13 the mentalettes /spalle per jsbe 17 febbraio the raveonettes 14/ marzo laurie anderson 19/03 of monsters and men (che non hann ocerto bisogno di promozione visto che sono in rotazione su tutte le radio) 22/03 honey bird and the birdies a torino ma anche al primavera sound festival di barcellona il 23!!! 10 aprile beach house piper 14 aprile patti smith @auditorium 16/04 marisa monte roma 05/06 dead can dance auditorium 06/05 landa del rey 07/07 diana krall -ci sarà anche sinead o'connor, che io non amo, almeno non dalgli anni '90. uno dei miei primi 7 pollici era suo.ce l'ho ancora. ma credo che la sua instabilità mentale, che sinceramente non considero, anche se avrei preferito una che strappa la foto del papa, cambia le parole a war di marley e ci crede fino in fondo, non chiede scusa, ma tant'è, il fatto è che in questi anni non ha più fatto niente, niente di interessante, e sei solo fuori di testa non mi interessa. - my bloody valentine è finalmente è uscito l'album, MBV, - par condicio e dimissioni papali -beach house "forever still" progetto video ispirato a live at pompei dei pink floyd 1) HOW TO DESTROY ANGELS/how long l 5 marzo uscirà finalmente il disco di debutto della band formata dal frontman dei Nine Inch Nails, sua moglie Mariqueen Maandig (ex West Indian Girl) e Atticus Ross. “How Long” video che potete vedere su vari channel(regia del collettivo artistico inglese “Shynola”) dall’album:“Welcome Oblivion” 2) the knife/full of fire il 28 gennaio, The Knife unveil Full Of Fire from their forthcoming album Shaking The Habitual, and premier a short film by Marit ÖstbergMarit Östberg is a filmmaker and visual artist, based in Stockholm and Berlin. Her works are often focused on images of queer bodies and sexualities. She sees her work in a wider context of feminist fights and histories and her visual world has been described as uncompromising. Uncompromisingly current. Uncompromisingly sexy. Uncompromisingly political.23 gen 2013 - Si intitola "Full of fire" il nuovo singolo degli Knife. Il brano, della durata di ben nove minuti, è il primo estratto dal terzo capitolo in studio del duo electro svedese, intitolato "Shaking the abitual", in uscita il prossimo 8 aprile. Il brano tratto dalla nuova fatica in studio degli Knife sarà pubblicato il prossimo 28 gennaio. "Shaking the abitual arriva a sette anni da "Silent shout" del 2006 ed ospita la collaborazione con Shannon Funchess dei Light Asylum. Durante questi anni la cantante del duo, Karin Dreijer, ha pubblicato un album con lo pseudonimo di Fever Ray nel 2009. Olof e Karin saranno in concerto anche in Italia per presentare la loro nuova fatica in studio: il duo è atteso il prossimo 29 aprile ai Magazzini Generali di Milano. “The film ‘Full of Fire’ started to grow as an embryo in the song´s lines ‘Who looks after my story’. Who takes care of our stories when the big history, written by straight rich white men, erase the complexity of human´s lives, desires and conditions? The film ‘Full of Fire’ consists of a network of fates, fears, cravings, longings, losses, and promises. Fates that at first sight seem isolated from each other, but if we pay attention, we can see that everything essentially moves into each other. Our lives are intertwined and our eyes on each other, our sounds and smells, mean something. Our actions create reality, we create each other. We are never faceless, not even in the most grey anonymous streets of the city. We will never stop being responsible, being extensions, of one another. We will never stop longing for each other, and for something else.” 3)houses /soak it up Houses' Dexter Tortoriello and Megan Messina hail from Chicago, but the roots of their dreamy electro-pop can be traced back to a potent three-month stay in Hawaii. Tortoriello played in metal and noise bands during his teens in suburban Illinois, while he also battled additions to crack and heroin. He spent much of that time in rehab and halfway houses, and in 2006 Tortoriello quit Columbia College to stay at a rehab facility in California. He ended up following Jesse Logan, one of his counselors, to Salt Lake City; while helping Logan open his own halfway house, Tortoriello also got musical advice from him. Around this time, he began a solo project called Hospital Tapes. Tortoriello returned to Illinois in 2009 and got a job at a local Apple store, where he met Messina, one