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justian27 - 10/10/2012 12:52 PM
#8441

ohh iyah buat om danang, sekali lagi selamat menempuh "kehidupan" baru..
klo sekarang kan enak begadang malem ada yg nemenin, ga kaya pas masih bujang begadang sendiri doank.. hahahaha.. congrats bro D
isnur - 10/10/2012 04:11 PM
#8442

Hidden Orchestra - Archipelago (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Ambient / Broken Beat / Downtempo / Experimental / Jazz / Scotland

Tracklist:
01. Overture
02. Spoken
03. Flight
04. Vorka
05. Hushed
06. Reminder
07. Seven Hunters
08. Fourth Wall
09. Disquiet
10. Vainamoinen

part 1 : http://www.mediafire.com/?w7df9m0odvr7dya
part 2 : http://www.mediafire.com/?y8ob0fo9h679623
join with hjsplit or FFSJ
rebius86 - 10/10/2012 07:54 PM
#8443

~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

[Konser] A-Musement Night#1

Menampilkan:

Sigmun
Echolight
Napolleon
Flukeminimix
Muchos Libre

Tempat: Swarga Cafe, Jl Diponegoro no.25, Bandung.

Free entry!!!
Show your ID only for 18 years old and above
rayculz - 10/10/2012 09:34 PM
#8444

~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Quote:
Album ke enam dari otak yang sama dibalik sensasi breakcore Terbujurkaku ini berisi lima track nu-gaze yang tidak generik tapi juga tidak groundbreaking. Cukupanlah pokoknya. Walau tidak memberikan sesuatu yang baru, Lorelei menjadikan Duskgazer pengantar tidur yang sangat ampuh, terbukti dari beberapa teman yang tertidur saat mendengarkan album ini, di siang hari. Album ini menjadi spesial karena Lorelei sendiri jarang tampil live, dan didampingi oleh kumpulan prosa karya Aditya Saputra atau juga dikenal dengan akun twitter @bujubuneng, yang menginterpretasikan track-track yang ada di album ini.

Track pertama yang juga dijadikan judul album ini, Duskgazer adalah tipikal nu-gaze/ shoegaze kebanyakan, tenang diparuh pertama, berisik diparuh kedua. Track kedua, Nightgazer, sesuai judulnya merupakan lanjutan dari Duskgazer. Bagian paruh kedua pada Duskgazer dijadikan fondasi utama track ini. Sayangnya transisi dan antar track mengganggu, padahal rasanya lebih enak kalau mendengarkan dua track ini tanpa jeda.

Track ketiga, Stargazer mengingatkan saya pada aplikasi Bloom pada iPad yang dikembangkan oleh Brian Eno. Ambience dreamy dan spacy yang diciptakan membius pendengarnya untuk mengantuk dan tidur. Beberapa teman yang diperdengarkan album ini tertidur pada track ini. Track selanjutnya, Skygazer mungkin terinspirasi ending game-game RPG jaman playstation seperti Grandia atau Thousand Arms. Dan Track terakhir pada album ini, Dawngazer merupakan cover version dari Newbie Panic Syndrome.

Melihat dari efek yang ditimbulkan, maka album ini sepertinya cocok dinobatkan sebagai lullaby of the year, teman yang sangat baik untuk orang-orang yang didera insomnia akut yang mengisi timeline Twitter di dini hari. Atau penggemar nu-gaze yang bosan dengan musik yang guitar-oriented.

