V.A. On The Other End Of The Fog (2011)

ARTIST`````Various
ALBUM`````On The Other End Of The Fog
GENRE`````Pop, Indie, Oldies, Folk, 
YEAR````````2011

A Bleeding Panda Compilation!

Finally a new Bleeding Panda Compilation. This one is for my one and only <3 
Perfect for this shady November weather. 

TRACKLIST:
01 Quartetto Cetra - Brivido Blu (1958)
02 Amen Dunes - Swim Up Behind Me (2011)
03 Little Anthony & The Imperials - Tears On My Pillow (1958)
04 Emilio Pericoli - Ultime Foglie (1962)
05 The Fred Berlipp Orchestra - Love Without Shadow (1972)
06 Yellow Magic Orchestra - Shadows On The Ground (1983)
07 Thomas Dolby - Airwaves (1982)
08 Reneé Claude - La Bagumane (2010)
09 Mikis Theodorakis - Asma Asmaton - Song Of Songs (1981)
10 The Moody Blues - Nights In White Satin Cover
11 Electrelane - The Invisible Dog (2001)
12 Kollaa Kestaa - Tahtien Rauha (1978)
13 Lee Hazlewood - Your Sweet Love (1966)
14 Tindersticks - Rumba (2011)
15 Art Of Noise - Love (1986)

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Talk Talk - Spirit of Eden (1988)

ARTIST`````Talk Talk

ALBUM`````Spirit of Eden

GENRE`````Post Rock, Alternative, Long

YEAR````````1988

A true classic.

Review

Spirit of Eden is a 1988 album by the English band Talk Talk. It was written by Mark Hollis and Tim Friese-Greene, and performed by numerous musicians using a diverse combination of instruments. It is widely regarded as a masterpiece. In 2008, Alan McGee of the Guardian wrote: "Spirit of Eden has not dated; it's remarkable how contemporary it sounds, anticipating post-rock, The Verve and Radiohead. It's the sound of an artist being given the keys to the kingdom and returning with art."

Compare Spirit of Eden with any other previous release in the Talk Talk catalog, and it's almost impossible to believe it's the work of the same band -- exchanging electronics for live, organic sounds and rejecting structure in favor of mood and atmosphere, the album is an unprecedented breakthrough, a musical and emotional catharsis of immense power.

Here is a rather nice article on Wikipedia about the album.

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Colleen - Everyone Alive Wants Answers (2003)

ARTIST`````Colleen

ALBUM`````Everyone Alive Wants Answers

GENRE`````Indie Post Rock Experimental Electronic

YEAR````````2003

As promised:)

Review

Just when you thought this kind of tangled, floating, ambient wash -- sometimes with guitars, sometimes without -- couldn't get any better than specific parts of Susumu Yokota's Sakura and Grinning Cat, Colleen came along with Everyone Alive Wants Answers. Colleen is actually Cecile Schott, a Parisian who wrenches out cobwebbed melodies that are fully fleshed out as frequently as they are stunted and knotted. Her means aren't all that unique. Barbed glockenspiels, worn music boxes, humming keyboards, happenstance guitar melodies, soft-focus production -- all of that's been done before, right? What makes her stand out is that her songs seem meticulously stitched together while nearing the brink of collapse at the same time, almost all of the time.

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V.A. I'm Gonna Burn Yourself (2010)

ARTIST`````VARIOUS
ALBUM`````I'M GONNA BURN YOURSELF
GENRE`````BLUES, BLUES-ROCK, NOISE, JAZZ, PSYCHEDELIC
YEAR````````2010
BLEEDING PANDA COMPILATION

WHAT?
A pack of mostly filthy blues/blue-rock songs (from delta classic to contemporary). To widen it up I added a few noise (post-kraut-whatnot) tracks (Adult., Aluk Todolo...), a gorgeous psychobilly track from Laika and the Cosmonauts and even an electronica 4x4 beat song from Whomadewho. A rather filthy and sometimes difficult sound in general. I just hope it sounds coherent at all hahaha. Anyways, some great artists here that you should explore more.

Note: Please if someone can identify track 17 I would be eternally grateful!

