Sal Klita Blogger | Muzik impressions

Sal Klita Blogger

Monday, December 26

Two Cool Indie & Alt Rock Podcast's - Made By - Peas In Space Blog.

Image Hosted by ImageShack.usShame On You! Saying That You Ain't Got No F**king I Pod Yet!!!

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Friday, December 23

...The Best Reissue For 2005...

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The psychedelic folk band Pearls Before Swine was the brainchild of singer, composer and cult icon Tom Rapp, born in Bottineau, ND in 1947; after writing his first song at age six, he later began performing at local talent shows, and as a teen bested a young Bob Dylan at one such event. Upon relocating to Melbourne, FL, Rapp formed Pearls Before Swine in 1965, recruiting high school friends Wayne Harley, Lane Lederer and Roger Crissinger to record a demo which he then sent to the ESP-Disk label; the company quickly signed the group, and they soon travelled to New York to record their superb 1967 debut One Nation Underground, which went on to sell some 250,000 copies. The explicitly anti-war Balaklava, widely regarded as Pearls Before Swine's finest work, followed in 1968; the group by this time essentially comprising Rapp and whoever else was in the studio at the moment — moved to Reprise for 1969's These Things Too, mounting their first-ever tour in the wake of releasing The Use of Ashes a year later. Two more albums, City of Gold and Beautiful Lies You Could Live In, followed in 1971; moving to Blue Thumb, Rapp resurfaced as a solo artist with 1972's Stardancer, but upon the release of Sunforest a year later he then retired from music, subsequently becoming a civil rights attorney.

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Frequently cited as a key influence by the likes of Damon & Naomi, the Bevis Frond and the Japanese psych band Ghost, Rapp made an unexpected return to live performance in mid-1998 when he appeared at the Terrastock festival in Providence, RI, joining son Dave and his indie-pop band Shy Camp; he soon began work on 1999's A Journal of the Plague Year, his first new LP in over two decades. Constructive Melancholy, a retrospective of Pearls Before Swine's tenure on Reprise, also appeared that same year. This sparked renewed interest in the band, with Water music releasing a box set of the Reprise material in 2003 (Jewels Were the Stars) as well as a set of unreleased demo and live recordings entitled he Wizard of Is. ESP also remastered and combined their first two albums as The Complete ESP-Disk Recordings in 2005.

Image Hosted by ImageShack.usOne Nation Underground 1967

Image Hosted by ImageShack.usBalaklava album 1968

Image Hosted by ImageShack.usThe New Compilation With Both Albums 2005

Reissue Review...

The Complete ESP-Disk Recordings of Pearls Before Swine is simply the handsomely repackaged reissue of both albums cut for the label in 1967 and 1968, One Nation Underground and Balaklava. Re-released in the U.S. by Bernard Stollman's erratically active label, the two-on-one CD package features both albums completely remastered for reissue by veteran studio wiz Joe Phillips. While the Pearls Before Swine website claims that Phillips worked from master tapes, Phillips in his liner note essay says that the masters "are long-lost to History" (sic). Over five years he used his memory of the original recordings produced by Richard Alderson, the supervision of Pearls Before Swine's visionary songwriter and principal vocalist Tom Rapp, and existing copies. They sound great. Given what he had to work with — and some of the atrocious sounding re-releases on CD — this set is basically the reference point from here on out. The sound is clear, flat, and dynamic with many of the subtleties of the original sessions reproduced in unprecedented detail. In addition to Phillips' own introductory tome, the package includes essays by songwriter and labelmate Randy Burns, a brief paragraph by Stollman, and complete lyrics for both recordings.

Bio & Reissue Review By AMG.

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Pearls Before Swine Home Page

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Go To Amazon To Listen & Buy.

Thursday, December 22

A Reminder - 'Parallelograms' By Linda Perhacs.

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The mysterious Linda Perhacs made one obscure album in the early 1970s before vanishing; before it was reissued on CD in 1998, the record label spent a fruitless two years trying to locate her. (Perhaps she was living in Hawaii when she made this, as the songs are copyrighted to Hawaii Music Publishing Company.) The obvious reference point for this low-key, largely acoustic singer-songwriter record is early Joni Mitchell, although Perhacs may be a tad darker and more sultry. There are similar vocal navigations of the smoky lower register and high trills. While Perhacs' writing and singing is not up to Mitchell's brilliance, it's quite good and not so explictly derivative that it's difficult to enjoy on its own merits (unlike the records by another Mitchellesque singer of the early 1970s, Alisha Sufit of Britain). The haunting acoustic guitar playing, and occasional folk-jazz arrangements (Shelly Mann played drums) and rhythms on the cuts with a band backup, are other ingratiating Joni-isms. The Parallelograms album is set apart from Mitchell, however, by a mildly experimental, even spacy, tinge to some of the lyrics and the production. Occasionally she multi-tracks her vocals to good, inventive use, and there are subtle electronic effects and rain and wind noises from time to time that add to the record's gentle mystique. Like Mitchell's debut album, it's one of those late-night records, when you want something that's appropriate for the mood, but neither too spooky nor too mellow.

