Random Album/Song upload thread
- Thread starter B-Buzz
- Start date
Glad you guys are liking that stuff. Sometimes I don't know if anyone is even downloading the stuff I post lol. I'm sure the same goes for others sometimes who post stuff up.
You check out The Bitters yet Carnage? I know you were really diggin' Thee Oh Sees and they remind me of them at some moments.
You check out The Bitters yet Carnage? I know you were really diggin' Thee Oh Sees and they remind me of them at some moments.
Also Pitchfork finally tracked down Cults like a week or so ago. Pretty interesting read and tells how the net can make a band/artist catch a buzz out of nowhere quickly.
A few weeks ago, a group called Cults posted a few songs to their Bandcamp site. Last week, the track "Go Outside" made the blog rounds, scoring a Best New Music from us on Friday. But nobody seemed to know anything about the people behind Cults. They had a tough-to-Google name and no MySpace page, and there was no information about them online. All we had to go on were their three songs, frothy and bittersweet pieces of perfectly designed lo-fi pop.
We reached out to Cults to figure out who, exactly, they are. Here is what we discovered: the two members of Cults, Brian Oblivion and Madeline Follin, are a couple. They're both 21, both from San Diego, both now studying film in New York. And they only started making music together a few months ago, posting their songs online just so that their friends could hear.
We talked to Oblivion and Follin about their great single and their sudden, surprising rise:
Pitchfork: How did Cults start?
Brian Oblivion: We were just making music in our house in our free time. Neither of us have ever been in serious bands before. Actually, Madeline had a record contract when she was nine years old.
Madeline Follin: Yeah, it was pretty funny. My stepdad's band was recording, and I just got on the mic. He had me cover "Amoeba" by the Adolescents, and some record company offered to sign me, but my parents wouldn't let me. In the song and another song I had recorded, it said something about me drinking gin or something; it was really funny. I had a chipmunk voice singing punk rock songs at nine years old.
BO: The band was called Youth Gone Mad. But that's the extent of it thus far. Doing music together really just kind of came out of living together and dating. I would make tracks and try to sing on them. Eventually, I realized that Maddy was a lot better at it than I was, and we started writing songs together.
Pitchfork: I just looked up Youth Gone Mad on iTunes. Did you do a record with Dee Dee Ramone?
MF: [Laughs] Yeah, I did. Dee Dee was friends with my stepdad and my mom. My mom was his art dealer. He was a nice guy.
BO: She was obviously really young when...
MF: Yeah, I was super young. I was probably only 12 when he passed away. But yeah, he would come over and record all the time.
Pitchfork: I know you weren't expecting to get any kind of attention this early, but do you have any plans for Cults? Are you going to play any shows or release any music?
BO: Yeah, we're finishing up a full-length record right now. We've been working on it for a while. The first three songs were just part of a larger full-length that we were working on for a long time. But we're making plans to tour this summer and just kind of seeing where this could take us.
Pitchfork: Are you talking to any labels?
BO: We've had a couple of emails so far. But we just put these songs up online two weeks ago. It's all just been really surprising and bizarre. Madeline's been walking around almost throwing up all day.
MF: People have been emailing us. I don't really know what to do at this point.
Pitchfork: It says something about the way the internet works that you can get attention so instantaneously like that.
BO: Right. I think that's awesome. Part of it plays into the fact that we didn't have any information about the band online. That's what's so great about the internet. Someone out of left field with no connections can gather a lot of attention if they create something worthwhile. But it's also a problem with the internet. Everybody wants to know everything about you. We want to pigeonhole and categorize bands, and it kind of flattens their image. Back in the day, there was kind of a mystery to rock and roll, where you could look at album covers and imagine what their lives are like. Now we're not satisfied unless we know exactly what they do everyday, who they are, where they live. Putting the songs up online without any info was partially just a coincidence, but it's also a reaction to that attitude-- trying to inject something bigger into what's become an extremely compartmentalized music industry.
Pitchfork: Does it make you uncomfortable that people want to know these things about you?
BO: Yeah, kind of. Because we're not... I don't know. As cheesy and cornball as it sounds, at the end of the day, it's all about the songs. We want to make classic music, and where we live or how old we are and what records we've played on before is all interesting, but that doesn't really matter.
