fidlar too free download fidlar too album zip FIDLAR Download (MP3) Fourteen slices of insanely catchy and aptly titled punk rock tunes. The debut album by FIDLAR, recorded and self-produced at the band’s home studio with mixing duties handled by Rob Schnapf (Elliot Smith, Beck, Guided By Voices) is fourteen slices of insanely catchy and aptly titled punk rock tunes. Track list: 1. Cheap Beer 2. Stoked And Broke 3. White On White 4. No Waves 5. Whore 6. Max Can't Surf 7. Black Out Stout 8. Wake Bake Skate 9. Gimme Something 10. 5 to 9 11, LDA 12. Paycheck 13. Wait For The Man 14. Cocaine 15. Awkward. * Praise for FIDLAR * "an electrifying, intensely fun album" 8/10 - NME. "With its Ramones-via-The Golden State garage punk, it's brilliantly noisy in all the best places ('White On White', 'Wait For The Man') and yet not afraid to tone down on occasion ('Gimme Something')." 9/10 - DIY. "The spirit of drunk adolescence, cramped kitchens and broken valuable endures on their frightfully fun debut." 4/5 - Q. FIDLAR Too. When their debut record was released, I enjoyed it quite a lot. Instrumentally the energy and fun was there with quick guitar work and fast upbeat drumming. The vocals from Zach Carper weren't the strongest but that's to be expected with most skate punk. Their debut record came across with a Dookie(Green Day) vibe lyrically. It was all about boredom, being bratty and drugs & alcohol and really just made it feel like the 90's again. When I heard the first single "40 z On Repeat", I immediately loved it. The self loathing lyrics and high energy that made their debut standout was noticeable at first listen. Now for the rest of the album "TOO" Like I said, the first track is full of blasting guitars, heavy drums and relatable lyrics "everybody's got more money than me"(sad but true). The first 5 tracks on "TOO" are by far the strongest, especially "Punks". It's a riff heavy, fast, in your face punk(haha) song that turns up the energy dial to 11; with screaming vocals that you can't help but feel like punching things while this track plays in the back. "West Coast" is a fun poppy song with an infectious "la la la" chorus, light guitar work and an all around very indie pop rock feel to it. After, is "Generation Why", which is one of the more "experimental songs" as the guitars blend to create a surf rocker throughout the verses. The chorus isn't anything to cheer about(repetitive) and from the track prior to this one, the album slows down in energy. Then comes the monologue type song "Sober" where the vocalist is speaking to his (I assume) ex-girlfriend about how he's trying to get better while she is making the focus on herself and not him. It's the most experimental track on this LP and I actually find myself going back to this more than a few times just because of the verses and banging drums. Once again, a weak chorus that feels very bland and done before in many ways but still an interesting track. This album is based off the singers abuse with drugs & alcohol and journey through rehab so naturally most of the songs would be darker. This shows as almost every song lyrically is self loathing abuse the singer puts on himself like "40 oz On Repeat", "Leave Me Alone" & "Stupid Decision". The second half of the record has its ups and downs, like the fun strokes-esque song "Drone" with its fantastic guitar solo in the bridge and skillful drumming. "Bad Medicine" is another banger that will be great to mosh too in the pit. While this record isn't as "in your face" as their debut was, that doesn't mean it's not equally as good. This record does have its slow burners such as "Overdose" & the closing track "Bad Habits" that show this band has more to offer than pounding power chords and drums. One of the more complex songs is "Hey Johnny"; where it starts with a drum solo before it becomes very reliant on the strong guitar work that delivers perfectly. The song slows down in the middle, leaving the instruments to work perfectly together before bringing the cutting guitars back to close this brilliant track. Overall, these guys show their fun & serious side all on one record and deliver a good follow up to their brash and skate punk self titled debut. Singer Zach Carpers' vocals and the band as a whole are more controlled, more mature and more crisp than their debut, showing these guys have done some growing up. Their first album was the big party, "TOO" is the comedown and morning after. ALBUM REVIEW: ‘Almost Free’ by FIDLAR. Speaking about FIDLAR’s track record up to this point