TRACKLIST:
01 Adult - The Importance Of Being Folk Part 2 (2006)
02 Pete Molinari - It Came Out of The Wilderness (2008)
03 Exuma - Exuma, The Obeah Man (1970)
04 The Jon Spencer Blues Explosion - Can't Stop (1996)
05 Howlin' Wolf - Crying at Daybreak (1966)
06 C.W. Stoneking - Bad Luck Everywhere You Go (2007)
07 Screamin Jay Hawkins - Alligator Wine (1982)
08 Hound Dog Taylor and the HouseRockers - Buster's Boogie (1974)
09 Chris Whitley & Jeff Lang - Underground (2006)
10 The Chatham Singers - All Who Cheated and Lied (2009)
11 Aluk Todolo - Disease (2007)
12 Bob Crosby - Big Noise from Winnetka (1938)
13 The Legendary Tiger Man - Walkin' Downtown (2006)
14 Laika And The Cosmonauts - Experiment In Terror (2008)
15 Whomadewho - Raveo (2009)
16 Dan Auerbach - Street Walkin' (2009)
17 Roland P. Young - Row Land (tnx to Feq'wah for identifying)

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CALEXICO - SONIC WINDS (2008)

SPAGHETTI TRAGEDY
ARTIST`````CALEXICO
ALBUM`````SONIC WINDS
GENRE`````AMERICANA, INDIE, ALTERNATIVE, EXPERIMENTAL
YEAR````````2008
NOT AN OFFICIAL COMPILATION!

WHY:
Many people are annoyed by Calexico on different levels and I can understand why. The singer is acctualy whispering most of the times because he sucks when he tries to sing with a full voice. They mostly sound really, really bad on live performances.Their music is mostly pure atmo-emo esthetics and their lyrics can sometimes be quite crappy.
But somehow I stayed with them for 5 years, mingling inside their spaghetti eclectic discography, always finding several gems on each album they published. I was always amazed by the fact that every time I listened to any of their albums I completely hated some songs while adoring 2, 3 tracks that blasted my mind.

If a band can play a spectacularly sad guitar solo like the one on "El Morro", create an apocalyptic song like "Humano" or make a good song like "Sonic Wind" - all of their other songs can be pure crap as far as I a concerned. I'll always listen to every new album they publish.

Here is my selection (my best of) of the often crappy often brilliant band Calexico.

TRACKLIST:
01 - Ritual Road Map
02 - Frontera
03 - The Ride (pt.II)
04 - All the Pretty Horses
05 - Two Silver Trees
06 - Sonic Wind
07 - Gipsy's Curse
08 - El Morro
09 - Dead Man's Will
10 - The Black Light
11 - Pepito
12 - Close Behind
13 - Clothes of Sand
14 - Humano (instrumental)
15 - Gift X-change
16 - Fade
17 - Woven Birds
18 - Over Your Shoulder
19 - Burn That Broken Bed
20 - Wash
21 - Glowing Heart Of The World

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Reuploaded on rapidshare.

PANDA BEAR - PERSON PITCH (2007)

BEACH BOYS ON A HEALTHY REVERB WAVE OF NOISE
ARTIST`````PANDA BEAR
ALBUM`````PERSON PITCH
GENRE`````EXPERIMENTAL, INDIE, POST-ROCK
YEAR````````2007

WHY:
Since everybody is talking about it... This is not as good as everybody is annoyingly screaming. It's original and quite good but not "revolutionary" as many in the blogosphere are saying. A really good album but that's it. The more experimental Beach Boys records still rule.

ALBUM REVIEW:
Starting an album with a clattering of industrial rhythms sliding into a huge clap-and-stompalong with angelic vocals and what sounds like the Brotherhood of Man on a vocal loop tip not far removed from Suicide or Laurie Anderson is one way to make a mark. The fact that Panda Bear, aka Noah Lennox himself, sings like Brian Wilson and produces his voice to sound like it is another, though it has to be said that it just makes his Animal Collective membership all the more clear at this point. Person Pitch is very much an end product of a variety of musical trends in whatever can be called indie rock in the early 21st century -- big-sounding, absolutely dedicated to texture and sonic playfulness, and somehow aiming to make a lot of interesting ideas seem kinda flat.

Still, the sweetness is almost too gooey, and what should be providing a healthy contrast ends up dragging the best instrumental moments down more than once, almost literally getting in the way of the striking sonic collages. It may be heresy to some, but conceivably Person Pitch would be at its best if it were strictly instrumental.

