Alternative & Indie Thread

[exy]

Grant-Lee Phillips - Mobilize (2001)

mp3 256kpbs | 87MB | 47:23 min.

Some records defy explanation and rise above any praise or criticism. They exist in a realm of their own creation and definition, undeserving of attempts to categorize or humanize their artistic achievement. Words cannot capture their essence, and probably should not even try. With Mobilize, Grant Lee Phillips has set forth such a work. Superficially speaking, it offers 12 magically brilliant pieces, each and every one able to stand alone, comparable to the finest moments of U2, David Gray, R.E.M., and Radiohead. Collectively, they comprise true art, pure genius. Phillips has a superb, if not slightly altered, sense of melody and rhythm. The beats of his phrases play off of the percussive undercurrents of instruments and programming, winding the long way around when necessary to get his point across. The intimacy of each song is astounding, almost more so in the realization that Phillips wrote and performed every note himself, though assisted in production by Carmen Rizzo. Mobilize is certainly full of complex arrangements, sublime lyrical references, and intriguing instrumentation, but the overall impression is somehow much simpler. That's not to say that you'll be whistling these tunes after one listen, although a couple lend themselves to that reasonably well. It's more that one listen is so immediately enjoyable it will leave you wanting another and another, allowing the dedicated seeker to discover the secrets hidden in the layers. And of those, there are many. -- AMG

# "See America" 5:08
# "Humankind" 3:09
# "Love's a Mystery" 4:09
# "Sadness Soot" 4:20
# "We All Get a Taste" 3:54
# "Spring Released" 3:15
# "Lazily Drowning" 4:18
# "Like a Lover" 4:31
# "Mobilize" 4:07
# "Beautiful Dreamers" 4:27
# "Sleepless Lake" 2:50
# "April Chimes" 2:46

http://rapidshare.com/files/294990062/Grant_Lee_Phillips_-_Mobilize.zip

[exy]

Miss Ludella Black & The Masonics - From This Witness Stand (2008)

mp3 320kpbs | 73MB | 38:20 min.

With The Masonics, Ludella Black is back, after the legendary projects, which were The Del-Monas and Thee Headcoatees, and eight years after his first solo album She's Out There", went to Spain to Estúdios Perrotti of Jorge Explosion, to record "From This Witness Stand," this whole union ended up producing a wonderful mixture of "Old School Country Rock" with a primitive "60's Garage-Punk-Rock," and is in diversity and simplicity which is based on this record, as examples "From This Witness Stand" very well played, sung and produced, "Hey Johnny Raw" ability to a level drastically different from other tracks, "Take A Heart" with an incredible beat, "This Is Elvis Dog" pure "60's garage-punk" style, being this coverage, power and simplicity that makes me love this record.

1. From This Witness Stand
2. Don't You Walk Away From Me
3. Cost Of Living
4. I Want Some Answers
5. Come To Me
6. Hey Johnny Raw
7. This Heart Is Condemned
8. Take A Heart
9. Push Button Geoff
10. I Can Lose You
11. I'll Ride The Storm
12. This Is Elvis Dog
13. Whisper In My Brain
14. Loony

http://rapidshare.com/files/240492655/MissL.rar

[exy]

The Ettes - Do You Want Power (2009)

mp3 VBR~256kpbs | 61MB | 34:55 min.