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Album Review...

Probably this came out in the early 1970s when it was first issued on Kapp (the songs are copyrighted 1970); it was reissued by The Wild Places on CD in 1998. Joni Mitchell's first albums, particularly her first (largely solo acoustic) one, will be instantly evoked by the spare and isolated feel of the songs and the production, not to mention the melodies, guitar playing, and singing. It's not a photocopy, however; it's hard to imagine Joni singing "I'm spacing out, I'm seeing silences between leaves, " as Perhacs does on "Chimacum Rain," unless Mitchell got spiked with acid right before getting onstage. In addition, Perhacs is adept at dropping unusual effects and arrangements into the mix on occasion that have a mildly disquieting and psychedelic vibe. Back to "Chimacum Rain," for example: double-tracked voices get into a slightly hypnotic, disorienting swirl, and suddenly move into a half-chanted section with doomy background notes from hard-to-identify instruments. "Parallelograms" is a round-like vocal (again with multi-track voices), consisting of exactly eight words, that without warning goes into creepy washes of electronically distorted voices, flutes, and rattles. Not all of the record is weird, though; much of it's just attractively wistful, moody singer-songwriter folk, sometimes with an engaging folk-jazz backup, sometimes just with a guitar, sometimes enlivened by creative smudges of organ and electric guitar. It is not currently fashionable to rediscover these kind of subdued early-seventies singer-songwriter albums, but if and when these sorts of overlooked recordings begin to get attention, Parallelograms will almost certainly become a cult favorite.

Bio & Reissue Review By AMG.

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Linda Perhacs Home Page


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Wednesday, December 21

WFMU > My Fave Radio Station At The Moment.

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WFMU is an independent freeform radio station broadcasting at 91.1 fm in the New York City area, at 90.1 fm in the Hudson Valley, and live on the web in Realaudio, or in Windows Media, as well as two flavors of MP3, and all programs archived in MP3 and Realaudio.

Check Out 3 Amazing hours From Irene Trudel, my fave radio dj (wonder how she look like or... how old she is :)

Real Audio > Launch


Scavenger Quartet (w/Frank Pahl) "Elegant Mermaiden" We Who Live on Land Acidsoxx

Ornette Coleman Quartet "Beauty is a Rare Thing" This Is Our Music SepiaTone

Shirley Horn "You're My Thrill" You're My Thrill Verve

Espers "Flowery Noontide" Espers Locust Music

The Free Design: Mellow "Kites are Fun" VA: The Free Design: The Now Sound Redesigned Light in the Attic

Doveman "Honey" The Acrobat Swim

Pearls Before Swine "I Saw the World" The Complete ESP-Disk Recordings (Balaklava) Esp-Disk Us

Sufjan Stevens "The Predatory Wasp of the Palisades is Out to Get Us" Illinois Asthmatic Kitty

Viking Moses "Crosses" Crosses (self released)

B'eirth "Five Hundred Keys" B'eirth's Birch Book Lune Music

David Poe "Love is Red" Love is Red 7Twenty

Current 93 "(track 5)" How I Devoured Apocalype Balloon
Fursaxa "Freedom"

Marianne Nowattny "Endless Yearning" Skymother Mountain

The Cat Box Quartet "Slowly Loading Paper" Running Uphill Radio Khartoum

Deerhoof "Malalauma" Green Cosmos Menlo Park

Martin Carthy "Trimdon Grange" Sweet Wivelsfield Topic

Gary Higgins "Thicker Than a Smokey" Red Hash Drag City

Robyn Hitchcock & The Egyptians "Raymond Chandler Evening" Element of Light

Neblung Price "Wish" Third (CD Baby)

Procol Harum "Too Much Between Us" A Salty Dog

Truth Serum "Sleeping" Truth Serum (

Richard Thompson "Old Thames Side" Front Parlour Ballads Cooking Vinyl

Mike Wexler "March Violets" Mike Wexler I and Ear

Grupo Coro (Tom Zé) "Ciro-Gberto" Santagustin

Alice Bierhost "What a Difference (The Morning Makes)" Jubilee

Glacia Nasser "Lábios de Cetim (Lips of Satin)" Putumayo: Acoustic Brazil Putumayo

Baden Powell & Vinicius de Morales "Canto de Ossanha" Os Afro-Sambas de Baden e Vinicius Forma/Polygram

Merry Go Round "On Your Way Out" Listen, Listen: The Definitive Collection

Bart Davenport "Glendale" Maroon Cocoon

Tan Sleeve "When Things Go Wrong" Bad From Both Sides

The Posies "Second Time Around" Every Kind Of Light Ryko

> WFMU Home Page <

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Tuesday, December 20

Pandora.Com - It's The New Music Genome Project.

The Music Genome Project

On January 6, 2000 a group of musicians and music-loving technologists came together with the idea of creating the most comprehensive analysis of music ever.