is rather quick and painless, mostly because they don’t really have one. Their 2013 self- titled debut arrived at a time when indie-punk and wider-scale garage-rock revivalism was in its infancy, and thus rough-hewn songs about surfing and weed did enough to fill a hole while the wheels began to get into motion. Then there was Too in 2015, which was more or less a rehash of that debut, none of which helped to remedy the idea that FIDLAR had only one dimension that, even at the point, had start to run its course. It almost makes sense, then, that they took four years off between albums, not just to retool their arsenal for something that could possibly have a greater effect, but also scout out what their peers in the scene were doing to keep their heads above water. After all, the ‘evolve or die’ mentality isn’t something that’s historically prevailed within garage-rock, and the fact that FIDLAR do seem to be taking it into account for Almost Free is a good start. And this is definitely a much better album than anything that FIDLAR have done in the past, but to simply leave it at that would be to unfairly diminish how shockingly good Almost Free is. This is about as sharp of a U-turn as FIDLAR could’ve made, eradicating any shortcomings or limitations they may have had and turning them into a flat-out great band with barely any fuss. It’s basically the garage-rock equivalent of a ‘90s Nickelodeon show, veering towards some insight that’s definitely good for it, but shining the brightest in terms of colour, vibrancy and a street-level scratchiness emblematic of imperfect perfection. That’s definitely a rather extravagant claim, especially considering FIDLAR’s former position in the mid-tier at the very best, but it really does feel earned, especially when Almost Free embraces a sense of fun (at least outwardly) that both of their other albums should have done, but never did. It’s made clear right from the off as well, with the Beastie Boys-esque slam and gleeful slide guitar of Get Off My Rock that throws big hints towards how much of a sonic departure this album is. The shifting core sound has now edged towards scuzzy, sneering alt-pop, and while that provides a good number of thrills on its own on Alcohol or Called You Twice (the latter also features K.Flay which in itself is a strong indication of where this album is going), the fact that FIDLAR are willing to not only stretch themselves out more than ever, but also succeed, is where the true joy comes from. The big, blaring horns on the title track and Scam Likely are totally irresistible, while the slippery dance-rock of By Myself and the thick, static-corrupted groove that comprises the entirety of Nuke work incredibly well too, even as pieces of a messy but rock-solid whole. For all of FIDLAR’s past attempts at sounding like the carefree slackers having all the fun in the world, Almost Free stands head and shoulders above everything they’ve ever done in terms of sheer entertainment value. That’s rather ironic too, especially when this album sees FIDLAR leave the beach to indulge in their darkest, most real subject matter to date. And while on paper that sounds like it might land with an audible clunk (it was one of the initial problems with Paramore’s After Laughter and the way it presented itself), FIDLAR clearly have the intelligence to know not to go above their station, and so while they may be taking a stand, they do so in a way that’s probably at the right depth for those same slackers to appreciate. It can be awkward sometimes, especially when they arguably try too much at once like on Too Real and stumble over their own intentions, but Get Off My Rock ’s take on gentrification and Thought. Mouth. ’s exasperation at the culture of texting rather than talking are the sort of grievances that FIDLAR can vocalise well. As for more personal material, that same approach works just as well, with Alcohol evaluating frontman Zac Carper’s turbulent relationship with drinking in an equally guttural, grotty manner, while By Myself highlights the problem of men not discussing their mental health by framing itself as the jauntiest, most poppy track on the album. Again, it’s all totally in FIDLAR’s wheelhouse, but the execution and general aura that Almost Free gives off makes the end product so much more gratifying. And for FIDLAR, that’s a colossal step in the right direction that, just a few years ago, looked as though it would be totally impossible. After all, back then they were just another band for the pile, ready to get lost in the shuffle when the next remotely similar one came along, but here, they’ve reinvented themselves as the garage-rock band to beat. There’s not a single feature on Almost Free that isn’t the best it’s ever been for this band, and the fact they’ve taken that much of a leap forward is not only amazing, but genuinely heartwarming. Right now, it’s easier to enjoy FIDLAR’s music than it ever has been, partly because they’re actually playing to their strengths and fostering them in the right way, and partly because they’ve all coalesced into a truly great album. 