(review by @dnnbgs a.k.a. Denan Bagus )


Lorelei - Duskgazer (2012)

[code]http://dl.dropbox.com/u/70930843/2012%20-%20Lorelei%20-%20Duskgazer.rar
atau
http://www.mediaapi.com/?cmjuwe1xmj5yars[/code]
rayculz - 11/10/2012 06:25 PM
#8445
GY!BE - part 1
FYI : Godspeed You! Black Emperor adalah band yang sangat mustahil untuk diwawancarai sejak kiprah pertama mereka. Dan berikut ini adalah kejadian yang sangat langka yg berisikan wawancara mereka dan pemikiran2 mereka. Well disimak saja \)

Godspeed You! Black Emperor
'You make music for the king and his court, or for the serfs outside the walls'
In a rare interview, the shadowy collective from Canada explain why they have returned, and why all music is political

~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

We all know this story. A band form, release a few albums, get hailed by a hyperventilating music press as the saviours of indie rock, then burn out, disappearing into an "indefinite hiatus". And when they return a few years later, with a handful of gigs and a comeback album, beneath the cheers of fans is an undertone of muttering: they're doing it for the money, right?

Wrong. Because this time the story is about Godspeed You! Black Emperor, the Montreal band who defy convention to make the familiar strange. For a start, there's nine of them, and they don't play songs so much as mini-symphonies, 20-minute tracks of multi-layered guitars, percussion and strings that ebb and flow, crash and drone. In place of lyrics, their albums offer anti-capitalist statements: the sleeve of 2002's Yanqui UXO featured a diagram linking major record labels to arms manufacturers (UXO stands for unexploded ordnance). On Monday, they release their first album in a decade, 'Allelujah! Don't Bend! Ascend!; Godspeed announced it to the world by slipping vinyl copies on to the merchandise table at their gig in Boston on 1 October.

This refusal to play by the music industry rules shrouds Godspeed in a thrilling mythology: they are outsiders, anarchists, punks in the truest sense. The mythology sticks because they all but refuse to tell the narrative of themselves. Early in their existence they instituted a rule: "No singer no leader no interviews no press photos." They may have mellowed on those rules a little, but only a little: this is the only interview they're doing with the English-language press, and it comes with conditions. The interview would happen on email, in a Q&A format, and the full answers would need to be published (you can read them here). And because there is no leader, all answers are attributed to Godspeed as a collective.

...
rayculz - 11/10/2012 06:27 PM
#8446
GY!BE - part 2
...

That collectivity is partly a political decision – we'll come back to that. Partly it's a shield to protect acute diffidence. Whatever their characteristics as individuals, as a group Godspeed describe themselves as "earnest and naive and square", and the idea that doing things differently sets them apart discomforts them: "All's we know is that we won't play the stupid game." But if they reject the mythology, they no less fiercely reject the implication that they're "just" a band.

"We're a band. We're not 'just a band', we're a band. Us against the world, yeah? We feel like most of the stuff we have to muddle through is the same sort of stuff that countless other bands have to muddle through. Nothing special, nothing interesting. It's just that we make decisions based on a particular stubborn calculus. It's just that there's a certain sort of ringing that we chase when we rattle our bones in our tiny practice room. It's just that we like the sound of things a little out of tune."

The rough poetry of those sentences tell you a lot about Godspeed's music. You find the same faltering rhythms, romantic cadence and prolixity in their early albums, F#A#oo (1997) and Levez Vos Skinny Fists Comme Antennas To Heaven (2000): both quiver on a faultline between control and chaos, so that for every passage that is restrained, elegant or playful, there's another that surges and spirals, angry and bleak. When Godspeed performed this music live, it was against a backdrop of scratchy films of desolate wastelands, or electricity pylons looming against grey skies, interspersed with a single word, HOPE, beaming in the darkness. That wasn't enough to stop people characterising them as "prophets of doom" – an epithet that sat ill with the group.

"A whole lot of what we were about was joy. We wanted to make music like Ornette Coleman's Friends and Neighbours, a joyous difficult noise that acknowledged the current predicament but dismissed it at the same time. A music about all of us together or not at all. We hated that we got characterised as a bummer thing. For us, every tune started with the blues but pointed to heaven near the end, because how could you find heaven without acknowledging the current blues?"