Together we set out to capture the essence of music at the most fundamental level. We ended up assembling literally hundreds of musical attributes or "genes" into a very large Music Genome. Taken together these genes capture the unique and magical musical identity of a song - everything from melody, harmony and rhythm, to instrumentation, orchestration, arrangement, lyrics, and of course the rich world of singing and vocal harmony. It's not about what a band looks like, or what genre they supposedly belong to, or about who buys their records - it's about what each individual song sounds like.

Over the past 5 years, we've carefully listened to the songs of over 10,000 different artists - ranging from popular to obscure - and analyzed the musical qualities of each song one attribute at a time. This work continues each and every day as we endeavor to include all the great new stuff coming out of studios, clubs and garages around the world.

It has been quite an adventure, you could say a little crazy - but now that we've created this extraordinary collection of music analysis, we think we can help be your guide as you explore your favorite parts of the music universe.

Description By Tim Westergren - Founder - The Music Genome Project

Thursday, December 15

Sixth Official Album By The Belle And Sebastian Will Be Out Very Soon, & This Is One Of Their Significant Release Ever.

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They say you can't go home again. And they're right, especially if someone else has moved in. You can, however, return to Matador Records if you're Belle & Sebastian. We'll be releasing the new 13 song Belle & Sebastian CD/LP 'The Life Pursuit' in North America (under license from Rough Trade) on February 7.

Recorded in Los Angeles with producer Tony Hoffer, 'The Life Pursuit' is as thrilling, funny and focused as any recording to date in the Belle & Sebastian canon. We're hesitant to say things like "it's their best yet" because there's every possibility we'll drag that one out of the bag 12-18 months from now, too. In fact, you can probably bet on it.

Description By Matador

Home Page No'1

Home Page No'2

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Wednesday, December 14

...The Best EP For 2005...

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This Amazing EP Come's Out On May 10th 2005 Straight from Stockholm-based artist The Grand Opening aka Roger Olsson.

The Music performed by Jens Pettersson, Johanna Ojala, Jonathan Hummelman, Maria Stensdotter, Joakim Labraaten and Roger Olsson. Recorded by The Grand Opening during 2004. Additional recordings at Klapp & Klang in Feb. 2005. Mixed by Jonathan Hummelman and Roger Olsson.

The five songs EP is a short & rare indie art form combines the sound of All About Eve & American Analog Set with a touch of Icelandic pop & the fascinating voice of the great David Sylvian.

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Download Full MP3'S

1. "Dont Drop Off"

2. "Get Out"

3. "Location"

4. "Darkness Save Us"

5. "Hope Floats"

~ ~ ~ ~ ~

Or Stream The EP

> Here <

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E Mail Of The Band:

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Tuesday, December 13

...Top 10 Albums Of 2005...

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No' 1

The National
Beggars Banquet

The National may sound like a garage band turned down, but there's as much primal energy lurking behind Alligator as in any mop-topped group of city kids with bloodstained Danelectros in a dusty warehouse. While Matt Berninger's lyrics and conversational delivery rely heavily on the kind of literate self-absorption that fuels so much of the indie rock scene today, he never comes off as preachy or unaware that the world would manage just fine without him; rather, he uses metaphor and humor as bullet points for a profound sense of displacement and anger. Out-of-the-blue statements like "f*ck me and make me a drink," from the brooding but lovely "Karen," are effective because the listener is brought into the story slowly, almost amiably, before being led to the plank. Berninger's wry, filthy, and often eloquently sad tales of materialism, sex, and loneliness are augmented by the stellar duel-sibling attack of Aaron Dessner (guitar) and Bryce Dessner (guitar) and Scott Devendorf (guitar/bass) and Bryan Devendorf (drums), who flesh out each track with so many little creative flourishes that it takes a few listens to break them down into palatable portions. There are upbeat moments found within — "Lit Up" and "Looking for Astronauts" — but for the most part the National are content with playing the genial fatalists, and while "All the Wine" seems designed to serve as the record's desolate backbone, "Baby, We'll Be Fine," with its quick changes, lush orchestration, and winsome refrain of "I'm so sorry for everything" is, despite an elegiac delivery, Alligator's loneliest track, and like each part of this fine collection of city-weary poetry, it's as brief as it is affecting. (By AMG)

