En los últimos tiempos hemos visto una serie de albumes clasicos reenvasados y reeditados para conmemorar aniversarios varios, pero esta reedicion es sin duda una de las que mas me gusto.
Por que? Porque Primal Scream es una banda musical que siempre se movieron en diferentes formas en cuanto a estilos y sonidos, que si sos un fan de ellos, o te hiciste fan a traves de un album en particular, sabras que no se puede decir que el siguiente album fuera a parecerse a los albumes anteriores, de ninguna manera..
En cuanto a Screamadelica de 1991, es el album donde la psicodelia, el techno y el rock blues todos se funden en una mezcla casi perfecta, de tal forma que veinte años despues sigue teniendo un sonido actual, uno de los mejores discos de los 90´s que he escuchado por la gran variedad de estilos que se pueden encontrar.
Si solo has escuchado los ultimos discos de Primal Scream (que son todos muy buenos), te debes a vos mismo encontrar una copia de Screamadelica, una de las declaraciones musicales mas coherente de la banda…
Boasting a star-studded line-up , Liam Gallagher, Paul Weller and Primal Scream were among the cream of British rock acts that performed a one-off gig at 04 april´s night in aid of relief efforts for victims of the Japan earthquake and tsunami.
The energy levels was surpassed with the electric Primal Scream, who ended their lauded Screamadelica tour in this same venue a little over two weeks ago.
That night they too stick to the hits, Sex Pistols bassist Glen Matlock joining them as bandmate Mani is on holiday.
Here a webrip from XFM broadcasting, sorry but the quality sound of broadcast is not so good, and i can not be removed the hiss, I will keep trying, hope enjoy it…
Miles Kane is set to release his eagerly awaited debut album, ‘Colour of the Trap’ on May 9th on Columbia Records and at March 30 has unveiled the album artwork:
Recorded in London with Dan Carey (Franz Ferdinand, Hot Chip) and San Francisco with Dan The Automator (Gorillaz, Kasabian), ‘Colour of the Trap’ is a glorious exploration into the darker corners of vintage pop, psych and blue-eyed soul sounds by Miles; half boy-next-door, half charisma-firework, all instantly loveable star quality.
Starting work on the album in the famous Konk Studios in Hornsey, this natural frontman went on to bunker down with producer Dan Carey in Streatham for four action packed weeks. The Wirral bred singer songwriter then travelled to the West Coast of the United States to hook up with Dan The Automator, who lent additional production to the lithe, lean R&B flavoured funk of ‘Come Closer’, the album’s first fully available single (out now). The infectious ‘Rearrange’ as well as the erudite groove of ‘Counting Down The Days’ were also honed with the Gorillaz collaborator.
The ‘Colour of the Trap’ tracklisting is:
‘Come Closer’
‘Rearrange’
‘My Fantasy’
‘Counting Down The Days’
‘Happenstance’
‘Quicksand’
‘Inhaler’
‘Kingcrawler’
‘Take The Night From Me’
‘Telepathy’
‘Better Left Invisible’
‘Colour Of The Trap’
Here shared , a sample of 5 complete tracks of your album, enjoy …
Tracklist: 01 – Come Closer 02 – Rearrange 03 – Inhaler 04 – Quicksand 05 – Better Left Invisible
Beady Eye Records have three posters commemorating the event, designed by Gem, that will be given to three lucky fans. Purchasing the download will automatically enter you in to the competition. The posters have been signed by the band.
No purchase is necessary to enter the competition. Please send an email to beadyeye@townsend-records.co.uk
All proceeds from the sale of the track after VAT, credit card fees and mcps (62p) will go directly toward the British Red Cross Japan Tsunami Appeal.
The track is available until Sunday 17th April.
1
Across The Universe
Sorry but is for benefit to victims of tsunami, and your price is only £0.99 , supportthecause please…
We’re on the road with Beady Eye from Glasgow to Milan as they complete their first ever tour. Expect a new crop of classic Liam-isms. Here’s part of one now: “D’you want a tan or what, you dick?”
