Searchability
Wednesday, January 2, 2019
Fading Contour - (2016) Emerald Dreams CS
Autumn Archive – 001
False Creak - (2007) Dark Water Otter Whores CS
Abhorrent A.D. – 015
Family Smut Swarm Survival - (2015) FS/SS CS
Structures Without Purpose – 001
Filth - (2011) Winter Mind CS
Out-Of-Body Records – 001
Filth - (2017) The House of Concrete Faces CD
Phage Tapes – 237
Flagellatio Orgasmus - (2018) Painful Sex CD
Filth And Violence – none
Flagellatio Orgasmus & Pain Appendix - (2018) Degenerate Elektroniks CS
Flesh Prison - (2016) Body Dissolves CS
Self-released – none
Flesh World - (2017) Into The Shroud LP
Dark Entries – 182
Floridian Winter - (2013) Candy CS
Primal Vomit Records – none
Floridian Winter & Cross Rot - (2014) Split CS
Primal Vomit Records – none
DJ Ladies - (2016) I Have Been Sent By God to Eat That Ass Mixtape CDr
Wonderland Media, LLC – none FLAC
60 Minute mixtape featuring "DJ" mixes of tracks by T.A.T.U., Backstreet Boys, Nelly, Shaggy, Samantha Mumba, and More. Never released previously, probably for good reason. I actually tried to post it on Datpiff back in the day but they wouldn't let me post it until I told them I was bipolar and by that point I lost interest.
tUnE-yArDs - (2011) W H O K I L L
4AD – 3106
Whatever lines and boundaries between musical styles might be left, it’s likely that tUnE-yArDs’ genre-hopping, gender-bending one-woman-band Merrill Garbus has already crossed them. Lo-fi folk, avant-jazz instrumentation, dubby funk beats, Afropop shimmy, soulful R&B vocals, hip-hop attitude, riot grrrl politicking—they’re all present and accounted for in Garbus’ seemingly bottomless bag of tricks. Indeed, Garbus puts you on notice that she pushing the limits right from the beginning of tUnE-yArDs’ compelling sophomore effort w h o k i l l on the opener “My Country ‘Tis of Thee”, which serves both as a pledge of allegiance to her hybrid aesthetic and as a preface of things to come: Taking its patriotic namesake and twisting it into “The National Anthem”—just Radiohead’s version—Garbus transforms what’s so familiar that it’s etched into the memory of every schoolchild into improvisational pop experimentation, freestyling on lines known by heart and adorning them with what sounds like a kazoo refrain, freaked-out horns, and bottom-heavy rhythms. It goes to show how Garbus’ music-without-borders approach carves out a niche for itself, creating something out of unlikely and improbable combinations that could only come from a singular imagination.
With a crisper, clearer production that helps it to stand out, w h o k i l l is, almost literally speaking, tUnE-yArDs’ breakthrough: This latest effort finds Garbus busting out of the claustrophobic confines of tUnE-yArDs’ resourceful, homemade debut, BiRd-BrAiNs, with a fuller, more dynamic sound that accentuates how she can hit the highs, the lows, and all the emotional registers in between. While that might seem to describe an album that’s all over the place, there’s still something consistent, coherent, and unified about w h o k i l l, with Garbus like a steadying force in the eye of the storm. The album’s first single, “Bizness”, offers a good sampling of all that the new-and-improved tUnE-yArDs are capable of, mixing and matching a little riff that recalls Konono No. 1’s patented likembe thumb-piano patterns, crisp jazz percussion, and Garbus’ androgynous vocals at their fiercest. Better yet, “Gangsta” one-ups the fevered pitch that “Bizness” hits, especially when it reaches a frenzied state in a cacophonous symphony of skronky brass, clattering beats, and melodic bass. There, Garbus is a kindred soul of Björk’s, if not so much in sound as in spirit, rallying an army of me all her own.
