terça-feira, 14 de agosto de 2012

Azeda Booth - Squall

There are no women in Azeda Booth. If you’re reading this before you’ve played their debut album In Flesh Tones, you’re probably puzzled. Press play and come back. The band shares the same sublime androgynously-voiced space as Antony and the Johnstons, jazz great Little Jimmy Scott and Philly-soul angels the Stylistics. Musically, there are only sightlines, no touchstones. They twist and flutter, too skittish for space rock, too hot for IDM, too concise and charming for glitch-core. The Calgary, Alberta band conjure up the sound of human travel. The arrivals and departures are hazy and blurred, the tone both tense and delicate, the fuel potent and clean, the direction most definitely UP. In Flesh Tones, Azeda Booth’s debut full length is a benchmark album, a thing of dazzling beauty and fragile inspiration. It’s not so much a bomb in the mineshaft as it is an incandescent dove illuminating the way out.
Formed in the summer months of 2004, the group was originally comprised of only two members (Morgan Greenwood & Jordon Hossack). The band remained a duo until the fall of 2006, when four other like minded musical outcasts of the Calgary scene (Myke Atkinson, Chris Reimer, Marc Rimmer & Mike Wallace) joined to release Azeda Booth’s debut full length, In Flesh Tones. Recorded with the same “musical chairs-esque” enthusiasm as featured in their live shows, In Flesh Tones is inspired and simple in its celebration of sound and movement. In late 2008 Azeda Booth slimmed down to their current incarnation of Morgan Greenwood, Jordon Hossack and Marc Rimmer and released the free downloadable EP Tubtrek. Tubtrek is Azeda Booth’s first new recorded material as a solid three piece and is also the band’s first recording with more than only Jordan Hossack singing. Tubtrek includes four new tracks and four remixes from their debut album In Flesh Tones .
Always changing and growing, Azeda Booth’s live show is as much about exploring the facets of the energy shared by audience and artist as it is about creating a memorable musical experience. In Flesh Tones came out on July 22, 2008 on Absolutely Kosher Records.

60 WATT KID: Take The Pain Out Of Your Chest

60 Watt Kid has crossed into a new dimension with the release of their latest album We Come From the Bright Side. The band has reinvented itself once again and fully embraced its unique "intergalactic pop" flavor with this conceptually cohesive full-length. The self-produced album was mixed by Thom Monahan (Devendra Banhart, Entrance Band, Vetiver and Lavender Diamond) to bring out its asymmetrical guitar riffs, swirling time signatures, and guru tunings that seem to break all rules of musical physics. Chock full of strange, dreamy, pop songs, otherworldly vocals, and layered sonic aberration, the album bends experimental pop on its side—demonstrating how malleable electronics and melodic instruments can be. From its wistful and percolating first song “2012,” the band manages to navigate a core aesthetic of its own design. As the album progresses, it morphs into the ebullient title track, through the explosive 2-minute psych-pop granger "Golden Travels," and into the apocalyptic “Pressure." Then, at the heart of the release is the tender epic, “Take the Pain Out Of Your Chest,” which is as beautiful and penetrating a track as any you’ll hear this year.
While re-locating to the warmer climates of L.A., after leaving behind San Francisco, founding members Kevin Litrow and Derek Thomas found a new dynamic drummer in young Dylan Wood. The 18-year-old wonder kid adds his unorthodox touch of high energy rhythm and tribal flourishes, completing the triangle of this exotic sounding three-piece. The band is presently gaining wide recognition, with rave reviews in Los Angeles from the L.A. Record (SoCal’s premiere source of underground inspiration), URB Magazine, and L.A. Weekly, and recently headlined DIY kingpin Sean Carnage’s four-year anniversary residency.
It’s truly rare to find a band that so effectively and simultaneously hugs the experimental as tightly as it hugs the hooks. Chronicling the recent passing of singer Kevin Litrow’s mother, We Come From The Bright Side takes the listener on a sonic emotional journey. As the album reaches its finale, we find ourselves filled with strange nostalgic longing to know what it is like on the Bright Side.
60 Watt Kid is also releasing a limited pressing split 7” with nationally praised DIY project FOOT VILLAGE (out on Absolutely Kosher September 22nd). The bands’ pulsating, high-energy tracks pair perfectly, and dutifully represent the creative quality coming out of the Los Angeles DIY scene. Foot Village is a thunderous drum-n-shout assembly from L.A. A recent Pitchfork review remarked, “The group hurls themselves so devoutly into every second that their urgency becomes contagious…Foot Village opts for rigorous precision. Nothing here is improvised, and it all has the feel of a ritual.”

