sexta-feira, 30 de outubro de 2009
quinta-feira, 29 de outubro de 2009
JUST RELEASE (JUNK CULTURE)
Release Date
Oct 27, 2009
It might be a strange title given the album was recorded in Mississippi, but then again, calling it West Coast after the river's geography would be a little misleading (and more to the point, would actually be about Louisiana). A quick blast of nine entertaining songs, West Coast shows that Junk Culture aka Deepak Mantena actually has an ear for that kind of mythic (and often heavily Beach Boys-informed) place celebrated by acts from as far afield as the High Llamas as much as onsite performers with their own style like Spirit, a location of the mind that is constantly breezy and airy. Crucially, however, Junk Culture doesn't re-create endless sessions of Smile so much as pulverize and rework them — songs like the title track chop up bursts of vocal sweetness and uplifting melodies over breaks and beats, not revelatory in terms of new sampling approaches by any means, but perfectly accomplished at setting a slightly unexpected mood. Sometimes the results are pleasant, other times there's an actual sense of full drama, as on "American Minute Song" when a few whispers of "Check...check..." eventually lead into a fuller break. A quiet sense of humor doesn't hurt — thus, naming what sounds like a slightly woozy gamelan break "For Elise" as a reference to the Beethoven piano classic, though heaven knows what the classical performer might think of it. (Also, points for having a song called "Carmel Valley Girls" that sounds like a random anime robot lost in a weird underground tunnel — simply because that's probably the most un-Carmel Valley-like setting possible).
JUST RELEASE (BASSNECTAR)
RELEASE 27/10/2009
Following electronic dance music can easily lead to a sort of jaundiced lassitude. The more of it you listen to, the more every groove sounds like just another peg stuck into a well-established hole: a thumping house beat here, a jittery jungle breakbeat there, a chilly techno track over there. Although genres and subgenres splinter and proliferate with bewildering constancy, there's very little in the electro neighborhood that has sounded genuinely new or innovative in years. Except for the work of Bassnectar, a Bay Area DJ who takes all of these musical elements (and more), and folds, spindles, and manipulates them into something that is genuinely new and personal, and unbelievably fun. Like Fatboy Slim, he is immediately identifiable by the general flavor rather than by the specific style of his work; also like Fatboy Slim, much of his music seems to be animated by joy rather than by resentment, greed, or ego. The individual elements of his style are relatively easy to identify. In a Bassnectar mix you're liable to hear at least one (and sometimes several) of the following: a sudden lurch from duple to triple meter; a sudden drop into half-time; multiple layers of synthesized glockenspiels playing heartbreakingly lovely arpeggios; rappers and singers pitch-shifted beyond all recognition; spoken word samples that appear for no apparent reason, but whose rhythmic character is suddenly revealed by their incorporation into a blissfully funky groove. On Cozza Frenzy, you'll hear elements of dubstep, hip-hop, techno, house, and electro-pop, but none of it ends up sounding like anything other than Bassnectar. As on his previous two albums, highlights are almost impossible to identify — however, the brilliant remix of Fever Ray's "When I Grow Up" is especially thrilling, and in some ways unusually nuanced, and "The Churn of the Century" is more varied in tone and texture than usual, even by Bassnectars very high standards. Mesmerizing the Ultra is still the best introduction to the man and his style, but Cozza Frenzy is essential as well.
Following electronic dance music can easily lead to a sort of jaundiced lassitude. The more of it you listen to, the more every groove sounds like just another peg stuck into a well-established hole: a thumping house beat here, a jittery jungle breakbeat there, a chilly techno track over there. Although genres and subgenres splinter and proliferate with bewildering constancy, there's very little in the electro neighborhood that has sounded genuinely new or innovative in years. Except for the work of Bassnectar, a Bay Area DJ who takes all of these musical elements (and more), and folds, spindles, and manipulates them into something that is genuinely new and personal, and unbelievably fun. Like Fatboy Slim, he is immediately identifiable by the general flavor rather than by the specific style of his work; also like Fatboy Slim, much of his music seems to be animated by joy rather than by resentment, greed, or ego. The individual elements of his style are relatively easy to identify. In a Bassnectar mix you're liable to hear at least one (and sometimes several) of the following: a sudden lurch from duple to triple meter; a sudden drop into half-time; multiple layers of synthesized glockenspiels playing heartbreakingly lovely arpeggios; rappers and singers pitch-shifted beyond all recognition; spoken word samples that appear for no apparent reason, but whose rhythmic character is suddenly revealed by their incorporation into a blissfully funky groove. On Cozza Frenzy, you'll hear elements of dubstep, hip-hop, techno, house, and electro-pop, but none of it ends up sounding like anything other than Bassnectar. As on his previous two albums, highlights are almost impossible to identify — however, the brilliant remix of Fever Ray's "When I Grow Up" is especially thrilling, and in some ways unusually nuanced, and "The Churn of the Century" is more varied in tone and texture than usual, even by Bassnectars very high standards. Mesmerizing the Ultra is still the best introduction to the man and his style, but Cozza Frenzy is essential as well.
quarta-feira, 28 de outubro de 2009
segunda-feira, 26 de outubro de 2009
INDIEROCK TODAY (PINK GREASE)
Pink Grease is a five-piece rock group from Sheffield, England. Drawing from prominent early influences like David Bowie, Iggy Pop, T.Rex, and even Kiss, the band's sound and style are often seen as glam rock while also being heavily influenced by such new wave artists like Duran Duran and punk rock artists like The Damned. Also relates well to more contemporary post-punk revival artists like Bloc Party, The Futureheads, and The Strokes and often shares much of the same fan base.