As back-asswards as it might seem, the bigger canvas that Garbus has to work with on w h o k i l l actually brings out the intimacy and immediacy of her one-of-a-kind music, using all the tools at her disposal to make her personal vision seem all the more vivid and vibrant. The best point of comparison for tUnE-yArDs might be one-time tourmates Dirty Projectors, whose world-influenced approach might provide the closest thing to a touchstone to what Garbus is doing: But while Dirty Projectors are more heavy on affect in their pursuit of pop perfection, tUnE-yArDs are more about expressing unbridled feeling and getting the music to capture it. The slow-burning “Powa” takes time to pick up momentum, but it’s remarkably contemplative and harrowing when it does, as Garbus’ voice moves from a whisper to a growl to reflect the inner turmoil and self-esteem issues that are the baggage of dysfunctional relationships (“Mirror, mirror on the wall / Do I see my face at all?”). On the other end of the emotional spectrum, “Wooly Wolly Gong” gives Garbus all the space she needs to find peace, as her versatile voice almost seems to channel Suzanne Vega on a lullaby that’s only embellished by quiet guitar and sparse percussion. So even if Garbus’ musical fireworks are what you notice first, there’s always something substantial to her idiosyncratic style.
And that goes double for the social consciousness tUnE-yArDs display on w h o k i l l—when they say the personal is political, that certainly applies to Garbus’ songs, which ponder bigger issues without being preachy or pretentious. As suggested by the title, violence is a running theme on the album, which the eerie psychodrama of “Riotriot” treats in ways that are messily Freudian (“You came to put handcuffs on my brother / Down in the alley way / I dreamt of making love to you”) and philosophically profound (“There is a freedom in violence I don’t understand”). Even more compelling is the briskly paced “Doorstep”, which seems pretty and ethereal enough to float over your head, except that its first lines cut to the chase about police brutality—“Policeman shot my baby as he crossed over my doorstep.” Finding strength in her own voice, no matter how resigned she may be about what’s happening around her, Garbus speaks truth to power later on the track when she croons as soulfully as she can, “Well, I tried so hard to be a peaceful, loving woman.”
Ultimately, it’s that faith the Merrill Garbus finds in herself that comes through most powerfully on w h o k i l l, with the payoff coming on the closing track “Killa”, when she boasts with rap braggadocio, “I’m a new kinda woman / I’m a new kinda woman / I’m a don’t take shit from you kinda woman,” to a bright, funky bassline. Truer words were never uttered to describe tUnE-yArDs, though if you didn’t know that before you got to the end of w h o k i l l, you weren’t listening closely enough to it.
With a crisper, clearer production that helps it to stand out, w h o k i l l is, almost literally speaking, tUnE-yArDs’ breakthrough: This latest effort finds Garbus busting out of the claustrophobic confines of tUnE-yArDs’ resourceful, homemade debut, BiRd-BrAiNs, with a fuller, more dynamic sound that accentuates how she can hit the highs, the lows, and all the emotional registers in between. While that might seem to describe an album that’s all over the place, there’s still something consistent, coherent, and unified about w h o k i l l, with Garbus like a steadying force in the eye of the storm. The album’s first single, “Bizness”, offers a good sampling of all that the new-and-improved tUnE-yArDs are capable of, mixing and matching a little riff that recalls Konono No. 1’s patented likembe thumb-piano patterns, crisp jazz percussion, and Garbus’ androgynous vocals at their fiercest. Better yet, “Gangsta” one-ups the fevered pitch that “Bizness” hits, especially when it reaches a frenzied state in a cacophonous symphony of skronky brass, clattering beats, and melodic bass. There, Garbus is a kindred soul of Björk’s, if not so much in sound as in spirit, rallying an army of me all her own.
