FalloutBoy skrev:Fieldhead - Riser EP (2010, Gizeh Records)
Tack! Helt missat. Har lite planerar på att skissa upp ett släktträd kring Hood med
medlemmar och deras sidoprojekt. Inte bestämt hur jag ska gestalta det bara.
Moderator: Redaktörer
av shifts » 2011-01-18 17:08
FalloutBoy skrev:Fieldhead - Riser EP (2010, Gizeh Records)
av FalloutBoy » 2011-01-19 17:10
shifts skrev:FalloutBoy skrev:Fieldhead - Riser EP (2010, Gizeh Records)
Tack! Helt missat.
shifts skrev:Har lite planerar på att skissa upp ett släktträd kring Hood med
medlemmar och deras sidoprojekt. Inte bestämt hur jag ska gestalta det bara.
av FalloutBoy » 2011-01-20 16:49
Revenge was originally inspired by two primary, if conflicting, forces: the actual desire for revenge (on a whole city and, perhaps, on history), and the sadness over this desire. The song "Revenge" by Black Flag has resonated with White since he was a child. The way - in a 59 second song – Chavo (BF’s 2nd singer) manages to scream about how they're "gonna get revenge" while also makes regular reference to how much this is going to ruin his life ("don't tell me about tomorrow" etc.), all whirring and bleating through his cassette player on an old and decaying tape, created a poignant collision for White. You can hear this paradox throughout the album as sounds shift from the chaotic ambience of “Christmas Eve” to the building and frightening “What Happened” to the delicate melancholy of “For To Become” to the robotic love song “Hoods Up.” Tinkling pianos offer reprieve from black metal vocals (all by White himself) and drift into wistful guitars and lush electronics. There aren’t many touchstones for an epic post-genre record like this one (M83 and Fuck Buttons might share some sensibilities), which makes it right at home on Absolutely Kosher.
The use of cassette tape as a recording tool became a part of White’s perspective as well, an attempt to assimilate the influence of the music and media of White’s earliest memories, which, as he got older, he received through decayed cassette tapes and over-watched videos. If you see a video of yourself at age 8 over and over again, do you remember the moment or the recording of the moment? Has technology made us nostalgic voyeurs of our own existence? As that technology decays, what happens to our memory of the actual event? We play out a game of “telephone” with ourselves, overhearing and reinterpreting moments and sounds through the passage of time. The pianos on “Self-Telepathy” are an attempt to replicate the sound of a film soundtrack heard from copied video. As Johnny puts it, “It conveys a necessary sadness about our yearning for childhood, because - as our memories weren't developed enough to properly record anything - it's almost as if we weren't really there ourselves and, as these formative years have such an effect on how we turn out, it sometimes feels like my adult mind is controlled by a dream I had when I was young.”
-- http://www.absolutelykosher.com/artist.php?id=78
av ChristianAndersson » 2011-01-21 13:45
av ChristianAndersson » 2011-01-26 17:28
av FalloutBoy » 2011-01-26 18:06
Finally, after over a month of unanswered emails and text messages, blown deadlines, and pleas to finish and turn in their new album, last week, a large brown cardboard box showed up at the Dead Oceans doorstep. It had "SHINJU TNT" scrawled across the bottom of the box in black magic marker, and the return address read only "AK, Detroit."
Opening it revealed a sincere but poorly made diorama of futurist swirling spaces filled with toy astronauts and dinosaurs, four blown out song fragments on a TDK CDR in a ziplock bag, three pictures, and a typewritten note from Akron/Family. A post-it on the bag declared the band refused to send the full album to anyone but the vinyl pressing plant, for fear of leaking and possible lost revenues.
From the note and a short video that arrived days later, we've pieced together that the album was written in a cabin built into the side of Mount Meakan, an active volcano in Akan National Park, on the island of Hokkaido, Japan. It was recorded in an abandoned train station in Detroit with the blackest white dude we all know, Chris Koltay (Liars, Women, Deerhunter, Holy Fuck, No Age). Chris, on tour after finishing the record, commented: "this album will transcend the internet."