The Ettes' third album, Do You Want Power, marks something of a departure for the band. Produced in Nashville by modern-day garage rock hero Greg Cartwright (most recently of the Reigning Sound), the record is their most focused and diverse set to date and widens their garage rock sound without diluting it. Released in 2008, Look at Life Again Soon was produced by Liam Watson to have a very retro-leaning sound relying on Watson's vintage equipment and Joe Meek-influenced style. Cartwright gives Do You Want Power a modern, in-your-face sound with less reverb and more punch. This serves the flat-out rockers like "I Can't Be True" and "Take It with You" well, giving Coco's guitar extra bite and Poni's drums extra kick. Cartwright also adds some vocals and guitar to the mix, as well as co-writing (with bassist Jem) the best song on the album, the sassy "I'll Be Your Lover (But I Can't Be Your Baby)." To match the clean sound of the album, the band turns in remarkably tight and powerful performances that may sacrifice some noise and bluster but gain back loads of power and toughness in the bargain. It's a change in philosophy that makes for a more mature but no less ferocious record. Another positive difference this time out is Coco's more nuanced vocal approach. When she's angry she spits out the words like they are poison; when she's melancholy there's a quiet power in her voice that she hasn't displayed before. In fact, on the album's ballads the bandmembers show a side they have kept hidden before. They've always had slow, melancholy numbers in their repertoire, but this time out they are less beat group-sounding and instead have a bluesy Laurel Canyon ("While You're Girl's Away") or psychedelic ("Seasons") feel. The song that ends the album, the piano-and-strings ballad "Keep Me in Flowers," could even be a different band if not for Coco's tear-stained vocals. The production shifts and slight changes in philosophy are interesting, but it all comes down to the songs in the end. Tracks like "No Home," the burning hot "Red in Tooth and Claw," and "Blood Red Blood" (to name a few) are first-rate rockers that stand with the best songs cranked out by any modern-day garage punkers, and Do You Want Power is the band's best work to date. -- AMG

01. Red In Tooth And Claw
02. I Can’t Be True
03. So Say So
04. Take It With You
05. Love Lies Bleeding
06. Modern Game
07. I Can Be Your Lover (But I Can’t Be Your Baby)
08. Blood Red Blood
09. Seasons
10. While Your Girl Is Away
11. Walk Out The Door
12. No Home
13. Keep Me In Flowers

http://rapidshare.com/files/305127945/TheEttes-DoYouWantPower.rar

[exy]

Them Crooked Vultures - S/T (2009)

mp3 VBR | 114MB

An alt/classic rock supergroup, Them Crooked Vultures featured Queens of the Stone Age's guitarist and vocalist Josh Homme, Nirvana/Foo Fighters' Dave Grohl on drums, and Led Zeppelin's John Paul Jones on bass. The trio first discussed collaborating in 2005, but not much more was heard of the project until summer 2009, when Them Crooked Vultures announced that they had been recording an album in Los Angeles. The band made their live debut at Chicago's Cabaret Metro after that year's Lollapalooza Festival closed, adding auxiliary Vulture and longtime Homme collaborator Alain Johannes on rhythm guitar and keyboards. The show's set list was made up of grungy, hard-hitting rock with prog rock leanings, including the song "Nobody Loves Me and Neither Do I," which the band posted a brief clip of on their YouTube channel the week after their inaugural gig. The band spent the rest of the summer on the festival circuit, then issued their self-tited debut that fall.

01. No One Loves Me & Neither Do I
02. Mind Eraser, No Chaser
03. New Fang
04. Dead End Friends
05. Elephants
06. Scumbag Blues
07. Bandoliers
08. Reptiles
09. Interlude With Ludes
10. Warsaw or The First Breath You Take After You Give Up
11. Caligulove
12. Gunman
13. Spinning In Daffodils

http://rapidshare.com/files/311000213/tcv.rar

[exy]

Fiona Apple - Extraordinary Machine (2005)

mp3 320kpbs | 109MB | 50:34 min.