On their new album, Godspeed address those "current blues" directly. The cover art includes two bald proclamations: "Fuck le plan nord", referring to a five-year plan for economic development in Quebec supported by industrialists and condemned by environmentalists; and "Fuck la loi 78", rejecting a controversial bill banning student protest. One long track, Mladic, takes its name from the Bosnian Serb former general put on trial this year in The Hague for war crimes: it is scratchy and furious, all stabbed guitars, pounded drums and strident melodies at times redolent of rembetika, the dissident music of early 20th-century Greece; at the end is a recording of saucepans being bashed at a street protest in Montreal. The other long track, We Drift Like Worried Fire, is more abstract but no less suggestive: it is the sound of innocent people being hounded by malevolent social forces but somehow, together, making an escape.

Address them as a political band and again Godspeed bristle. "All music is political, right? You either make music that pleases the king and his court, or you make music for the serfs outside the walls. It's what music (and culture) is for, right? To distract or confront, or both at the same time?"

"We started making this noise together when we were young and broke. Whatever politics we had were born out of living through a time when the dominant narrative was that everything was fine. Clearly this was a lie. But Clinton was president, the Berlin Wall was down, our economies were booming, and the internet was a shiny new thing that was going to liberate us all. The gatekeepers gazed upon their kingdom and declared that it was good. Meanwhile so many of us were locked out, staring at all that gold from the outside in."

The only change since then, they argue, is that "it's easier to find common cause than it was 10 or 20 years ago. Every day it gets a little harder to pretend that everything's OK. The rich keep getting more and we keep getting less. Folks flee to our shores, running from the messes we've made in their countries, and we treat them like thieves. Turn on the radio and it's a fucking horror show: the things our governments do in our name, just to fatten themselves on our steady decline."

"We're at a particular junction in history where it's clear that something has to give: problem is that things could tip any which way. We're excited and terrified; we sit down and try to make a joyous noise. But we make instrumental music: means that we have to work hard at creating a context that fucks with the document and points in the general direction of resistance and freedom. Otherwise it's just pretty noise saddled to whatever horse comes along."

Common cause and context: these are the two things that set Godspeed apart. From the beginning, the decisions they have made about how to work within the music industry – as well as refusing almost all interviews, they deny free tickets for their gigs to journalists, and work only with independent labels and record shops – have created a context of dissidence. Success reinforced their subversive imperative. "When we started earning rent from this racket, we felt a lot of internal pressure to stay true to our adolescent dissatisfactions: not adolescent like immature or naive, adolescent like terminally disenfranchised and pure. And so we made decisions that irritated a lot of people. We were barely articulate. We didn't deal with outsiders well."

With Godspeed, idealism exists hand-in-hand with disillusionment – which is what prompted their hiatus a decade ago. "You dive into this horrid music-business mess determined to do your part to make it change, but then nothing changes. You have victories that feel enormous but mostly nobody notices but the kids in the front row. Also, while that battle's important (because all battles against this normalised decline are important), most of the world, justifiably, could give a fuck. There's more important work being done out there, greater class injustices than music-industry greed."

And there's the common cause: a sense of community with people, anywhere, who feel disenfranchised. At the forefront are Godspeed's fans: "We don't privilege our worries above the worries of the kids in the front row," they say. "We play to the kids in the front row because we used to be the kids in the front row." But in the background is anyone they perceive to be adversely affected by capitalism – people they increasingly feel cannot be ignored. "Post-9/11, post-7/7, there's a police state that tightens more every day, and in our day-to-days, we're all witnesses to the demeaning outcomes of debauched governance: random traffic stops, collapsing infrastructure, corrupt bureaucrats and milk-fed police with their petty intrusions."

This is where Godspeed's operation as a collective, rather than a regular band, becomes politically provocative. They don't simply espouse anti-capitalism but embody it, rejecting the selfish individualism at its core. By operating non-hierarchically, and in opposition to what are elsewhere considered financial truisms, they make an alternative society look not just attractive but attainable.