Akron/Family spent the end of 2009 and half of 2010 exploring the future of sound through Bent Acid Punk Diamond fuzz and Underground Japanese noise cassettes, lower case micro tone poems and emotional Cagean field recordings, rebuilding electronic drums from the 70's and playing them with sticks they carved themselves. Upon miraculous resuscitation of the original AKAK hard drive, the album layers thousands of minute imperceptible samples of their first recordings with fuzzed-out representations of their present beings to induce pleasant emotional feeling states and many momentary transcendent inspirations.
This album is titled "S/T II: The Cosmic Birth and Journey of Shinju TNT." We have no idea what that means.
-- http://www.deadoceans.com/onesheet.php?cat=DOC045
av FalloutBoy » 2011-01-27 20:55
It's easy to remember how you felt at 16.
Yeah, you had two eyes like everyone else, but yours were Infallibility and Invincibility. No one could tell you what to do. A force to be reckoned with -- you were filled with the undeniable feeling that you could take on anything and win.
Having formed in 1994, Deerhoof is now that fateful age and by rites it's the band's turn to go out and challenge the world. The same way a rebellious adolescent turns tough and irrational, Greg Saunier, Ed Rodriguez, John Dieterich, and Satomi Matsuzaki just up and split from San Francisco, the only home they've ever known as a band, and left behind all notions of what a "Deerhoof record sounds like."
The result is Deerhoof vs. Evil. The musical equivalent of hormones raging out of control, it explodes out of the speakers with its gawky triumph and inflamed sentimentality. These are songs that practically demand that you dance and sing along (however elastic the rhythms, or abrupt the melodies).
To document their musical "coming-of-age" the band members could only trust themselves. Besides their cover of an obscure Greek film soundtrack instrumental ("Let's Dance the Jet"), and a song done for NY artist Adam Pendleton's documentary film installation BAND ("I Did Crimes for You"), these songs were completely self-recorded, mixed and mastered in practice spaces and basements with no engineers or outside input.
Ironically the result is polished, blissfully exuberant, and huge-sounding. Going DIY meant freedom to reinvent themselves, playing each others' instruments, altering those instruments so drastically as to be unrecognizable, and generally splashing their sonic colors into the most unexpected combinations.
-- http://www.polyvinylrecords.com/store/index.php?id=1538
av zidanefromhell » 2011-01-28 11:37
av FalloutBoy » 2011-01-29 17:27
zidanefromhell skrev:Ursäkta, ligger lite efter här, men låter inte Gold panda väldigt likt eminenta The Field?
av FalloutBoy » 2011-01-29 17:31
Second album of amazing pop from Sore Eros, a split label release, limited vinyl pressing on SHDWPLY, and CD pressing on Agitated; With "Know Touching", Sore Eros have crafted a record that is simultaneously dense and soothingly melodic, fulfilling the considerable promise of their debut, 2009’s "Second Chants". For this record, the band (Robert Robinson and Adam Langellotti) made a conscious departure from its debut, recording the album direct to a ½ inch 8 track reel-to-reel without the aid of computers. From this the band emerged with a record that blooms with melody and innocent joy that bring to mind such similarly spaced out artists as Atlas Sound and Kurt Vile. When patched together, this detailed attention to arrangement and dreamy melodic sensibilities combine to make "Know Touching" an effortlessly beautiful record.
'People said a lot of the songs [on Second Chants] sounded like I was singing from a room down the hall, this time we wanted it to sound like I was whispering in your ear. This began to give the record a little bit of a creepy feel, however Adam's arrangements on the record countered that creepiness with more of a playful and innocent feel'. - Robert.
-- http://www.piccadillyrecords.com/produc ... 72591.html
av phloam » 2011-01-30 05:13
men råkade hitta Corteney Tidwell när jag letade helt annan musik (se dansmix nedan!).
bra, fast inte så överspänt 
av FalloutBoy » 2011-01-31 17:12
phloam skrev:Vem hade trott att jag skulle tipsa om singer-songwriter
Opening with the effects-coated chiming of a grandfather clock, Holly Lane immediately sets out its stall as an album steeped in all things antiquated and dusty. Expect a slow barrage of 78rpm static, dissolved, haunted house piano motifs and strategically atmospheric field recordings throughout. Present throughout the album is a floating palette of synthetic ambiences and string-like pads, ranging from the grand and orchestral strains of 'Mistletoe Lane' to the more ambiguous blend of 'Holly Lane', which seems to mix vinyl static with a rumbling rhythmic sound not dissimilar to the to-and-fro of windscreen wipers. A strange and pleasingly evocative cocktail of sounds if ever there was one. Further contributing to the atmosphere of the album, even the song titles drip with a creepy, sepia-tinted quality, although thinking about it, 'Greylings Manor', 'Cliff Castle', and 'Smugglers Top' all sound like locations from an episode of Midsomer Murders. Another very fine piece of work in the Hibernate canon.