Like Wilco's Yankee Hotel Foxtrot before it, Fiona Apple's third album, Extraordinary Machine, turned into an Internet legend as fans leaked the unreleased record as labels left it on the shelves. Since Wilco's album notoriously remained unreleased because their label deemed it uncommercial, Apple fans who were patiently waiting a long, long time for new material were convinced that her label, Epic, was withholding a masterpiece because they also thought it was uncommercial. And, based on the version of Extraordinary Machine that was widely leaked on the internets in early 2005, if Epic indeed harbored suspicions that the album was uncommercial, they were not wrong -- although Apple reunited with her When the Pawn producer, Jon Brion, for Extraordinary Machine, the original sessions for the album found the singer/songwriter and producer both indulging in their worst tendencies, creating deliberately difficult, obtuse, baroque art-pop with so many creaky details and elliptical melodies that it barely let listeners into their world. It was the kind of record that devoted fans -- say, the kind that will start a website called FreeFiona.com to petition a record label to release an album -- would dissect endlessly, but it was too insular to appeal to even those who passionately loved her second album, which was already dismissed in some quarters as too arty. But the leaked album and FreeFiona did result in considerable media attention for the reclusive singer/songwriter, and put both Epic and Fiona Apple in the position to revive the project, since it proved that there was an audience for the album, giving Fiona artistic confidence and Epic the hope of recouping the 800,000 dollars they'd already sunk into the album. So, Apple ditched most of the Brion productions -- according to the flurry of articles to promote its fall release, this was her decision, not the label's, since she was unhappy with the recordings, which is why the album remained unfinished and unreleased for years -- teamed up with producer Mike Elizondo, best known for his productions with Eminem and 50 Cent but also a sideman on records by Sheryl Crow, Gwen Stefani, and Avril Lavigne, and finally finished the record.

To say that the released version of Extraordinary Machine is a marked improvement over the bootlegged version is not to say that it sounds more complete -- after all, the Brion productions sounded finished, as evidenced by the two cuts that were retained; the intricate chamber pop of the opening title track and the closing "Waltz (Better Than Fine)" are the only time Brion's productions not only suited but enhanced Fiona's songs -- but to say that they're not only more accessible, but more fully realized, letting Apple's songs breathe in a way they didn't on the original sessions. While Brion's productions were interesting, they stretched his carnivalesque aesthetic to the limit, ultimately obscuring Apple's songs, which were already fussier, artier, and more oblique than her previous work. When matched to Brion's elaborately detailed productions, her music became an impenetrable wall of sound, but Elizondo's productions open these songs up, making it easier to hear Apple's songs while retaining most of her eccentricities. Now, Extraordinary Machine sounds like a brighter, streamlined version of When the Pawn, lacking the idiosyncratic arrangement and instrumentation of that record, yet retaining the artiness of the songs themselves. Like her second record, this album is not immediate; it takes time for the songs to sink in, to let the melodies unfold and decode her laborious words (she still has the unfortunate tendency to overwrite: "A voice once stentorian is now again/Meek and muffled"). Unlike the Brion-produced sessions, peeling away the layers on Extraordinary Machine is not hard work, since it not only has a welcoming veneer, but there are plenty of things that capture the imagination upon the first listen -- the pulsating piano on "Get Him Back," the moodiness of "O' Sailor," the coiled bluesy "Better Version of Me," the quiet intensity of the breakup saga "Window," insistent chorus on "Please Please Please" -- which gives listeners a reason to return and invest time in the album. And once they do go back for repeated listens, Extraordinary Machine becomes as rewarding, if not quite as distinctive, as When the Pawn. Nevertheless, this is neither a return to the sultry, searching balladeering of Tidal, nor a record that will bring her closer to tasteful, classy Norah Jones territory, thereby making her a more commercial artist again. Extraordinary Machine may be more accessible, but it remains an art-pop album in its attitude, intent, and presentation -- it's just that the presentation is cleaner, making her attitude appealing and her intent easier to ascertain, and that's what makes this final, finished Extraordinary Machine something pretty close to extraordinary. -- AMG

# "Extraordinary Machine" – 3:44
# "Get Him Back" – 5:26
# "O' Sailor" – 5:37
# "Better Version of Me" – 3:01
# "Tymps (the Sick in the Head Song)" – 4:05
# "Parting Gift" – 3:36
# "Window" – 5:33
# "Oh Well" – 3:42
# "Please Please Please" – 3:35
# "Red Red Red" – 4:08
# "Not About Love" – 4:21
# "Waltz (Better Than Fine)" – 3:46

http://rapidshare.com/files/305929199/Fiona_Apple_-_Extraordinary_Machine_Pt_1.rar
http://rapidshare.com/files/305924587/Fiona_Apple_-_Extraordinary_Machine_Pt_2.rar

[exy]

Jim White - Drill A Hole in That Substrate and Tell Me What You See (2004)

mp3 256kpbs | 116.5MB | 62:44 min.

