Music News Digest |
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| Artwork by DehnSora |
01 Intro 02 Standin on a Mountain 03 Getting Over It All > Spin 04 Dang Ol' Blues > Running In Place 05 Same Old River 06 Morning Sunshine > Dinosaur Attack 07 Old Lost Whiskey Blues 08 ?.
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Larry 2013.05.18 Roddy Tree Ranch Ingram, TX Cd 1: 01. Intro 02. On The Road* 03. Snowflake 04. Separate Reality* 05. Sleep* 06. Sticky G> 07. Good Old Boys> 08. Sticky G 09. Travelin Light** 10. Walk Alone 11....
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No description available.
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Toubab Krewe March 10, 2007 Langerado Festival - Swamp Tent Markham Park Sunrise FL *** THIS IS A 16-BIT FILESET INTENDED FOR AUDIO CD *** SOURCE: mbho603a/ka500hn (hypercardioid, DIN) > mp2 > busman t-mod edirol r4 (24/96) PROCESSING: soundforge 10.0 (tracking, fades, resample, dither) > flac 1.2.1....
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My Morning Jacket April 29, 2006 Coachella Festival Outdoor Stage Empire Polo Grounds Indio, CA *** THIS IS A 16-BIT FILESET INTENDED FOR AUDIO CD *** SOURCE: dpa 4061 > battery box > dat PROCESSING: soundforge 8.0 (tracking, fades, resample, dither) > flac 1.1.2 (2006) > DVDr storage > wav > flac 1....
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Set 1 01 Keep Off 02 Bring it Back 03 Theosophy 04 Crawlin' Set 2 01 Subterranean Homebody 02 The Truth Will Stand 03 Dive 04 banter 05 Jammer Time 06 I Can't Stand It 07 crowd Encore: 08 Soul on Fire.
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One-set show, tribute to Jerry Garcia: Not Fade Away > Goin' down the Road Feelin' Bad, Bird Song, Loose Lucy, Louisiana Sun > Hard Love > Wild Side > Katie Mae > Scarlet Begonias. Encores> Werewolves of London > Back Porch Boogie Blues..
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No description available.
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01. Blood On The Moon 02. Eternal Midnight 03. Fairy Tales 04. It's Just The Night 05. Unknown 06. Banter/Tuning 07. Unknown 08. Unknown 09. Lonesome W.V. Cowboy 10. Unknown 11. Tuning/Banter 12. Train Reckoning 13....
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Moses Guest 5-18-2013 Continental Club Houston, Tx Taper: Richard "Patchy" Mayberry Source: AUD/FOB Rode nt6 > Lunatec V2 > Tascam DR-2d(24/48) Transfer: Richard "Patchy" Mayberry Linage: SD card > Macbook > Sound Studio(24/48) Set 1 01....
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intro, [unknown title], [unknown title], (banter), (interlude), (banter), Marauder > [unknown title].
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Setlist: Welcome to the Show Funky Bitch Sleep Band Intro Jam-> Wolfmans Brother> Mushroom Patrol Enc: Psycho Killer.
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01 soundcheck 02 intro 03 J.W. & The Hustle 04 Kidney In A Cooler 05 (empty space track) 06 Cookie Monster Blues 07 Captain Dance 08 Television For Idiots 09 Rail Spike www.jamforjam.org.
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www.jamforjam.org.
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www.jamforjam.org 1. (sound check) 2. You Can Get There 3. Heart Says 4. Here There 5. Reincarnation 6. Balance Energy 7. Suffice > Purpose 8. Cool & Proper > Glorify.
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one set (54:24) - Supporting bcap and the Mash Up Crew 01. 02. 03. 04. 05. 06. Woah Mama 07. Fire 08. Breed 09. ??Welcome To The Rodeo 10. 11..
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01. can't go back 02. just a lie 03. smile today 04. poor man's blues 05. waiting to die 06. fill me up 07. fast eddie 08. left hand* 09. needy girl* 10. festival express* *Austin Lee of Soap on drums www.jamforjam.org.
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2. SCATFR Lovefest 13_02 4. SCATFR Lovefest 13_04 6. SCATFR Lovefest 13_06 7. SCATFR Lovefest 13_07.
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2. Scatfr Papastock_02 4. Scatfr Papastock_04 6. Scatfr Papastock_06 8. Scatfr Papastock_08 10. Scatfr Papastock_10 12. Scatfr Papastock_12 14. Scatfr Papastock_14 15. Scatfr Papastock_15 17. Scatfr Papastock_17 19....
