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Lofiles is a music and mp3 blog contains a collection of songs I love. MP3s are for sampling purposes only. If you like the music as much as I do, please go out and buy the records! .If you have a complaint about the ownership of a track, please contact me directly and I will be happy to take it down ASAP.
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Cymbals Eat Guitars Announce Headlining US Spring Tour Joined by Bear In Heaven & New Addition Freelance Whales

January 26th, 2010

…”Staten Island quartet Cymbals Eat Guitars came out of seemingly nowhere when, a little under a month ago, their debut album, Why There Are Mountains, was bestowed Pitchfork’s “Best New Music” honor. Who were these guys? Staten Island, seriously? They were, of course, four hustling musicians who’d struck gold on the songwriting front, crafting a beastly, obtuse album that sounds a lot like Built To Spill, if Built To Spill actually had some youth on their side and could still throw down in a street fight or get upset over a girl.” – RCRD LBL

NME about  The Freelance Whales: ..”It’s awash with gentle, naive bliss, and if you’re the type that likes to observe hooks blossoming with the pace of an actual flower opening, then you might have just found a new favourite band.”

Us Tour Dates

3/5 – Johnny Brenda’s – Philadelphia, PA

3/6 – Rock N Roll Hotel – Washington, D.C

3/7 – Local 506 – Chapel Hill, NC

3/9 – The End – Nashville, TN

3/10 – Pilot Light – Knoxville, TN

3/11 – The Earl – Atlanta, GA

3/12 – Harvest Of Hope Festival – St. Augustine, FL

3/13 – Will’s Pub – Orlando, FL

3/14 – The Engine Room – Tallahassee, FL

3/16 – Mango’s – Houston, TX

3/22 – The Rhythm Room – Phoenix, AZ

3/23 – The Casbah – San Diego, CA

3/24 – The Echo – Los Angeles, CA

3/25 – Bottom Of The Hill – San Francisco, CA

3/28 – Crocodile Café – Seattle, WA *

3/29 – The Biltmore Cabaret – Vancouver, BC

3/31 – Kilby Court – Salt Lake City, UT

4/1 – Hi Dive – Denver, CO

4/2 – Replay Lounge – Lawrence, KS

4/3 – Turf Club – St. Paul, MN

4/4 – Schuba’s – Chicago, IL

4/6 – El Mocambo Club – Toronto, ON

4/7 – Il Motore – Montreal, QB

4/8 – The Middle East – Boston, MA

*CEG Not Playing

Artists vs Fans

January 26th, 2010

This is an Artist vs. Fan forever running issue about free or inexpensive downlodable music, or what is the right thing to do? I think DJ Shadow says it all. I agree with every word he says:

“Every artist is entitled to their own price point, just as every consumer has a choice in what they purchase. Nobody puts a gun to someone’s head and says, “Hey, buy this Picasso for 20 million.” Likewise, if $9.99 is too much to spend for one of my albums, so be it, your choice. But if you’re holding your breath, waiting for me to boost my cool-quotient by giving my music away for free, it’s not going to happen. The fact is that I feel my music has value. You may disagree, and that’s fine. But I know how much energy I put into what I do, and how long it takes me to make something I’m satisfied with. Giving that away just feels wrong to me. It’s not about money per se; I can donate a large sum of money to charity and not think twice, but I won’t give my art away. I’d rather sell it to 100 people who value it as I do than give it away to 1000 who could care less. That’s MY choice”….

A Specials event

January 24th, 2010

The Specials announced a special NYC gig in April, at Terminal 5. I don’t know about you, but I am going to be there. For those of you who were too young or were not born in the late 70`s, the Specials were heading this movement of music in England that was called 2tone music, and tone was meant as skin color not a musical tone . It was music that was written and played by  blacks and white people, reviving funky Ska music, a genre that was invented in Jamaica during the 50`s . 2tone was the name of the most important Ska music label as well, that had the 2 leading bands, The Specials and the Selecter It was part of the end of punk, beginning of what was called New wave era, when punk songs were becoming a little more than distorted 2 chord songs. The 2tone graphic design consisted of lots of black & white visuals like this Specials pin in the photo above. Listen to this awesome band and go to that gig. Just as an appetizer check out this Saturday night live video of The Specials:

