.go organ.

.Shows.

.La Monja Enana.

Humo y Espejos

[Elefant, 2008]

Si te gusta L-Kan, La Casa Azul y grupos parecidos es muy probable que te guste La Monja Enana. Es buen ejemplo del Spanish Electro-pop. :-)

.novos baianos.

Acabou Chorare
[Som Libre, 1972]

Algunos dicen que este es el disco más influyente en la historia de la música popular brasileira.


Este no es nada genérico, y muy divertido.
Goodtimes.

Lo grabaron después de estar jangeando mucho tiempo con joão gilberto en rio. con ese detalle más na' vale la pena por lo menos bajarlo.

.The Twilight Sad.

[Fat Cat, 2007]

Es un poco generico pero es divertido.

.Shows.

.Mono.

You are there
[Temporary Residence, 2006]

algo como Godspeed You Black Emperor a la Japonesa...

Frances request

.Harry Rag.

Batalla de Canicas
[Cuarto de Kristian, 2008]

Quinto muy esperado disco de este guitarrista 'riopedrense'. Esta ves nos tira un disco mucho más variado, jugando con sonidos análogos y synths....sin mencionar su voz (spoiler alert!) en canciones como 'Minitia' y 'Animals', lo cual sus melodias le dan un gran abrazo de bienvenida al mundo de sus composiciones.

.Tach.Dé - Pagina 1.

Tambien pueden ver "Pagina 2" en Chasm-Filler

.Cazumbi.

African Sixties Garage vol.1
[No Smoke]

Esta compilación la encontré en uno de mis blogs favoritos (trashsistors.blogspot.com/) y no creo que esté mal de mi parte darle un pequeño 'forward' para Bórrate.Este. EXELENTE compilación de sonidos garageros, 60's R&B, surf, y rock'n roll mesclados con ese Afro-beat flavor derivado de aquél continente tan olvidado por muchos de nosotros. Primero Los Saicos en el Perú y ahora descubro esto... no me sorprendería que durante los 60's también ubieron bandas cabronas en Malasia, Napal, u otro país remoto en medio de la puñeta.

.The Walkmen.

You & Me

[Gigantic, 2008]

The Walkmen definitivamente se redimieron con este disco. Volviendo a ese sonido particular de sus primeros discos, hicieron un álbum que fácilmente puede ser la continuación del primero.

.Superaquello-Pecho e' Paloma.

Director: Veraalba Santa
2009 Tereque-tech Records
www.superaquello.com

El nuevo video de estos muchachos.

.Shows.

.hrsta.

Stem Stem In Electro
[Constellation, 2005]

haunting.

.stars of the lid.

And Their Refinement of the Decline
[Kranky, 2007]

Si Tim Hecker suena al sonido de un transeúnte perdido emocionalmente en la ciudad, Stars of the Lid suena al mismo transeúnte caminando por una ciudad desolada bajo el agua luego del apocalipsis.

.Top 5 discs o' 2008.

Bueno chicos, por iniciativa de alex de chasm-filler (visítenlos! - es tremendísimo blog) decidimos hacer nuestras listitas de fin de año. Nos fuimos directo a nuestros discos favoritos (faltan dos o tres por ahí que no me las mandaron...):

Mr. Finchley:

1. The Walkmen - You And Me
2.Portishead- Third
3.Titus Andronicus - The Airing Of Grievances
4.King Khan and the Shrines - The Supreme Genius Of
5.Resplandor - Pleamar

Honorable mention:
No Age - Nouns

Laura del Mar:

1- Deerhunter -Microcastle
2- Jay Reatard - Matador Singles '08
3- King Khan and The Shrines - The Supreme Genius of...
4- Of Montreal - Skeletal Lamping
5- Empate entre: Mount Eerie - Lost Wisdom/ Boston Spaceships - Brown Submarine/ Crystal Castles - s/t

SON:

1) Mount Eerie - Lost Wisdom
2) Deerhunter- Microcastles
3) The Dodos - Visiter
4) No Age - Nouns
5) King Kahn and The Shrines - The Supreme Genius Of...

