion pedals until something frothy emerges. I'm on board if the results are going to be as page-turning-ly melodic as "How to Be a Werewolf" or as playful as the pitch-shifted "George Square Thatcher Death Party". The mistakes are easy to forgive: "White Noise" is the band's most vanilla opening track ever. The slide-guitar panorama of "Letters to the Metro" will still your blood just as surely as "Like Herod" once boiled it, but it's merely the type of innocuous doodling the band has long padded its albums with.

Mogwai's prior output and general demeanor has made it difficult for them to be a group that fans simply enjoy. The band built its reputation on sonic extremes, and that purview has infected their reputation: deliver a masterpiece-- I don't think they have it in them-- or suffer indifference. On Hardcore Mogwai sound like they're enjoying being Mogwai again. I'm ready to enjoy them being Mogwai again too.

Review by Pitchfork [http://pitchfork.com/reviews/albums/15100-hardcore-will-never-die-but-you-will/]

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Fifths Of Seven - Spry From Bitter Anise Folds [320][MP3]

Spry From Bitter Anise Folds

Label: Les Disques Du Soleil Et De L'Acier

Format: CD

Country: France

Released: 2005

Genre: Rock

Style: Post Rock, Modern Classical

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The sound of this band is one of the most touching compositions I've ever heard. They are 3 musicians that made a dream come true for lot of people that was hoping for some calm music to hear in the rain with your girlfriend. This album it's somewhat furious, delicate, in it's own way. I hope you love it.

Files as usually ripped from pure FLAC to MP3 with 320kbps.

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As you might suspect from a Montreal band issuing a record with an unwieldy title, Spry From Bitter Anise Folds is the work of another addition to the extended Constellation family of wayward instrumentalists. Providing the shortest ancestral link is cellist Beckie Foon, who has played with A Silver Mt. Zion and Set Fire to Flames, with pianist Spencer Krug (Wolf Parade, Sunset Rubdown, Frog Eyes) and mandolin player Rachel Levine (Cakelk) connected by slim degrees of separation as well. And though they utilize familiar ingredients, the trio's rigorous, European folk-inflected chamber music manages to sound quite distinct from anything else in their musical genealogy, resulting in this exquisite, understated pearl of a debut.

Given the high activity rate of all three group members-- Krug in particular is having himself one hell of a busy year-- their collaboration as Fifths of Seven risks seeming an afterthought or mere side project trifle, but there is no evidence on these eight collected pieces that anyone's talents have been spread too thin. Throughout the album the three each play with an intuitive delicacy that suggests many hours together in the rehearsal suite, with Levine's mandolin providing an earthy, vaguely Mediterranean air to dynamic compositions that can recall the small-ensemble works of Erik Satie, Gabriel Fauré, or contemporary acts like Rachel's.

On many of their best tracks here, such as the opening "Rosa Centrifolia" or the stately "Echoes From a Wandered Path", the music functions without a true center, as each instrument moves continually and transparently from foreground to rear without ever breaking stride. Witness also Foon's deft, sonorous playing on "Sweet Grace For Devious", as she glides in and around her cello's upper registers, sharing melodic duties with Krug's austere piano. For his part, Krug here appears to betray a preference for detuned upright pianos, as evidenced by his solo turn on "Waiting", which sounds as though it could've been performed on some old tack in an empty VFW hall.

For "Out From Behind the Rigid Bellows", Krug swaps piano for accordion, the three musicians conjuring the mesmeric groans of a ghost ship's riggings as it sails from one exotic port of call to the next, while on the closing "Bless Our Wandering Dreamers" they combine to join into impressively robust drones, distant strains of mandolin and cello hovering about the edges like the rapidly fading memory of a dream upon waking. Of all the tracks on the album, it's this final cut that most audibly contains evidence of improvisation, suggesting bold new possibilities for future Fifths of Seven projects, as hopefully the three musicians find time to become even further comfortable in each other's creative company.

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65daysofstatic - We Were Exploding Anyway [MP3][320]

We Were Exploding Anyway

Label: Hassle Records

Format: CD

Country: Japan, UK

Released: 2010

Genre: Electronic, Rock

Style: Post Rock, Glitch, Post Industrial, Math-rock

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This is a fucking amazing album. Really. This album is definitely obligatory for all post-rockers and glitch music lovers, like me.

I recommend the tracks Crash Tatics, Piano Fights and  Go Complex.

All files are extracted from pure FLAC audio into 320kbps MP3.

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We Were Exploding Anyway is the fourth studio album by 65daysofstatic. It was recorded in Sheffield, while mixing and mastering took place in New York. It was released on 26 April 2010 in Europe and the United States, and on 19 May in Japan. It is their first album to be released on Hassle Records. The two singles, "Weak4" and "Crash Tactics", were released on 18 and 30 March respectively. To promote the release of their album, the band organized a headlining European tour with the bands Nedry and Loops Haunt; beginning in the Netherlands and ending in Ireland, they have also hinted towards a future U.S. tour. The album was made available as a live stream on the band's Myspace page on the 19 April, one week ahead of its release. The album debuted at number 99 in the UK album charts and number 7 in the UK independent albums chart.

Musically, We Were Exploding Anyway has a stronger electronic sound, featuring more dance beats, electronic bass and drum tracks, and less complex guitar-driven patterns that distances the album from the band's earlier math rock/post-rock elements. In a review by The Line of Best Fit, "...[the album] also sees them seemingly desperate to rid themselves of their characterless post-rock moniker as they delve well and truly into the more rhythmic qualities of dance music.".

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Ólafur Arnalds - Eulogy for Evolution [MP3][320]

Eulogy for Evolution

Label: Erased Tapes Records

Format: CD

Country: Iceland

Released: 2006

Genre: Classical

Style: Neo-Classical, Post Rock, Progressive

One of my best secret finds. For real, This guy music is simply stunning. The combination of violin, great composition skills and fiery good memories are some examples of what you can extract from this album and this guy. It's so lovely, graceful. If you are into post-rock and want to listen to something a little bit intriguing, heart-breaking, you should definitely download Ólafur Arnalds.

MP3 320Kbps files ripped from pure FLAC.

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Majestic, graceful, gorgeous and sublime are only the first few words that come to mind when I listen to Ólafur Arnalds’ debut on Erased Tapes Records titled Eulogy For Evolution. Iceland scores once again, with another composer feeling right at home with many instruments - piano, organ, and a melodica. Bring in the strings - cello, viola and violins - and you’ve got an acoustic ensemble for the melancholic sound easily compared among countryman Jóhann Jóhannsson and, of course, Max Richter. Just when you’ve slotted the chamber sound among the modern classical genre, Arnalds throws in some drums and all of a sudden you’re listening to progressive post-rock.

The last pieces on the album are exceptionally emotional, starting off with a solo violin performance and building into a progression full of surprises - so I won’t ruin it here. I especially like how the piano recording is separated in the stereo field: the sound of key action preemptively heard in right channel, followed by the hammer striking the string in center, and the soft dull stomp of a pedal somewhere in the left. I rate the album with AAA - Astonishing Acoustic Aural experience. No wonder it showed up at the top of many Best of 2007 lists.

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