Also, we speak to Faris from The Horrors about his new side project Cat’s Eyes, find out what massive gaming geeks The Naked and Famous are, and visit the Metronomy camp to see how Joe Mount’s managing to control the excitement of sitting on a phenomenal new album.
We’ve also got an interview with an embattled Brother, as they prepare their debut album amidst a storm of abuse, and an exclusive with Friendly Fires in New York, as they debut songs from their highly anticipated new album.
Plus there’s an unmissable report from the South By Southwest, the biggest, liveliest new band festival on the planet. Check out the 10 new acts who we’re tipping for big big things in the wake of it…
There’s tons more, including Glasvegas, Katy Perry, Frank Turner, Warpaint…we could go on, but let’s not. Let’s stop here before one of us dies.
Subscribe to NME here, or get this week’s digital issue for your iPad, laptop or home computer.
Beady Eye closed London’s Japan Disaster Benefit concert with The Beatles’ ‘Across the Universe’ at night 03-04- 2011
The show had been organised by Beady Eye frontman Liam Gallagher in the wake of the devastating earthquake and tsunami which struck Japan last month, affecting hundreds of thousands of people. Some 5,000 people attended the show at London’s Brixton Academy, raising over £150,000 for the British Red Cross Japan relief fund.
Speaking ahead of the show, Liam told The Independent newspaper: “It’s not just because we’re popular in Japan. As a human, you just think it’s heavy. We’ve always had close ties with Japan and great affection for our fans out there. Our hope is that this benefit concert can help the people of Japan.”
Beady Eye’s set was comprised of material from their debut album ‘Different Gear, Still Speeding’ with Liam introducing the track ‘Kill For A Dream’ by saying: “This one is for all the people in Japan.”
The band also played hits including ‘The Roller’ and ‘Bring the Light’, while Liam pulled his hood up over his face before last two tracks, ‘Sons Of The Stage’ and ‘Across The Universe’.
Theconcert wasbroadcastthroughXFM
Beady Eye At The Japan Disaster Benefit Show
Japan Disaster Benefit in aid of the British Red Cross Japan Tsunami
Definir la música del trio danes Powersolo es un ejercicio de estilo … “Es entre el zumbido de un bebe, un géiser en erupcion, los gritos de una actriz porno y alguien que come patata con jugo de carne , pero es, sobre todas las cosas, una manera seria de divertirse! .
asi lo define Kim “Kix” Jepessen , fundador del grupo, el cual formo con el fin de entretenerse junto a su hermano Bo “Atomic Child” alla por 1998 bajo el nombre de The Railthin Brothers . Hoy son un trio con el apoyo del batero JC Benz ( con elos desde 2006 aunque siga oficialmente fuera de los creditos).
Lanzaron su cuarto album Buzz Human,otra particular muestra de punk-a-billy danes, otra oprtunidad de tener el privilegio de encontrar este estilo tan original sin dudar su valor como arte, aunque particularmente por momentos me atrae mas su musicalidad que la hilaridad puesta por su cantante. De lo que estoy seguro es que Powersolo son una banda de Rock, pero con un toque muy particular, espero que les guste…
Escuche temas sueltos de sus discos anteriores y me hubiera gustado compartir toda su discografia, pero lamentablemente en mi pais( Argentina) no esta a mi alcance Amazon o iTunes.
Muchas de las bandas que comparto me venden en forma particular sus descargas digitales, muchas se ven impedidas por copyright que maneja iTunes o la misma discografica, que en definitiva son quienes a veces impiden que apoye / mos a los artistas, saludos y gracias a Indiebubbles …
POWERSOLO – BUZZ HUMAN
2011
Guitars, bas, drums, tambourines, maracas, bouzouki, handclaps, piano, vocals, grooves and fuzz by The Atomic Child and Kim Kix. Melotron, distortion slide violin and loops by The Great Nalna. Rither Zither, handclaps, percussion, backing vocals by Yebo. Backing vocals by Sanne “frøken” Abildgaard Rud and Lise Nygaard Christensen. Violin by Asger Christensen. Viola by Iris Marie Jakobsen. Tuba by Jakob Munck.