-- http://boomkat.com/cds/350032-clem-leek-holly-lane
av FalloutBoy » 2011-02-01 16:18
Listen closely enough, and it’s possible to detect subtle variations in the resonance of the world around you. Different terrains modulate the properties of sound: wind, whipping across moorland, spirits a voice away before it can even reach the ear; the soft, muted crunch of woodland; how a grassy natural amphitheatre almost imperceptibly raises the volume of spoken words. Wandering between these environments reveals a soundworld constantly in flux, never settling for long enough to become predictable. As Forest Swords, Matt Barnes treads similar paths, taking equal inspiration from dub’s studio trickery and the landscape of his home in the Wirral to create music that captures those shifts as they occur. Each track is a languid snapshot of a single moment in time, as though he’s able to pause the clock and cycle slowly through the stacked layers of the present.
In the months following its original release, through US lo-fi magicians Olde Engish Spelling Bee, his bewitching Dagger Paths has ever-so-slowly wormed its way into wider consciousness. Despite its quiet emergence as a six-track, vinyl-only curiosity on a tiny label, it sold out almost immediately. Since then, Barnes’ music has slowly trickled its way through the internet’s usual channels, gradually being discovered by new groups of people and in the process establishing itself as 2010’s most quietly affecting record: a true sleeper hit. This CD reissue by No Pain In Pop, which brings the original 12-inch together with its sister 7-inch Rattling Cage and a limited bonus disc of remixes and rarities, should ensure it only continues to grow in profile.
Upon its release Dagger Paths was almost inevitably filed alongside the backward-looking ranks of his OESB labelmates. And there are certainly parallels to be drawn between tracks like ‘Miarches’ and ‘Rattling Cage’ and the likes of Autre Ne Veut and James Ferraro. But Forest Swords’ music is far more spatial than it is temporal. Shedding the thin haze of nostalgia that peppers the hypnagogic pop phenomenon, he crafts landscapes that are entirely of now. Rather than remain content with abstract expression, his cover of Aaliyah’s ‘If Your Girl Only Knew’ (recast simply as ‘If Your Girl’) is almost overwhelmingly visual. Barnes’ imperfect vocal take, buried in mist and murk, is crisp and autumnal, stretching out a single second into a percussive eternity. His music certainly plays tricks with time but also operates defiantly outside its rigid boundaries - album highlight ‘Hjurt’ hangs in unbroken stasis for five blissful minutes. In that sense it achieves a druggy 5am lucidity despite its low fidelity, low tech gestation.
Dagger Paths’ upward trajectory, subtle, organic, expanding from tiny eddies and ripples to full-blown waves, is mirrored in – or perhaps, more accurately, mirrors – its contents. As simple as it is effective, Barnes’ signature technique is to construct aural illusions of vertiginous depth from layer upon layer of sparse instrumentation, all bound together with the sticky gum of reverb. It’s as if dub had first developed in the windswept, changeable expanses of the Wirral, rather than the sun-soaked warmth of Jamaica. When I interviewed him earlier this year he also cited Simon Reynolds’ seminal post-punk document Rip It Up And Start Again as an inspiration. That book’s legacy becomes increasingly clear while listening to his music: the principle of tearing apart everything that came before and rebuilding it in stark new shapes lies right at its heart.
Crucially though, instead of using reggae or punk as a basis from which to experiment, ‘Glory Gongs’ and ‘Hjurt’ take the crystalline, spidery guitar structures of post-punk and set them buoyant above cavernous low-end. Combined with scraps of sampled voice strewn across its surface, the result is a take on similar ideas of deconstruction but filtered through a modern lens. While not explicitly political, it’s strangely appropriate that, in keeping with the origins of post-punk, its arrival coincides with the sort of vicious governmental agenda not seen since the days of Thatcher.
