Post-rock

[Berliner]

svirali su oni vec u bg-u neke 2009-e jelda?

[marcoman]

Hej svima,

 

Moja Edukacija je post-rock Austin-based bend. Oni formirana u 1999, te su ide jaka od.

 

http://www.myeducati...ic.com/info.php

 

Haute Magie je ispuštanje svoj ​​novi album "piće za sve moje prijateljice" na 12 "vinil u pet boja (lavande, kraljevski plava, tamno zelena, narančasta, crvena), CD u četiri panela digipak, a vrlo ograničen kazeta.

 

Možete vidjeti slike, čuti uzoraka i unaprijed naručiti album na raznim formatima sada

 

http://hautemagie.com/relics/020/

 

http://soundcloud.co...ion-mister-1986

 

Are you in touch with all of your darkest fantasies?

[Oak]

Ako neko nađe link za http://ananever.bandcamp.com/album/small-years neka okači.

[Lou]

To je, konačno, novi album?

 

Ih, sa pesmama koje nisu toliko nove.

[Oak]

Pa da, future wife i gorgeous one nisu nove, za ove druge dve ne znam. To je već tradicija kod nas, da svaki bend koji valja izda jedan album svakih sto godina.

[Lou]

Na Live in Mini Club postoji "To Die For", možda je to ta pesma. "Future Wife" još i imam u live verziji na s/t albumu.

[Cyprian's apprentice]

nisam bas fan zanra (preferiram kraut), ali ovaj bend jebe keve (ne znam da l' je vec neko kacio):

 

[Vassiet]

 

http://getmetal.org/post-rockmetal/28376-au4-and-down-goes-the-sky-2013.html

[Oak]

http://www.mediaboom.org/381952-mogwai-les-revenants-ep-2012.html

[Kumodraski Vo]

http://youtu.be/eGzr6N0SzQ0

 

http://www7.zippyshare.com/v/83363316/file.html

[perzekjušn menijak]

http://www.youtube.com/watch?v=HehzbftdEGM

 

 

 

Album : The Flood Inside

Release Date: 2013

[Oak]

Sjajna pesma, baš sam se prijatno iznenadio. Malo sam se zabrinuo da će cela pesma da bude kao prva polovina, ali ovaj drugi deo je fantastičan, cela pesma još bolja.

[perzekjušn menijak]

Evo pesme ovde za one koji neće da daju mail. http://depositfiles.com/files/3elb154z8

Mp3 192kbps skinuta odavde http://www.superballmusic.com/specials/ldc/

Album izlazi izmedju prvog i petog marta u zavisnosti od teritorije.

Dobra je nova pesma.

Roughly 50% of the album will have vocals, but not only Marsen.

 

http://www.superballmusic.com/newsdetailed.aspx?IdNews=12073&IdCompany=4

[Oak]

http://www.mediaboom.org/383573-mogwai-les-revenants-2013.html

[perzekjušn menijak]

 

mp3,CBR@192kbps

 

 

01. Nucleus (07:12)

02. Inside The Flood (06:42)

03. Ductus (06:49)

04. Tell The End (06:01)

05. Welcome Change (07:06)

06. Waves (06:39)

07. The Man Within (06:34)

08. Breaker (08:14)

 

http://rusfolder.com/35207254

 

http://www74.zippyshare.com/v/11596623/file.html

[Berliner]

obrisan je fajl na oba

oce neko da dignem 320 sto imam ne da mi se da kopam

 

edit: ovaj mozda radi http://cloudzer.net/file/bizp2enr

Edited March 5, 2013 by Čarli

[BlowCape]

Pomalo dosadnjikav album... Steta....Satellite bay i dalje neprevazidjen...

[Kumodraski Vo]

Meni je odlican. Sjajno su iskoristili prog elemente.

[Vassiet]

http://anautumnforcrippledchildren.bandcamp.com/album/hearts-of-light-blossoms

 

jel ovo bilo ne nadjoh...

[Lunar]

nije bilo, ali odlicni su kao i uvek.