Jim White writes like a Southern gentlemen. When he released his cryptic debut, Wrong-Eyed Jesus, in 1997, he was approaching 40, and with each record his civil invective and genuine yearning for redemption have become more focused, culminating in an eccentric -- yet fully realized -- body of work that requires no aging to prove itself worthy. Drill a Hole in That Substrate and Tell Me What You See preens like an alley cat with a bellyful of chicken scraps. The thick veil of gloss that co-producers Joe Henry and Tucker Martine use to coat each of the 11 hypnotic tracks is entirely transparent, resulting in a glass-bottom boat ride that's both cathartic and uncomfortably voyeuristic. White's characters are always teetering on the edge of a bridge, faces cast skyward, wondering if whatever it is that's left them might swoop down just seconds before the first shoe drops. He meets his subjects on level ground, allowing them to speak through him as well as serve as their master's mouthpiece. On the spooky Tom Waits-style dirge "Borrowed Wings," the ghosts of doomed Bonnie and Clyde-cursed lovers weep "For in the fallow field where what's reaped is what's sown/There lies a road to ruin and it's paved with our tombstones." It's not all hellfire and brimstone, though, as evidenced by the goofy Barenaked Ladies collaboration "Alabama Chrome" and the bright -- almost hopeful -- hidden track, "Land Called Home." There's a deep Southern gothic vibe at work here that brings to mind the Spanish moss meanderings of Daniel Lanois' For the Beauty of Wynona, but it's the shadow of Waits that always gets the last word; "If Jesus Drove a Motor Home" sounds like a cross between something off of The Black Rider and the theme to The Sopranos, but it's interesting that despite all of the celebrity guests (Aimee Mann, Bill Frisell, M. Ward), it's White's self-produced tracks that mirror their creator's sewn up -- but still bleeding a little -- heart. -- AMG

# "Static on the Radio" – 6:31
# "Bluebird" – 5:29
# "Combing My Hair in a Brand New Style" – 6:24
# "That Girl from Brownsville Texas" – 6:22
# "Borrowed Wings" – 4:34
# "If Jesus Drove a Motor Home" – 4:36
# "Objects in Motion" – 5:58
# "Buzzards of Love" – 7:00
# "Alabama Crome" – 4:25
# "Phone Booth in Heaven" – 7:09
# "Land Called Home" – 4:11

http://rapidshare.com/files/258664433/Drill_A_Hole_In_That_Substrate_And_Tell_Me_What_You_See-1.zip
http://rapidshare.com/files/258664532/Drill_A_Hole_In_That_Substrate_And_Tell_Me_What_You_See-2.zip

[exy]

Jesse Malin – On Your Sleeve (2008)

mp3 VBR~192kpbs | 67MB | 47:02 min.

2008 covers album from the former leader of D-Generation. Recorded over seven days and featuring interpretations of classic singer-songwriters Tom Waits and Neil Young, contemporary greats such as The Hold Steady and The Kills, Punk icons The Ramones and The Clash, Lou Reed and even a Sam Cooke standard - Jesse tips his hat to a small collection of writers that inform his unique musical identity and appeal. As a performing songwriter, Jesse appreciated the challenge of covering unique melodies not of his own design. Jesse Malin's musical career began at twelve years old when he fronted New York hardcore band Heart Attack and spanned eight years with D Generation before culminating in three critically-acclaimed solo albums this decade past. The most recent of these came in the form of 2007's Glitter In The Gutter, which saw Jesse accompanied by a raft of talented performers including long-time companion/sometime producer Ryan Adams, Josh Homme and Bruce Springsteen.