Parenthetical Girls launch new five part 12″ and video series, Privilege

January 24th, 2010

“We never meant you any harm.” Ever the pragmatists, Parenthetical Girls are set to release ‘Privilege’–the band’s new full length–as a box set of five extremely limited 12″ EPs on their own ‘Slender Means Society’ label. These EPs will be sold separately in sequence every quarter over the next 15 months, each as they are completed. They will not be distributed to stores. As the cycle concludes in May of 2011, the fifth and final 12″ will come packaged in a beautiful, aesthetically cohesive LP box designed to house all four of the preceding releases, forming the complete Privilege album. Limited to 500 physical copies per EP, the 12″s will each feature original art by renowned Swedish illustrator Jenny Mörtsell, and will be hand-numbered in the blood of their respective band members. The first 12″–subtitled On Death & Endearments–will be released on February 23, 2010.

When last we left Parenthetical Girls, the group had undergone a seismic shift in both scope and purpose, shedding the trappings of their past–and of indie rock altogether–with their critically acclaimed Orchestral Pop opus Entanglements. An experiment in Pop maximalism, Entanglements took perverse pleasure in blending the bloated chamber arrangements of a century’s worth of pop history with the rhythmic dissonance of modern classical composition–and then topping it all off with a dense, Joycean novella narrated in part by a pedophile. Needless to say, it was all a lot to swallow.

Having taken pop extravagance to its logical conclusion, Parenthetical Girls have given the orchestra their leave–and the resulting transformation is no less momentous. Returning to its core membership of vocalist/songwriter Zac Pennington, multi-instrumentalist Rachael Jensen, and producer/arranger Jherek Bischoff, the group set about a path that they have heretofore never really charted: that of sonic restraint. And though the results could scarcely be called subtle, the language of Privilege is direct and unambiguous–a new creative candor that’s felt in both its words and music. It’s Parenthetical Girls in fighting trim, and the difference is both immediate and undeniable.

The group inaugurates this ambitious experiment with Privilege, pt 1: On Death & Endearments–a compelling four-song suite drenched in the long-latent glam-racket so often suggested in Pennington’s androgynous lilt. Nowhere is this more apparent than with lead-off track “Evelyn McHale,” a Bolan-ian homage that–much like Entanglements’ “A Song For Ellie Greenwich”–imagines the infamous title character as a springboard for more allegorical confessions. The cinematic desperation of “Someone Else’s Muse” follows–its pulsing grandeur underscoring a tale of emasculation and resentment in the face of another’s deserved success. The deathbed march of On Death & Endearments–punctuated by gloriously gated snares and a haunting angel chorus–simultaneously recalls the staggering Hounds Of Love heights of Kate Bush, and the calculating, icy croon of early Roxy Music. The EP concludes with “Found Drama I,” a tragic, Eno-indebted lullaby whose atmospheric longing swells with heartbreaking sweetness. Together, they comprise a bold, strikingly cohesive pop clarion call that further solidifies Parenthetical Girls’ place amongst the most surprising and uncompromising pop groups at work today. And there’s more where that came from.


Shlomo Sonnenfeld`s full discography

January 24th, 2010

Another Shlomo: For full discography CLICK HERE

Dosh returns with fifth album, Tommy, out in April, plus new tour dates

January 24th, 2010

In setting out to create his fifth album for Anticon, Martin Dosh had two goals in mind. First: Get loose. 2008’s ‘Wolves & Wishes’ took a step in this direction by way of its guests – freewheelers like Bonnie “Prince” Billy and Odd Nosdam – but Dosh records are well-known for their impeccable arrangements. To wit, Andrew Bird used W&W’s “First Impossible” as the rhythmic backbone for a song on last year’s critically acclaimed Noble Beast LP. (Dosh has been collaborating, recording and touring with Bird since 2005.)