[Kumodraski Vo]

Autism - The Crawling Chaos (2013)

 

 

Жанр: Post-Metal, Post-Rock

[VoivodBG]

Restorations – LP2 (2013)

 

After the opening 39 seconds of guitars awakening and stretching after a long winter’s slumber, “D””, the opening track on LP2, charges into plain view.

The five members chime in together with an almost callous energy and enthusiasm. At 0:39 the crash of the five-piece is not merely the beginning ofLP2, the sophomore full-length from Philadelphia’sRestorations, it is an affirmation. Long a niche band, or “the best band you’ve never heard of,” LP2is the sound of a band swinging for the fences and, to borrow another overused phrase, knocking it out of it the park.

Jon Loudon, with pipes so husky they give Chuck Ragan a run for his money, largely directs the ship.

Whereas the band’s self-titled debut heard Loudon voicing a restless confusion with his entry into adulthood, Loudon’s lyrics now represent a sentiment that’s easily shared: disillusionment with a prescribed path in life. Atop a barrage of chugging guitars and a punishing rhythm section (Carlin Brown’s drumwork provides a backbone thick as stone) Loudon finds wings.

Throughout the 36 minutes and nine tracks of LP2 Restorations showcase an enthusiasm and energy that borrows heavily from punk rock but with an intricate, layered depth. Yet genres in the traditional sense are an afterthought on LP2. Think the harshness of a barren, frozen Siberian tundra, and realizing this landscape is yours and yours alone to conquer (“In Perpetuity Through The Universe”). Think a rumbling groove that is realizing there are others in the same struggle (“Let’s Blow Up The Sun”). And finally, if you can, imagine the relentless Neil Young range that comes with the ultimate understanding that no matter how beneficial the company you keep, there’s a reward in starting journeys as you began them: alone (“Quit”). If it sounds heavy, that’s because it is: Restorations have managed to encompass the unforgiveable condition of humans in their mid to late 20’s with a grace that is driven home with commendable force.

The graduation from an incredibly enjoyable debut full-length to a self-assured borderline masterpiece is simply a matter of containing emotion. Restorations bottle said emotion and translate it on record better than their peers. It’s a palpable resonance that was born out of the band becoming more of a “Collective,” Loudon admits. “We just really enjoy being around each other in our practice space,” he tells PopMatters in an exclusive interview. “We feel open to share ideas, and nobody’s afraid of fucking up when we try new things. That makes the process really exciting and really fun. Everyone becomes really engaged and that’s reflected in the songs.”

Age (but not too much of it) has benefited Restorations well. They show restraint from taking the jangly “The Plan” into full-blown hooky, poppy territory. Yet the track, like all nine on LP2 burns into the psyche. These are tracks that stay with you long after first listen. “Look at those kids in the fancy clothes/nothing to show/nowhere to go,” Loudon rambles. He walks a fine line between questioning and angst, just as Restorations walks a fine line between a young act brimming with possibility and energy and a mature band that’s comfortably finding their voice. Their sprawling rock has found a perfect home on Side One Dummy as well.

LP2 only stumbles when it slows down, as it does on “Adventure Tortoise”, which plods along without the vision that carries most of the record. All the more reason to relish the rest of the record, which moves at a beautiful pace.

Though Loudon attests that it was a 2012 Australian tour that really brought the band together (“On that trip, everything was foreign to us. It was such an incredibly way to tour, to really find our legs as a band through touring. It put us all in such a great headspace, and everyone in the band was so great to be around on that tour. That was the point for us where we looked at each other and said, ‘OK, we’re a band now,’” he laughs.) Restorations now find themselves as one of the forerunners in a new kind of Americana movement. It’s one which represents a diversity of musical influences and seeks to represent the diversity of listeners first and foremost.

“Chalk it up to comic confusion/missing the point entirely/I was listening to Bob Seger/While you were listening to Pete,” sings Loudon on “The Plan”. Restorations acknowledge the variety of music available to listeners in 2013, and have chosen a path that borrows from their forefathers, unabashedly so. Marrying the destitute grit of Constantines with the elaborate emotion of Against Me!, Restorations are now moving, full steam ahead, towards becoming one of America’s best bands to hear, right now.