The Dead Science - Sign Your Name

Um original de Terence Trent D'Arby


Gardens & VIlla - "Black Hills"

Rain Tree Crow - Every colour you are

Nick Cave and Warren Ellis - Down To The Valley

Jherek Bischoff feat David Byrne / Eyes

St. Vincent - "GROT"

sexta-feira, 10 de agosto de 2012

Massive Attack - Live at Melt Music Festival (July 2010)

Brendan Perry - Crescent (Ark)

Dead Can Dance - Summoning Of The Muse

Graham Coxon - What´ll It Take

Pavement - "Stereo"

Pavement é uma banda de rock alternativo americana, considerada por muitos um dos principais pilares da cena indiedos anos 1990. Formada em 1988 em StocktonCalifórnia, era inicialmente um projeto de estúdio de dois guitarristas,Stephen Malkmus e Scott Kannberg, com a ajuda do baterista Gary Young. Depois do lançamento do primeiro disco da banda Slanted and Enchanted, entraram para a banda o baixista Mark Ibold e um baterista de apoio, Bob Nastanovich. Com a saída de Gary Young, foi também chamado o baterista Steve West.
A banda lançou mais 4 discos pela gravadora Domino Records, todos aclamados por crítica e público. Apesar de nunca ter feito sucesso comercial, a banda sempre teve apoio de uma enorme e fiel legião de fãs dentro da cena alternativa, que lotava seus shows tanto dentro dos EUA quanto no exterior.
Em 1999, durante a turnê do álbum Terror Twilight, a banda anuncia que está entrando em um hiato de tempo indefinido. Esse hiato na verdade era um eufemismo para o fim do grupo, causado principalmente pelo distanciamento de Kannberg e do crescente descontentamento de Malkmus com o mesmo. A gravadora ainda lançou um DVD com todos os videoclipes da banda, diversos shows e entrevistas.

Dead Can Dance - Children Of The Sun

Anastasis: the Greek word for resurrection. Before you even press play, you've understood three things about Dead Can Dance's first album in 16 years: it's erudite, portentous in its introspection, and finds a band whose back catalogue is a kind of musical world tour swimming around in the Aegean sea. Actually, the most exquisite music here could beAnatolian: it feels more ancient than modern, equally Turkish and Greek. On Anabasis (a word denoting journeys), Lisa Gerrard's voice wisps and curls like smoke from a hookah; on Kiko she wails like a high priestess over drums that suggest a march to a sacrifice and a rembetika riff. Best of all is Agape (love), whose melodramatically keening violin line reeks of the port of old Smyrna. Add Brendan Perry singing of memory and restless spirits in a voice so deep it seems to come from the foundations of buried temples, and this album could be hypnotic – if only it plodded less and soared more.

sexta-feira, 3 de agosto de 2012

The Books ft Jose Gonzalez - Cello Song

Uma das melhores compilações de todos os tempos.

Dark Was the Night is the twentieth compilation release benefiting the Red Hot Organization, an international charity dedicated to raising funds and awareness for HIV and AIDS. Featuring exclusive recordings by a number of independent artists and production byAaron and Bryce Dessner of The National, the compilation was released on 16 February 2009 (UK) and 17 February (US) as a double CD, three vinyl LPs, or as a digital download.[6] John Carlin, the founder of the Red Hot Organization, was the executive producer for the album. The title is derived from the Blind Willie Johnson song "Dark Was the Night, Cold Was the Ground", which is covered on this collection by the Kronos Quartet.
John Carlin and Aaron Dessner approached Martin Mills and Richard Russell of Beggars Group with the idea for the album. Their selection of artists to include was an attempt to “capture this musical renaissance, which may not have the cultural impact of grunge or punk, but is equally significant from a cultural and creative standpoint…these artists are not fringe or marginal.”[7] The American folk roots of the compilation are acknowledged in the title and exemplified by tracks such as the cover of Bob Dylan’s “I Was Young When I Left Home.” Production of the album was focused on supporting the Red Hot Organization, as Dessner says “a lot of the artists wouldn’t take the money…Beggars agreed to be really transparent about how it’s done, so as much money flows to the charity side as possible.”[7]
As of May 2012, Dark Was the Night has raised over $1.6 million, a sum that represents all the profits from worldwide sales. John Carlin acknowledged the reason for the album's success, saying "Dark Was the Night encapsulated the spirit and creativity of a new generation of musicians whose work struck a chord and got people to actually purchase the album and raise hundreds of thousands of dollars to fight AIDS."[8]
On May 3, 2009 4AD and Red Hot produced Dark Was the Night - Live, a concert commemorating the newest Red Hot album. The show took place at Radio City Music Hall and featured several of the artists that contributed to the compilation including Dave Sitek,Dirty ProjectorsFeistMy Brightest DiamondThe NationalSharon Jones & The Dap Kings plus more.[9]