Tracklist
01. Powersolo 02. I Love You But I Hate You 03. Took It To Me Pads 04. Hear My Plea 05. Satisfy the Man 06. Creepy 07. Acid Orchid (feat. Celina Ozymand) 08. The Rither 09. Teach You Fun 10. Sensation (feat. Joachim Leksell) 11. Got No Fear 12. To Hell 13. She Fights Your Boredom With Her 14. I Don’t Want Assistance 15. I Miss You
April 20th will be the night where we in collaboration with JBL and CPH PIX will be hosts at a great label night on BREMEN with three of our own bands.
PowerSolo will headline and they’ll perform some of their ol’classics and they will play lots of great tunes from their new BUZZ HUMANalbum!!!
Lars and The Hands of Light and The Tremolo Beer Gut will also be at your service!
When you’ve had a cult fan base for as long as The Raveonettes have, it’s only a matter of time before some of your most-loyal of acolytes begin branching out and make their own kinds of beautiful noise. In recent times, the musical DNA of Sune Rose Wagner and Sharin Foo has been cropping up with such regularity that it prompted the British music press staple NME.com to declare the Danish duo to be responsible for sparking “America’s pop renaissance.” It was a long overdue tip of the hat which drew comparisons between the Raveonettes’ melodic magic and such modern tunesmiths as The Drums, Best Coast, Vivian Girls, Dum Dum Girls and even British bands like The Vaccines and Glasvegas.
But why take NME’s words for it? The bands themselves are only too happy to give credit where it’s due and explain why the Raveonettes have been such a prominent reference point. “They taught me a thing or two about pop music,” admits Jonathan Pierce of New York indie-pop trio the Drums. “I’ve always been drawn to bands who are driven by a strong concept and The Raveonettes have been doing it consistently, uncompromisingly and unashamedly since their very first EP ‘Whip It On’ (2002). I listened to that record religiously for two years after it came out and still find myself going back to it now. They’re the modern king and queen of melody and mood.” It’s a sentiment that’s also echoed by Dee Dee of Sub Pop starlets The Dum Dum Girls who has also been loyally following our Danish heroes from day one. “They are one of a few bands I took direct kindred inspiration from when I started writing and recording my own songs. They are a constant reminder to keep the teeth of sound intact while courting the pop hook- a recipe I follow in my own work.”
But it is perhaps the testimony of one Mr James Allan that exemplifies the Raveonettes-effect most dramatically. Back in 2004, James was jobless and aimless as he sat in Glasgow’s famous King Tut’s Wah Wah Hut venue drowning his sorrows one Friday afternoon. By coincidence, The Raveonettes happened to be playing the venue that very night and, whimsically hoping that some music would cheer him up, James spent his last bit of cash on a ticket. His money didn’t just buy him a quick pick-me-up, it bought him a new lease of life. “They were touring their ‘Chain Gang Of Love’ (2003) album- a modern day dream-pop masterpiece in my opinion,” he remembers. “I left the venue so inspired. I didn’t give a fuck about getting a job after that. It just further reinstated my longing to be in a rock ‘n’ roll band.” That band turned out to be the all-conquering Glasvegas for whom James became the talismanic frontman. Needless to say, he doesn’t spend too much time worrying about getting a job these days.
If The Raveonettes decided to call it a day tomorrow, we would undoubtedly remember them with nothing but love. But it’s partly down to the fact that they’ve spawned this new generation of talent that the band have strived to move themselves forward with their fifth album. After the best part of a decade honing their instantly recognizable sound and seeing it co-opted by so many other bands aspiring for a similar level of greatness, Sharin and Sune are blazing a newer, darker trail with the brilliant ‘Raven In The Grave’. “I think we have finally hit on something quite important and different for this album,” explains Sune. “This is the first Raveonettes album we’ve done which doesn’t feature the signature Raveonettes surf drumbeat. None of the tunes have any real sunshine to them. It’s all very un-Rave.” “It has a mood of ethereal defiance” Sharin adds. “It’s dark but not bleak, like the single minded determination caused by crisis that is not quite hope but just as powerful. It’s the perfect winter soundtrack just in time for spring”.