 

http://clz.to/3e834avw

[VoivodBG]

 

 

Date Palms is the duo of Marielle Jakobsons (Darwinsbitch) and Gregg Kowalsky from Oakland, California, United States formed in 2008.

 

The two have birthed a suite of slowed-down music of the spheres, with a canopy of glowing fog and a heavy narcotic bass pulse that keeps the whole thing rooted straight into the earth. It’s a heady mix of alap paced violin phrases, jewel toned keys, harp swells, distorted tapes and ever present bass waves all crafted with precision detail in a humid space that leaves a dreamy imprint in the mind long after waking.

 

The Dusted Sessions (2013)

 

Inspired by a trip to the Yuba River and apparently the Eureka Dunes, Date Palms’ latest effort is a long and winding attempt to create a sonic monu- ment to the staggering beauty of those landscapes.

At the core of the band is Gregg Kowalsky’s electronics and Marielle Jakobsons’s violin and flutes, but recently Date Palms have expanded their line up to include Ben Bracken, Noah Phillips and Michael Elrod. The addition of these players and the instrumentation that they bring (electric guitar, bass and tanpura) has, as might be expected, added considerable scope to the band’s sound, but their presence is far from overbearing.

If anything, Dusted Sessions is one incredible, immersive trip to a land of sun, sand and cosmic insight that drones with a disarmingly gentle intensity. At the heart of the album are the Yuba influenced tracks which slowly unfurl like petals opening up to the sun. Yuba Source Part I introduces the album with a sound like gravel swirling in a gold prospectors tray. Inititally abrasive and curiously aquatic, the track develops with a basic bass line and some wailing guitar interjections that add an almost Southern States twang. With Elrod’s droning tanpura, there’s a distinctly mystical mood that pervades, but it’s Jakobsons’s violin that leads the band like a solitary voice in the wilderness. Kowalsky’s Fender Rhodes adds colour as the song builds, conjuring a shimmering desert feel as it does so. A river might run through the heart of the inspiration of these songs, but the primary sense invoked by the band is one of intense heat and the torpor it provokes in even the most hardy when the sun hangs in the sky.

After the brief electronic interlude of Six Hands To The Light, the Yuba journey continues again with Yuba Source Part II. Date Palms rework the motifs of Part I wonderfully, making everything feel slightly looser by allowing the Rhodes and the electronic nuances to the fore. In doing so, this take on the Yuba feels slightly shaded and more welcoming, as if it was conceived on the banks of the river rather than directly beneath the baking sun.

The dense drone of Night Riding The Skyline seems to find Date Palms somewhere else entirely, possibly traversing the cosmos, as the electronics that drift in occasionally hint at lazer fire from a ’70s sci-fi B-movie. When the scattering drums and thundering bass take over only to be joined by guitar howls and keyboard passages, they drift into Pink Floyd territory for a moment. It’s presence at the centre of the album is a little jarring. Coming after the evocation of glorious landscape and baking sun, a journey into electro-space is unexpected. The addition of the violin recalling the motifs of the Yuba movements is a nice touch, uniting the songs despite their clear differences.

Dusted Down finds the band alone in the desert staring at the sun. With heavy bass tones driving the song, it’s similar in tone to OM‘s droning bass escapades. Exodus Due West wraps the album up with woozy electronics, providing a shifting backdrop for haunting flute, daunting tanpura and an incessant bass pulse. There’s something rather ominous about it all, with the bass sounding like a pulse ready to stop, and the flute hovering like an opportunistic bird. It’s haunting but also ever so slightly creepy. A strange end possibly, but The Dusted Sessions seeks to encapsulate the essence of the vast landscapes the band experienced and does so quite incredibly.

 

http://clz.to/pjty59ic

[VoivodBG]

 

http://clz.to/n7zqht1z

[Berliner]

rumuni, dosta iskusno zvuce