Recent posts: Rock

Artist: Mono
Title Of Album: Rays of Darkness
Year Of Release: 2014
Label: Pelagic
Genre: Post Rock, Instrumental
Quality: Flac (tracks+.cue)
Bitrate: Lossless
Total Time: 00:35:22
Total Size: 194 mb

Tracklist:
01. Recoil, Ignite
02. Surrender
03. The Hand That Holds the Truth
04. The Last Rays

When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes.

The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here.

The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too.

Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.

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When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes.

The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here.

The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too.

Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.

Tracklist:
01. The Land Between Tides / Glory
02. Katana
03. Cyclone
04. Elysian Castles
05. Where We Begin
06. The Last Dawn

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Artist: VA
Title Of Album: Pay Close Attention: XL Recordings
Year Of Release: 2014
Label: XL Recordings
Genre: House, Rock, Pop
Quality: MP3
Bitrate: 320 kbps
Total Time: 02:23:15
Total Size: 308 mb

Tracklist:
Disc 1
1. SL2 – DJs Take Control (Original Version) (05:05)
2. The Prodigy – Out of Space (05:01)
3. Awesome 3 – Don’t Go (Kicks Like a Mule Mix) (05:32)
4. Liquid – Sweet Harmony (04:22)
5. Jonny L – Piper (04:06)
6. Roy Davis Jr. – Gabriel (Live Garage Version) [feat. Peven Everett] (07:24)
7. Dem 2 – Destiny (04:57)
8. Nu-birth – Anytime (05:20)
9. Basement Jaxx – Jump ‘n Shout (04:42)
10. Dizzee Rascal – I Luv U (04:04)
11. Wiley – Igloo (03:18)
12. Various Production – Hater (03:56)
13. Giggs – Talkin the Hardest (02:38)
14. SBTRKT – Wildfire (feat. Little Dragon) (03:22)
15. Jamie xx – All Under One Roof Raving (05:59)

Disc 2
1. The Prodigy – Firestarter (04:40)
2. Peaches – F**k the Pain Away (04:09)
3. The White Stripes – Seven Nation Army (03:50)
4. Devendra Banhart – I Feel Just Like a Child (04:45)
5. Badly Drawn Boy – Once Around the Block (03:44)
6. Ratatat – Seventeen Years (04:25)
7. M.I.A. – Paper Planes (03:24)
8. Thom Yorke – The Eraser (04:54)
9. Gil Scott-Heron – New York Is Killing Me (04:31)
10. Radiohead – Weird Fishes/ Arpeggi (05:18)
11. Tyler, The Creator – Yonkers (04:10)
12. The Horrors – Sea Within a Sea (07:56)
13. Jai Paul – BTSTU (Edit) (03:29)
14. Bobby Womack – Please Forgive My Heart (04:32)
15. The xx – Angels (02:49)
16. Sampha – Too Much (02:59)
17. Jungle – Busy Earnin’ (03:01)
18. Vampire Weekend – Step (04:12)
19. King Krule – Easy Easy (02:50)
20. Adele – Rolling in the Deep (03:48)

XL compile ‘Pay Close Attention’, a label history-spanning compilation album. The album documents and celebrates the key releases and moments from the 25 year history of the label, says label owner Richard Russell: “XL Recordings is a collaborative endeavour, and many people have contributed to its evolution. In the song ‘Out Of Space’, Liam Howlett of The Prodigy provided a blueprint when he sampled Kool Keith of Ultramagnetic MC’s rapping these words: “Pay Close Attention”. And whilst XL has never had any outside ownership, Gil Scott-Heron advised me not to even consider XL an “independent”, because everything is connected. Part 1 of this compilation are the roots of XL; underground music, made for DJs. These roots are still growing. Part 2 features some of the singular talents who have taken the label further than we ever envisioned. There is no unifying genre; hopefully the thread of originality is evident though.”

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Artist: Dld
Title Of Album: Por Encima
Year Of Release: 2009
Label: EMI
Genre: Rock, Latin
Quality: MP3
Bitrate: 320 kbps
Total Time: 00:52:14
Total Size: 112 mb

Tracklist:
01. Intro 0:37
02. Tiempo Estimado 4:12
03. La Llamada 5:13
04. 1o de Octubre 3:37
05. Se Va 5:18
06. Equipaje de Mano 3:25
07. Devuélveme 4:21
08. Prevenir/Lamentar 3:46
09. Por Siempre 3:37
10. Después de Ti 5:49
11. Jueves 3:00
12. La Palabra 3:44
13. Pensando en Saltar

DLD established themselves as one of the most promising new bands on the Mexican rock scene with their third album, Ventura (2007), and the follow-up effort, Por Encima, is similarly impressive and boasts quite a few great songs. The band has a refined alternative rock sound reminiscent of the mid-’90s Seattle bands Pearl Jam and Soundgarden. In fact, the resemblance to Pearl Jam is uncanny, especially the vocals of Paco Familiar, who is a dead ringer for Eddie Vedder. Also worthy of special mention is guitarist Erik Neville, whose full-throttle riffs are slightly distorted, heavy, and angular. Though Por Encima is the fourth album by DLD (formerly known as Dildo), it feels as if the band is just now hitting its stride with this album and its predecessor, the aforementioned mainstream breakthrough effort Ventura. DLD aren’t an especially creative band, yet that’s perfectly fine because they’re good at making straight-ahead alternative rock that’s radio-friendly without forsaking any of its edge. Like Pearl Jam, they’re not trying to reinvent the wheel. They don’t need to. They make impassioned rock with memorable hooks and exhilarating riffs. It’s really that simple. It helps, of course, that they have quite a few great songs here on Por Encima. In addition to the lead single “Por Siempre,” which opens with a fantastic dual-guitar riff and is graced with a soaring chorus, the album is front-loaded with a run of three straight standouts, “La Llamada,” “1 de Octubre,” and “Se Va.” While there’s nothing revolutionary about Por Encima, if DLD can continue to crank out albums like this one and Ventura, they’re likely to stay at the forefront of the Mexican rock band for years to come.

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