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KAADA - THANK YOU FOR GIVING ME YOUR VALUABLE TIME (2003)

A BEAUTIFUL COLLAGE
ARTIST`````KAADA
ALBUM`````THANK YOU FOR GIVING ME YOUR VALUABLE TIME
GENRE`````SOUNDTRACK, ALTERNATIVE, EXPERIMETAL, POST-ROCK, TRIP-HOP
YEAR````````2003

WHY:
Excellent, subtle album by one of Europe most interesting and mystified producers.

ALBUM REVIEW:
This album has the same kind of warm, reverb-y production that Ipecac head honcho Mike Patton often favors (see Fantomas' Director's Cut), and has a collage-type avant-garde pop/rock feel that's not a million miles away from something like Director's Cut or Mr. Bungle's California. Then again, it's certainly not beholden to those influences either: the main inspirations here seem to be hip-hop (especially in terms of the production) and old American R&B and soul music, combined with an unusually user-friendly experimental streak. Basically, Kaada takes isolated samples and loops from old recordings, mixes them together with live instruments and (sometimes) vocals, and creates new songs that are essentially virtual collaborations between musicians from these different times and places. The striking thing about this album, although it's only striking once you try to analyze it, is that it's almost impossible to tell what sound is coming from what record. Whether it's sampled or live or not, or if you know all the recordings he's dealing with, knowing such things won't prevent you from enjoying the music here.

Thank You For Giving Me Your Valuable Time is full of such subtleties, which, rather than merely sounding coy and clever, add some real heart to the album and elevate from just a technically impressive collection of sampling and production trickery into something more.

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BARK PSYCHOSIS - CODENAME: DUSTSUCKER (2004)

STAYING VITAL
ARTIST````BARK PSYCHOSIS
ALBUM````CODENAME: DUSTSUCKER
GENRE````POST ROCK, EXPERIMENTAL
YEAR``````2004

WHY:
I've been listening to Bark Psychosis for a long time now and that's a bit odd considering that they have - well...only 2 albums.

Since I've already posted their first groundbreaking album "Hex" which you can and must download here, there is no reason for not posting their second, not groundbreaking but simply mature and beautiful album - Codename: Dustsucker. Considering the amount of time it took them to make this album, it's a wonder how hey managed to contain that same, fresh and organized blurry emotional sound trip they had in 1994.

BAND BIOGRAPHY:
Despite a relatively small recorded output and little media recognition, Bark Psychosis was one of the most innovative artists of their era. From rather uninspired origins as a teenaged Napalm Death cover band, the British group evolved by leaps and bounds, moving from moody, lush pop to ambient soundscapes to taut, atmospheric experimental music; their work was so revolutionary, and so impossible to define, that noted critic Simon Reynolds even found it necessary to invent a new sub-genre -- "post-rock" -- simply to categorize their vision.



ALBUM REVIEW:
(from www.dustedmagazine.com by Adam Strohm)
For every Bon Jovi or Mission of Burma, who find success in their comebacks, there are the ill-fated attempts of countless bands whose quest for resurgence may never even reach the pubic eye (or ear), even on the level of independent music. Luckily, for Sutton and Bark Psychosis, this doesn't seem to be an applicable issue.

Augmented by a group of 14 musicians and vocalists, Sutton leads the group through nine dreamy numbers which don’t often vary from a formula that might be tired in 2004, but something that Sutton pulls of with a vitality that many others lack.

Before the lengthy construction of this album, Graham Sutton’s mind had been away from Bark Psychosis for a few years, but it’s hard to tell. ///Codename:Dustsucker is largely without missteps or ill-advised ideas; instead it’s a fresh look at the sound that he’d once eschewed. It’s nothing brazenly new, but there’s no need for it to be. The nighttime dream that is ///Codename:Dustsucker is enveloping enough that there’s not much need to worry about such minor squabbles, as, with this music, the details aren’t what matter in the end.

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You should also consider downloading their previous album "Hex" here.

OOIOO - TAIGA (2006)

FOREST DWELLING WILD WOMEN OF JAPAN
ARTIST`````OOIOO
ALBUM`````TAIGA
GENRE`````POST ROCK, EXPERIMENTAL, JAPANESE ROCK
YEAR```````2006

This is global underground music steeped in the enchantment of nature, the mystery of drones, the iconoclasm of Kraut and the energy of Yosakoi, driven throughout by a massive percussion workout that only pauses for lonesome trumpet blares and vocal squawks. Just maybe, if Pharaoh Sanders established a school of avant-garde composition in the forests of Finland, the inaugural graduation concert might sound something like this - assuming the mushrooms were potent enough.