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My Friend My Friend > Casey Jones > Tube > The Music Never Stopped > Rift, Althea* > Makisupa Policeman* > Let It Grow* > Moma Dance* > One More Saturday Night*, You Enjoy Myself*+ > Bertha*+, The Squirming Coil > China Cat Sunflower* >Stash*, Mike's Song* > Stella Blue* > Weekapaug Groove*, Chalkdu....
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1. Intro by Grady from WQFS 90.9Fm Greensboro 2. Rocky Racoon 3. Get Down 4. If You Want Me to Stay 5. Face Down 6. Systematically 7. I Wish You Weren't 8. Piece of My Heart* 9. Bootleg Chicken%^ 10. Fire on the Bayou^ 11....
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Pigeons Playing Ping Pong March 3, 2013 123 Pleasant Street Morgantown, WV 1. Pop Off 2. Time To Ride>Cities*>The Hop*>F.U.* 3. Fade Fast 4. This Is That 5. Landing>Superstition>Jam> 6. Horizon 7. Condenser 8....
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Introduction, Samson And Delilah > Cut The Deck > Time Never Ends > Code War > Ramble On Rose, Osara > Supersonic Vision > Franklin's Tower Introduction, Heartbeat Of The Sun > Let There Be Light > Who Stole The Show?, Bird Song > Bully Boy > The Sermon, China Cat Sunflower > I Know You Rider > Dron....
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t01 Here Comes A Regular [The Replacements] > t02 Let's Go Dancing > I've Got A Feeling >Let's Go Dancing t03 To Build A Fire t04 Scarred But Smarter t05 Ain't Waitin' On Tomorrow t06 Clean Up t07 Hey Landlord (Meatloaf And Fishsticks) t08 Dirty Angels t09 Honeysuckle Blue t10 REM t11 Preapproved, P....
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Gent Treadly With Charles Neville Brooklyn Bowl Brooklyn, New York 5/12/2013 Source: Schoeps CCM4V'S(din)>Lunatec V2>Benchmark AD2K> Sound Devices 722 (24/48) FOB/DLFC/KFC/ZFC/AARP 12' From Stage, 7 1/2' High DSP: Sound Devices 722>Sound Forge 9.0>CD Wave>flac(16) Recorded By: Z-Man Seeded By: Z-Man....
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Here we go again… We can go to Google and within minutes search for an artist of stature such as Lou Reed and quickly find unlicensed and infringing internet businesses exploiting his life’s work illegally while paying the him nothing, zero, zilch, nadda, zippo.
There are many disappointing things about all of this, but the first is that when doing a simple Google search for “Lou Reed Mp3″ the first five returns are for illegally operating and infringing sites.
This doesn’t count YouTube which may or may not be infringing, and may or may not actually be paying Lou from the advertising revenue (on this video, in the screen shots below for example). This is all the more troubling because we know that this can be easily filtered if there is the will to do so.
Perhaps most disappointing however is that major companies like American Express, AT&T Chevorlet, Chili’s, Lysol, Pottery Barn, Vons, Domino’s Pizza, Netflix and Galaxy Nexus are still supporting the this exploitation of artists with corporate advertising dollars. These companies not only supply the funding for these sites exploiting artists to exist, but perhaps even worse they add legitimacy to music piracy by lending their brand identity to it.
Clearly there is a lot of money being made in the distribution of music on the internet. Sadly not much of that money (or in this case NONE of it) is being distributed (or uhm, “shared”) with the artists themselves.
In any value chain where the artists work is being distributed and/or exploited for profit, the artist should be included in that value chain.
Not only do we see the major companies supporting these sites but there’s also the scam ads, rip offs and bogus services. And here’s where it gets even uglier…on sites like The Pirate Bay the work of Lou Reed is promoting adult (escort services?) and porn products like the one offered by Ron Jeremy below.
Let us not forget that the above examples represent a drop in the ocean of the over 200,000 infringing sites that Google alone is tracking.
See more Corporate Advertising Funded Exploitation of Artists:
Tom Waits * Neil Young * Aimee Mann * Neko Case * U2 * Ben Gibbard/Death Cab For Cutie * East Bay Ray / Dead Kennedy’s * Billy Corgan/Smashing Pumpkins
The Thermals have posted a new video for "The Sunset" on Noisey. The track is featured on the band's latest album, Desperate Ground. Fans can purchase the record here. Check out the video below and tell us what you think!