Beneath its dense, layered appearance, Forest Swords’ music is deceptively simple. Listening closely, you can practically hear Barnes’ bedroom tightly enclosing the music: fingers scraping on frets, failed takes, fruitless nights spent bathed in a laptop’s glow. But what’s so remarkable about Dagger Paths is how it transcends the limitations of that space. Like another of the year’s finest records, Actress’ Splazsh, it refuses to remain trapped between four walls, instead reaching outward to absorb the peculiarities of the surrounding environment. Tantalisingly short but precociously fully formed, operating both within and totally apart from current trends, it’s like nothing else out there.
-- http://drownedinsound.com/releases/1584 ... ws/4141650
av FalloutBoy » 2011-02-01 16:23
There's not a lot of information included with Bottomless Pit's second album, Blood Under the Stars. There are no songwriting, production or performance credits. There are no lyrics. There are no acknowledgements or thank yous. There are no photos of the band. Even the press release accompanying advance copies of the album is limited to four sentences about the album. One might interpret this as an attempt to retain a sense of mystique or anonymity, but more importantly, the stark (albeit neon orange) packaging places the burden on the music to make its own statement, which would be a bold move for a greenhorn. But former Silkworm members Tim Midgett and Andy Cohen are veterans at letting the music do the speaking, reaching a graceful new peak on this second full length.
Continuing in the tuneful and slow burning vein of their 2007 debut, Bottomless Pit take a decidedly measured and dignified approach. Even on a track like the ragged "Late Dixon," in which Cohen belts out such misanthropic lines as "there's so many fuckers in this world...to line up," there's a sense of ease and space that permeates the song. It's loud and raw, but performed with a sense of restraint typically reserved for post-rock. The duality of Bottomless Pit's raw moments against their dreamier, spacious melodies is ultimately what makes Blood Under the Bridge not only unique, but likewise rewarding.
Backed once again by Seam's Chris Manfrin and .22's Brian Orchard, Bottomless Pit open up their second album with a mellow, Krautrock-influenced groove in "Winterwind," a slowly unfolding and hypnotic leadoff track that serves as a baseline from which the band will both escalate and return to. The gorgeous "Rhinelander" finds Cohen and Midgett tapping into the Neil Young influence that has been a part of their oeuvre since their Silkworm days, crafting a bluesy and low-key highlight. By third track "Summerwind," however, the band begins to inject some mighty rock 'n' roll chug into their soulful melodies, and hammer out their most furious riffs on the album's (kind of) untitled centerpiece.
Cohen and Midgett very rarely stir up a sense of urgency in their songs, rather preferring a more subdued melodic approach. That doesn't mean they don't rock, in fact, on the whole Blood Under the Bridge is a considerably heavy album, thanks in large part to the group's rhythm section. But that heaviness is more about foundation than antagonism. But it was smart of the band to let their music speak for itself; no amount of marketing could capture the strength and the beauty within these 9 songs.
-- http://treblezine.com/reviews/3556-Bott ... ridge.html
av shifts » 2011-02-02 14:26
av FalloutBoy » 2011-02-04 17:55
Tungt och bra. Tack för tipset!shifts skrev:Det var länge sedan jag hörde den här skivan. Blev glad av att den fanns
att hitta på Spotify. Lyssningen är en omskakande resa:
Illusion of Safety - Bad Karma
The EP’s opening title track begins cloaked in a big, flickering shawl that opens up to a Richter-esque cello arrangement that tastefully counters the astral wash surrounding it. A few minutes later, another cello line, this time higher in the register, creeps in just before a dense ambient swell grows underneath. This tapestry stews with a slow, majestic cadence until a single guitar melody drenched in chorus finds its way atop what is now a wall of sound, making yet another solid case for simplicity over theatrics. Guitars, the primary mode of communication in Hammock, enter “Dark Beyond the Blue” in a decidedly more subdued, muted form. An abyss-appropriate bass pad stirs beneath, joining the heavily manipulated six-stringed loop on an odyssey of repetition that somehow refuses to become uninteresting. In this way, the song recalls The Caretaker’s “hauntological” masterpiece Persistent Repetition of Phrases.