Dosh’s second goal seemed to be in direct conflict with the first: To conceive yet thicker terrain for his already seething soundscapes. More drums. More vocals. And new to the Dosh catalog, lots of low end. Against all odds, ‘Tommy’ skirts critical mass but stays organic, is never overwrought, and miraculously avoids becoming cluttered. Instead, this unique brand of maximalist, rhythmdriven post-rock sweeps lilting beauty, serious beats and even airy moments into its comely whirlwind.

When Tommy begins, “Subtractions” is already in full swing, as a dark assembly of grunts, buzzing, and kalimba transitions into marimba plunks and note-hopping electric guitar. The song evolves throughout its four minutes, eventually resolving in Tortoise-y figures played out on an array of instruments. “Yer Face” opens on a loop too, but quickly distinguishes itself via standup bass, syncopated keys, and a rare lyrical performance by Dosh. Andrew Bird sings on “Number 41,” over pedal steel and a bassy beat chopped à la Radiohead’s “Pulk/Push Revolving Doors.”

“Town Mouse” plays like a warm, wide-open jam session, with different drum kits coming from different speakers, Dosh humming throughout, and bandmate Mike Lewis’ horns flying over fuzzy Rhodes blurts. True to Dosh’s letting go of control, Lewis actually wrote “Loud,” a gorgeously spare piece that ambles off into the horizon before “Airlift” wraps Tommy’s first half with lo-bit keys and a cut-up sample of Dosh and a friend covering Pink Floyd’s “Run Like Hell” back in ’87. “County Road X” tills different soil still, largely focusing on improvised piano and glistening atmospherics.

Next is “Call The Kettle,” a live fan favorite dating back to 2001 that finally gets an official release, albeit one reinvented by the dense, mesmeric thicket of notes played on saxophone, acoustic guitar, and 200-year-old harpsichord (recorded at St. Paul’s Schubert Club music museum). Bird returns to lay his light twang over the heavy feedback wash of “Nevermet,” while the bright epic “Gare De Lyon” slowly builds – for eight and a half minutes – to the album’s close.

On this final song, Dosh stretches out immensely, nursing melodic sprawl through a tense percussive passage and on to a huge finish: an explosion of thrashing bass and drums that burns brightly before the record comes to a crashing halt. The abrupt finale fits Tommy, which is dedicated to and named after Dosh soundman Tom Cesario, a dear friend who unexpectedly passed two Christmases ago. Here, Dosh pays his respects best as he can, coming away with a record inspired by tragedy, but undeniably full of life.


Personnel for Tommy

sources, samples and live tracks:

Mike Lewis – basses (5,8,10) saxophone (1,4,8) piano (3,5,6,7)

nordlead 2X (2) background vocal (1,3) glockenspiel(5)

Jeremy Ylvisaker – electric guitar (2,3,4,5,6) slide guitar(8) feedback(10)

background vocal (3) mini-korg k2 (3)

Ryan Francesconi – guitars (7,8,9,10) bulgarian tambura (10) banjo (10)

bass (7,9) accordion (7)

Chris Morrissey – electric bass (1,4,6)

Andrew Bird – vocals and lyrics (3, 9)

Freddy Votel – auxilary percussion (5,8,10)

Todd Sickafoose – acoustic bass (2, 9)

Derek Phillips – drums (left side, 4)

Mike Sopko – acoustic and electric guitars (1)

Bryan Olson – guitars (4)

Paul Niehaus – pedal steel (3)

J.T. Bates – cymbal (6)

Tim Glenn – processed prepared piano (7)

Jon Davis – microphone and bass sample (3)