[tweetmeme]Exploring the legacy of ’80s college rock, the Slicing Up Eyeballs Music Hour airs Tuesdays at 10 p.m. Eastern/7 p.m. Pacific on Strangeways Radio. If you caught tonight’s episode, pop over to the Strangeways message board to leave comments or requests for future shows.
And if you missed tonight’s episode, it’ll rebroadcast at 2 p.m. Eastern/11 a.m. Pacific on Friday at strangewaysradio.com.
R.E.M., “Turn You Inside Out” (Live)
The Only Ones, “Another Girl Another Planet” (Peel Session)
Renegade Soundwave, “Biting My Nails”
The Damned, “Alone Again Or” (Mixed Again)
Black Flag, “Down in the Dirt” [NEW]
The Chameleons, “Inside Out”
Nick Cave & The Bad Seeds, “Jubilee Street”
Sad Lovers & Giants, “Landslide”
Echo & The Bunnymen, “Bedbugs and Ballyhoo” (Featuring Ray Manzarek)
X, “Soul Kitchen” (The Doors)
Jane’s Addiction, “L.A. Medley” (Featuring The Doors’ “L.A. Woman”)
The Cure, “Hello, I Love You” (The Doors)
Mark Mulcahy, “Let the Fireflies Fly” [NEW]
The Smiths, “Cemetery Gates”
Tears For Fears, “The Hurting”
British Electric Foundation f/ Boy George, “I Wanna Be Your Dog” [NEW]
I love White Wizzard. I think they are one of the bands really carrying the torch for the next generation of Metal. I'm very pleased the band released the song "Strike the Iron" recently. It's from the upcoming album The Devils Cut, which is out June 25.
01 Intro 02 Standin on a Mountain 03 Getting Over It All > Spin 04 Dang Ol' Blues > Running In Place 05 Same Old River 06 Morning Sunshine > Dinosaur Attack 07 Old Lost Whiskey Blues 08 ?.
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[Zoo Music; 2013]
by Ezra Elliott
Rating: 
Dirty Beaches, or Alex Zhang Hungtai, is accustomed to pulling away. Those who thought Hungtai would release something more normative, sellable, and digestible for his sophomore statement have never known a true physical and psychological nomad. But then, how am I, the reviewer, supposed to speak concisely and effectively about an album that intentionally avoids concision and effectuality? At under 27 minutes, I never felt cheated by the length of Hungtai’s last proper album, Badlands: it created a world in those minutes memorable enough to sustain itself well beyond side B’s locked-groove. But the album’s transience almost seemed like Hungtai’s one concession to his audience: the album was short, but not facile, and the only thing that capped its difficulty was its duration.
Well, Alex Zhang Hungtai is back, and no one said it was going to be easy. Unleashing his only pulled punch, his double LP Drifters/Love is The Devil is long — nearly three times the length of Badlands — and the time consumed is intentionally tedious in order to challenge our modern conventions of communicating ideas. That being said, the album doesn’t deal with time linearly like its cinematic predecessor: the two distinct albums seem more simultaneous than successive — not 75 minutes of passing time, but two perspectives on a collection of moments, each set given 37 minutes to develop. The albums are two vistas from two emotional locales — Drifters being external, Love is The Devil being internal — that reflect the two facets of authentic lonerism: the perception of the stalwart nomad and the emotional derangement of permanent displacement.
“I’ve never been lonely. I’ve been in a room — I’ve felt suicidal. I’ve been depressed. I’ve felt awful — awful beyond all — but I never felt that one other person could enter that room and cure what was bothering me… or that any number of people could enter that room. In other words, loneliness is something I’ve never been bothered with because I’ve always had this terrible itch for solitude. It’s being at a party, or at a stadium full of people cheering for something, that I might feel loneliness. I’ll quote Ibsen, ‘The strongest men are the most alone.’ I’ve never thought, ‘Well, some beautiful blonde will come in here and give me a fuck-job, rub my balls, and I’ll feel good.’ No, that won’t help. You know the typical crowd, ‘Wow, it’s Friday night, what are you going to do? Just sit there?’ Well, yeah. Because there’s nothing out there. It’s stupidity. Stupid people mingling with stupid people. Let them stupidify themselves.”