For an artist in their songwriting prime, the covers album is always a great risk. Typically the sign of creative drought or contractual obligation, as a rule they rarely work. When they do, the listener is sent either scurrying back to the originals, reminded of the greatness of a certain song; or forced into reappraisal, to check again a hitherto unrecognised work of art. For every hundred David Bowie Pin Ups, only the odd moment of genuine transcendence (ie Cat Power's Jukebox) slip on through.
By choosing the most predictable sources of raw material, Jesse Malin wires himself to mission impossible from the outset, with the New Yorker aiming to tackle a combination of rock standards (Walk On The Wild Side, Everybody's Talking, Wonderful World) alongside more contemporary songs by The Hold Steady and The Kills.
He might just about scrape away with the latter, but treatments of his heroes' work such as The Clash's Gates Of The West or The Stones' Sway are awkward. The latter, especially, reducing the sticky-fingered original to an electronic-based travesty. Aiming for Suicide, the results are more Bontempi. Elsewhere, the interpretations bring to mind images of throwing poses with a tennis racquet in front of the bedroom mirror. In the case of Neil Young's Looking For A Love, the pay off line ''when she starts to see the darker side of me'', is dispatched with the over-wrought intensity of a bit-part actor.
After 14 tracks, you're left wondering at quite who this album is aimed? Malin is a gifted songwriter in his own right, and a witty and erudite performer. His previous albums are strong. But shorn of his strengths, he lurches perilously close to the brand of professional Noo Yawker as personified by Huey Morgan and his godawful Fun Lovin' Criminals. Let's put it down as a career blip. For while On Your Sleeve is obviously a labour of love, on the whole it's simply just laboured. -- http://www.bbc.co.uk/music/reviews/c5xm

1. Leaving Babylon (Bad Brains)
2. Me And Julio Down By The School Yard (Paul Simon)
3. Sway (Rolling Stones)
4. Russian Roulette (Lords of the New Church)
5. Walk On The Wild Side (Lou Reed)
6. You Can Make Them Like You (The Hold Steady)
7. Harmony (Elton John)
8. It's Not Enough (Johnny Thunders)
9. Looking For A Love (Neil Young)
10. Lady From Baltimore (Tim Hardin)
11. Operator (Jim Croce)
12. Fairytale of New York (The Pogues)
13. Hungry Heart (Bruce Springsteen)
14. Everybody's Talking (Harry Nilsson)

http://rapidshare.com/files/308488552/Jesse_Malin_-_On_Your_Sleeve.rar

[exy]

Soledad Brothers - Hardest Walk (2006)