“We came down from the North,” is all brother/sister duo The Knife want us to know, while OOIOO are still striving to get there, channelling sound through the tundra, taiga and Nordic forests with all their celestial and shamanistic peculiarities. Both groups are essentially about drums and their ancient purpose of uniting humans in mass ritual: in OOIOO’s case the cumulative ability of slender female Japanese to bash out a rhythm that could topple a mastodon; in The Knife’s case, processed beats lash out to create a euphoric, post-rave Nuremberg. Both groups shun all kinds of celebrity deeds and use video and projection to guard, rather than propagate, their identities. In these two videos for OOIOO and The Knife, Japanese directors spin ecological themes into a hypnotic final product that is as far removed from standard video iconography (band striving to present itself as marketable) as the sound strays from conventional musical forms.

Barely appreciated now, these will be the hipster albums of 2030. Just as some of us now affect to like a soundtrack of early 80s East Village jazz-skronk, a product of the sheer boredom and its partner freedom that have become unknowable to us in our internet age, our children will swim deeply in the ‘boredom and freedom’ of the late 00s.



ALBUM REVIEW:
In Japanese, Taiga means "big river"; in Russian, it's "forest." Both are apt descriptions for the dense, winding, jungle-like music OOIOO craft on this, their fifth album. Not to push the connection too much, but Taiga's multilingual meanings could also allude to the band's magpie-like ability to pick the most vital, interesting sounds from other cultures and fashion them into what feels like world music from an alternate universe. Despite the Japanese and Russian meanings of "taiga," the most prominent influence on Taiga comes from Africa: dense African jazz and lilting African folk-inspired guitar melodies play large roles on most of the album's tracks.

Most importantly, the album is a beautiful demonstration of how OOIOO keep changing and innovating without losing touch with what made them distinctive in the first place. Their inspired, eclectic mix of sounds and textures is always playful, but Taiga's powerful playing and sophisticated arrangements make it OOIOO's most mature album yet.

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!WARNING! Track one - "Uma" is not included (shit happens) and you can download it here - OOIOO - Uma

BARK PSYCHOSIS - HEX (1994)

GATHER IT AROUND: YOU BUILD IT UP TO TEAR IT DOWN. (LYRICS FROM "A STREET SCENE")
ARTIST````BARK PSYCHOSIS
ALBUM````HEX
GENRE````POST ROCK
YEAR``````1994

BAND BIOGRAPHY:
Unfortunately I missed this band (this album) completely throughout my life. As I understood, many, many people also missed this extraordinary masterpiece completely. This album is one of the foundations of post-rock movement and it still is one the finest moments in genre's complex history. Revolutionary, sublime, beautiful and peaceful, it (embarrassingly?) shows the ignorance of the music audience and esspecialy - the ignorance of critics.

BAND BIOGRAPHY:
Despite a relatively small recorded output and little media recognition, Bark Psychosis was one of the most innovative artists of their era. From rather uninspired origins as a teenaged Napalm Death cover band, the British group evolved by leaps and bounds, moving from moody, lush pop to ambient soundscapes to taut, atmospheric experimental music; their work was so revolutionary, and so impossible to define, that noted critic Simon Reynolds even found it necessary to invent a new sub-genre -- "post-rock" -- simply to categorize their vision.



ALBUM REVIEW:
(from allmusic.com by Jason Ankeny)
A masterpiece of unrivalled beauty and complexity, Bark Psychosis' Hex channels the experimentation of the group's prior singles into a more controlled setting; a series of atmospheric set pieces, the songs find a common ground between accepted musical formulas and avant innovation -- at first glance, tracks like "Big Shot" and "Eyes & Smiles" appear tightly structured, yet they avoid the dynamics of conventional songcraft like choruses and solos with remarkable dexterity. Similarly, both "The Loom" and "Fingerspit" are too melodic and finely honed to pass as mere ambient soundscapes, leaving the record best ascribed to a force not unlike alchemy -- Hex begins with base musical materials, but transforms them into something mysterious, haunting, and breathtakingly visionary.

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