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No' 2

"A River Aint Too Much Too Love"
Drag City

Smog's Bill Callahan goes back to the root on A River Ain't Too Much to Love, his first full-length offering in two years. While it's true that his name is nearly synonymous with lo-fi, in recent years Callahan has experimented with different — albeit simple — production techniques such as on Dongs of Sevotion and Rain on Lens. Supper, issued in 2003, was more direct, both sonically and personally, and that tack is followed here, though the framework is even sparser. On this, his 12th album, Callahan journeyed south from Chicago to Willie Nelson's Pedernales recording studio in Spicewood, TX. Accompanied by the Dirty Three's Jim White once more holding down the drum chair, and Connie Lovatt on bass and backing vocals, Callahan evokes the ethos and poetry of spooky American folk and country music without ever actually playing them in his own tomes, using mainly waltzes to frame them. Americana this ain't. Callahan has the ability to write first-person narrative songs that cannily juxtapose an evocative physcal landscape that metaphorically refernces deep emotional states ; he uses it to great effect here. The skeletal "Say Valley Maker" equates the loss of and longing for love with a river's ability to both fertilize and strip bare the floor of a valley. Callahan's acoustic guitar plays a pair of repetitive figures, graced by an unidentified shimmering sound just above the threshold of silence, graced by White's restrained, rudimentary beat. "Rock Bottom Riser" is a song of resurrection, and again, it's a waltz. In the first verse, a nylon-stringed guitar hypnotically plays the changes in plectrum style, as White uses brushes to shift time while underscoring it, making the tune seem to float. The singer speaks with gratitude to the memory of an absent lover. As Joanna Newsom's piano underscores and fills the melody, Callahan's character finds a transformed sense of self in rising from his loss. It's slippery, lilting pace and restrained vocal create a tension that frames the tune's poignancy. The true nod to roots tradition here is also the album's centerpiece. His version of "In the Pines" is reverent without feeling staid, hampered by its place in history. A delicate, reedy, meandering tempo adorned in a simple guitar line and drums unpacks the melody, and Callahan's delivery is the seed of memory as it comes up from the ether, urging the singer to tell the whole story while keeping his composure. Travis Weller's edgy fiddle exposes the crack in the tale, however, and the grain of Callahan's voice walks the line between reverie and regret. A River Ain't Too Much to Love is a subdued, plaintive collection of songs that accompany silence; they encourage reflection without guile and unveil themselves without a hint of studied artifice. (By AMG)

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No' 3

The Phoenix Foundation

Undoubtedly the most anticipated album of the year so far and a landmark for that oft-quoted, all-encompassing beast, the "Wellington sound", Fat Freddy's Drop's Based on a True Story is unlikely to disappoint the thousands who have been feverishly awaiting its release. The anticipation is a well-deserved reward after six years of acclaimed live gigs, and latterly crucial vinyl releases, that have seen their reputation spread out of New Zealand and onto the worldwide underground, assisted by patronage from Gilles Peterson, Recloose, Jazzanova and other tastemakers.

It is to their credit that, locally at least, the hype has been generated organically with a low-key approach that would leave most outfits under the radar, but instead has placed them at the front of the pack. Frustratingly, this laid-back approach also results in a review copy arriving the day after it was available in shops and allowing scant time before deadline to absorb the 10 drawn-out tracks. The production from Mu, or DJ Fitchie as he has now styled himself, is routinely superb and there can be no denying that it's an outstanding-sounding, lovingly recorded and mixed record. On the album highlight "Ray Ray", the combination of musical nous, instinctual playing and adventurous mixing and construction is breathtaking. It's the only entire track where all these factors fall easily into alignment throughout, and the glimpse of what this fearsome unit can potentially achieve feels as if it's over too quickly – not something usually said about an album with an average track length of seven minutes.

The remainder of live favourites, reworked vinyl cuts and new compositions generally draw on the model that has worked so well with the 12"s but fail to engage in the same remarkable way. On initial plays, at least, it feels like a little too much of a good thing. The impact of Dallas Tamaira's impressive voice has been blunted by his serial guest appearances on other people's records and the concentration on lengthy skankers leaves no room for the directness and discipline shown on their greatest single achievement so far, the b-side of "Midnight Marauders", "Seconds". This is only the beginning of the Drop's account and it's heartening to see an independent release achieve so much without playing by the rules, but musically the best may well be yet to come.

From a similar vintage and also including the ubiquitous "featuring members of" other bands in the Wellington co-op fashion, the Phoenix Foundation spread their wings a little further on Pegasus. After the splendidly wigged-out abstraction of their recent Rhian Sheehan remix all bets were off on how this record would sound, but only the whimsical instrumental "Sea World" comes teasingly close to that sort of behaviour. Refreshingly unpretentious in their musical explorations, the band are musically and lyrically several steps further down the track than their melodic, meandering debut Horsepower and they now boast the confidence and agility that allow for great lines in the "Slightest Shift in the Weather" and "Nest Egg" and even some sketchy rhymes on "The Posh Tiger". Though it may be short of a screaming singalong like "Going Fishing", there are several highly infectious pop oddities, including the breezy "All in Afternoon", studio lament "Damn the River" and the aforementioned Western-esque wonder "Slightest Shift in the Weather".