of his coworkers. The pair struck up a relationship quickly and, after Tortoriello was fired for giving a customer a big discount on a computer, they moved to Hawaii at the beginning of 2010 to live off the land. While they did odd jobs for a local artist, they lived in a cabin in Papaikou, Hawaii; Messina painted, and Tortoriello worked on more solo music, the avant noise project Rainbow Circuit. The duo returned to Chicago in April 2010, where Tortoriello continued working on music. In May, he posted the first Houses song, “Endless Spring,” online, where it was quickly championed by Pitchfork; by the end of the month, Tortoriello had signed to Lefse Records, home also to the likeminded Neon Indian and How to Dress Well. Messina joined the band at this point, and the pair finished the album over the summer. Enlisting visual artist Alan Jensen to add some flair to their live shows, Houses played their first gig at the 2010 CMJ Festival in October 2010, a few days after their debut album, All Night, was released. Tortoriello also provided live support to How to Dress Well's Tom Krell at his CMJ dates. Single from the upcoming album 'A Quiet Darkness' out April 16th on Downtown Records. 4)julianna barwick/pacing Gorgeous, soothing new piano-based composition from Julianna Barwick, taken from her limited (750 copies) new Pacing single, out March 5 on Suicide Squeeze. da scaruffi vi leggo: This work represents the moment when psychedelic music loses its psychedelic quality, and avantgarde vocal music becomes ordinary vocal music, and female singer-songwriting becomes abstract soundpainting but still grounded in highly personal experience. 5) dead can dance/ On August 9, ethereal early 4AD duo Dead Can Dance will release their first new album in 16 years. The as-yet-untitled record, which Lisa Gerrard and Brendan Perry began writing last fall, follows 1996's Spiritchaser. (The band has released a number of best-of comps over the years.) Dead Can Dance have also announced the beginnings of their world tour, which they say will cross four continents over eight months. The band will tour North American through August and September, and then Europe through October. These are their first dates since 2005 On the cover of ‘Anastasis’, Dead Can Dance’s first album in 16 years: a field of sunflowers, ripened, and then blackened, by the sun, standing with sad, slightly crowned heads. Less dead than dormant, the heads and stems will one day be chopped, but then via the roots, will return. For ‘Anastasis’ is the Greek word for ‘resurrection’ and the seemingly dead will dance again. “I thought ‘Anastasis’ was a good title given our reunion,” explains Brendan Perry, who, with Lisa Gerrard, formed the band in Melbourne, Australia in 1981, releasing seven studio albums, and one live album, before going their own ways after 1996’s ‘Spiritchaser’. “’Anastasis’ also means ‘in between two stages’,” he adds. “Regeneration comes with the next season.” ‘Anastasis’ is perfectly apt given how the album is an astonishing regeneration of the legendary beauty, power and spellbinding nature of the duo’s unique sound and vision. Age hasn’t withered DCD, not the passing of the years; if anything, the album sounds bolder, stronger, more confident in its vision.. A Greek word to represent the album is equally derived from the music’s origins. While Perry can hear echoes of DCD past, “from right across our catalogue,” he reckons the core of Anastasis can be found, “slap bang” in the near-Eastern Mediterranean, from Greece and Turkey across to North Africa. “The music I listen to and research becomes both unconsciously and consciously part of a new project, and for this album, I’ve been fascinated by the classic immutable elements of Greek culture, the depth of their music and their love for song that you don’t get as much in the west; the way they combine philosophy and love songs, and throw a bit of science in there too. I love the eastern influence that comes from being a crossroads between east and west, the kaleidoscopic mosaic of those fused cultures, while the further west you go, the more it’s a mono-cultural society. Perry says the duo have been talking about another album since Dead Can Dance’s world tour of 2005. But that extensive tour was exhausting, and the incentive was lacking, so it was put on the backburner until calendars could again be synchronised – not so easy since Perry lives in the centre of Ireland (the land of his ancestors), where ‘Anastasis’ was recorded (at Perry’s converted church studio Quivvy) and Gerrard lives in Southern Australia. Once upon a time, they left Melbourne for London, settling many floors up in a council block on the Isle of Dogs, putting whatever pittance they had into their music. Signed by 4AD and releasing their first album in 1984, the duo drew rapturous reviews for albums that spanned neo-classical and folk across time and geography, each album selling to a progressively larger audience, the emotional drama of their coming to the attention of the San Francisco ballet, Hermes Perfume and a documentary on Hitler and Stalin; likewise motion pictures such as Heat, The Crossing Guard and Baraka. Gerrard developed her own solo film soundtracks - The Gladiator and The Insider, for example – while Perry worked on solo albums such as 1999’s ‘Eye Of the Hunter’ and 2008’s ‘Ark’. The pair dissolved their physical relationship in the early ‘ 90s but something keeps them together – a bond of deep friendship and musical compatibility and understanding, and so Anastasis is born, and Dead Can Dance regenerated. - riserva chicks on speed in tour in giro per il mondo anche se non hanno niente di nuovo out 7) Shady Hawkins 19)misty miller/girlfriend Garage-rock hopeful Misty Miller will be releasing a new EP later this month. Having packed a lot into her 18 years, Miller may very well have come to your attention in 2011 with the ukulele-led, folky tunes of her self-titled album, recorded when she was studying for her GCSEs (a fact that makes us feel both very old and very unaccomplished). However, you may be a little surprised – albeit pleasantly so – by her new sonic direction, which sees her pick up a guitar and get down with her bad side on the Girlfriend EP 8)Alpine/villages Geez. What’s in the Melbourne water these days? City Calm Down, The Removalists, and the return of Alpine with the declaration album, “A Is For Alpine”, a record already released in Australia and New Zealand, but officially making a U.S. debut on May 21. This record will blow you away, somewhere between the romantic and lush vocal harmonies of “Gasoline” and the hypnotic combination of staccato rythmn and strutting beats of “Hands”. Yesterday was my first chance at hearing this record in it’s totality, and getting my first-ever listen to the sugary blending of Phoebe Baker’s and Lou James’ vocals. This is a record whose landscapes are airy singalong choruses, honeyed-harmonics — dreamy layer upon layer 8)shannon wright /mire I heard this track, “Mire”, from Shannon Wright, and at first I thought it was a Scout Niblett song I hadn’t heard yet. Maybe it’s just that it seems we’re limited when it comes to women thrashing out on guitar — like PJ Harvey or Marnie Stern. This track got me to say aloud to myself, “Amen”, in that Philip Seymour Hoffman as Lester Bangs kinda way. “Mire” begins with a bit of distortion or light tremolo, before the ominous drums and savage guitar begin. Wright’s vocals are perfectly dusk and huskily shadowed. A curious combination of grit and grace. The song ends in a fireworks display of rhythm and noise. It’s a wonderful closing chaos. The song is a single on her forthcoming March 18th release, “In Film Sound”, out via Vicious Circle. 10)esben and the witch/despair Wash the Sins Not Only the Face Esben and the Witch are a three piece gothic rock band from Brighton, England.[1] After a self-released EP 33 in 2009 and a limited 7-inch single "Lucia, at the Precipice" in February 2010, the band signed with Matador Records.[2] The band's debut single for the label, "Marching Song", was released on 11 October 2010 and their debut album Violet Cries was released on 31 January 2011,[3] whilst the band's second album, Wash The Sins Not Only The Face, was announced on 29 October 2012, with a release date of 21 January 2013 Wash The Sins Not Only The Face is the second studio album by British indie rock/gothic rock band Esben and the Witch. It was released on 21 January 2013. Band member Daniel Copeman said of the album: “We had a clearer idea of what we wanted to achieve on this album, and how we could achieve it. We’re more focused, more confident.” A deluxe version of the album was also released, which features the LP and CD version of the album and a bonus 7".