Maurice:

1 Russian Red - I Love Your Glasses
2 Crystal Castles - s/t
3 Air France - No Way Down Ep
4 Spiritualized - Songs in A & E
5 Resplandor - Pleamar

Honorable Mentions:
Beach House - Devotion , M83- Saturdays = Youth , Suturee- s/t.

Saracho

1. Beck - Modern Guilt
2. Crystal Castles - Crystal Castles
3. Suturee - Suturee
4. Sigur Rós - Með suð í eyrum við spilum endalaust
5. M83 - Saturdays = Youth

.mulatu astatke.

Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale, 1969-1974
[Buda Musique, 1998]

Musically trained in London and schooled in the club scene of mid-’60s New York, Mulatu Astatke stands as the exceptional musical innovator of the Ethiopian groove. Starting in 1969, he created the first bands independent of the military, which had previously dominated the country’s music scene. Having immersed himself in Caribbean music, funk, jazz and Latin grooves during his lengthy stint abroad, Mulatu returned to his native land to give rise to a brand new sound.

An album of instrumentals, Ethiopiques Volume 4 is a case study in the inventive blending of influences that comprised the Ethiopian groove. Strains of funk and reggae timings permeate the thick and chunky bass lines, which are pushed prominently forward in the mix. Multiple saxophones swirl with the hypnotic, snake-charming sounds of the East, while at the same time resonating with jazzy tones reminiscent of John Coltrane and Lester Young.


Guitar is a main ingredient here, growling with funky distorted wah-pedaled fuzz riffs that sound like they were lifted straight out of an early ’70s black-exploitation flick. Drums and percussion combine the punchy funk of James Brown and the Meters with the heavy Latin rhythms of Mongo Santamaria and Willie Bobo.

Fusing all of these elements together, Mulatu unleashes a potent brew of afro-jazz grooves that pull you in and leave you in a mystical trance-like state. Whew! Even when the record stops, these mood-inspiring sounds linger on like a drug. Get your head on right, light a candle, sit back, and you too will understand… Tropical in its roots, funky and intoxicating in its impact, Mulatu Astatke’s distinct brand of Ethiopian music features some of the most soulful hip-grinding instrumentals ever recorded in Mother Africa.
tomado de musthear.com-john ballon

.Fasat Alfa.

.balún.

Something Comes Our Way
[Brillante,2006]

*christian request

nota: ahora mismo está en *wma, pronto lo subimos en mp3.

.santos xuan.

Vaya New York
[2008]

Si quieren escuchar la música detrás del hombre brillante e inigualable que hace los reportajes para Jota News aquí es que es.

.pronósticos.

Tenía la intención de subir esto hace unas semanitas, pero estaba esperando el ok del señor quintero para ponerlo. Pusieron las canciones nuevas y recibí un email hoy, así que it's goodtogo.

Campo Formio

.Pronósticos.

Escuchen a Mackandal

Vaya pronostico...

.The Taxpayers.

Exhilarating News
[Useless State, 2007]

Trio de Portland, Oregon quienes tocan un punkrock con tendencias folk americanas y blues, especialmente la primera canción "We are the hellhounds", la cual te dan ganas de montarte en un caballo despues de cojer una jienda en El Refugio y robar el primer Banco Popular que encuentres. Sus letras aluden tanto a temas políticos como a la jode'era sarcástica que tienen los flowerchildren de Oregon hacia la decadencia de la sociedad americana.... pero luego te tiran temas como "Medicines" y "New German lullaby", y de repente quieres sonreirle en la cara a un guardia.




p.s - no sé tú... pero un show de esta gente con Jenny Fatale y Los Degolladores la fucking haría.

.Shows.

.dialogodigital.com.

Un millón de gracias al portal digital del periódico Diálogo, que añadió a borrateeste en su sección de Escribanía. El portal funciona como una plataforma digital del periódico, pero también intenta ser la conección de este al mundo. En la sección de Escribanía pretenden agrupar los mejores blogs del patio boricua.