They pitch their tent most prominently in a kind of sub-country twanged-out zone that they make their own – the red herrings are the beautiful but incongruous piano piece "Twilight" that closes the record, and the inspired spooky instrumental chugger with the SUV-baiting video, "Hitchcock". As with their first album, there are moments where it feels as if they may have stretched themselves a little further than they are able, particularly vocally, but those moments are fleeting and fewer this time around on a beguiling sophomore effort. (By

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No' 4

Stuart A. Staples
"Lucky Dog Recordings
Beggars Banquet

It's sometimes tricky for the front person of an established band to make a solo album: reproduce the group's sound and a side project can seem pointless, or venture into uncharted stylistic territory and court disaster. Stuart Staples sticks closer to the first option, but Lucky Dog Recordings 03-04 breaks with Tindersticks' sound as much as it evokes it. Although Staples' mumbled baritone croon remains unmistakable and he still oozes small-hours melancholia and romantic malaise, Lucky Dog also marks a departure. Aided by, among others, Terry Edwards (sax), Yann Tiersen (piano), Tindersticks cohorts Neil Fraser (guitar) and David Boulter (keyboards), and Tiger Lillies Adrian Huge (drums) and Adrian Stout (bass), Staples eschews the finely wrought, string-enveloped arrangements that are Tindersticks' signature. He trades dissolute, lush grandeur for a minimalist approach, paring the music down, sometimes almost to the point of silence and stasis. The hushed, acoustic "Dark Days" slips by nearly unnoticed and the slow-burning "Marseilles Sunshine" is aural gossamer, its fragile piano notes, wafting organ, and ragged guitar hanging like smoke in the air. While other tracks feel more energized, they're similarly sparse: for instance, the lilting, jagged "Shame on You" and "Friday Night," whose clockwork cocktail beats and droning, spectral organ exude noir unease. Staples continues to languish in miserablism, often ironically; on "People Fall Down," however, he opens the curtains and heads outside, accompanied by a breezy, bluesy groove featuring muted horns. "So get out and breathe the air, taste the water...go climb that hill," he sings, but it still sounds like the weight of the world is on his shoulders. Elsewhere, "She Don't Have to Be Good to Me" approximates Tindersticks' more expansive feel, but, overall, Lucky Dog shows Staples has learned some new tricks: the main one being that less is more. (By AMG)

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No' 5

Rhythm & Sound
"See Mi Yah"
Burial Mix

In the 90s, with projects and labels such as Basic Channel, Maurizio or Main Street Records, the Berlin based producer team Mark Ernestus and Moritz von Oswald have decisively influenced the development of techno-house and electronic music worldwide. Furthermore Ernestus and von Oswald have released pioneering hybrids of reggae, dub and electronica under the name Rhythm & Sound since 1996. In the last few years an utterly original and independent definition of reggae music - stripped down, rootsy, hi-tech - has emerged from their activities. For their last album Rhythm & Sound w/ the artists Ernestus and von Oswald collaborated with legendary reggae vocalists, like Cornel Campbell, Jennifer Lara, Love Joy or The Chosen Brothers (aka Lloyd "Bullwackie" Barnes). This line is being pursued consequently with their new CD/LP release See Mi Yah.

See Mi Yah is a classic one rhythm album, typical format and production approach in Reggae, featuring ten vocal versions and one instrumental of the See Mi Yah rhythm, that will have been pre-released as a series of seven 7-inch singles (additionally with 3 alternative instrumental versions) - strictly roots!

After Paul St. Hilaire (formerly known as Tikiman) had lent his voice to quite a few Rhythm & Sound releases over the past years, the starting point for this project was to try and work also with his brother Ras Perez, their fellow Berlin based Dominicans Koki and Ras Donovan (also known from his collaboration with Mapstation), the Berlin based Jamaicans Freddy Mellow, Walda Gabriel, Bobbo Shanti, Lance Clarke as Rod Of Iron and Joseph Cotton aka Jah Walton as Jah Cotton as singers b/w DJs. With a toasting style heavily influenced by the legendary U-Roy, Cotton was a central figure in the jamaican DJ scene of the 70s and 80s. Alongside Ranking Joe and U-Brown he performed with the Blood & Fire Sound System a few years ago. On visit in Berlin, the great Sugar Minott and Willi Williams (famous for Studio 1 classic Armagideon Time) did their versions in the Rhythm & Sound studio.

For each tune the rhythm is arranged and mixed differently. On the album the tracks are lined up in a way that allows the listener to enjoy See Mi Yah as one continuous program running for about 46 minutes. It's never a bore - and goes on in the listener's head, when voices, rhythm and sound will be long gone. (By Basic Channel)

