tracklist:
01. Never Remember
02. Memento
03. Another Place
04. Coordinates
05. Rain on Snow
06. Trains to York
07. So Far Away
08. Friday Night (Light Blue)
09. OD3
10. Sector
11. Transition
12. Field Drift
13. Curve
PRUEBALO
Not too long ago, I considered a move to Miami (ready, Art Brut?). As live music scenes go, it ain't exactly the next Stockholm, let alone New York. Better known for club-oriented sounds, South Florida also turns out to be the home of the Postmarks, whose self-titled debut may prove to be one of 2007's most sublime indie pop albums. (Move over, Rick Ross!)
The Postmarks probably won't soundtrack many coked-up beach parties (duh, other than mine). Tim Yehezkely sings in a breathy inside voice, with echoes of the Softies' Rose Melberg, 60s pop singers like Françoise Hardy or Jane Birkin, and Brazilian Tropicalismo icon Gal Costa. Instrumentalists Christopher Moll (co-songwriter with the 24-year-old Yehezkely) and Jonathan Wilkins draw out arrangements that enjoy the urbane whiff of lounge, Burt Bacharach, Henry Mancini, and Sunflower-era Brian Wilson. Each track has that "turtlenecked Euro beatnik chic" that Pitchfork contributor Nitsuh Abebe heard in Broadcast's last record.
Despite Florida's relative lack of seasons, nearly all of the Postmarks' songs share the Lucksmiths' single-minded focus on the weather. Cats and dogs fall in "Looks Like Rain", but Yehezkely brims over with the thought, "A gray sky can't dampen my spirit." On "Summer Never Seems to Last", fuzztone guitar, theremin, and an organ out of the sadder-than-you-remembered "God Only Knows" all support the singer's pensive sky-gazing.
The most elegant song from the album, the horn-accented "Winter Spring Summer Fall", swoons and rotates with the seasons as a metaphor for the heart; "I'm fall, fall, falling for you," Yehezkely devastatingly repeats for more than a minute like the bookish niece of the Flamingos. The repetition here and on shorter, harmony-layered "Weather the Weather" (see?) would also seem to imply some familiarity with house music.
"Goodbye" makes sense as the Postmarks' first video, outshining the rest of the album's gorgeous sighs with a deceptively sprightly tale of a young woman going her own way, her "don't leave a key underneath the mat for me" sentiment coming across matter-of-factly against the movie-score brass. With Air's follow-up to 2004's Talkie Walkie still not due for a month, The Postmarks is the best album of its kind since Hercules' In the Alleyway later that year. All they need now's to rope in Pitbull for a guest verse.
-Marc Hogan, February 12, 2007
Hubo rumores de que venía a Chile pero perece que las realidad se inclina por huevadas como THE RAPTURE, THE BRAVERY, etc. y lo que vale la pena nos deja, como siempre, con las ganas (solo en el 2007 se pasearon por sudamerica JOANNA NEWSOM, SONIC YOUTH, FEIST, THE ROOTS, etc., etc. de los cuales ninguno vino a Chile).
Pero hay noticias. Se publicó la tapa de lo que será el nuevo disco (ver arriba) y su fabuloso playlist. El lanzamiento será el 22 de enero por MATADOR. un hit-in-your-face para el verano.
Playlist:
01 Theme From 'New York, New York' (Kander/Ebb; popularized by Frank Sinatra/Liza Minnelli)
02 Metal Heart (Cat Power)
03 Ramblin' (Wo)man (Hank Williams)
04 Song To Bobby (Cat Power-- new song)
05 Aretha, Sing One For Me (J Harris/Eugene William; originally sung by George Jackson)
06 Lost Someone (James Brown)
07 I Believe In You (Bob Dylan)
08 Fortunate Son (Creedence Clearwater Revival)
09 Silver Stallion (Lee Clayton)
10 Dark End of the Street (Chips Moman/Dan Penn; originally sung by James Carr)
11 Don't Explain (Billie Holiday)
12 Woman Left Lonely (Spooner Oldham/Dan Penn, popularized by Janis Joplin)
CITY SLANG , coa de la ciuda', parloteo de la pobla, o como quieran ustedes llamarle, es un sello berlinés bien cool de relevancia mundial. Han puesto en linea un regalo para todos nosotros; su segundo DIGITAL SLANG, un sampler con los trabajos más recientes de imprescindibles de hoy tales como Stars, Caribou, Kevin Drew (ex?-Broken Social Scene), Menomena, Malajube y O'Death. Está bueno para enchufarse.