At Longest Year‘s midsection, “Cruel Sparks” features the most liberal use of distortion Byrd and Thompson have ever invoked, its presence not only felt in the main, downward driving melody but in the intermittent noises that scurry alongside it. “Lonely, Some Quietly Wander in the Hall of Stars” shares in the former’s sense of yearning, but slowly begins to re-brighten things as guitars are leveraged to actually emulate the sound of stars careening across a night’s sky. It’s songs like this that make Hammock’s name so perfectly suited for the music it’s appended to.
Rounding out the collection is “One Another”, a composition that feels precisely like the Petillo photo: Stark but romantic, desolate but enduring. Insistent strings navigate untold numbers of washed out guitar tracks and synth pads, outlasting them all to close the EP in an organic and poignant swell. It is there that we’re left to decide for ourselves if this year, rife with conflict and unrest, portends our ruin or our reemergence.
-- http://consequenceofsound.net/2010/12/0 ... t-year-ep/
av FalloutBoy » 2011-02-09 19:19
In January, Portishead founder Geoff Barrow took to Twitter to snip at James Blake. "Will this decade be remembered as the Dubstep meets pub singer years?" he asked, not naming the 22-year-old producer who, only that morning, was highlighted in the BBC's Sound of 2011 poll. When dubstep boomed and shuddered from Croydon at the dawn of the last decade, Blake wasn't yet a teenager. Barrow, on the other hand, was almost 40 and already on hiatus from one of the previous decade's most influential bands. He'd heard the rise of dubstep-- its cavernous bass, quick-click rhythms, bent vocal hooks-- and the tall, plaid-wearing kid from Enfield must have sounded a lot like its populist fall.
Barrow's dismissal of Blake is, presumably, a defense of dubstep-- the gesture suggests a purist, an elitist, or both. Reconsidered from the other artistic end, however, the implication is that maybe this is the decade where singer-songwriters-- longtime wastrels of pianos and six-strings with three chords-- finally get interesting, manipulating their pretty little voices and best love songs for something more than plain ballads and pleas. In that case, Barrow is right about Blake's full-length debut. Composed of tender torch songs, elegiac drifters, and soulful melodies, Blake's first puts him in the rare company of fellow singers-- Thom Yorke, Karin Dreijer, Antony Hegarty, Justin Vernon, Dan Bejar-- who've recently bent their own lavish voices, not samples, to make interesting pop music shaped with electronics. These songs are bigger than the defense of any microgenre, and, chances are, they'll soon make Blake a star. He deserves it.
Dubstep producer Untold released "Air and Lack Thereof", Blake's first single, on his Hemlock label in 2009; it was solid, slightly spooky dubstep, with drums darting around a sample that kept eroding. Since that debut, though, Blake has slowly focused on crafting songs-- bona fide, three-to-four minute builders-- around hooks. Last year's "CMYK", for instance, spliced Blake's voice with cuts from American R&B to place an indelible hook inside a number that actually progressed through its four minutes. Blake's more recent Klavierwerke EP draped its dance floor intentions around his own sweetly sung voice. And now, he moves still further from abstraction, to verses and even an occasional chorus.
While the songs are the magnetic center here, Blake's musicianship and sonics are equally striking. A "dubstep" producer with a gentle piano touch and an ear for granular synthesis so sharp it will make fleets of laptop toters envious, his toolkit is seamless. The two-part "Why Don't You Call Me" / "I Mind", for instance, opens with only voice and piano, played with the studied delicacy of a classical student. But Blake cuts it short 30 seconds in by splicing and resampling the piano line. He then bends his own voice and sings the lone verse twice, editing and re-shaping it into a new form that bears only the faintest resemblence to its opening source material. In the suite's second half, the vocals become spinning smears that fall into the background. It's the only time on the album where the drum clicks, static bursts, and piano splashes become the essential motion. It's the type of track you might have heard on one of his recent EPs-- the kind Blake purists lament this album's supposed lack of.