Godspeed, however, are nothing if not self-deprecating: to their minds, they are simply doing what bands do. "Music should be about things are not OK, or else shouldn't exist at all. The best songs ever are the songs that ride that line. We just try to get close to that perfection." My last question is this: do people like me take you too seriously? Their perfect, one-word answer is: "Probably."

_______

EPIC !
Efrim for Emperor of The Universe !!!
rebius86 - 11/10/2012 08:21 PM
#8447

Quote:
Original Posted By rayculz
...

That collectivity is partly a political decision – we'll come back to that. Partly it's a shield to protect acute diffidence. Whatever their characteristics as individuals, as a group Godspeed describe themselves as "earnest and naive and square", and the idea that doing things differently sets them apart discomforts them: "All's we know is that we won't play the stupid game." But if they reject the mythology, they no less fiercely reject the implication that they're "just" a band.

"We're a band. We're not 'just a band', we're a band. Us against the world, yeah? We feel like most of the stuff we have to muddle through is the same sort of stuff that countless other bands have to muddle through. Nothing special, nothing interesting. It's just that we make decisions based on a particular stubborn calculus. It's just that there's a certain sort of ringing that we chase when we rattle our bones in our tiny practice room. It's just that we like the sound of things a little out of tune."

The rough poetry of those sentences tell you a lot about Godspeed's music. You find the same faltering rhythms, romantic cadence and prolixity in their early albums, F#A#oo (1997) and Levez Vos Skinny Fists Comme Antennas To Heaven (2000): both quiver on a faultline between control and chaos, so that for every passage that is restrained, elegant or playful, there's another that surges and spirals, angry and bleak. When Godspeed performed this music live, it was against a backdrop of scratchy films of desolate wastelands, or electricity pylons looming against grey skies, interspersed with a single word, HOPE, beaming in the darkness. That wasn't enough to stop people characterising them as "prophets of doom" – an epithet that sat ill with the group.

"A whole lot of what we were about was joy. We wanted to make music like Ornette Coleman's Friends and Neighbours, a joyous difficult noise that acknowledged the current predicament but dismissed it at the same time. A music about all of us together or not at all. We hated that we got characterised as a bummer thing. For us, every tune started with the blues but pointed to heaven near the end, because how could you find heaven without acknowledging the current blues?"

On their new album, Godspeed address those "current blues" directly. The cover art includes two bald proclamations: "Fuck le plan nord", referring to a five-year plan for economic development in Quebec supported by industrialists and condemned by environmentalists; and "Fuck la loi 78", rejecting a controversial bill banning student protest. One long track, Mladic, takes its name from the Bosnian Serb former general put on trial this year in The Hague for war crimes: it is scratchy and furious, all stabbed guitars, pounded drums and strident melodies at times redolent of rembetika, the dissident music of early 20th-century Greece; at the end is a recording of saucepans being bashed at a street protest in Montreal. The other long track, We Drift Like Worried Fire, is more abstract but no less suggestive: it is the sound of innocent people being hounded by malevolent social forces but somehow, together, making an escape.

Address them as a political band and again Godspeed bristle. "All music is political, right? You either make music that pleases the king and his court, or you make music for the serfs outside the walls. It's what music (and culture) is for, right? To distract or confront, or both at the same time?"

"We started making this noise together when we were young and broke. Whatever politics we had were born out of living through a time when the dominant narrative was that everything was fine. Clearly this was a lie. But Clinton was president, the Berlin Wall was down, our economies were booming, and the internet was a shiny new thing that was going to liberate us all. The gatekeepers gazed upon their kingdom and declared that it was good. Meanwhile so many of us were locked out, staring at all that gold from the outside in."

The only change since then, they argue, is that "it's easier to find common cause than it was 10 or 20 years ago. Every day it gets a little harder to pretend that everything's OK. The rich keep getting more and we keep getting less. Folks flee to our shores, running from the messes we've made in their countries, and we treat them like thieves. Turn on the radio and it's a fucking horror show: the things our governments do in our name, just to fatten themselves on our steady decline."