– Charles Bukowski (a dually cited influence on the album)
Of course, Hungtai would vocalize his statement of purpose for the entire album in a different language: why even attempt to communicate in a direct way when you don’t believe in the verity of undeviating language, when you don’t even believe in dialogue as a successful process? For Hungtai, truth can’t be readily articulated, so therefore circuitousness and obliqueness can only get you closer to expressing your true self: imprecision blurs the message so that the odds of truth being encompassed in the scope of what’s being communicated are better than with targeted catechization. “Écouter moi!/ […] Au revoir mon visage/ c’est juste une image,” or “Listen to me! Say goodbye to my face; it’s just a mask,” Hungtai belts at the height and then the finale of the first LP’s most trying number: he needs his audience to know that Badlands was just a façade and that by loosening his meticulous grip on the nickelodeon bent, he has gotten closer to his voice. Drifters isn’t entirely void of reference points, though, with remnants of Prince spread all throughout “Mirage Hall” and Suicide remaining a prevalent influence on”I Dream In Neon;” however, these allusions are more sporadic and photographic than focused and cinematic, trading era-specific imagery for open-ended emotional poignancy.
“Drifters employs montage in an expressive manner, creating tension in the absence of any psychological characterisation […] and focuses on more mundane, less inherently dramatic events. […] In the absence of a strong cause-and-effect narrative, one of the central themes is the tension between tradition and modernity.”
– Jamie Sexton on John Grierson’s first ‘personal’ silent documentary, Drifters (possible inspiration for the first LP’s title)
The album uses a similar format to David Bowie’s seminal Low (is there something in Berlin’s water?), but extends it to more than double the length, transforming Bowie’s withdrawal-inspired dystopia into the perpetuity of Hungtai’s personal diaspora. The success of this format leans heavily on contrast and juxtaposition on the second LP, and Hungtai’s inclination towards micro-symphonic, modern avant-garde heavily outweighs the corroded yet more traditional pop structures of the first LP. “We drift far, far from here,” Hungtai croons as his last vocal contribution on the album in “Like the Ocean We Part,” and in this, he seems to be suggesting why this contrast is congruous with the album’s overarching message: one’s surface self will always juxtapose one’s true, buried self, and to attempt to communicate with one’s buried self across this divide by way of language is utterly futile. Even more so, Hungtai implies that communicating your genuine, fated self at all through language is impossible, and at least partially proves this true through lyric-less yet devastating songs like “Love is The Devil” and “I Don’t Know How to Find My Way Back To You.” The concept of finding one’s way back is integral to the album, for the lasting effects of diaspora aren’t the result of one’s removal from their homeland, but of one’s removal from their recessed and permanent self — and then their being gated from that self.
“If there are junk yards in hell, love is the dog that guards the gates.”
– from Love is a Dog from Hell by Charles Bukowski (probable inspiration for the second LP’s title)
For Hungtai, love and hell, art and pain, and garbage and inspiration make for closer pairings than his material and sonic selves. I was lucky enough to see Dirty Beaches perform twice in one weekend in Toronto a couple years ago, once on a vast, sunlit stage in Dundas Square and then late at night in the dingy cavern of Lee’s Palace. The day-lighted performance was enjoyable enough, but it was the performance in the dimly lit and intimate venue — where I could see the pain on his face, his propensity for constant movement, the downcast glares, his aura of dire, solemn intent — that has been burned into my memory and has remained one of my favorite performances in any medium. With that contrast in mind, I can’t help but feel that the album’s spring release was poorly timed: fall is the season of the vagabond, and I’m certain that Drifters/Love is The Devil would make a better soundtrack to a lonely walk with the sole solace a warm sweater than a windows-down drive on a warm, sunny day. But for those with autumn coursing through their veins, they’d do well to assuage their summer by keeping Dirty Beaches’ Drifters/Love is The Devil coursing through their headphones.
Drifters:
01. Night Walk
0
2. I Dream In Neon
0
3. Belgrade
0
4. Casino Lisboa
0
5. ELLI
0
6. Aurevoir Mon Visage
0
7. Mirage Hall
0
8. Landscapes In The Mist
Love is the Devil:
01. Greyhound At Night
0
2. This Is Not My City
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3. Woman
0
4. Love Is The Devil
0
5. Alone At The Danube River
0
6. I Don’t Know How To Find My Way Back To You
0
7. Like The Ocean We Part
0
8. Berlin
[50Weapons; 2013]
by Nico Callaghan
Rating: 
Turn him to any cause of policy,
The Gordian knot of it he will unloose,
Familiar as his garter; that, when he speaks,
The air, a charter’d libertine, is still.