Pink Grease released their debut EP All Over You, in May 2003 to some minor critical praise. Then in June 2004 they followed up with the full-length This Is For Real with similar praise and some moderate commercial success. Their second album titled Mechanical Heart was planned for a release sometime in 2006/2007 but after the split from the record label Mute Records it is still unreleased and just a few promotional copies exist. At the moment they are unsigned.
quinta-feira, 22 de outubro de 2009
INDIE TODAY (FLAMING LIPS)
The Flaming Lips (formed in Oklahoma City, Oklahoma in 1983) are an American rock band.
The band is known for their lush, multi-layered, psychedelic arrangements, spacey lyrics and bizarre song and album titles (for example, "Psychiatric Explorations of the Fetus with Needles", "Free Radicals (A Hallucination of the Christmas Skeleton Pleading with a Suicide Bomber)" and "Yeah, I Know It's a Drag... But Wastin' Pigs Is Still Radical"). They are also acclaimed for their elaborate live shows, which feature costumes, balloons, puppets, video projections, complex stage light configurations, giant hands, large amounts of confetti, and frontman Wayne Coyne's signature man-sized plastic bubble, in which he traverses the audience. In 2002, Q magazine named The Flaming Lips one of the "50 Bands to See Before You Die".
The group recorded several albums and EPs on an indie label in the 1980s and early 1990s. After signing to Warner Brothers, they scored a hit in 1993 with "She Don't Use Jelly". Although it has been their only hit single in the U.S., the band has maintained critical respect and, to a lesser extent, commercial viability through albums such as 1999’s The Soft Bulletin (which was NME Magazine's Album of the Year) and 2002’s Yoshimi Battles the Pink Robots. They have had more hit singles in the UK and Europe than in the U.S. In February of 2007, they were nominated for a BRIT Award in the "Best International Act" category. As of 2007[update] the group has collected three Grammy Awards, including two for Best Rock Instrumental Performance.
4 WORLD MUSIC (TGU)
Transglobal Underground (sometimes written as Trans-Global Underground or simply as TGU) is a London-based music collective who specialise in a fusion of western, oriental and African music styles (sometimes labelled as "world fusion" or "ethno-techno"). Their first four albums featured Natacha Atlas as lead singer and their single "Temple Head" was used in a Coca-Cola advertising campaign for the 1996 Olympic Games. [1] In 2008 they won the BBC Radio 3 Award for World Music after the release of their seventh official album, Moonshout.
quarta-feira, 21 de outubro de 2009
quinta-feira, 15 de outubro de 2009
BLACK GRAPE - REVEREND
Black Grape é uma banda funky e electronica suave que foi formada em 1993 depois da desintegração dos Happy Mondays com os membros Shaun Ryder e Mark "Bez" Berry.
[edit] Albums
It's Great When You're Straight... Yeah (1995) #1 UK
Stupid Stupid Stupid (1997) #11 UK
[edit] Singles
"Reverend Black Grape" (1995) #9 UK
"In the Name of the Father" (1995) #8 UK
"Kelly's Heroes" (1995) #17 UK
"Fat Neck" (1996) #10 UK
"England's Irie" (1996) #6 UK
"Get Higher" (1997) #24 UK
"Marbles" (1998) - #46 UK
Vive la Fête
Vive la Fête foi fundado em 1997 quando Danny (que integrava a banda dEUS) gravou alguns demos com Els. A gravação de oito faixas foi lançada num EP intitulado Je ne veux pas (ou Paris) que chamou atenção por causa de seu suingue que remetia aos anos 80. Ganhou notoriedade no começo dos anos 2000, quando virou xodó do mundo jetsetter da moda, tocando ao vivo em grandes desfiles e recebendo elogios rasgados de estilistas (entre eles Karl Lagerfeld). Ao mesmo tempo engrossou o coro do "neo electro safado", adotado pelos modistas na época com o primeiro sucesso no álbum de estréia Attaque Surprise (2000). Gravações subseqüentes como Republique Populaire (2001) e Nuit Blanche (2003).
Attaque Surprise — Surprise Records (2000)
République Populaire — Surprise Records (2001)
Nuit Blanche — Surprise Records (2003)
Grand Prix — Surprise Records (2005)
Jour de Chance — Surprise Records (2007)
Vive Les Remixes * Surprise Records (2008)
Disque D'or * * Firme de Disque (2009)
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