With this new LP-- released on a major label on both sides of the Atlantic, no less-- odds are, a lot of people are going to listen, and I don't mean in the tail-eating, blog-bite-blog sort of way. "Lindisfarne II" takes what Bon Iver's For Emma, Forever Ago did best and turns it into a simple, poignant mantra; if it doesn't score the season's end of some prime-time drama, a music director should be fired. The same goes for the album-ending "Measurements", which somehow pulls the sound of a Southern black gospel choir from Blake's laptop and white-boy coo. Feist cover "Limit to Your Love" works in just enough of dubstep's bass flutter and snare snap. If Blake really does cross over and become the pretty white male who introduces a broader audience to dubstep, with its foundations in Jamaican music and black musicians in South East London, he'll receive the tired, requisite backlash. But these 11 songs-- gorgeous, indelible tunes that are as generous in content as they are restrained in delivery-- will last a lot longer.
-- http://pitchfork.com/reviews/albums/15081-james-blake/
Mentored by Brian Eno. Signed by Domino Records after a tip off from former Coral guitarist Bill Rider-Jones. Supporting Interpol and chosen as support, to both fan and influence Nick Cave, for Grinderman. Already feted and tipped for success by the likes of XFM, AirHammer and Lightspeed Champion. One debut single release to date, in the form of a cover version of 'Jezebel', and Anna Calvi is on the long list for BBC Sound Of 2011. So, is the attention, praise, adulation and well intentioned speculation justified?
Anna Calvi has spent the best part of the last three years crafting her debut album in dingy basements, a French analogue bedecked studio and her regular home in London. The half Italian, Edith Piaf loving Music degree graduate had to overcome her shyness of singing before she was able to fully flourish as the lead in her talented trio. She has written and co-produced her self titled debut album on which she has also played and arranged the strings, and sung the choral backing to accompany some of the tracks.
Anna's songwriting and performance is full of passion and emotion, drama and intimacy. 'I see my songs as mini films.' Using her trademark Telecaster guitar, as well as the undoubted talents of her fellow accomplices Daniel Maiden-Wood on drums and kindred spirit Mally Harpez, Harmonium, Guitar and Percussion, Anna has produced an album that encompasses classical, film score, Rock, Pop, Folk and Flamenco.
The album is brought magnificently to life through an instrumental, Ennio Morricone, Twin Peaks, Wild At Heart, Chris Isaak's Blue Hotel like atmospheric smouldering cinematic delight 'Rider To The Sea'. Anna's guitar work is sublime and is worthy of more than this years Secret Garden Party tag line.....'Possibly one of the best female guitarists around on the underground.' There is no probably about it, and after this she should no longer find herself classed as part of the 'underground.' Up next we get 'No More Words' which introduces Anna's smooth but powerful vocals set against a Marquee Moon guitar riff, ending with some great rattlesnake tambourine shudders.
The most accessible, and commercial, track on the album is possibly also the weakest. 'Desire' is Anna fronting up the band ala Bono or Mike Peters. Posturing and booming through an anthemic stadium filler that would sit just as well as the original for the bare chested, oiled up lead singer of the band used during some of the opening scenes of The Lost Boys. Although a fan of the cinema I don't think it was these images Anna had envisaged when she wrote and recorded the track. Fortunately Anna redeems this small digression in spades with almost all the other 9 songs.
The highlights, of which there are many, on Anna's debut album include the luscious 'Suzzane And I' where she both excels in producing a wondrously deep and sensuous guitar sound but also manages to capture the range and texture of her characterful voice. This track, coupled with one of Anna's favourites, the epic and emotive closer 'Love Won't Be Leaving', taken in isolation serve to explain Anna Calvi's inclusion in this years 'Sound Of' poll.
'The Devil' is another of the albums gems. Here, and elsewhere to a lesser extent, Anna gives a virtuoso guitar performance that blends her love of Flamenco and Classical music. Wanting to make 'The middle-section to sound like the strings on a Hitchcock soundtrack' Anna builds and breaks the theatrical composition bringing its 'Crescendos towards an explosion, but in a real and honest way.' If you're made of stone you may fail to be moved! 'Blackout' shivers forth to showcase Anna as an Alt-Pop Siouxsie like chanteuse whilst 'I'll Be your Man' could have been written for, or by, Mr Cave with its Red Right Hand movie menace.
Anna Calvi has delivered an album of intensity and individuality. The instrumentation and arrangements are worked perfectly to let both her guitar and voice shine and soar throughout. Rob Ellis has helped Anna Calvi on the production of the album and whilst comparisons may be drawn with his previous collaborations with PJ Harvey, Anna has a style and presence all her own, one which is both sexual and sinister, dark and romantic. 'Music's so sexual. How can you not express that in some way?'
