here is the NFO file from Indietorrents
Original Release / Famous Class Records
Uploaded by spirit 7 hours and 26 mins ago
File Name [Regenerate]/Various Artists – Start Your Own Fucking Show Space (2016)
01 Dirty On Purpose Ways to Drown
02 Deerhoof Paradise Girls
03 Tyvek Wayne County Roads
04 Coasting Shopping for a Smile (feat. Patty Conway)
05 Shellshag Destroy Me I’m Yours
06 Pujol Black Rabbit
07 Ted Leo & the Pharmacists Bottled in Cork
08 Screaming Females Wishing Well
09 Pampers Monkey Drip
10 Dan Deacon Learning To Relax
11 The Numerators Bill
12 Ty Segall Wave Goodbye
13 Yvette Mirrored Walls
14 Downtown Boys Wave of History
15 Future Islands Balance
16 Thee Oh Sees Turned Out Light
17 Natural Child Crack Mountain
18 Sleepies All Over the Years
19 Nots Strange Rage
20 Protomartyr Free Supper
21 Metz Get Off
22 Grooms Tiger Trees
23 Jeff： The Brotherhood Heavy Damage
24 A Place To Bury Strangers I Lived My Life to Stand in the Shadow of Your Heart
25 Lightning Bolt The Metal East
Vo rip from Whatz.CDz
Compilation info
Start Your Own Fucking Show Space is a loving and lovable tribute to the Brooklyn DIY space Death by Audio
There once was a time when live albums were a crucial step for rock bands. They were a way of defining the band’s legacy (this is what we sound like, these are the songs we play) as well as proving their technical prowess as performing artists. But as YouTube has made live recordings more immediate than ever, and rock bands in general have become less of cultural icons, the live album has, for the most part, gone the way of the Enhanced CD. Start Your Own Fucking Show Space, though, is a different kind of live album: a means of documenting a venue, not a particular act. The triple-LP set is a loving and lovable tribute to Death by Audio, the Brooklyn DIY space and pedal shop that always operated on old-fashioned values, even while standing at the forefront of a very particular trend in underground rock music.
With much of the crowd noise edited out between tracks (likely a way to keep things moving swiftly and to keep the set from spanning six LPs instead of just three), Show Space feels like a type of collection just as anachronistic as the live album. For the most part, it plays like a carefully curated mixtape, chronicling the last decade of guitar-centric noise-rock (save for a few synthier moments by the likes of Future Islands and Dan Deacon). Given the immersive, comprehensive feel of the album, it’s impressive that these recordings are all taken from one month, November 2014, DBA’s final one as a venue. As indicated by the extensive liner notes, featuring the lineups for all 1800 shows that took place in the venue’s seven-and-a-half years of operation, there’s a communal, democratic essence to Show Space. Boasting 26 different tracks and running at 95-minutes, Show Space flows with a familiar, comfortable sense of continuity.
Of course, some bands are bigger than others. Ted Leo & the Pharmacists’ “Bottled in Cork” arrives halfway through the set, sounding as close as these songs come to a hit single. Meanwhile, a gripping performance of Thee Oh Sees’ “Turned Out Light,” a highlight from last year’s Mutilator Defeated at Last, is one of the most euphoric moments: a performance by a band that has perfected the noisy, psych-rock ideal that so many DBA acts aspire to. Performing several months before the release of their debut album, Downtown Boys play a furious, lightning-in-a-bottle “Wave of History” rife with excitement and anger. Nots’ “Strange Range,” meanwhile, is propelled by a rhythmic rumble: a tense performance, the sound of a band bracing for impact. By collecting performances by bands at all different stages in their careers, the set, like a good festival lineup, alternates well between moments of veteran competence and nervous, excited energy.
“I feel like I grew up here in a way,” announces Ty Segall, before playing a righteous and intense “Wave Goodbye.” “I played my first New York show here as a young lad,” he explains. The show Segall is referring to is included as a bundle with the 3xLP. Combined with his performance on the compilation, it allows you to hear his growth in a concise before-and-after juxtaposition. Throughout its brief runtime, Segall’s 2008 DBA set sounds anxious and embryonic, just a small window into the electric performer he would become just years later. His performance of “Wave Goodbye” on this compilation, is powerful, confident, and emotional by comparison. The two performances represent exactly the kind of artistic growth DBA nurtured, creating an environment that made artists feel compelled to bring their best to its stage.
It’s a sentiment alluded to by A Place to Bury Strangers’ Oliver Ackermann, founder of Death by Audio, before his band’s performance of “I Lived My Life to Stand in the Shadow of Your Heart.” Monolithic and noisy, A Place to Bury Strangers sounds like exactly the kind of band whose frontman would run a guitar pedal shop and music venue; their moody post-punk indebted to more band names than can fill a wardrobe of t-shirts and their void-filling feedback like the sound of a hundred bands soundchecking at once. “Much love to everyone involved. We all knew who was there,” he slurs, before correcting himself. “Maybe you don’t know everybody, but everybody was fucking really great.” It’s a spirit of community, empowerment, and consistency that was essential to DBA, and it’s one that is exemplified in a righteous way by these recordings.