As back-asswards as it might seem, the bigger canvas that Garbus has to work with on w h o k i l l actually brings out the intimacy and immediacy of her one-of-a-kind music, using all the tools at her disposal to make her personal vision seem all the more vivid and vibrant. The best point of comparison for tUnE-yArDs might be one-time tourmates Dirty Projectors, whose world-influenced approach might provide the closest thing to a touchstone to what Garbus is doing: But while Dirty Projectors are more heavy on affect in their pursuit of pop perfection, tUnE-yArDs are more about expressing unbridled feeling and getting the music to capture it. The slow-burning “Powa” takes time to pick up momentum, but it’s remarkably contemplative and harrowing when it does, as Garbus’ voice moves from a whisper to a growl to reflect the inner turmoil and self-esteem issues that are the baggage of dysfunctional relationships (“Mirror, mirror on the wall / Do I see my face at all?”). On the other end of the emotional spectrum, “Wooly Wolly Gong” gives Garbus all the space she needs to find peace, as her versatile voice almost seems to channel Suzanne Vega on a lullaby that’s only embellished by quiet guitar and sparse percussion. So even if Garbus’ musical fireworks are what you notice first, there’s always something substantial to her idiosyncratic style.
And that goes double for the social consciousness tUnE-yArDs display on w h o k i l l—when they say the personal is political, that certainly applies to Garbus’ songs, which ponder bigger issues without being preachy or pretentious. As suggested by the title, violence is a running theme on the album, which the eerie psychodrama of “Riotriot” treats in ways that are messily Freudian (“You came to put handcuffs on my brother / Down in the alley way / I dreamt of making love to you”) and philosophically profound (“There is a freedom in violence I don’t understand”). Even more compelling is the briskly paced “Doorstep”, which seems pretty and ethereal enough to float over your head, except that its first lines cut to the chase about police brutality—“Policeman shot my baby as he crossed over my doorstep.” Finding strength in her own voice, no matter how resigned she may be about what’s happening around her, Garbus speaks truth to power later on the track when she croons as soulfully as she can, “Well, I tried so hard to be a peaceful, loving woman.”
Ultimately, it’s that faith the Merrill Garbus finds in herself that comes through most powerfully on w h o k i l l, with the payoff coming on the closing track “Killa”, when she boasts with rap braggadocio, “I’m a new kinda woman / I’m a new kinda woman / I’m a don’t take shit from you kinda woman,” to a bright, funky bassline. Truer words were never uttered to describe tUnE-yArDs, though if you didn’t know that before you got to the end of w h o k i l l, you weren’t listening closely enough to it.
Yabby U - (1979) Babylon A Fall 12''
Grove Music – 018
Another massive track from Yabby You, probably one of his best-known songs. A side of this 12" was included in the 2015 compilation named "Dread Prophecy (The Strange And Wonderful Story Of Yabby You)" released by Shanachie label. They probably used/made a vinyl rip for this compilation, and a bad one unfortunately. Most of the singles originally released on vinyl have poor audio quality in this compilation.
Yabby You - (2012) Deep Roots: Dub Plates And Rarities 1976 - 1978 CD
Pressure Sounds – 077
Tracklisting---------------------------------------------------------------------
1. Smith & The Prophets - Valley Of Joeasaphat [02:47]
2. Smith & The Prophets - Joeasaphat Rock [03:00]
3. King Tubby - Thanks And Praise [03:01]
4. Barrington Spence - Don't Touch I Dread [02:26]
5. The Prophets All Stars - Tutch Dub [02:30]
6. Tommy McCook & King Tubby - Fighting Dub [04:02]
7. Yabby You - Deliver Me [02:55]
8. Yabby You & King Tubby - Deliver Dub [02:59]
9. Don D Junior & The Prophets - Milk River Rock [03:21]
10. Prince Pampidoo - Dip Them Bedward [03:08]
11. The Prophets All Stars - Dub Them Bedward [02:57]
12. King Tubby & The Prophets - Dub Vengence [03:16]
13. King Miguel - Forward On The Track [03:00]
14. King Miguel & The Prophets - Caymanas Rock [03:02]
15. King Tubby & The Prophets All Stars - Love Sweet Love Drums[04:09]
16. The Prophets All Stars - Lazy Mood [03:04]
17. King Tubby & The Prophets - Open Your Hearts [03:31]
18. King Tubby & The Prophets All Stars - Poor And Needy Dubwise[03:18]
19. Hot City All Stars - Cleo's Dub [03:05]
Playing Time.........: 59:41
Total Size...........: 120.44 MB
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