Martin Dosh – just about everything else


01.28.10 Duluth, MN Pizza Luce *

01.31.10 Missoula, MT The Palace *

02.02.10 Calgary, AB Republik *

02.03.10 Edmonton, AB Brixx Bar *

02.05.10 Vancouver, BC The Biltmore Cabaret *

02.06.10 Seattle, WA Nectar Lounge *

02.07.10 Portland, OR Hawthorne Theater *

02.08.10 Eugene, OR WOW Hall *

02.10.10 San Francisco, CA Bottom of the Hill *

02.11.10 Los Angeles, CA Echoplex *

02.12.10 Scottsdale, AZ Chasers *

02.13.10 Flagstaff, AZ Green Room *

02.15.10 Albuquerque, NM Launchpad *

02.16.10 Denver, CO The Marquis Theatre *

02.18.10 Lawrence, KS Jackpot Saloon *

02.19.10 St. Louis, MO Firebird *

02.20.10 Madison, WI High Noon Saloon *

03.17 – 03.20 Austin, TX SXSW

04.09.10 Minneapolis, MN 7th St. Entry

04.10.10 Minneapolis, MN MacPhail Center For Music

04.11.10 Minneapolis, MN Bedlam Theatre

* = w/ Eyedea & Abilities

Twin Shadow Premieres “Castles In The Snow” & “Yellow Baloon” On RCRD LBL

January 24th, 2010

New York Dates:

2/6 – Glasslands W/ Class Actress – Brooklyn

3/13 – Cameo Gallery – Brooklyn

Twin Shadow makes the sort of music that one imagines would perfectly soundtrack the premature but poetic end to an affair. Shimmering, synth-heavy arrangements underpin bittersweet modern soul songs, all of which seem to document some sort of recent or imminent loss. FRACTIONSOFONE.COM 

After a stint living in Berlin, Bowie and Kraftwerk obsessive and former band-hopper George Lewis Jr. moved back to his home base of Brooklyn and started writing affected electronic pop under the name Twin Shadow. This backstory is maybe not that unique, but Lewis’ elicitation of songs as enigmatic as “Castles In The Snow” and “Yellow Balloon”–both co-produced by Ed Banger affiliate Mickey Moonlight–certainly is. They’re like a wiser, well-adjusted alternative to glo-fi, due on a forthcoming 7-inch in March with another set to follow for Chris Taylor (of Grizzly Bear)’s Terrible Records. Yes, this dude will probably have a really good year. RCRD LBL 

This is like the soundtrack to those moments when the drugs still haven’t quite worn off; you’re still smiling broadly and glowing, but firmly rooted to the sofa. He has a single due out in March, so look out for that. It seems Brooklyn never runs out of energy, so we are looking forward to what else appears throughout 2010. THERECOMMENDER.NET

So the story sounds a little familiar. At least at first, as George Lewis Jr. recalls his 10-round bout with writer’s block, a struggle that was broken by searching the streets of Berlin for the ghosts of Bowie, Reed and Pop. Because that’s what artists do when they get tired of playing rock ’n’ roll, right? They revisit the point where the gods of glam and four-alarm guitars discovered such groove-riding Germans as Cluster, Kraftwerk and Can

“The whole experience of living in Berlin was very cinematic,” explains Lewis Jr., “reinforcing the idea of being in a place where you can indulge just about any fantasy, creatively and personally. What I wanted to do came out with such clarity once I got back to Brooklyn—I spit a bunch of songs out right away.” 

A couple standout recordings from those early bedroom sessions are “Yellow Balloon” and “Castles In the Snow,” which will be released as a limited 7” in March. These songs also serve as the phantasmagoric foundation for a forthcoming LP of new songs that’ll be released through Chris Taylor’s (Grizzly Bear) Terrible Records later this year. Driven by brittle drum breaks, crystallized keys, rubber-soled bass lines and galloping guitar chords, the double A-side single is a poppy but peculiar introduction to Twin Shadow. The solo project took on a life of its own last year, as Lewis Jr. found his calling amid a steady diet of laser-guided synth lines and layered loops. 

“I remember the first time someone sat me down and made me listen to an entire Kraftwerk record,” says Lewis Jr. “I think it was The Man Machine. Anyway, I freaked out over it, because it made me realize why I loved David Bowie’s Low for so many years. I mean, I still listen to Led Zeppelin at least twice a week, but I don’t want to hear someone trying to do that anymore.” 