mp3 256kpbs

Detroit is deservedly known as a city with a rich musical pedigree, spawing Motown of course, plus in more recent years the likes of Eminem, The White Stripes and Brendan Benson. The Soledad Brothers are friends of the latter two, with drummer Ben Swank being Jack White's former flatmate and pianist Oliver Henry romantically linked with Meg White. Although they may not be as well known as The Whites, The Hardest Walk is actually the Soledad Brothers' fourth album, and marks somewhat of a progression from the raw, vicious garage blues of their early days.
It still sounds supercharged though, with opening tracks Truth Or Consequence and Downtown Paranoia Blues forming an almighty double whammy to introduce the album. The former swaggers into view like an old Primal Scream record, and is enlivened by bursts of horns, while the latter is one of the most exciting songs you'll hear all year, a heads-down boogie that would put the Kings Of Leon to shame.
There's an added edge to many of the songs here too, when you learn that the album was recorded after lead singer Johnny Walker had broken up with his long-term girlfriend. Bitterness and pain veritably burst out of the speakers, especially on the aforementioned Downtown Paranoia Blues - the sound of Walker screaming "I'm afraid I'm gonna see her downtown" is one that stays with the listener for some time.
There's also the exhilarating Crooked Crown, featuring some blistering guitar work from Walker, and Good Feeling which recalls The Who, but also manages to sound utterly contemporary. As befits a record inspired by heartbreak, there's some more downbeat numbers here too, namely the hypnotic Let Me Down, and Crying Out Loud, which is so uncannily like prime Rolling Stones it could almost be an out-take from Let It Bleed.
One of the impressive features of The Hardest Walk is how the Soledad Brothers can swing from one extreme to the other. They can place Dark Horses, a gentle yet still menacing dead ringer for early Chris Isaak next to the chaotic brief burst of noise that is White Jazz, and yet it fits perfectly.
On first listen, it's likely that some of this record's subtleties will pass you by, and there's a danger it may be dismissed as 'just another garage blues' record. Yet it impresses deeper with every listen - for instance Mean Ol' Toledo, which sounds a bit too retro at first, slowly reveals itself as a brilliantly menacing Delta Blues swamp.
They even put a worthwhile hidden track on the album some 20 minutes after the excellent True To Zou Zou - so often hidden tracks are just an excuse for a band to shove some self-indulgence on the end of the disc, but here you'll find an almighty instrumental jam designed to be played loud.
All quite brilliant in other words, and yet another string to the Motor City's musical bow. If The Hardest Walk doesn't make the Soledad Brothers the huge stars they deserve to be, then there's no justice in this world.

1. Truth Or Consequences
2. Downtown Paranoia Blues
3. Crying Out Loud (Tears Of Joy)
4. Crooked Crown
5. Sweet And Easy
6. Dark Horses
7. White Jazz
8. Good Feelings
9. Let Me Down
10. Mean Old Toledo
11. Loup Garou
12. True To Zou Zou

http://rapidshare.com/files/259086322/The_Hardest_Walk_Pt._1.zip
http://rapidshare.com/files/259086825/The_Hardest_Walk_Pt._2.zip

[exy]

Beirut - Live at the Music Hall of Williamsburg (2009)

mp3 VBR~256 kpbs | 67MB | 36:50 min.

You could tell what kind of a show it was going to be 3 hours before the doors even opened. Outside Brooklyn's Music Hall of Williamsburg, a few stone cold kids stood shivering on line. Their hope? Get through those restrictive doors by any means necessary. A sold out show meant not all of them would make it. But if by chance a few did, a fantastic night of music featuring Brooklyn's own Beirut awaited them.

Zach Condon would choose to begin Beirut's set with a simple "Good evening everyone", diving immediately into the set, to the rapturous applause of the hundreds in attendance. Using an impressive variety of instrumentation (stand-up bass, accordion, trumpet, trombone, french horn, euphonium, and Condon's signature ukulele), the band played a batch of tunes that appropriately ushered the audience to a variety of places around the world. "Gulag Orkestar" sparked a quick trip to the Balkans. During "The Shrew", a song from Beirut's brand new EP 'March of the Zapotec', Mexico became the destination of choice. They also dabbled in a track called "My Night With a Prostitute from Marseille"; this one from Zach Condon's 'Realpeoples' Holland' EP.

At the end of their full set, Condon would be forced to tell the still hungry crowd, "You've bled us dry at this point"; a statement that would hardly deter the crowd from demanding more. Two encores later, the love affair between Beirut and the fans in attendance was complete. They ended the show with a cover of a dancy old Brazilian song, written by Ary Barroso called "Aquarela do Brasil" ("Watercolor of Brazil"); a lighthearted way to send the happy crowd off into the cold streets of Brooklyn indeed.

01 East Harlem
02 The Shrew
03 The Concubine
04 Mimizan
05 La Javanaise
06 The Akara
07 Cozak
08 My Night With the Prostitute from Marseille
09 Gulag Orkestar
10 Forks and Knives (La Fête)
11 Brazil

http://rapidshare.com/files/247411531/BeiLivattheMusHalofWi.zip

[exy]

VA - The Sound the Hare Heard (2006)

mp3 192kpbs | 109MB | 75:18 min.