It doesn’t take long to hear how the band have superseded their traditional sound. Of course, melody is still key to what the Raveonettes do, but the familiar bombastic beats and squalls of guitar-noise take a backseat during much of ‘Raven In The Grave’. Instead, the album is awash with ghostly synths and chillingly beautiful riffs that leave you feeling simultaneously unsettled and enchanted. It’s easily the most soulful music the band have created to date. But once you scratch that sombre surface and dig a little deeper, you’ll find that ‘Raven In The Grave’ has an even darker lyrical heart. Inspired as ever by their own first hand experiences, many of the songs explore the disheartening finiteness of relationships and the devastating effects they can have when they do disintegrate. “Yeah, there are a lot of those kind of themes,” admits Sune. “‘With Recharge & Revolt’ I was trying to write an epic love song of longing and restlessness, ‘Summer Moon’ is about the blossoming of something beautiful which turns sour and starts deteriorating right in front of you and ‘My Time’s Up’ is about the perils of non-commitment to affection and the dangers of short-changing your life.” When you combine The Raveonettes expanded musical palette with this stream of nakedly honest emotions, the end result is an album so compelling and sincere that you could almost live (and potentially, die) inside it.
The Raveonettes evolution won’t stop with the new album either. As the band set off on tour to support their latest creation, their constantly changing live line-up will be bolstered by a two-drummer line up to help ensure that the depth of ‘Raven In The Grave’ is recreated on stage. It’s just another example of how Sharin and Sune are not content to rest on any laurels. The ten years of inspiring music they’ve already clocked up has already produced an undeniable legacy, but ‘Raven In The Grave’ is proof that the Raveonettes are already soaring above all of their past achievements. Catch them if you can.
Arctic Monkeys are back with a new album ‘Suck It And See’, and we have the first interview with the band about it. Seems the boys are getting back to a more classic Monkeys sound after ‘Humbug’, and we took a ride in Alex Turner’s Mini Cooper to find out more. (Whilst in the car, they sang Take That tunes. Worrying.)
“Beat on the brat with a baseball bat oh yeah” Not our words, the words of Joey Ramone, who sadly died 10 years ago this week. As a tribute we’ve got a special feature on the history of The Ramones by a New York punk insider.
Elsewhere, we delve into the soul of Anna Calvi, get Katy B’s tips for breaking out of the underground, and nick a newspaper of Thom Yorke…
Oh, and fans of rock n roll antics, we join Brother and their expense account in New York for three days of booze-fuelled daftness..
All that, plus your weekly gig guide, reviews, interviews, pictures and a shitting crossword too. Buy it and win ten house points.
Welcome to the official discography of What Would Jesus Drive. We are a 4 piece indie-electro lo-fi punk rock band from the UK.
They weren’t always What Would Jesus Drive. Tim and Amy met when they were in a band called The Barbs.
After a couple of years of great success, and tremendous fun all over the world they got married and started WWJD.
They played for a year and released their debut ep ‘We Made This’ as a 2-piece.
One night a drunk John Newman followed them home, so they kept him. The next day they bought Gemma Hogan from a travelling gypsy.
WWJD became four and have been so ever since.
Amy Casey – Vocals, bass, red wine Tim Box – Vocals, guitar, cup of tea Gemma Hogan – Decks, air synth, white wine John Newman – Keys, Samples, beer
We play lots of live gigs all over this country and others. Come and see us, its fun.