Para bajar el disco hay que llenar un pequeño cuestionario.
EL LINK ES ESTE
THE KIDS was a very interesting 70's raw punkrock band. Probably best known for their rockanthem " there will be no next time" but, on this first release only raw 70's punk you bastards!.
DOWNLOAD
una joyaza en dos partes:
Pt.1 Download
Pt. 2 Download.
They sound as if they were hatched from the same egg that spawned Beechwood Sparks and Tim Bluhm and Jack Johnson yet they hale from England rather than California. With a sound that dwells somewhere between sleep and dream with references to other fine California acts like Jenny Lewis and The Watson Twins or The Mother Hips. Loose Salute is fronted by the soft spoken silky smooth vocals of Lisa Billson they definitly have a beach feel to them and a quick look over at their MySpace page shows them hangin out at the beach and apparently they actually surf.
Their debut album Tuned To Love is a delight. So far only a few listens into it I feel as if I have meet a new friend. Its worth a purchase for those who enjoy the sunsets and sand, the sound that envelopes a warm breeze. Even if you are half a world away from the Pacific ocean and the swells that drive those to surf like The Loose Salute you can still feel and breath the waves and lifestyle that we embrace here in So Cal.
DOWNLOAD!
http://www.myspace.com/therealloosesalute
facts:
A gift for all these T.REX archaeologists and british freakbeat lovers. This album is bassically the legacy of the six months or so that Marc Bolan spent with mod psychedelics John's Children in 1967, plus earlier 45s, and, finally, a random selection of rarities to what would otherwise appear a fairly standard track listing.
Love.
DOWNLOAD.
Una de las bandas-de-la-vida, no fucking comments.
Take - 13/12/1988
Producer - Dale Griffin
Engineer - Mike Engles
Studio - The Hippodrome, Golders Green, London
TRACKLIST
01 Waiting Room
02 Break In
03 Merchandise
04 Glueman
LINE UP
Guy Picciotto, Ian Mackaye, Joe Lally, Brendan Canty.
Fugazi - peel session 88
When confronted with an example of magnificence in nature, such as a waterfall, Jane Goodall reported that the chimpanzees she observed were captivated, as if in awe of the beauty of the world. On BOSS, the Magik Markers have tried to capture the chimps' awe. A formality and restraint the Markers have never exerted on their previous recorded material is present on BOSS. Now the Markers are Jainists, with their mouths masked so as to not inhale even one tiny insect, here pursuing the killer gentle with a vengeance. Recorded in the cavernous dark of Echo Canyon West, with producer Lee Ranaldo working the boards like a diviner, BOSS documents the Markers with a previously unheard fidelity and orchestration. Idiosyncratic song structure and melodies interspersed with a destructive drum stomp are reminiscent of the early electrified blues of Junior Kimbrough, or the black hole rhythms of Kousokuya. Mixing a gentle vulnerability with a winded egomania, the Markers have always had a musical tunnel vision; BOSS is that vision made manifest. The tug of war the Markers enact, the way they are fully prepared to start yanking their world apart as they find themselves losing their place in, makes moot possibilities of greatness or mediocrity. It makes them unapologetic soothsayers with their ears pressed to the ground, waiting for footsteps.
