May 18, 2013 - It Rock And Roll
 

Day: May 18, 2013

KIMAustralian rock and roll veterans Kim Salmon (The Scientists) and Spencer P Jones (Beasts of Bourbon and Paul Kelly & the Coloured Girls) will soon release their first, and perhaps only, album Runaways, due out this Friday, 15th February.
The beginnings of Runaways date back to early 2012 when Salmon and Jones played together at grimy rock stalwart The Old Bar in Melbourne for a month-long residency. During their tenure, the duo developed an assortment of covers both classic, like I Need Somebody by The Stooges, and modern, a la Runaway by Kanye West. The pair also wrote a handful of originals, including bluesy lead single A Bitter Projection, which would go on to form the backbone of Runaways.

mp3 320 kbps | 118 MB | UL

MICK

The album features original compositions by Mick Harvey alongside a song by long time collaborator PJ Harvey (‘Glorious’) and interpretations of The Saints’ ‘The Story of Love’, Van Morrison’s ‘The Way Young Lovers Do’, Exuma’s ‘Summertime in New York’ and Roy Orbison’s ‘Wild Hearts (Run Out of Time)’.

FOUR (Acts of Love) was recorded at Grace Lane, North Melbourne and Atlantis Sound, Melbourne and features regular collaborators Rosie Westbrook on double bass and JP Shilo on guitar and violin.

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 aa“Warm Your Heart” was Aaron’s first full length solo album release of original material since the seventies and came hot on the heels of his award wining work with his brothers and after the biggest hit of his career with Linda Ronstadt on “Don’t Know Much”.

Tracks:

01. Louisiana 1927
02. Everybody Plays The Fool
03. It Feels Like Rain
04. Somewhere, Somebody
05. Don’t Go Please Stay
06. With You In Mind
07. That’s The Way She Loves
08. Angola Bound
09. La Vie Dansante
10. Warm Your Heart
11. I Bid You Goodnight
12. Ave Maria
13. House On A Hill

mp3 320 kbps | 117 MB | UL | CL

PREOn Golden Rules for Golden People, Pretty & Nice preserve the fizz of youth while finding a way to grow up a little. Rather than slow down, they’ve incorporated a wider range of sounds. The band’s previous efforts excelled by working within a very specific framework, which fell somewhere between the new wave of Elvis Costello’s first few albums and of Montreal’s least soulful songs. Here, however, they mine vintage surf-rock, orchestral pop, and power-pop. The results are occasionally illogical (funky yet math-y, with eight-bit flourishes) and make for some unusual comparisons (Devo with an ELO-ish vibe). The spazz remains, but it’s accompanied by the kitchen sink.

mp3 320 kbps | 75 MB | UL

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Any fan of bands like The National, Villagers, Grizzly Bear and the likes should own this album.
Tracks:
01. I Work Nights And I Work Days
02. Cold Skin
03. Funeral
04. Wolves
05. Cannibals With Cutlery
06. Besides She Said
07. Gasp
08. Choices
09. Rays
10. Children Who Start Fires
11. Fictional State
12. Family
13. Letters To My Lover, The Dylan Fan
mp3 320 kbps | 131 MB | CL | TB

sStephen Malkmus’ solo career seems to be settling into a pattern of alternating between skewed, spiky pop albums bearing his lone credit and long, languid collections of jams with the Jicks — as 2005’s Face the Truth belonged to the former category and its 2008 follow-up, Real Emotional Trash, fits neatly into the latter. That’s not to say that this is a retread of the lazily intriguing, formless Pig Lib. Where Pig Lib wandered aimlessly, adrift on its insular guitars, Real Emotional Trash is focused and propulsive, even if the band invariably circles around a point instead of tackling it directly. Perhaps some of this precision is due to the presence of former Sleater-Kinney drummer Janet Weiss as the Jicks’ new anchor — she grounds them and pushes them harder, giving Malkmus a solid foundation he’s never quite had either in Pavement or on his own — but Malkmus also sounds clear-headed here, as any new father of two should be. He’s shed the haziness that plagued Pig Lib, yet he’s still intoxicated by the sounds he can make, usually with his guitar but also with his mouth, as his words have never sounded so much like a fanciful collection of sounds, each syllable bouncing off the next in the melody. He sings like he plays his guitar, twisting and turning, grooving on the very sound of it all, and it’s hard not to ride along on his wave. In a decade when indie rock has been dominated by preciously plucked six-strings and symphonies, it’s rather thrilling to hear the surge of sound on Real Emotional Trash. It, as much as any modern record could be, is a love letter to the guitar, but Malkmus’ love of rock & roll arcana has pushed early influences of the Fall and Sonic Youth to the side in favor of the seriously weird, often maddeningly uneven, post-hippie ramble of obscure psychedelia and acid rock. With this incarnation of the Jicks, Malkmus has finally created his own version of Mad River, the Groundhogs, or the Coloured Balls, a band that is casually yet deeply idiosyncratic and certainly not to everybody’s taste, including legions of Pavement fans who may miss the mess he conjured a decade ago. Frankly, it’s their loss if they don’t want to follow Malkmus down this road, as Real Emotional Trash is invigorating simply as pure sheets of sound. It’s heavy on long tunes — six of the ten weigh in at well over five minutes, with the title track pushing a bit past ten — but each cut rides its own rhythm, with the shorter numbers — the sprightly, bubblegummy “Gardenia” and easy-rolling “We Can’t Help You” — acting as palette cleansers. Real Emotional Trash isn’t quite the Jicks’ spin on Wowee Zowee — it explores one place thoroughly instead of wandering all over the map — but it has that same untrammeled spirit that made Pavement’s third album so addictive, and like that masterpiece, it may be a bit of a litmus test among fans, as a bit of time is required for it to grow. That, more than anything — more than the heady ’70s guitar worship on display, more than the warm growl of the amplifiers — gives Real Emotional Trash a welcome old-fashioned feeling: it’s an album meant to be discovered and lived with, revealing its jokes and its beauty over time.

mp3 192 kbps | 78 MB | UL

larry“Let Me Sing My Song To You” is Larry Jon Wilson’s second album.On this album Larry Jon picks up the tempo a little and frequently gets funky. Best song, is the song “Sheldon Churchyard”, which any Southern Rock fan would find a find. Again, the songs are all top notch, the playing impeccable and the singing spellbinding. It’s hard to believe that no label has yet arranged to get his four albums from the 70’s released on CD.

mp3 VBR~217 kbps | 52 MB | UL | CL

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Born from the influences of Chicago blues greats Howlin’ Wolf, Muddy Waters, and Little Milton to the Mississippi Delta of Robert Johnson, Ledbelly, and Honey Boy Edwards their sound covers 100 years of down and dirty American blues. The band’s performances have been called “engrossing” and “high energy”, especially when the harmonica player jumps on the bar & walks the entire length while playing one of his signature solos.

mp3 320 kbps | 158 MB | UL | CL

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