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No' 6

Broken Social Scene
"Broken Social Scene"
Arts & Crafts

In Canada, Broken Social Scene is somewhat of a phenomenon. Since wooing fans and critics alike with their 2003 Juno Award-winning album You Forgot It in People, the band's peculiar popularity has made them stars. The community that surrounds the 15-member-plus band is a family-like atmosphere with its many Canadian artists and musicians. When listening to Broken Social Scene, you also get the individual sounds of Feist, Stars, Memphis, Metric, and Apostle of Hustle, among others. It's camaraderie and education combined. The lush dynamic that carries Broken Social Scene's self-titled third effort is definitely built upon that. The 14-song set is as bright and moving as the band's previous efforts, but Broken Social Scene holds more charisma, more depth, and surely more complexities. The mix isn't messy in conventional terms. It's artistically untidy without production boundaries. Album opener "Our Faces Split the Coast in Half," which features the Dears' Murray Lightburn, makes a grand entrance with its polished horn arrangements, tight guitar riffs, and hypnotic harmonies. Additional standouts include indie rock moments such as "7/4 (Shoreline)" and the nervy "Fire Eye'd Boy." Handclaps and crowd chatter dosie-do with a sharp rock aesthetic on "Windsurfing Nation," which was the original title. Here, Toronto rapper K-Os and Feist vocally find their way through this majestic cinematic backdrop for one of its finest songs. From here, Broken Social Scene is a simply a rush of mini epics: "Handjobs for the Holidays," "Superconnected," and album closer "It's All Gonna Break" (this could have been a Nada Surf song) showcase how smart, creative, and brilliant this band truly is. Broken Social Scene are more than a collective; they're an orchestra for both the slacker generation and the literati. (By AMG)

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No' 7

Cold Krush

Whether you choose to view life as an absurdly cruel, chaotic string of events or a profound struggle to satiate a benevolent troll at the earth's core, the coincidence is a gem of the human comedy. Whatever or Whoever brought the releases of M.I.A's Arular and Mahjongg's Raydoncong 2005 together on the same date, I would like to thank Him/Her or The Void. On the one hand, you have an absurdly hyped, burgeoning pop star who strikes rebel poses and affects scenester fashion and vernacular. On the other, you have Mahjongg, smartass Chicago art-punks with an Africa 70 fetish. So? Yeah, so their album covers look identical.

Half-full Scenario:

Bloggers, trend riders, fashion rebels, and people who want to own the "Album of the Year" descend on record stores nationwide, clearing the shelves of Arular in a rabid frenzy that makes the Cabbage Patch Riots of XMAS '85 look like a boxful of kittens. As the mob moves from store to store, devouring all in its path, those left behind wander the aisles in a bloody daze. Through the blur of a punctured cornea, they see the cover of Raydoncong. AK-47s, ethnic people, colors, pretty colors. Arular stash, whut gwan! And the concussee contingent becomes Mahjongg's motherlode.

Half-empty Scenario:

People calmly sashay into record stores to the "new release" shelves, holding hands, two by two. As they peruse for Arular, one reaches for Raydoncong. "No, not that one, silly!" says the other. "Haha, my bad! I saw banana clips and, well, you know." M.I.A. 1, Mahjongg 0.

Before you get all spazzy, I realize that album covers have little to do with the worth of an album. But fate has drawn these two together, however tenuously, and the contrast goes beyond the images on the cover. Where the lovely Sri Lankan is being praised/maligned for her earnest/misguided injection of personal politics into pop music, Mahjongg have apparently decided to go whole hog and appoint themselves impromptu Western mouthpiece for the Congolese opposition. How's that for self-serving appropriation? Their website is a bewildering mיlange of anti-fascist propaganda and record reviews from The Village Voice and Washington Post. Then again, the rants against President Sassou-Nguesso are in French, so maybe Mahjongg just worked out a bandwidth timeshare with the Conseil National de la Rיsistance Brazzaville Chapter. It's all quite confusing, I assure you, but somehow Mahjongg's peculiar agit prop accurately visualizes their sonic delivery of junkyard afro-new wave. Sub-genre Alert!

Building on the jittery punk-funk of their Machinegong EP, Raydongcong 2005 slaps together 46 minutes of beat-heavy agitation and organized chaos. There is so much overlapping clatter, it sometimes sounds like backstage at a battle of the bands, with everyone eventually falling into tune through proximity. Nearly every song contains multiple vocals, tempo shifts, guitars jabbing into strings over electronic bleeps, and radio dispatches plus a drum machine not to mention synths in addition to pots and pans and sticks and feedback and possibly a horse. Actually, "The Stubborn Horse" is a lazy nag which unpleasantly puts a Sheryl Crow song on the tip of your tongue, but Mahjongg makes up for that gaff.

As "Aluminum" was to Machinegong, "The Rrabbitt" is the standout oddity on Raydoncong. It's a song that sounds like nothing else on the album or much else at all. Equal parts Fela Kuti and Devo, it could sweat out a dancehall quicker than you could say "Ba-na-na." Sporting a hypersonic cowbell, percussive guitar scratches, a bounding bassline, and the falsetto nonsense requisite to any proper dance number, old timers might want to tape up their pelvises for this one.