"We're at a particular junction in history where it's clear that something has to give: problem is that things could tip any which way. We're excited and terrified; we sit down and try to make a joyous noise. But we make instrumental music: means that we have to work hard at creating a context that fucks with the document and points in the general direction of resistance and freedom. Otherwise it's just pretty noise saddled to whatever horse comes along."

Common cause and context: these are the two things that set Godspeed apart. From the beginning, the decisions they have made about how to work within the music industry – as well as refusing almost all interviews, they deny free tickets for their gigs to journalists, and work only with independent labels and record shops – have created a context of dissidence. Success reinforced their subversive imperative. "When we started earning rent from this racket, we felt a lot of internal pressure to stay true to our adolescent dissatisfactions: not adolescent like immature or naive, adolescent like terminally disenfranchised and pure. And so we made decisions that irritated a lot of people. We were barely articulate. We didn't deal with outsiders well."

With Godspeed, idealism exists hand-in-hand with disillusionment – which is what prompted their hiatus a decade ago. "You dive into this horrid music-business mess determined to do your part to make it change, but then nothing changes. You have victories that feel enormous but mostly nobody notices but the kids in the front row. Also, while that battle's important (because all battles against this normalised decline are important), most of the world, justifiably, could give a fuck. There's more important work being done out there, greater class injustices than music-industry greed."

And there's the common cause: a sense of community with people, anywhere, who feel disenfranchised. At the forefront are Godspeed's fans: "We don't privilege our worries above the worries of the kids in the front row," they say. "We play to the kids in the front row because we used to be the kids in the front row." But in the background is anyone they perceive to be adversely affected by capitalism – people they increasingly feel cannot be ignored. "Post-9/11, post-7/7, there's a police state that tightens more every day, and in our day-to-days, we're all witnesses to the demeaning outcomes of debauched governance: random traffic stops, collapsing infrastructure, corrupt bureaucrats and milk-fed police with their petty intrusions."

This is where Godspeed's operation as a collective, rather than a regular band, becomes politically provocative. They don't simply espouse anti-capitalism but embody it, rejecting the selfish individualism at its core. By operating non-hierarchically, and in opposition to what are elsewhere considered financial truisms, they make an alternative society look not just attractive but attainable.

Godspeed, however, are nothing if not self-deprecating: to their minds, they are simply doing what bands do. "Music should be about things are not OK, or else shouldn't exist at all. The best songs ever are the songs that ride that line. We just try to get close to that perfection." My last question is this: do people like me take you too seriously? Their perfect, one-word answer is: "Probably."

_______

EPIC !
Efrim for Emperor of The Universe !!!


nunggu wawancaranya corrupted aja hehehe
hedee - 12/10/2012 09:52 AM
#8448

Quote:
Original Posted By rebius86
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

[Konser] A-Musement Night#1

Menampilkan:

Sigmun
Echolight
Napolleon
Flukeminimix
Muchos Libre

Tempat: Swarga Cafe, Jl Diponegoro no.25, Bandung.

Free entry!!!
Show your ID only for 18 years old and above


ada yang bakal dateng gak? kalau ada janjian yak? biasanya sih ketemu Murtado..hehehe
isnur - 13/10/2012 02:42 AM
#8449

Lost In Kiev - Motions (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Post-Rock / Post-Metal / Instrumental





Laura - The Slow single (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Post-Rock / Experimental /Australia





In the Wake of Giants - Forever (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Post-Rock / USA





World's End Girlfriend - Story Telling Again and Again (EP) (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Ambient / Electronic / Experimental / Japan
dummy2dum - 15/10/2012 11:17 PM
#8450

Halo para sepuh, perkenalkan nubi baru main kesini

Quote:
Original Posted By S4MD33
Gan!! ada yang tahu yang ngisi OST film animasi The Secret World of Arrietty
sekilas sih kaya vokalnya Jonsi atau Jonas Bjerre bingungs
tapi ane download dapet yang versi jepangnya Cecile Corbel - Karigurashi no Arrietty lagu ini nga ketemu capedes