MF: Yeah, that's why we're so happy about it. Nobody has any idea who we are, and everybody's like, "Whoa, what is this? Awesome."
BO: It's been really validating for us.
Pitchfork: Your songs have this nostalgia to them. You're both young, but they sound like simultaneously like 50s pop songs and 80s pop songs.
BO: Yeah, that was kind of the idea. Madeline comes from a largely punk rock background. We both grew up in San Diego, but I came from more of like a psychedelic surf-rock kind of thing. So when we got together and started dating, we had the problem of finding music to listen to. We met up on the common ground of Motown and soul music.
MF: Lesley Gore.
BO: The Shangri-Las, stuff like that. Through listening to that, we started getting really into it and writing songs like that.
Pitchfork: On "Go Outside", you sample the cult leader Jim Jones talking. How come?
BO: The next sample is these kids being interviewed by the BBC. They were living in a cult, talking about the terrors of the outside world. A lot of the idea of the band and its name is the idea of liberation, of choosing your own way of doing things. Madeline and I both had weird times in our life before we met up and got together and, through the music, got into a really good place. It's about finding your own meaning and how something that's potentially looked down upon doesn't necessarily need to be bad. I wanted to incorporate these speakers saying beautiful things even though they're bad people.
I really want to here the full length after hearing the three songs released so far.
A few weeks ago, a group called Cults posted a few songs to their Bandcamp site. Last week, the track "Go Outside" made the blog rounds, scoring a Best New Music from us on Friday. But nobody seemed to know anything about the people behind Cults. They had a tough-to-Google name and no MySpace page, and there was no information about them online. All we had to go on were their three songs, frothy and bittersweet pieces of perfectly designed lo-fi pop.
We reached out to Cults to figure out who, exactly, they are. Here is what we discovered: the two members of Cults, Brian Oblivion and Madeline Follin, are a couple. They're both 21, both from San Diego, both now studying film in New York. And they only started making music together a few months ago, posting their songs online just so that their friends could hear.
We talked to Oblivion and Follin about their great single and their sudden, surprising rise:
Pitchfork: How did Cults start?
Brian Oblivion: We were just making music in our house in our free time. Neither of us have ever been in serious bands before. Actually, Madeline had a record contract when she was nine years old.
Madeline Follin: Yeah, it was pretty funny. My stepdad's band was recording, and I just got on the mic. He had me cover "Amoeba" by the Adolescents, and some record company offered to sign me, but my parents wouldn't let me. In the song and another song I had recorded, it said something about me drinking gin or something; it was really funny. I had a chipmunk voice singing punk rock songs at nine years old.
BO: The band was called Youth Gone Mad. But that's the extent of it thus far. Doing music together really just kind of came out of living together and dating. I would make tracks and try to sing on them. Eventually, I realized that Maddy was a lot better at it than I was, and we started writing songs together.
Pitchfork: I just looked up Youth Gone Mad on iTunes. Did you do a record with Dee Dee Ramone?
MF: [Laughs] Yeah, I did. Dee Dee was friends with my stepdad and my mom. My mom was his art dealer. He was a nice guy.
BO: She was obviously really young when...
MF: Yeah, I was super young. I was probably only 12 when he passed away. But yeah, he would come over and record all the time.
Pitchfork: I know you weren't expecting to get any kind of attention this early, but do you have any plans for Cults? Are you going to play any shows or release any music?
BO: Yeah, we're finishing up a full-length record right now. We've been working on it for a while. The first three songs were just part of a larger full-length that we were working on for a long time. But we're making plans to tour this summer and just kind of seeing where this could take us.
Pitchfork: Are you talking to any labels?
BO: We've had a couple of emails so far. But we just put these songs up online two weeks ago. It's all just been really surprising and bizarre. Madeline's been walking around almost throwing up all day.
MF: People have been emailing us. I don't really know what to do at this point.
Pitchfork: It says something about the way the internet works that you can get attention so instantaneously like that.
