(Indie / Avant Pop|Rock) Dirty Projectors - Коллекция - 6 альбомов, 1 EP + ранние записи - 2002-2009, MP3 320 kbps

Things you should know about Dave "D-Lo" Longstreth, the singer, visual artist, and multi-instrumentalist behind The Dirty Projectors:
# The Yale dropout is (why pull punches?) a nobrow genius, who claims to find similar solaces in the work of Beethoven, Wagner, Zeppelin and Timberlake.
# He is obsessed with rendering into song an image that congeals the iconography of Poe, Hitchcock, and McDonalds. That image: a young man defending himself from an army of finches by pelting them with french fries. This daymare haunts Longstreth's (for freak-out fans only) Morning Better Last EP and his current album The Glad Fact, as well as his forthcoming "double EP", Slaves' Graves and Ballads (half of which will feature his ten-piece Orchestral Society for the Preservation of the Orchestra), and his upcoming "glitch opera," The Getty Address.
# His (often multi-tracked) vocals are (often wonderfully) way over the top: he belts like a conspicuous olden minstrel who'd be murdered by his knights, croons like a homeless, yankee Morrissey, warbles like an acid-bent Jim James, panics like a bansheefied M. Ward, and even occasionally barks like a castrati Casablancas. These comparisons are cute indie lilypads for us to drink to, but I am still failing to communicate how soothing Longstreth can sound, how raceless, and how sincerely surreal. I could throw more vocal styles at you (Xiu Xiu, Bobby McFerrin, TV on the Radio), but the neighbors and their cops would think we were causing a disturbance.
# He wrote much of The Glad Fact in lungbursts, accompanying himself with a fist on the roof of his car. One of the album's showpieces, "My Offwhite Flag", with its deconstructed Toots & The Maytals versus Need New Body vibe, evokes a Lockheed Martin post-kaboom-scape: to this song the listener can picture a West that has been smithereened into archipelagodom, where the human survivors place their faith in po-mo calypso's power to impress the warlord carnival judges.
# He doesn't cling to any lo-fi manifesto, telling me in an email Q&A that championing one aesthetic as somehow offering more texture than another is "like religion, a way of training your gaze to obscure what's in front of you." While he promises that his next project will be 5.1, fuzz-and-buzzheads may savor the Robert Pollard chords of "Naked We Made It" and the underplayed epic solo of "Lit from Below".
# He has created some bizarrely tuned and timed Connecticut jazz. "Boredom Is a Product" plays like Owls being led by a drag Nina Simone; the brilliantly strummed "Like Fake Blood in Crisp October" suggests a pre-intermission ballad from Institutionalizing Porgy and Bess. Longstreth coos the Liars-esque line, "That's not a monument/ It's a grave," only to transcend it: "The new feelings will probably be buried here, too."
Let me clarify my earlier reliance on "genius." Longstreth is not necessarily a zeitgeisty and palatable master assimilator (see Bob Dylan). He's another kind of genius, the unhinged, half-formed kind who sometimes overconceives and overexecutes (see Phil Elvrum). D-Lo has, fittingly, toured with several of the experi-mellow bands out of the increasingly mystical K Records compound.
Also be warned: if you grew up in the back of a stationwagon, near a "classic parking lot at the end of time," prepare for a life-changingly deadpan and exultant refrain about those days of plastic passion: no one can swoon "We drank a two-liter of Orange Crush" the way Dave Longstreth does.

In 2003, primary Dirty Projector Dave Longstreth shocked and awed critics with his debut The Glad Fact, a strange, messy collection of singularly beautiful songs. In 2004, he bewildered fans and critics alike with his challenging orchestral suite Slaves’ Graves & Ballads. The new album will astonish again, as Longstreth trades his wabi-sabi for an arsenal of subwoofing sin waves, stoned rhinemaidens, clipshod beats, bone-crushing riffs played by wind orchestras, weird de-tuned guitars, and Wagnerian psychodrama. It is as subtle and flinty a piece of protest music as "A Hard Rain’s A-Gonna Fall"— but in the end it is a love story, recorded over the course of almost two years in three different states with more than twenty-five people.

"Spellbinding in its complete originality." - VENUS
"Odd, engrossing, and gorgeous." - CHICAGO READER
"[Longstreth] is ... a no-brow genius, who claims to find similar solaces in the work of Beethoven, Wagner, Zeppelin, and Timberlake." - PITCHFORK
In between a massive national tour in support of The Getty Address and relocation to Brooklyn, chief Dirty Projector Dave Longstreth wrote an EP's worth of crazy new songs. Playing the electric counterpoint to The Getty Address, New Attitude is a refreshingly pared-down disc: simple, beautiful, and focused. It is dominated by the sound of chiming microtonal guitars, sub-bass dragon breaths, a sextet of cellos and double-basses, and, most of all, Longstreth's singing, which has never been so varied or so wonderfully weird.
Few musicians have been called "genius" by Phil Elverum (Mount Eerie) and inspired Prefuse 73 to declare that he is "quitting music." Few musicians can count Devendra Banhart and Alan Pierson, conductor of New Music collective Alarm Will Sound, among their admirers. Accolades for The Getty Address continue to roll in, and songs from the album have been featured on The Wire's Wiretapper 14 and on Salon.com.
In 2005, Dirty Projectors shared stages with Tyondai Braxton, Akron/Family, CocoRosie, Kip Malone (TV on the Radio), Six Organs of Admittance, Yo La Tengo, Oneida, and more. This is how Dave Longstreth describes New Attitude: "For me, this EP was all about full-spectrum. I tried to make completely hit songs that each created a rainbow of sound by defining poles of extreme low-for that I used sine waves-and extreme high, like the disco car-ad three-part falsetto harmony choruses in `Imagine It.' If you like rainbows, this record is for you."

The follow-up to 2007's critically acclaimed and Domino debut "Rise Above". Their fifth release is a big rock album by design. Its idiosyncratic and sincere take on popular music is reminiscent of David Byrne with whom Dirty Projectors collaborated on "Knotty Pine" for the 2009 compilation "Dark Was The Night". In many ways, group leader David Longstreth could be seen as this generation's answer to Byrne, a distinctive torchbearer of labyrinthine song arrangements that go down easy.

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This is the third of three very limited triple-albums Dave Longstreth put out in 2001-2002. Much of the material was later released on other albums, while some songs can't be found anywhere else but here.