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Asi es , conocer a los marido y mujer Tim Box y Amy Casey acompañados por sus amigos Gemma Horgan y John Newman que juntos se hacen llamar What Would Jesus Drive es bastante disvertido. Era solo cuestion de tiempo poder llegar a disfrutar su primer larga duracion despues de los 3 EPs que nos regalaron en solo los ultimos cinco meses. Y bien, aqui estan con su album debut Black And Blue y de paso comparto sus 3 EPs pr si no los escucharon todavia. Lo que producen tiene una notable sensibilidad post Punk , utilizando la formula de vocalizaciones acentuadas mezcladas con palabras recitadas, impulsados principalmente por sonidos crudos de guitarras y sintetizadores que, a peasr de habre leido en algunas criticas de que no aportan nada nuevo u original, lo cual no es discutible , me parece que con la mezcla de ingredientes provenientes de las influencias que se pueden adivinar en sus discos logran una innovación musical suficiente para crear un sonido en el que sus ventajas superan facilmente sus contras. Espero que les guste, saludos…
What Would Jesus Drive – The Girls are in Charge EP (free)
released 01 November 2010
TRACKLIST
1.What Would Jesus Drive – The Girls are in Charge 03:11
<p>&amp;amp;lt;p&amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://whatwouldjesusdrive.bandcamp.com/album/the-girls-are-in-charge-ep-free”&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;The Girls are in Charge EP (free) by What Would Jesus Drive&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;</p>
What Would Jesus Drive – Your Awful Kids EP (free)
<p>&amp;amp;lt;p&amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://whatwouldjesusdrive.bandcamp.com/album/your-awful-kids-ep-free”&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Your Awful Kids EP (free) by What Would Jesus Drive&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;</p>
What Would Jesus Drive – Fragile Mansions EP (free)
<p>&amp;amp;lt;p&amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://whatwouldjesusdrive.bandcamp.com/album/fragile-mansions-ep-free”&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Fragile Mansions EP (free) by What Would Jesus Drive&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;</p>
What Would Jesus Drive – Black and Blue
released 07 March 2011
Debut release from What Would jesus Drive (ex the barbs). You can listen to it here or on the site at: http://www.whatwouldjesusdrive.co and if you want to read what reviewers thought of it or watch music videos or live performance then they are also on the site.
LISTEN – BUY for ONLY £1 (digital) until the end of ApriL
<p>&amp;amp;lt;p&amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://whatwouldjesusdrive.bandcamp.com/album/black-and-blue”&amp;amp;amp;amp;amp;amp;amp;amp;gt;Black and Blue by What Would Jesus Drive&amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;</p>
The Violitionist Sessions are 3 questions and 3 songs with bands from Denton and bands passing through Denton, recorded in a home in the best music city in the country. The sessions are all recorded live with no overdubs and no fancy tricks. The goal is to document a moment in time. This is what happened in Denton, Texas.
Simply awesome...
Astronautalis
released 04 April 2011
Session Date: March 21, 2011 Artist Hometown: Jacksonville Beach, FL / Dallas, TX / Seattle, WA
<p>&amp;amp;lt;p&amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://listen.violitionist.com/album/astronautalis”&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Astronautalis by Violitionist Sessions&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;gt;&amp;amp;lt;/p&amp;amp;gt;</p>
Andy Bothwell, aka Astronautalis, is a hip hop artist of a rare variety. His lyrics often contain involved stories and histories–he has called his style “historical fiction hip hop”–and he blends styles like indie rock, shoegaze and electro into his music. He’s also known for his phenomenal freestyle skills.
Originally hailing from Jacksonville, FL, Bothwell now calls Seattle his home. And he can often be found performing in the Dallas area, where some of his roots and close friends still exist. Bothwell began performing solo, with only a laptop at his side, and he continued to tour that way for seven years. But his recent tour includes rapper Sims and a backing band, and he is extremely happy with the new direction.
For this session, Bothwell speaks about his old tour days compared with the new tour as well as his place in the ever-changing music business. He and his band play “The Wondersmith and his Sons” and “The Case for William Smith”, from 2008’s Pomegranate, and his new single “Midday Moon”, from a yet-to-be-titled album that will be produced by Pomegranate producer John Congleton.
– Jesseca Bagherpour
3 QUESTIONS
ONE: How does it feel having a live band instead of doing the solo show?