With Peter Nolan, we finally hear what Lou Reed would have sounded like had he sallied with the drums instead of getting seduced by the easy praise of front man status. Like Rashid Ali squeezed into the Teutonic leather pants of Faust, Nolan drums like there are hell hounds at his heels but he just can't be bothered. Here both laconic and frenzied, Nolan's drumming arms reach out like an octopus's: tickling the ivories, humming the organ and blasting taps on some kind of endtime trumpet. As a pianist, Nolan reminds us that the piano is a percussive, beating out the whoomp of some old war dance, a bare foot-fall rhythm of fighters to battle and the heavy hands of a whiskey burlesque in the afternoon. Nolan is easy to underestimate, but finally, here is high fidelity record of the strange soul of one of America's most natural and quizzical musical minds.
In a 2005 interview in The Wire, Elisa Ambrogio said, "I want [The Magik Markers] to concentrate on music and focus inward, to concentrate on our own language of sound." BOSS stands as the Markers' first stab at getting to the meat of this ambition. Ambrogio is not easy to categorize. Nose deep in New England Calvinism and the brutality of nature, Ambrogio's lyrics are like a transcription of a drunk lunchtime argument between Lisa Yuskavage and Herman Melville. A guitarist whose notes form question and hatchet marks with equal measure, a musical humility to the point of ingratiation fused with all visible seams to grandiose self-importance speeds through her playing. With a mix of blues simplicity, an almost Sonny Sharrock wailing and a janky Americana punk reminiscent of Pat Place and Roky Erickson, Ambrogio avoids preciousness like a rash. On BOSS, a tent rises right out of the empty plain and we are thrust into a full blown revival show with no audience and no lights; it is just Elisa preaching, Pete blowing Gabriel's horn, and the mad wind of the prairie blowing all around. Fairfield Porter wrote that: 'Art does not succeed by compelling you to like it, but by making you feel this presence in it. 'Is someone there?...' "
www.ecstaticpeace.com
Download Magik Makers - Boss
¿la desea conocer? es una compositora chilena, está preparando un disco debut y a mí me está matando con sus canciones.
Voilá:
www.myspace.com/caroklina
Corporateamericanewhypedbands? puede . Pero es viernes, dejate de joder. Do you wanna dance? do you?
The Klaxons - Atlantis to Interzone (Crystal Castles remix).mp3
Nina Simone es una grande, nadie debería tener dudas; a veces en la música las cosas parecen ser absolutas, reveladas, sin posibilidad de polémicas, eso -me parece- se llama amor y a Nina Simone la amo. Hace 50 años hacía un debut impresionante con Little Girl Blue... no sé si soy ligero con el juicio, pero es el mejor debut que conozco. En fin, acá, como homenaje, una de las mejores compilaciones que se han hecho: canciones de la época 65-66, blues-based shit, como debe ser.
No hay tiempo para hacer mixtapes, tampoco para escucharlos. Así es la vida en babylon. Por eso ahora somos the link link resistance. Adios (temporal) a los mixtapes, hola a los álbumes.
Grabado originalmente en 1970. Sin comentarios. Tracklist:
01 - terrapin
02 - gigolo aunt
03 - baby lemonade
04 - effervescing elephant
05 - two of a kind
06 - baby lemonade
07 - dominoes
08 - lovesong
Download!!!.
En Minneapolis se caen los puentes, los cadáveres no se pueden recuperar y los pastores llaman a orar. Es un escenario muy "americano" y antes de la tragedia (que para los gringos es "catástrofe" en el sentido de que "la naturaleza es la culpable") también lo era. En fin... me preguntaba qué conocía de Minneapolis además de , claro, Hüsker Dü, Prince y Babes in Toyland. Hoy hay un nuevo protagonista de esa ciudad en mi representación personal; Cloud Cult, con un sonido de "banda americana" en el buen sentido del término: canciones, buenas canciones, estribillos notables, un sonido pop que te hace seguir la canción en una actitud que despunta un inesperado optimismo. Todo con un sentido de la belleza que no se pierde en ninguna de las características ya mencionadas.
" The Meaning of 8 (2007)
The Meaning of 8 is scheduled for release on April 10, 2007. The album follows the progression of past albums and continues the evolution of the Cloud Cult message, along with an even more evolved Cloud Cult sound. With rich orchestration contrasted by acoustic and electronic drum beats, The Meaning of 8 is as diverse as the band itself. The liner notes offer insight into what The Meaning of 8 is all about, comparing religions and philosophies from around the world with Carl Jung's theories of universal symbolism and the collective unconscious.