BO: Right. I think that's awesome. Part of it plays into the fact that we didn't have any information about the band online. That's what's so great about the internet. Someone out of left field with no connections can gather a lot of attention if they create something worthwhile. But it's also a problem with the internet. Everybody wants to know everything about you. We want to pigeonhole and categorize bands, and it kind of flattens their image. Back in the day, there was kind of a mystery to rock and roll, where you could look at album covers and imagine what their lives are like. Now we're not satisfied unless we know exactly what they do everyday, who they are, where they live. Putting the songs up online without any info was partially just a coincidence, but it's also a reaction to that attitude-- trying to inject something bigger into what's become an extremely compartmentalized music industry.
Pitchfork: Does it make you uncomfortable that people want to know these things about you?
BO: Yeah, kind of. Because we're not... I don't know. As cheesy and cornball as it sounds, at the end of the day, it's all about the songs. We want to make classic music, and where we live or how old we are and what records we've played on before is all interesting, but that doesn't really matter.
MF: Yeah, that's why we're so happy about it. Nobody has any idea who we are, and everybody's like, "Whoa, what is this? Awesome."
BO: It's been really validating for us.
Pitchfork: Your songs have this nostalgia to them. You're both young, but they sound like simultaneously like 50s pop songs and 80s pop songs.
BO: Yeah, that was kind of the idea. Madeline comes from a largely punk rock background. We both grew up in San Diego, but I came from more of like a psychedelic surf-rock kind of thing. So when we got together and started dating, we had the problem of finding music to listen to. We met up on the common ground of Motown and soul music.
MF: Lesley Gore.
BO: The Shangri-Las, stuff like that. Through listening to that, we started getting really into it and writing songs like that.
Pitchfork: On "Go Outside", you sample the cult leader Jim Jones talking. How come?
BO: The next sample is these kids being interviewed by the BBC. They were living in a cult, talking about the terrors of the outside world. A lot of the idea of the band and its name is the idea of liberation, of choosing your own way of doing things. Madeline and I both had weird times in our life before we met up and got together and, through the music, got into a really good place. It's about finding your own meaning and how something that's potentially looked down upon doesn't necessarily need to be bad. I wanted to incorporate these speakers saying beautiful things even though they're bad people.
You know, I really want to hear more material from them. Everyone that I showed the EP to loves it.
i'm going to check out the bitters cd, i don't even know how i missed it. Thanks for the good tunes man, even though i don't reply to everything, I check out a lot of the links you guys post. So far, the bands that you guys recommended to me over the years are the only bands that I even listen to. So...thanks haha.
i'm going to check out the bitters cd, i don't even know how i missed it. Thanks for the good tunes man, even though i don't reply to everything, I check out a lot of the links you guys post. So far, the bands that you guys recommended to me over the years are the only bands that I even listen to. So...thanks haha.
Fortunately, I enjoyed a few more than one track, but the mapping is off and it's not congruent. The first two tracks don't seem to fit the overall sound of the rest of the album. Their placement feels like an afterthought.
And I'm supremely disappointed in the songs with Damon Albarn. They could have been a truly great cross between Gorillaz and Massive Attack, but they came off boring.
The link B provided is just the 10 track album, but I've heard the remix "album" and it's actually much better than the album, with the exception of Pray for Rain being done a couple of times.
I haven't heard the bonus songs, but if I were to rate Heligoland, I'd give it:
2.5/5
And I'm supremely disappointed in the songs with Damon Albarn. They could have been a truly great cross between Gorillaz and Massive Attack, but they came off boring.
The link B provided is just the 10 track album, but I've heard the remix "album" and it's actually much better than the album, with the exception of Pray for Rain being done a couple of times.
I haven't heard the bonus songs, but if I were to rate Heligoland, I'd give it:
2.5/5
AWWWWWWWWWWWWWW SHIIIIIIIIIIIIIIIIIT!!!!
Deftones - Diamond Eyes
1. Diamond Eyes
2. Royal
3. CMND / CTRL
4. You've Seen The Butcher
5. Beauty School
6. Prince
7. Rocket Skates
8. Sextape
9. Risk
10. 976-EVIL
11. This Place Is Death
http://www.mediafire.com/?ui2fyoqylyf
Deftones - Diamond Eyes
1. Diamond Eyes
2. Royal
3. CMND / CTRL
4. You've Seen The Butcher
5. Beauty School
6. Prince
7. Rocket Skates
8. Sextape
9. Risk
10. 976-EVIL
11. This Place Is Death
http://www.mediafire.com/?ui2fyoqylyf