Andy Bothwell: It’s the greatest feeling in the world. It’s the greatest. If I had to do another tour with the laptop, I would have drilled a hole in my head. I couldn’t do it anymore. It just really felt like I had – and I was really pleased with the way those shows went – but I felt like I had reached the creative ‘glass ceiling’ that I could travel to with that, you know, and it kind of assembled as a group of musicians from kind of funny places and it’s been amazing! By the second practice I was already just so floored with how this was so much better than I even thought this was going to be – and its continued to get better, too. It’s a game changer.
Michael: Do you ever see yourself doing a solo show again?
Andy: I mean, I’ll definitely have to do the solo show again. I’m doing a couple of one-off shows during the summer, and it’s still not quite financially feasible to bring the band to Europe – yet. My goal is, by next year, to pretty much be done with doing the solo show. So, I’ll be doing a couple odds and ends shows by myself, but for the most part, once I can afford to never do it again, I will never do it again.
M: Yeah?
A: Yeah! Yeah, I’m done – so done! I’ve done two thousand shows by myself and I’m ready to have some friends on stage!
M: Two thousand?!
A: Yeah! Seven years! That’s a lot of shows man. That’s a lot of shows.
TWO: Does one show that you’ve played stand out as being your favorite?
Andy Bothwell: There’s a couple, I think, and for different reasons. The show I played with Tegan and Sara in Berlin was probably one of the coolest things that had ever happened to me. There were like 2,000 people and they called for an encore, and that was just the most surreal experience: to have 2000 people chanting ‘encore,’ that was just like a ‘kill me now’ kind of moment. But at the same time, you know, I’ve had some pretty amazing shows in people’s living rooms and backyards and stuff. I think there was a Rubber Gloves show…the Rubber Gloves shows all blur into a kind of fog of general incredible love and excitement and high fives and whiskey. I think it was the one that I played on my birthday. There are some pictures of me being carried around on Shep’s shoulders, which was a real nice moment of confirmation for me – to be like ‘This is it. This is the home.’
THREE: How do you feel about the current state of the music business, selling records, etc? What’s your place in that? And what’s next?
Andy Bothwell: I think that I’m doing great at it. I didn’t ever come into this with an expectation of selling records, you know? I wasn’t part of the old guard and I kind of got in as things were falling apart and while things were still kind of…you could still sell records in stores. Nobody knew who I was, so I wasn’t used to selling records, and when it came to the point where nobody was selling records, it was like ‘oh cool this is what I’ve been doing for years! So, we’re in the T-shirt business with music attachments, yeah, great! Cool! I can do that!’ It doesn’t really bother me, you know? I feel like I stand by the quality of the records that I make and I stand by the quality of the shows that I put on. I feel like people want to buy my records because they want to support me, and they’ll download my record, they’ll listen to it, they’ll like it and then they’ll buy it. Those are the fans I want – I don’t want fans to buy my records because they got tricked into it, and if that means that I sell less records, that’s a bummer. It means I’ll just have to find another way to pay my rent on time and so far so good. Two years now I haven’t had another job, and that’s pretty fantastic.
Los veteranos electronicos Lavelle y Clemens se han rodeado de monstruos como Nick Cave, Liela Moss ( The Duke Spirit ), Rachel Fannan ( Sleepy Sun ) , sin faltar el viejo amigo de UNKLE Gavin Clark para dar forma a esta delicadeza de cinco canciones llamada Only The Lonely, disfrutenlo..
UNKLE – Only The Lonely EP
released April 04, 2011
Tracklist:
01. Money and Run (feat. Nick Cave) 02. The Dog Is Black (feat. Leila Moss) 03. Only The Lonely (dub) 04. Wash The Love Away (feat. Gavin Clark) 05. Sunday Song (feat. Rachel Fannan) 06. Money and Run (Radio Edit)
MEDIAFIRE just blocked my account, so, years of work uploading music files, bye … I do not understand, mine is insignificant next to other blogs, Oh well, I’ll have to switch servers and begin to reupload the lost files … is like starting a blog from zero Tired? no way, with the excitement of starting a new job Greetings and Keep Calm , you will have available all again Cheers Pepe
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