Acá les dejo el link a la página y la sección:



Escribanía

.jóhann jóhannsson.

Fordlandia
[4AD, 2008]

Jóhann Jóhannsson’s Fordlandia is the second of a projected trilogy inspired by the icons of twentieth century American capitalism. After the elegy to the early computer age that was IBM 1401, a User´s Manual, this suite seems inspired by the twenties era of hope, and its unravelling in the following decade. The inner sleeve juxtaposes an image of retro-futurist rocketry with a group of plantation workers standing next to their battered Ford, stuck in real and metaphorical mud. Fordlandia itself was a vast tract of land in Brazil bought by the Ford motor company in the twenties for the establishment of rubber plantations – the aim being to extend the principles of the production line right down to the sourcing of raw materials. It was an expensive folly. Workers rebelled against the appalling conditions they were expected to endure, and blight and disease were widespread. With the invention of synthetic alternatives to rubber, the bottom fell out of the market, and the land was sold at an enormous loss to the corporation.
The album’s epic title track is a sweeping, stately piece of nostalgic melancholia. Strings build at a funereal pace and the whole thing is pervaded by a sense of lost dreams. It’s a theme throughout the album. Doleful piano and glassy strings are underpinned, and sometimes undermined, by dark rumbling beats or drones bringing with them a feeling of foreboding. Even the quasi-religious pipe organ of “Chimaerica” is offset against a background of shattered strings. “The Great God Pan Is Dead” is a beautiful choral piece that sounds like a war requiem.
tomado de dezji.wordpress.com

.animal collective.

Sung Tongs
[Fat Cat, 2004]

Muchos dicen que este fue el "turning point" de animal collective. Es mucho más folky aunque no se alejan para nada de su lado experimental.

.avey tare + panda bear (animal collective).

Spirit They're Gone, Spirit They've Vanished
[Fat Cat, 2003]

El primer disco que sacaron avey tare y panda bear en conjunto, lo que luego se llamó animal collective. En este disco la gran parte del trabajo le va a avey, y panda bear se relega a tocar la batería la mayoría del tiempo. No es un disco fácil, pero quizás es un entry-point más suave si estás intentando que te guste animal collective.

.tim hecker.

Harmony In Ultraviolet
[Kranky, 2006]

Casi como dormir con estática. Mejor.

--------

Canadian Tim Hecker has been a respected force on the electronica scene since his debut Haunt Me Haunt Me, Do It Again, came out in 2001 (in addition to his work as Jetone). Since then, he has consistently released experimental ambient music that broadens standard compositional barriers while still remaining accessible, and such is the case with Harmony in Ultraviolet, Hecker's fourth full-length. Though most of the tracks on the album are separate entities -- including each part of "Harmony in Blue" -- they work together to form an idea that's greater than its individual elements: a sense of exploration and sadness and understanding of the infiniteness and uncertainty and expanse of the world. Themes are introduced -- a looped arpeggio, a distorted guitar riff, lone keyboard notes -- but nothing is ever fully developed, nothing ever completely exposes itself. Instead, there's a suggestion that's built-up and expounded upon but never quite resolved, long notes that pull themselves in and out of focus are favored over melodies, leaving a kind of agitation in the listener like the dark restlessness of an industrial city. Three notes make a chord but somehow Hecker's don't, they're so different in texture and scope; in fact, they seem almost peacefully at odds with one another, aware of the others' existences but content to ignore them. It's the music of a gray urban skyline, of the kind of loneliness that comes from being around too many other people, of rusted fences and cold empty windows and distance, music that swells and crescendos, sets itself up for the denouement but never arrives at the climax; it's endlessly patient yet eager to move on. Wet bass notes and emaciated electric guitars, awash with distortion, crush together with programmed noise and drones, sounds erupt and are then dismissed, fifty minutes of questions and intimations, of resignation and acceptance, but not -- definitely not -- of answers. We'll have to find those ourselves. tomado de allmusic.com