-tune yards/hey life recensione nikki nack 4ad -slow club/complete surrender moshi moshi- Gli Slow Club sono un duo musicale formatosi a Sheffield nel 2006. Il gruppo è composto da Charles Watson (voce, chitarra) e Rebecca Taylor (voce, chitarra, percussioni). Il duo ha pubblicato due singoli nel 2007, Slow Club e Me and You, entrambi con la Moshi Moshi. Il 1º settembre 2008 è uscito il loro primo extended play, Let's Fall Back in Love, mentre nel dicembre 2008 pubblicano il singolo Christmas TV. Il loro primo album, Yeah So, è stato prodotto da Mike Timm agli Axis Studio a Sheffield ed è stato pubblicato nel luglio del 2009. Il secondo album, Paradise, è uscito il 12 settembre 2011. nuovo album per loro dal titolo complete surrender, 14 luglio se siete dalle parti i londra stasera Slow Club play a one-off, full band show at London’s Village Underground on May 13 -sharon van etten (tour) /every time the sun comes up + are we there nuovo album che vi avev preannnunciato, tour europeo a fine maggio, che purtroppo non tocca almeno per il momento l'italia. http://pitchfork.com/features/articles/9402-here-together-are-our-hearts-the-love-songs-of-sharon-van-etten/ -EMA/3jane The Future’s Void, Matador vi avevo presentato in anteprima l'uscita del primo singolo di quest'album, che oggi potrete invece procurarvi! Questo è quello che scrive a proposito di questa canzone, sul sito della matador: No one was really ever that mean to me on the internet. I never had that “thing” that happens when you wake up one morning and somehow your life is ruined because a mortifying picture goes viral or a “funny” tweet becomes horribly misread. Sure, there were bitchy things in the comments of videos, but organized trolls never unleashed a wave of death threats on me, and only a few people suggested that I kill myself. So the internet never actually did that to me. But it did that to somebody. And now we all have this stupid crippling fear that someday it will happen to us. And the likelihood increases as you move from relative obscurity to becoming more broadly visible on the internet. There are more cameras on you, more chances to be quoted saying something stupid, and more people out there who relish seeing successful people disgraced and dethroned. Do you have that fear yet? Do you want it? Another thing that really fucked me up is that somewhere along the way I feel like I lost control of my image. I feel very confident in making the music I want to make, but I’m not a Mouseketeer. I can try to do it all myself but I run out of time. I don’t know how to pose for a photographer and sometimes when I’m in front of somebody else’s camera I don’t know what to do. So I would do the thing that I had seen before a million times in fashion mags and advertisements because I wanted to do a “good job.” And little by little, these pictures became more sexy and pouty until I didn’t recognize myself anymore. And those images went all around, and the bold-faced pull quotes from articles that didn’t quite get it right were right there next to the too sexy images until they became a thing both separate from me and also made up of me. I got weird disassociation. I got a weird neuromancer and I dyed my hair black and unplugged. Disassociation is a modern disease I didn’t set out to write this song and I didn’t know when I wrote it a year ago that right now it would be ok to talk about the internet, because at the time it felt forbidden and shameful to talk about. It just all came out in a flood, a stream of consciousness. And I’m still kind of self-conscious that I said those things out loud. But I don’t think these feelings are unique to me, and I often find that the things that scare and embarrass you are the things that are worth saying. At the end of the day all I can really do is tell the truth, the truth of what happened and how it made me feel. And if at that point, if you wanna call me a cunt in the youtube comments, that’s on you. PS –so i wanted this missive to be perfect but instead i kind of just partied IRL. I found myself suddenly with friends and we are imbibing and watching funny videos and laughing. So that’s why this post is a little raw. And I think I’m ok with that. Lunedì, 26 Maggio 2014 -DIANA ‘Perpetual Surrender’ + -collen green/taxi driver (opening for ema) dal 19 secondo!!! hardly art records, cita musiciste http://www.hardlyart.com/colleengreen.html ------For Record Store Day, Kanine Records released Non-Violent Femmes, a compilation of female-fronted indie and punk bands. In addition to Bleeding Rainbow’s cover of the Smashing Pumpkins single “Glynis” and Beverly’s new single “Honey Do”, Florida surf-rock outfit Beach Day contributed an original track entitled “All My Friends Were Punks”. Drenched in a deep sense of nostalgia, the power-pop anthem pays homage to the band’s hazy teen years of searching for identity in the tumultuous Florida punk scene. Despite the dense subject matter, though, the band’s use of ample hand claps and bright, multi-part harmonies helps lend a sense of much-needed brevity in an otherwise shaky trip down memory lane. -beverly/honey do + Beverly is 16 today. I heard she was a bratty baby; she drank all the milk. Bev is sooooo hot right now. She’s always really hungry, and I don’t know why. Sometimes she eats cap’n crunch ‘til she thinks she’s gonna vom – then she eats more. It’s weird. She’s still growing I guess. She’ll eat anything and everything. I heard Beverly ate her father’s strat, then her mother’s purple slingerland drum set…so crazy. She keeps getting bigger. She must be like 9 feet tall. I don’t think Bev showers either. She’s a dirty girl. Her hair is stringy and she doesn’t care. Also Bev refuses to stop putting her hand in Tim the pit’s cage. Tim’s gonna bite that hand clean off one day… Did I mention, she wears waaay too much makeup and mismatched plaid. Frankie and Drew say her style is tacky, but I just think it’s so Beverly. -bleeding rainbow/so you know all it took was two weeks. Sometimes just one