" [ www.cloudcult.com ]
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Los chinos están haciendo de todo: autos, esclavos, computadores, porno, robots, satélites y, por supuesto, toneladas de música. A Neocha se le ocurrió hacer una compilación de las mejores bandas postrock de ese país, ahí va,
viva el marxismo-leninismo-maoismo,
pensamiento Mao, guía de la revolución campesino-proletaria mundial,
fuego a los revisionistas.
[D O W N L O A D]
Yep Roc Recs. 2007
[Download]
pass: www.dancingmokey.com
3 clásicos grime. 3 "novedades"; 2 de Dizzee -1 de nuestros favoritos- y 1 de Wiley. 50 y 50%. I’m 50/50 nifty nifty. Got the best deal nobody can twist me. Anytime somebody try to shoot me. I flip the board, they miss me, miss me.They don’t wanna to fist me, fist me. I’m quick.I used to kick ball with?.And now, I fly through the air like a Frisbee. Or paper aeroplanes see my life is risky. They like the hype, and I like the mic. We both like to fight, them girls like to lips me.I don’t mind I’m an artist, don’t take part if you dont like drama. Everyday I make history.If I wanna turn Muslim. I’ll go ‘n see Ibby and Shifty. I got a brand new deal; at the other end it’s 50/50. BOMBO KLATH
Los criterios de la selección: a) canciones me gustan. b) canciones representativas de los distintos matices en el sonido de este sello. c) canciones de discos recientes (a veces relativamente recientes).
01 Big Dada Sound - showtime / 02 Wiley - 5050 / 03 New Flesh - Wherever We Go / 04 TTC - Quand je claque des doigts / 05 Spank Rock - bump / 06 Roots ManuvaTY - What You Want (Taylormade) (feat. Taylor McFerrin, Joy Jones & Jason Yarde) / 08 Wiley - my mistakes (ft. manga little d) (prod. by bless beats) / 09 Busdriver - Somethingness (w Radioinactive, Rhetoric) / 10 Infinite Livez Vs Stade - unbiased reductionism in 21st century music practices. -movements / 07
Sí, sí, la banda que a fines de los ’70s incendiaba locales en el D.C con punkrock, reggae y espiritualidad rasta ha vuelto. Lo hace de un modo impecable, con Adam Yauch (MCA de Beastie Boys) en la producción… hay amor en el sonido, y se nota: “I kind of felt like I knew the way they should sound -dice Yauch- because I grew up listening to them, going to see them when they first came up to New York from [Washington] D.C. and were playing CBGB and Max’s [Kansas City]. My feeling was that the ROIR tape [Bad Brains’ self-titled debut record, released on cassette only] really sounded right-a lot of the stuff after felt to me like people were trying to clean them up and make them sound more palatable for radio. So I guess I sat around thinking, ‘Man, if I could just get in there.’”
Los cuarenta-cincuentones se las arreglaron para volver a sonar como en la vieja escuela, lo que está buenísimo. Lo mejor de todo es que el line-up (H.R, Dr. Know, Darryl Jennifer y Earl Hudson) tiene cero olor a refritura. No es algo así como Bad Brains Clearwater Revival Revisited.
De regalo, un mixtape ad-hoc con muchos himnos de aquello que evocan los Bad Brains y con 3 canciones del nuevo disco. I-and-I-yo, I-blessings, Chavez iz tha new negus, Ras Chavez-I cristo negro, holy Emmanuel-I. Lo que faltaba.
01 bad brains - natty dreadlocks pon the mountain top 02 augustus pablo - king tubby meets the rockers uptown 03 junior murvin - police & thieves 04 the itals - herbs pirate 05 the congos - Fisherman 06 bad brains - pure love 07 bad brains - jah people make the world go round 08 los olvidados - something new 09 tsol - in time 10 big boys - assault
