5/26/2020 Andrew Leahey .rar
Andrew Leahey's fiery roots rock anthems don't need a feelgood back-story to give them heart. He and his group, the Homestead, had already proven themselves countless times on the road and with their glowing studio debut before discovering in the summer of 2013 that he had a brain tumor. Having just released his Summer Sleeves EP, the Virginia native seemed poised for a breakout when his career was abruptly brought to a halt by an illness that could ultimately cost him his hearing, balance, and possibly his life. The intensive surgery and grueling recovery that followed would lend an air of gravitas to any writer worth his craft and, while it certainly informs the 11 tracks on his follow-up LP, Leahey's heartfelt optimism was already at the core of his sound and personality.
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Written in the wake of a brain operation that nearly cost him his life, Andrew Leahey's sophomore LP, Airwaves, is as carpe diem as they come, an urgent sonic love letter channeling the 1980s FM-radio anthems he cut his teeth on as a kid. “We didn’t have cable TV growing up,” Leahey says, “but my big brother would go over to his friend’s house with a blank VHS cassette and tape a two. Written in the wake of a brain operation that nearly cost him his life, Andrew Leahey's sophomore LP, Airwaves, is as carpe diem as they come, an urgent sonic.
Written largely in the months during his recovery, Skyline in Central Time was recorded in Nashville by producer and former Wilco drummer Ken Coomer, whose gentle touch adds some sparkle and punch to the proceedings without detracting from the band's organic spirit. The lively jangle and noisy twang of their debut remains, but Leahey's growth as a songwriter is evident all over this well-crafted set. Hard-driving rockers like 'The Good Life' and 'Shot' are big-hearted songs made for the stage, but the reflective tone of more subtle standouts like the seven-minute 'Who Wants an Easy Love?'
And the haunting 'When the Hinges Give' offers the sense of new ground freshly broken. While his renewed vigor is certainly apparent, Leahey's brush with mortality has also sharpened his lyrical sense, yielding killer lines like 'so if we burn to wax, we'll make the most of the heat, while the devil counts the minutes like it's New Year's Eve.' That Skyline in Central Time has its roots in a tragedy averted only makes its case stronger, but Leahey has shown himself to be a hardworking craftsman with a natural sense for honest American rock & roll and there's a feeling he would have gotten himself here one way or another.TRACKLIST:01. Little in Love (4:29)02. Better Medicine (3:25)03.
The Good Life (3:52)04. Shivers and Shakes (3:48)05. When the Hinges Give (3:54)06. Penitentiary Guys (5:11)07. 10 Years Ago (4:36)08. Silver Linings (3:38)09.
Stable Hand (3:36)10. Shot (3:40)11. Who Wants an Easy Love?
Death Cab For Cutie - Codes And KeysOfficial Web Site×××××Wikipedia×××××MySpace ![]()
Death Cab for Cutie is an American rock band formed in Bellingham, Washington in 1997. Track list :allmusic.com review by by Andrew Leahey : Props to Zooey Deschanel for finally cheering Ben Gibbard up. On Narrow Stairs, the Death Cab frontman sang songs like “You Could Do Better Than Me” and “Pity and Fear,” filling the album with the sort of articulate, hyper-literate gloominess you might expect from a depressed poetry major. Codes and Keys, released three years after Narrow Stairs and two years after his marriage to Deschanel, paints a brighter picture. Gone are the breakup ballads, the odes to lost love, the down-in-the-dumps sentiment that filled most of Death Cab’s earlier work. Instead, the album offers up a handful of odes to the sunny side of life. Gibbard alludes to his wife often, referencing her retro charm on “Morning Morning” (“She may be young but she only likes old things/And modern music, it ain’t to her tastes”) and laying out a plan for the rest of their married life with “Doors Unlocked and Open” (“We’ll live in slow motion and be free/with doors unlocked and open”). Beneath his vocals, more changes are taking place: a move away from guitar-based song arrangements, a stronger emphasis on keyboards, a willingness to explore the electro-acoustic link between Death Cab and the Postal Service, Gibbard’s most famous side-project. Codes and Keys still sounds like a Death Cab album, but the guys explore the benefits of the recording studio more than ever before, boosting Jason McGerr’s drums with bits of programmed percussion and scaling back their guitar riffs to sparse, articulate clumps of notes that ring out into the ether. There’s a new-found emphasis on open space, on electronics, on Kid A-inspired webs of feedback and distortion that are draped behind the songs like ambient backdrops. It’s not all machines and Eno-esque production -- a simple barroom piano opens up the title track, and “Stay Young, Go Dancing” (whose title would’ve seemed far out of place on any other Death Cab record) begins with an acoustic guitar -- but Codes and Keys certainly emphasizes the “studio” in “studio album,” focusing as much on the music’s presentation as its content. Luckily, there’s enough genuine melody at the core of these songs to warrant their arrangements. #01. Death Cab for Cutie - Home Is a Fire 4:04 #02. Death Cab for Cutie - Codes and Keys 3:22 #03. Death Cab for Cutie - Some Boys 3:11 #04. Death Cab for Cutie - Doors Unlocked and Open 5:37 #05. Death Cab for Cutie - You Are a Tourist 4:47 #06. Death Cab for Cutie - Unobstructed Views 6:10 #07. Death Cab for Cutie - Monday Morning 4:19 #08. Death Cab for Cutie - Portable Television 2:53 #09. Death Cab for Cutie - Underneath the Sycamore 3:27 #10. Death Cab for Cutie - St. Peter's Cathedral 4:30 #11. Death Cab for Cutie - Stay Young, Go Dancing 2:50 General Info: Duration : 45:10.333 (119 525 700 samples) Sample rate : 44100 Hz Channels : 2 Avg. bitrate : 250 kbps Codec : MP3 Codec profile : MP3 VBR V0 Encoding : lossy Tool : LAME3.98r Tag type : id3v2|apev2|id3v1
ED2K Link : Death_Cab_For_Cutie-Codes_And_Keys-2011-pLAN9.rar [80.99 Mb] ![]() Comments are closed.
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