He also doesn’t want to hold anything back after many years of bouncing between bands and exploring the tone poem side of songwriting with the Bill T Jones Dance Company and Lewis Forever, an ongoing performance art project with his three sisters. One of which is his twin, although that doesn’t quite explain the Twin Shadow name. Think of it as a movie title instead—a film adaptation of Bowie’s Berlin years, as filtered through the waking dream lens of David Lynch

“It’s kinda crazy how new all of this is to me,” he says. “Everything is very spontaneous. That’s the other thing I learned in Berlin—that it’s okay to change, because it’s all connected in some way. Whatever I learn today is something I’m going to apply tomorrow. The tough thing is finding some cohesion. But that’s okay. Musicians who don’t evolve can only be a part of our cultural existence for so long, you know?”


Inlets set to release debut full-length, Inter Arbiter, on twosyllable

January 23rd, 2010

A worrier, childhood choir member, and unfocused student of many instruments, Sebastian Krueger marries the darker ornaments of baroque pop with lo-fi intimacy. Far from his Wisconsin roots and perfunctory piano lessons, he works out of a small Brooklyn apartment as Inlets, incubating songs over the course of months and creating short, dusty suites. 

Thanksgiving of 2006 brought the free online release of Inlets’ first offering, ‘The Vestibule’ EP, an eight-song collection that won round praise from music blogs including Stereogum, Gorilla vs Bear, Said The Gramophone, and La Blogotheque. Framed by eclectic layers of clustered woodwinds, brass, and percussive guitars, the record captured a personal and raw enterprise. The self-released Vestibule EP has since been downloaded over 40,000 times. 

Rather than promote the new project, Krueger dug in and committed to the slow process of writing an ambitious collection of new songs. Now, ‘Inter Arbiter’ picks up where Vestibule left off, but the scope is wider and the hues are sharper. Krueger has honed his arranging abilities, creating elegant high drama from bursts of strings and discord from jangly cheap guitars. 

The somber piano placesetting of “[]” opens Inter Arbiter with wispy clouds of harmony. Delicate finger-picked banjo buoys “Great Exit Lights“, taking dark woodwind deviations through themes of hibernation. “Bright Orange Air,” with it’s winding rhythmic guitars and choired choruses, is an ode to the psychotropic effects of municipal lighting, while “Sunfed Shapes” heaves over lurching reeds and angular chords as an elegy to idleness and want. 

Inter Arbiter congealed in the free spaces between working full time at a civil rights organization, adhering to acceptable and neighborly hours for noisemaking, and recurrent existential crises. The self-recorded album has an unexpectedly broad three-dimensional impact for an effort managed nearly entirely within the spartan low fidelity confines of a small apartment bedroom. 

Throughout the process of recording Inter Arbiter, Krueger remained a busy collaborator, assisting My Brightest Diamond with woodwinds, playing banjo with Feist on Saturday Night Live, and contributing to records by DM Stith and Marla Hansen. The new record includes help from friends like Beirut frontman Zach Condon, Dirty Projector‘s vocalist Angel Deradoorian, as well as cellist Maria Jeffers and violist Marla Hansen of the string quartet Osso. 

Inter Arbiter is due April 20th via Twosyllable Records. 



Jan 21 Brooklyn, NY Bell House *

Feb 08 Richmond, VA The Camel

Feb 09 Washington, DC DC9

Feb 10 Philadelphia, PA Khyber

Mar 17 – 20 Austin, TX SXSW

* = w/ Vetiver


January 23rd, 2010

Flying Lotus has inspired a whole generation of young bedroom instrumental hip hop producers. One of them, and a good one, or a bad one, it depends where you comin from, is Shlohmo. The one screwed up thing about him is that the M.F stole my name, real name. To use a horrible name like this, I mean, I was named Shlomo after my grandfather, so I didn’t really get the chance to squeeze in a word or suggest a different one , but this guy….. Anyhow, you should listen to his unquantized beats, weird sounds, noises. Instrumental hip hop at it`s best. And the slogan on his myspace explains everything: …”If it moves, then there`s nothing offbeat about it”. Listen to some incredible stuff of his, and more

I love Chocolate milk

January 23rd, 2010

Heard about them through a link I have seen on Shlohmo`s space. J Dilla type music, I love instrumental hip hop Madlib style, check out the Chocolate milk collective