– Shakespeare, Henry V, Act 1 Scene 1. 45–47
For those unfamiliar with the legend of the Gordian knot, it’s one so intricately tied that it is essentially impossible to untangle — a somewhat intractable problem. Alexander The Great, when told that whomever untied the knot would rule all of Asia, supposedly promptly sliced the attached string to render the knot itself useless — hence the expression “to cut the Gordian knot” — to think outside the box, to render arbitrary assumptions useless.
Cosmin TRG’s Gordian is an exercise in loosening the fabled knot as opposed to simply cutting it dead. Cosmin operates wholeheartedly within the world of tech-house, notable for its refined approach to composition, an ever-unfolding and infinite platform for development of sound in a classical-minimalist manner, engineered for a physical experience — be it on the d-floor or in a solitary, contained environment. Careful addition and subtraction are the predominant operating factors in the gamut of tech-house and its collective forays into fusion with garage and dub.
Cosmin applies the + and - of tech-house to his relatively imperfect soundworld — individual elements are crushed, distorted, and bent into instrumental shapes of a futuristic and simulated form, but are combined into logical, mathematically-sound forms that shift and shudder with a weight seemingly at odds with their lightness and dexterity of execution. Within this format, Cosmin displays nothing untowardly radical or jarringly visceral in the vein of slicing the aforementioned string, but does offer an alternative — that of the seamless descent into rhythmic purity, abandonment of crude musical statements.
Opener “New Structures For Loving” gradually establishes an atmosphere that appears to lord over the majority of the album, a shadowed but optimistic sphere perpetually rising and gaining intensity before simmering and falling into a hollowed abyss. Among the cold, mechanized click of metal and robotic punches of pitch-shifting bass drums, clanging, warped found sounds flail amid flanging hi-hats and a disconcerting wandering static haze. As a damp block enters the fray, a musty, pulsating synth introduces the sole melodic and harmonic focus of the track, and with a resigned fade, the track ever so precisely removes its layers until all that remains is an otherworldly hiss and click-clack. The actual intricacies of Cosmin’s figures aren’t beyond finer scrutiny, as there’s a great deal of transparency surrounding the microcosm of this track (not to mention the others); however, it’s worth considering that, although Cosmin displays ability in his craft, he steers away from introducing ideas that are markedly affecting. This isn’t a criticism of the music overall, perhaps merely of the combinations and the directions they are taken in — it does little to really challenge its listener beyond the norm.
With this in mind, the following title track continues the predominant optimism with a warped guitar fragment sitting above a lush bass, offering gradual background development in a harmonic style that bears more similarity to post-rock than it does to the chronic darkness of his countless contemporaries. This melodic presence helps to set Cosmin apart and allows the listener to immerse themselves in an ambience cultivated by that same dominating refinement. “Divided By Design,” while transmuting the milieu to a far more organic and sample-fueled abode, is imbued with that recurring, unshakable positivity abjectly crushed on the abrasively groovy follower, “Semipresent.” Clicks and hats buzz around indeterminable horn-like fragments over a constant bass pulse that clears a path for the noise-infused, disorientating “Epsilon, Epsilon.”
Tending toward minimalism as opposed to shock musical tactics, Cosmin TRG doesn’t thrill with throat-grabbing statements, but of course that is far from his intention. As far as refined exploration of timbral relationships is concerned, Cosmin transplants a remarkable variety of both collected sounds and house standards into a likable, wholesome album. Despite its emphasis on the fundamental, the basic, and the mechanized, Cosmin implants a noticeable character within Gordian that reveals itself fully as a non-hubristic, thoughtful approach to the Gordian problem.
01. New Structures For Loving
02. Gordian
03. Desire Is Sovereign
04. Defeated Hearts Club
05. Divided By Design
06. Semipresent
07. Epsilon, Epsilon
08. Noise Code
09. To Touch Is To Divert
10. Terminus Abruptus
The Limousines have premiered a new single on Idolator titled, "Love Is A Dog From Hell." The band's forthcoming album, Hush, is slated to be released on June 6. Stream the track and check out a new album trailer below. Leave us a comment with your thoughts!