8/10. For fans of: SWMRS, Remo Drive, Cloud Nothings Words by Luke Nuttall. ‘Almost Free’ by FIDLAR is out now on Mom+Pop Records. Fidlar. FIDLAR - spelled in all caps - is a skate punk/garage punk band from Los Angeles California. currently signed to Mom + Pop Music in the US, Wichita Recordings in the UK and Dine Alone Records in Canada. The band's name is an acronym for 'Fuck It Dog, Life's a Risk,' a skateboarding mantra gleaned from singer Zac Carper's former roommates. Originally, FIDLAR went under the name 'Fuck The Clock,' as referenced in their song Cheap Beer . Members: Zac Carper (vocals, guitar), Brandon Schwartzel (bass), Elvis Kuehn (vocals, guitar), Max Kuehn (drums) FIDLAR. The L.A. skate-punk band's debut full-length is full of snotty songs about cheap beer, cheap cocaine, cheap weed, and "shitty pills." They're not reinventing the wheel, but FIDLAR have their references down. Featured Tracks: The L.A. skate-punk band FIDLAR don't make music you'll grow old with, and they won't get an "A" for originality, but that's not really the point. While there's a definite lineage and history here, the quartet's self-titled debut is about today-- being young, broke, drunk, ecstatic, and not worrying too much about what happens next. The 14-song collection includes a song called "No Waves" that sounds a lot like Wavves (as does the descriptive "Wake Bake Skate"). There's also a song called "Max Can't Surf" about their "ginger" drummer's lack of balance, and plenty of West Coast party anthems. But you're probably right to assume that, while punning on "no wave," the "waves" in that title is also a nod to Nathan Williams' similarly snotty project. Like Odd Future, these guys established their band identity via the internet, and they're savvy about their references. Toward the end of December, FIDLAR covered the Descendents' "Suburban Home" for Filter's Milo Turns 50: Songs of the Descendents compilation. That classic California punk quartet are obvious influences on the scatological, silly subject matter of FIDLAR; where the Descendents fixated on farts, girls, coffee, and not growing up, though, FIDLAR populate their songs with cheap beer, cheap cocaine, cheap weed, and "shitty pills." And their sound is closer to former tourmates Black Lips and, at times, their early heroes Blink-182 (see the vocal lines of "Five to Nine" and "No Waves" or their cover of "Dammit") than it is 1980s SST. But the spirit is there: While you'd never mistake FIDLAR's playful approach for that of, say, the intense snarl of Black Flag, they'd do a great job with "TV Party". Despite their youth, you get the sense that these guys have been playing music for a long time. (It's worth noting guitarist Elvis and his brother, drummer Max, are the sons of T.S.O.L. keyboardist Greg Kuehn.) They've operated as FIDLAR since 2009, and released a couple of EPs prior to this collection. That time was spent honing a brand of hopped up, surfy garage punk that comes with more variety than you might expect. They veer from sounds that evoke the Ramones ("LDA", the opening to "Cheap Beer", and the general "Rock 'n' Roll High School" vibe) to poppier take on the Germs minus the danger and the Misfits minus the goth. They also weave in western acoustic elements in a move reminiscent of the Gun Club ("Gimme Something", "Cheap Cocaine," "Whore"). But, again, the way FIDLAR seem to function as their own clique is most reminiscent of the Descendents and their life-philosophy espousing "All- O-Gistics". Though beneath the sunny hooks, * FIDLAR* suggests a darker, more nihilstic worldview. In "Stoked and Broke" they shout: "I just wanna get really high/ Smoke weed until I die. / There's nothing wrong with living like this/ All my friends are pieces of shit." And as they like to remind you in interviews and at their live shows, FIDLAR is an acronym for "fuck it, dog, life's a risk." That said, across these 39 minutes, they also make life sound like a lot of fun.