As with M.I.A., Mahjongg's political gesturing ends up a mere distraction at the end because they find a way to shake your can. Mahjongg's version may not be as cutting edge, but it's effective. Now, if they could duplicate "The Rrabbitt" a dozen times per album, young Maya would be in deep shit. (By Pitchfork)

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No' 8

"The Great Destroyer"
Sub Pop

Over the years, Low have been on labels as diverse as Kranky and Virgin offshoot Vernon Yard, worked with distinctive producers like Kramer and Steve Albini, and have managed to adapt their sound without losing any of their identity. All of this applies to Great Destroyer, the band's first album for Sub Pop and their first collaboration with producer Dave Fridmann. Fridmann's detailed sound is a far cry from either Kramer or Albini's minimalist tendencies, but his work here shows that Low can sound as good in elaborate settings as they do in simple ones: "Monkey"'s intricate layers of distorted drums, organ, and guitar have an unusual depth, and the synth strings and heartbeat-like electronic drums on "Cue the Strings" just add to the intimacy and subtlety of Alan Sparhawk and Mimi Parker's harmonies. Ironically enough, Great Destroyer is by far Low's most polished and accessible-sounding album, even more so than their quasi major-label output. That may turn off purists yearning for I Could Live in Hope's simplicity, but aside from the bigger sound, there's something for almost every kind of Low fan on the album: chilly, brooding songs ("Pissing," "Everybody's Song"), gentle but powerful songs ("On the Edge Of," "Silver Rider") and gorgeous epics ("Broadway (So Many People)"). The group's touted rock direction offers some of Great Destroyer's strongest, and weakest, moments. "California"'s soaring warmth has odd but appealing early- to mid-'90s alt pop sheen to it, sounding a bit like Girlfriend-era Matthew Sweet played at half speed. However, "Just Stand Back" and "Step" are somewhat clunky and contrived, with the production overwhelming the songs. The tracks about aging and acceptance — a major theme on Great Destroyer — feel much more genuine, particularly "When I Go Deaf," another of the band's bittersweet and slightly disturbing songs like "In Metal." "Death of a Salesman," a short, stripped-down tale of what's left behind with age, is also affecting; though an album full of songs like these might be too much, they're wonderfully intimate glimpses. "Walk Into the Sea" provides a relatively uplifting — if not happy — ending to this thoughtful, graceful album, but at this point, it's difficult to expect anything less from Low. (By AMG)

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No' 9

"Shooting The Breeze"

Known as one of the most talented and prolific producers to come out of the bubbling Chicago scene in the last few years, Maker has been given the chance to shine on his own with his first full length instrumental album "Shooting The Breeze" on Galapagos4. The last 2 years saw Maker make his name with his debut compilation album "Honestly" and collaborations with Qwel (Qwel & Maker "The Harvest” Galapagos4, 2004) & with Adeem & DQ as Glue (Glue “Seconds Away”, Ramona Records 2004).

Fans and critics begged for instrumental versions of "The Harvest" and "Seconds Away". But instead of simply releasing an instrumental album of beats that were designed for MC’s to rap over, Maker thought it was best to present himself as a solo artist and showcase his talents as an instrumentalist and song-creator. "Shooting The Breeze" is just that, a pure instrumental album of carefully crafted songs meant to stand out on their own. (By Galapagos)

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No' 9

"Be With"
Stones Throw Records

Koushik specializes in making that hazy, hip-hop-based downbeat sh*t that you could easily compare to contemporaries such as Four Tet (who released Koushik's first single on his Text label), RJD2, and DJ Shadow. What sets Koushik apart from the others is a beautiful '60s psych-pop element that tends to pervade throughout. It shows itself in the spacious panned strings, acoustic guitars, and harpsichords that fall in and out of each other; and the beats have a harder regimented classic true school hip-hop sound, that Fourtet and Prefuse tend to stray away from. But what I truly love about this record is Koushik's voice. His singing is soft and mixed way down in the center of the track, sounding like the voice choirs you'd hear on one of those old Percy Faith or 101 Guitars from the late-'60s. If you're a fan of any of the aforementioned artists, you need this record.

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No' 10

Devendra Banhart
"Cripple Crow"

Cripple Crow marks a departure for Devendra Banhart. It's obvious from the faux Sgt. Pepper-meets-Incredible String Band freak scene cover photo that something is afoot. The disc is Banhart's first foray from Michael Gira's Young God label, and it's more adventurous than anything he's done before. This is not to imply that the set is a slick, over-produced affair, but it is a significant change. The instrumental, stylistic, and textural range on this 23-song set is considerably wider than it's been in the past. Working with Noah Georgeson and Thom Monahan, a backing band of friends known as "the Hairy Fairies", Banhart's crafted something expansive, colorful, and perhaps even accessible to a wider array of listeners. There are layered vocals and choruses of backing singers, as well as piano and flutes on the gorgeous "I Heard Somebody Say," while the electric guitar and drums fuelling "Long Haired Child," with its reverb-drenched backing vocals, is primitive, percussive, and dark. There is also the 21st century psychedelic jug band stomp of the second single, "I Feel Just Like a Child," that crosses the nursery rhyme melodics of Mississippi John Hurt with the naughty boy swagger of Marc Bolan. There are also five songs in Spanish, Banhart's native tongue, in a style that's a cross between flamenco and son. The title cut, "Cripple Crow," is one of the most haunting anti-war songs around. In it, Banhart places a new generation in the firing line, and urges them to resist not with violence, but with pacifistic refusal. A lone acoustic guitar, hand drums, a backing chorus, and a lilting, muted flute all sift in with one another to weave a song that feels more like a prayer. The lone cover here, of Simon Diaz's "Luna de Margaerita," drips with the rawest kind of emotion. Ultimately, Cripple Crow is a roughly stitched tapestry; it is rich, varied, wild, irreverent, simple, and utterly joyous to listen to. (By AMG)