take. Such is the spirit of Interrupt, Bleeding Rainbow’s fourth album. Due February 25th via Kanine Records, Sarah Everton, Rob Garcia, and Al Creedon, have stripped bare the layers that came to represent 2013’s Yeah Right. “We wanted to get back to writing more straight forward songs.” Though the band returned to Kyle Johnson to engineer and produce Interrupt with a stack of demos tested during long stretches on tour, the “efficient” Bleeding Rainbow went to Philadelphia’s Fancy Time Studios with brevity and an impending tour forefront in their minds. The result, with a runtime south of 35 minutes, featuring Robi Gonzalez (A Place to Bury Strangers) on drums, has Bleeding Rainbow matching their visceral live shows with an album’s worth of dressed down, feral and unrelenting punk-pop. The band is joined by Ashley Arnwine on tour for drums. -beach day/all my friend were punks + Hollywood, Florida is not your typical beach town. The buildings, diners, and of course the beach appear frozen in the 1950’s. Probably a result of the town’s population boom happening in that era, a current drive down the streets feels like your moving through an R. Crumb drawing. Things seem exaggerated and a bit odd. The now mature population seems a caricature of their former selves. It is this strange place, lovingly dubbed Hollyweird, Florida, that the trio Beach Day calls home. Their sound is heavily influenced by their surroundings. They make new music, but it is definitely old at heart. And it’s definitely sunny, but not without some murkiness. An embodiment of their surroundings and love of 60’s girl groups, Beach Day sounds as you might expect. Think of a female fronted Beach Boys, throw in some The Shangri-La’s, The Ventures, The Sonics, Phil Spector, The Ronettes, add in contemporaries Cults, Jacuzzi Boys, Dum Dum Girls and the Black Lips and you have a soundtrack for your perfect Beach Day. - Lightning Dust - "Loaded Gun + Lightning Dust - the duo comprised of Amber Webber and Josh Wells - tends to thrive in the spirit of change. 2007's self-titled debut was a hushed, intricate folk affair, while 2009's Infinite Light found a middle ground between Suicide and Fleetwood Mac era pop. So when they geared up to make the music that would become Fantasy, the pair was looking for a new sonic stamp. Lightning Dust's 3rd proper full length finds its inspiration in skeletal synth pop, modern R&B beats, the films of John Carpenter and -- in accordance with Lightning Dust's only longstanding rule -- absolute minimalism. The core of Fantasy lies as much in the songwriting as in its sonics, and begins with tools familiar to Webber and Wells: her acoustic guitar and his Wurlitzer piano. They worked to distill the arrangements to just the few key elements that were necessary to make the feel right, and through countless hours of labor in The Balloon Factory - their Vancouver studio - the songs found their way to a sonic palette more squarely electronic than either expected. The first product of this experiment was "Never Again" which was previously featured on a 7" in 2011 and now closes the new album. It is a menacing, almost gothic electro-pop churner, marching from an oscillating beat to an anthemic thunderstorm of synth textures. Like many of its cohorts, the song came together slowly: beginning with a barebones acoustic demo and honed through their new sonic prism, "Never Again" became not only a bouncing synth opus but a thesis statement of sorts for Fantasy. Knowing now where they were going, the path began to take shape. The duo was keen to use a purely synthetic palette for Fantasy, but instead of toiling away in front of a computer, Wells armed himself with an MPC 2000 -- a cumbersome, outdated machine, but one that proved to be the perfect tool to keep the spirit of absolute minimalism alive in their new musical terrain. The time-honored producer's weapon of choice became Wells' entrance to the world of programming, one that empowered him to work by feel alone. Webber, meanwhile, mined the freedom she felt singing along to records as a child, and strove to write vocal melodies and sing with a more extroverted pop sensibility. The hooks are apparent, and Webber sings with a self-assurance that belies the extent to which Fantasy marks a new, uncharted sonic space for the band. By beginning at the end, Lightning Dust has delivered an album that informs their sound in remarkable new ways. Fantasy is a hypnotic, exciting record, recklessly new without sacrificing the rich atmosphere that makes Lightning Dust who they are. "Loaded Gun" is a robotic riot grrrl anthem, while "Agatha" stands tall as an ominous lullaby. "Fire, Flesh and Bone" recalls the best cinematic new wave ballads, while acoustic heartbreaker "Moon" makes the rest of the world disappear. And so while Lightning Dust's destination was never an exact place, Fantasy is as vivid a place as you've ever imagined. Fantasy will be released June 25th, 2013. NEXT!!! -the blow/ The Blow is Khaela Maricich and Melissa Dyne. We made a new Blow album, called The Blow. It happened like this: we met in Portland in 2004, hooked up in 2006, started itching for new surroundings and moved to New York City in 2008. Around that time we started performing together live as The Blow, with Khaela onstage and Melissa working from behind the audience, manipulating the visual and aural elements. After a few years of swapping ideas and watching them grow and breed new ones, we decided, “Fuck it, why not record a record together?” So we went together into the wordless realm and were there for a couple of years, fusing together the landscape of sounds and samples and waves and sensations that make up The Blow. The Blow returned with eponymous album The Blow, released October 1, 2013. Founding member Khaela Maricich partnered with Melissa Dyne to create an album that reflects their united love of pop music, bass, frequency, hooks and intimate lyrics. This is the long awaited first new release since 2007's Paper Television (K Records).