Her song writing, musicianship and technique set her aside from just being another talented singer song writer. Anna Calvi may not become 'The' sound of 2011 when the BBC publish their final five next year but she is most definitely a contender with a stunning debut album that she describes has the 'Culmination of her life so far.'
-- http://www.contactmusic.com/new/home.ns ... anna-calvi
av shifts » 2011-02-15 14:11
av FalloutBoy » 2011-02-15 17:12
shifts skrev:Där i den sista texten nämndes PJ Harvey, som ju också är aktuell med nytt.
Lyssnar för första gången nu. Lättsmält, men lovande:
http://open.spotify.com/album/7f1aXd7Gd5H9IqFu36zw6m
av phloam » 2011-02-16 14:20
av FalloutBoy » 2011-02-16 17:17
phloam skrev:Bara nåt jag råkade snubbla över, ej genomlyssnat - men de första låtarna indikerar spännande saker på g.
Lisa Germano är en gammal favorit och Laurie Anderson är stundtals bra. Resten har jag inte lyssnat på, men de flesta verkar vara ganska mainstream.Lågmäld elektronik och flera olika kvinnliga sångerskor (kanske andra kan berätta vilka de är?), bl.a. Laurie Anderson. Lisa Germano, Jane Briklin m.fl.
av FalloutBoy » 2011-02-16 17:27
You have to wonder if Ian Parton ever regrets naming his recording project/collective the Go! Team, let alone affixing it with an exclamation point for guaranteed bonus exuberance. Few bands have gone to such great lengths to forge a connection between their name and their sound. Since its inception, the group has reconstructed sounds that are all about inspiring motion-- cheerlander chants, rollerskate jams, breakdance beats, cop-show chase themes, 90s mosh-pit rock-- into a brass-blasted wall of squall. But the side effect of constant movement is fatigue-- in this case, on the band itself, which charged through its 2007 sophomore release Proof of Youth with the same gusto heard on its dazzingly 2004 debut, Thunder, Lightning, Strike. Compounding the exhaustion on Proof of Youth is Parton's unwavering deference for high-pitch-frequency productions that sound like they're blaring out of an old Zenith, tenuously walking the line between ingratiating and just plain grating.
From the outset, Rolling Blackouts provides little relief: opener "T.O.R.N.A.D.O" announces itself with all the subtlety of an air-raid siren, as lead MC Ninja wages a losing battle against a torrential blitzkrieg of horn breaks and scratch effects. The song essentially serves the same function as the opening themes to the 80s action shows Parton was raised on: it's the Go! Team advertising itself, an instant reacquainting device to remind you of what you're tuning into. But thankfully, Parton proves much more willing to change up the script. His cut-and-paste aesthetic is still very much in effect; he just uses it to assemble more varied and satisfying songs.
There's always been a latent appreciation of 60s girl-group pop buried beneath the Go! Team's hyper-funk ballast, and that quality is given more time and space to shine here, whether in the Motown-by-way-of-Tokyo sweep of "Secretary Song" or the "Ready Steady Go!"-worthy "Ready to Go Steady". Even the typical jump-rope exercises ("Apollo Throwdown", "The Running Range") are leavened by acoustic-based sonics and congenially melodic choruses. Meanwhile, Parton's sound world now absorbs everything from endearingly schmaltzy soap-opera soundtracks ("Yosemite Theme") to Yo La Tengo-style dream-pop reveries (the title track). Of course, "Back Like 8 Track" closes the album by returning to the group's familiar schoolyard terrain. Hopefully, Rolling Blackouts marks the moment in the Go! Team's career where the idea of moving forward becomes less of a literal concept and more an artistic one.
-- http://pitchfork.com/reviews/albums/150 ... blackouts/
av FalloutBoy » 2011-02-17 19:58
av shifts » 2011-03-04 17:07
av zidanefromhell » 2011-03-05 18:26
av shifts » 2011-03-05 19:53
av KarlXII » 2011-03-06 14:32
av zidanefromhell » 2011-03-06 21:52
av shifts » 2011-03-06 21:54
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