Category Archives: Experimental

Scott Walker – The Collection 1967-1970 (2013) [Qobuz 24-96]

Scott Walker – The Collection 1967-1970 (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 193:02 minutes | 3,88 GB | Genre: Pop, Experimental, Singer/Songwriter
Official Digital Download – Source: | Front covers

Scott Walker is an American singer-songwriter, composer and record producer. He is noted for his distinctive baritone voice and for the unorthodox career path which has taken him from 1960s pop icon to 21st century experimental musician. Originally coming to fame in the mid-1960s singing orchestral pop ballads as the frontman of The Walker Brothers, Walker went on to a solo career, with a series of acclaimed albums, balancing a light entertainment/MOR ballad approach with increasing artistic innovations in arrangement and writing perspective. This Hi-Res collection features his five albums: Scott, 2, 3, 4 and ‘Til the Band Comes In.

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The Alps-A Path Through The Sun-CD-FLAC-2009

The Alps-A Path Through The Sun-CD-FLAC-2009 Download

The Alps-A Path Through The Sun-CD-FLAC-2009

Release Name: The_Alps-A_Path_Through_The_Sun-CD-FLAC-2009
Artist: The Alps
Album: A Path Through The Sun
Genre: Experimental
Year: 2009
Tracks: 05
Duration: 00:32:29
Size: 169.64 MB


  1. The Alps – Instant Light – 9:56 (742 kbps , 52.76 MB)
  2. The Alps – Pure Phase – 6:55 (636 kbps , 31.47 MB)
  3. The Alps – Lunar Mansions – 7:08 (659 kbps , 33.62 MB)
  4. The Alps – Heathen Candle – 2:37 (724 kbps , 13.56 MB)
  5. The Alps – Shuruti – 5:55 (904 kbps , 38.24 MB)

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The Alps-A Path Through The Moon-CD-FLAC-2009

The Alps-A Path Through The Moon-CD-FLAC-2009 Download

The Alps-A Path Through The Moon-CD-FLAC-2009

Release Name: The_Alps-A_Path_Through_The_Moon-CD-FLAC-2009
Artist: The Alps
Album: A Path Through The Moon
Genre: Experimental
Year: 2009
Tracks: 06
Duration: 00:31:57
Size: 154.95 MB


  1. The Alps – The Coming Tide – 5:18 (598 kbps , 22.68 MB)
  2. The Alps – Moonrise – 5:17 (578 kbps , 21.83 MB)
  3. The Alps – Night Whispers – 3:19 (761 kbps , 18.09 MB)
  4. The Alps – Big Sur – 4:38 (799 kbps , 26.49 MB)
  5. The Alps – Morning Light – 4:09 (633 kbps , 18.78 MB)
  6. The Alps – Breaking Clouds – 9:19 (706 kbps , 47.07 MB)

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The Legendary Pink Dots – Discography (1980-2011) [FLAC]

Genre: Psychedelic Rock, Experimental
Release date: 1980-2011
Country: United Kingdom, Netherlands, Canada
Manufacturer disk: Austria, Belgium, Britain, Germany, Holland, Mexico, Poland, Russia, USA, France
Audio Codec: FLAC
Rip type: image +. Cue
Audio Bitrate: lossless
Duration: 72 82 CD Album
Rip method: EAC test + copy

1982-Brighter Now
1983-The Tower
1984-Faces In The Fire
1986-Island Of Jewels
1987-Any Day Now
1988-The Golden Age
1990-The Crushed Velvet Apocalypse
1990-The Crushed Velvet Apocalypse [Remaster 2010]
1991-The Maria Dimension
1991-The Maria Dimension Bonus CD
1992-Shadow Weaver Part I
1993-Malachai – Shadow Weaver Part II
1994-9 Lives To Wonder
1995-From Here You’ll Watch The World Go By
1997-Hallway Of The Gods
1998-Nemesis Online
2000-A Perfect Mystery
2002-All The King’s Horses
2002-All The King’s Men
2004-Poppy Variations
2004-The Whispering Wall
2006-Your Children Placate You From Premature Graves
2008-Plutonium Blonde
2010-Seconds Late For The Brighton Line

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Dead Rider – Chills on Glass (2014) [FLAC]

Genre: Pop/Rock
Styles: Noise Rock, Experimental, Alternative
Source: CD (log + cue)
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 KHz

01 New Eyes
02 Blank Screen
03 Weaves
04 Weird Summer
05 Sex Grip Enemy
06 The Unnatural
07 Four Cocks
08 Of One Thousand
09 Cry Honey
10 Fumes And Nothing Else