The Kill Rock Stars label has already released two collections that highlighted lesser-known indie artists (2002's Fields and Streams and 2004's Tracks and Fields), so the idea for The Sound the Hare Heard isn't particularly new for them. But this time, the compilation, besides its lack of a pastorally themed title, focuses solely on singer/songwriters, softer music that recalls Bob Dylan and Joni Mitchell. The Sound the Hare Heard, whose title comes from a Buddhist parable about the panic a hare causes in the jungle when he (falsely) believes he has heard the beginning of the end of the world, isn't a showcase of Kill Rock Stars' bands -- in fact, many of the artists included are signed to competing labels. Instead, it's a rather pretty, carefully chosen, introspective collection of songs about fear, strength, love, anger, thought and beauty, and the subtleties that exist within those entities. The pieces are very unobtrusive, which forces the listener to reflect upon them and not just allow them to take up space in the background. Some of the musicians included, like Sufjan Stevens ("Adlai Stevenson" is from his upcoming The Avalanche album), Colin Meloy, or Imaad Wasif, are already quite well-established, while others, like Essie Jain or Lauren Hoffman, are just emerging, but they all contribute equally affecting tracks. While there is a general quiet, clean feel that connects the songs on the album, labelhead Slim Moon selected music that stays within these constraints while still exploring a variety of different sounds and influences. Laura Veirs' "Cast a Hook in Me" is poppy and almost mischievous, while Simone White's indie-folk quasi-protest song, "American War," is witty, provocative, and effective without being angry or disillusioned. The Great Lake Swimmers offer the Neil Young-esque "Where in the World Are You Now," whose echoey, layered vocal tracks emphasize the sadness already existent in the song, and Danielle Howle's dark Southern "Kill My Love for You" is plaintive and ominous, with hints of tango and jazz. It's a diverse, interesting mix, with individual parts that work well by themselves, and as part of the whole. By naming the album The Sound the Hare Heard, Slim Moon is reminding his listeners to not fall deafly into rampant trends, but to truly consider what they are listening to, and the songs on this compilation definitely provoke that kind of behavior. It's not music to play in order to enhance a mood; it's music to play to create a way of thinking that will hopefully lead to greater self- and world-understanding. -- AMG

# "When the Angels Lift Our Eyelids in the Morning" by Devin Davis -- 3:22
# "Cast a Hook in Me" by Laura Veirs -- 3:28
# "Adlai Stevenson" by Sufjan Stevens -- 1:53
# "Feet Asleep" by Thao Nguyen -- 4:24
# "Bones for Doctor Swah" by Wooden Wand -- 2:05
# "Dancers All" by Death Vessel -- 3:25
# "Why" by Essie Jain -- 5:01
# "Daylight" by Jeff Hanson -- 4:15
# "Other Voices" by Imaad Wasif -- 3:59
# "Where in the World Are You" by Great Lake Swimmers -- 3:30
# "Stargazers Are Blind" by Owen McCarthy -- 4:59
# "The American War" by Simone White -- 3:38
# "Poor Little City Boy" by Nedelle -- 3:21
# "Dumbing Down" by Southerly -- 3:18
# "Lazy Little Ada" by Colin Meloy -- 3:50
# "The Sound You Warn" by Corrina Repp -- 3:44
# "Waves of Wonder" by The Moore Brothers -- 3:07
# "Best Friends Forever" by Aliccia BB -- 2:56
# "Kill My Love for You" by Danielle Howle -- 4:03
# "Another Song About the Darkness" by Lauren Hoffman -- 3:59
# "Honea" by Lovers -- 2:50

http://rapidshare.com/files/314494780/VA_-_The_Sound_the_Hare_Heard__2006_.zip