[youtube]Vp2nb9Vq0yY[/youtube]


Aih ost nya keren abis
Filmnya oke juga sih, pernah nonton ama temen

Spoiler for Kaos POST ROCK dimari gan keren abis
RadioInMyHead - 16/10/2012 01:11 PM
#8451

Quote:
Original Posted By dummy2dum
Halo para sepuh, perkenalkan nubi baru main kesini



Aih ost nya keren abis
Filmnya oke juga sih, pernah nonton ama temen

Spoiler for Kaos POST ROCK dimari gan keren abis


Boleh juga kaosnya, gan. "Post Rock; Where you don't need lyrics to touch everyone's soul." D matabelo:
isnur - 16/10/2012 02:01 PM
#8452

Lento - Anxiety Despair Languish (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Ambient / Atmospheric / Downtempo / Post-Metal / Sludge / Italy / Denovali Records





The Calm Blue Sea - Arrivals & Departures (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Ambient / Piano / Post-Rock
seket - 17/10/2012 02:30 PM
#8453

Quote:
Original Posted By isnur
Hidden Orchestra - Archipelago (2012)


Thx dude,gw nyari ini lamamalus:
thx for sharingo
chorckyromano - 18/10/2012 02:09 AM
#8454

Quote:
Original Posted By rayculz
My last question is this: do people like me take you too seriously? Their perfect, one-word answer is: "Probably."



udee

jangan seriyus seriyus

D
dummy2dum - 18/10/2012 09:53 AM
#8455

Quote:
Original Posted By RadioInMyHead
Boleh juga kaosnya, gan. "Post Rock; Where you don't need lyrics to touch everyone's soul." D matabelo:


Hahaha rata2 musik post rock memang begitu gan, gak perlu ngerti lirik. Just listen to the music D

Monggo juga dipesan gan kaosnya D
isnur - 18/10/2012 10:18 AM
#8456

Nadja - Dagdrøm (2012)

Quote:
~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure

Ambient / Drone / Experimental
kemses - 18/10/2012 09:57 PM
#8457

malem para suhu posrok cendols
maap nubi ngepos disini udah lama banget hammers

tiba2 waktu nonton official video jkt48, ada penampakan
ane tiba2 inget klo ga salah itu tees official posrok kaskus?
bener ga ya?! hehe

~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure
pergitamasya - 19/10/2012 10:17 AM
#8458

^
^
^
ini sih sudah maklum adanya D
NightXIII - 19/10/2012 02:49 PM
#8459

Quote:
Original Posted By kemses
malem para suhu posrok cendols
maap nubi ngepos disini udah lama banget hammers

tiba2 waktu nonton official video jkt48, ada penampakan
ane tiba2 inget klo ga salah itu tees official posrok kaskus?
bener ga ya?! hehe

~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure


oh kalo dia sih.... ngacir:
gloomygemma - 19/10/2012 03:25 PM
#8460

Quote:
Original Posted By dummy2dum


Spoiler for Kaos POST ROCK dimari gan keren abis


kaosnya cakep wowcantik

Quote:
Original Posted By kemses
malem para suhu posrok cendols
maap nubi ngepos disini udah lama banget hammers

tiba2 waktu nonton official video jkt48, ada penampakan
ane tiba2 inget klo ga salah itu tees official posrok kaskus?
bener ga ya?! hehe

~ Post-Rock & Experimental Music ~ | Brotherhood of The Traveling Treasure


ck ck ck oom indra ya itu ngakaks

Quote:
Original Posted By indra88
[FONT="Comic Sans MS"]yun, temen lu yg pk jaket hoodie coklat tudung beruang ditanyain sm si @titik.titik. salam wat dia ktnya \)

_________ngacir:


#eaaaaakkkkk D linux1:linux1:

btw arisan itu udah sampe mana ya? *kalem menunggu* metal:
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