As evidenced by their two previous Tizona offerings, 2011′s The Raw Dents and 2013′s Mother of Curses, Dead Rider is a virtually non-classifiable musical entity. Founded by former U.S. Maple guitarist Todd Rittman, this quartet — which also includes saxophonist Noah Tabakin, keyboardist/trumpeter Andrea Faught, and drummer Matt Espy — makes music from the rhythm section out. There are numerous warring influences here — Captain Beefheart’s Magic Band, Butthole Surfers, Prince, David Bowie, Funkadelic, and many more — but none creates a comfortable pigeonhole. Chills on Glass, their debut for Drag City, is woollier than the two-headed dog cover illustration suggests; it’s also dark, murky, steamy, and funny. A dubwise bassline and funky backbeat introduce “Blank Screen” before a disembodied spoken female voice wafts in from the ether. Before one can take in what’s being said, a whompy synth introduces Rittman and Faught’s vocals, layered à la Lodger-era Bowie atop clave-like handclaps, stinging electric guitars, and drum machines.

It’s shambolic but holds its rhythmic center and groove. “Weaves” features a bassline worthy of the Birthday Party while Rittman, in an intoxicated bedroom croon, undercuts it, countering that feel without minimizing its sinister groove as drums, loops, and angular guitar figures push the track in several different directions simultaneously as the horns create a ghostly backing chorus. “Weird Summer” is a polyrhythmic assemblage of warped pop and art rock. “Sex Grip Enemy” is utterly deconstructed no wave funk, before it becomes a bass-throbbing post-punk stomp. “The Unnatural Act” is electro-fueled horror soul, while “Of One Thousand” is a swaggering hand drum-driven, razor-slashing exercise in cracked funk. “Cry Honey” sounds like Suicide’s Martin Rev playing Battles and Prince Rama on backing vocals, with a ragged-ass male lead trying on Bobby Womack. Chills on Glass is the sound of a musical train wreck created by the collision of short-circuited libidinal urges, ridiculous wiseacre humor, willfully exploded genre transgressions, and neo-Dadaist impulses. It’s deliberately confusing, oddly seductive, and takes no prisoners.  

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Liars – Mess (2014) [FLAC]

Genre: Pop/Rock
Styles: Indie, Experimental, Post-Rock
Source: Scene CD (outerspace)
Codec: FLAC
Bitrate: ~ 1,000 kbps
Bit Depth: 16
Sample Rate: 44.1 kHz

01 Mask Maker
02 Vox Turned D.E.D.
03 I’m No Gold
04 Pro Anti Anti
05 Can’t Hear Well
06 Mess on a Mission
07 Darkslide
08 Boyzone
09 Dress Walker
10 Perpetual Village
11 Left Speaker Blown

More than many other bands, Liars are guided by an overall aesthetic rather than dedication to any particular sound. The tension and contrast between their wicked sense of humor and their wounded introspection is at the heart of their music, whatever ways they choose to express this change from album to album. On WIXIW, Liars cocooned their vulnerable songs in subtle electronic textures — with the notable exception of “Brats”‘ laser-guided disco-punk, which feels like a rough template for the warped dance music excursions they undertake on Mess. Dense synths and hammered beats on songs like “I’m No Gold” and “Pro Anti Anti” evoke packed dancefloors and nod to industrial music; Trent Reznor would be proud to call “Perpetual Village”‘s slithering, almost slimy textures and free-floating dread his own.

The glee Liars have in turning dance music on its head recalls the dark mischief that ran free on their self-titled album and Sisterworld, particularly on the opening track, “Mask Maker.” Opening with a guttural voice demanding “Eat my face off/Take my face off/Give me your face!” before kicking into a sleekly sinister rhythm, it’s equally terrifying and hilarious. Underneath the synths, Mess’ songs feel familiar (but not overly so): “Mess on a Mission” gives one of the best examples of the band’s taut, snotty art-punk a glossy chrome plating. Meanwhile, the rare quiet moments have just as much impact as “Brats” did on WIXIW, with the tender “Can’t Hear Well” and expansive album closer “Left Speaker Blown” drifting off into the uncertain territory Liars somehow make strangely welcoming. As on the band’s other albums, Mess’ dramatic transformation works in large part because of the personality, and versatility, in Angus Andrew’s vocals. The way he slurs “Boyzone”‘s titular word into “poison” and his cartoonishly doomy turn on “Vox Tuned D.E.D.” add distinctive character(s) that give the album’s forays depth. Given that Mess originated from Liars messing around in the studio, it’s a more spontaneous, accessible set of songs than they’ve delivered in some time. Even if it’s not quite as striking an achievement as WIXIW, it’s a lot of fun and shows, once again, that Liars are unquestionably themselves no matter how much they push their boundaries.  

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