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Monday, December 12

MV / EE & THE BUMMER ROAD New Release From Child Of Microtones ...Bizar, Sweet, Amazing Etcetera...

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We Offer You The Guru might be a folk record, in some other time, and some other world. Sure there are steel string guitars, harmonica, jews harp, even sruti box and electric dulcimer, and there is a melancholy strumminess, and dreamy twanginess to be sure, but Matt Valentine and Erika Elder (aka MV / EE) wrap their druggy spaced out folk in a dense cloud of thick reverb and smoky ambience, traditional folk melodies are stretched and twisted apart into creepy snippets and fuzzed out musical vignettes, the whole thing reminding us a little bit of the movie Gummo at times, very cinematic in a fucked up and back woods-y sort of way, damaged and not a little drug addled, but at the same time hauntingly beautiful. Elder's vocals are slurred and indistinct, intertwined with wheezing harmonicas and plinking plonking Jandek-ian guitars. Valentine's usual droney raga steel strings, aren't so droney here, instead they become lovingly lugubrious deconstructed strums and picked apart picking, textural and abstract, a rickety framework for the ghostly clouds of vocal / harmonica interplay drifting through these hazy shimmery soundscapes.

Review By Aquarius

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Two Stream Samples:

"Rural Boogie"

"Lost Lover Blues"

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Captain - Debut Single - "Fronline"

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Five square pegs in one round hole Five opposites; no common dress code, no two-tone hair, no skinny T-shirts, wildly different pasts, no mention of Joy Division, The Stones, The Clash or Blondie. No apparent reason, in fact, why Captain should exist. But they’re here and they’ll soon be bewitching the world with their wistful, emotive songs. Conceived to sidestep the fashionistas and stand egoless next to their heroes. Meet Captain. After a month saying ‘Yes’ to every question that would usually be a ‘No’, Rik Flynn was sat in a rehearsal room in Cricklewood introducing his band to each other. Mario (guitar). An olive skinned, Athenean experimentalist who’d just finished national service in the Greek army. Clare (Vocals, Piano, Percussion). An elfin, straight-laced health freak that’s addicted to running. Reu (Drums, Piano). A very intense, but very funny son of a preacher man. Alex (Bass). A buff, blonde-haired beachcomber who used to play Polka in a circus. Not you’re usual suspects then. If Brian Wilson, Karen Carpenter, Burt Bacharach, Billy Corgan and Kevin Shields all merged into one you’d still only be halfway to the Captain sound. As comfortable with pop as they are with vast soundscapes, this band aren’t interested in any scenes. They’re busy forging their own.

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...The Best Album For 2005...

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On New Year's Eve 2004, I ran into The National's singer, Matt Berninger, at a party in Brooklyn. He looked pretty much as he had the last couple of times I'd seen him, like he'd been locked up at home for days on end, trapped in thoughts, books, and videotapes. An old friend asked him what it was like to have left behind the world of regular employment, and I overheard this reply: "Don't get too into your band. You'll be poor, and happy, and never want to do anything else ever again."

All you need to know about The National is that they gave up good jobs for this. But perhaps you want more:

They are five friends from Cincinnati, Ohio, who started making music in 1999, when they found themselves living near one another again in Carroll Gardens, Brooklyn. They weren't looking to take over the world with a demo and matching outfits. Rather, music was their way of letting off steam from those good jobs. Records are what they talked about when they went out drinking together, when they ate together, when they played Wiffle ball in the summertime.

Simply put, songwriting allowed The National to deepen their conversations. It's how they broached the topics they really wanted to talk about - how they were past the halfway mark between twenty and thirty, and speeding toward a kind of permanence they never expected; how they pleased and disappointed their mothers and fathers; how flings had become girlfriends, and girlfriends, wives.

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Thankfully, the band's pre-existing bonds lent this musical conversation an unusual intimacy. The National contains two pairs of brothers -- Aaron Dessner (guitars, bass) and Bryce Dessner (guitar), Scott Devendorf (guitar; bass) and Bryan Devendorf (drums). Matt sings because he's taller, blonder, and older than the rest.

The National (Brassland 2001) was recorded and released before they played a single show, before the music spilled far from their heads. They cut the album with engineer Nick Lloyd and formed a label with a writer (yours truly), so those recordings could be released.

Nothing happened.

The National made a second album, Sad Songs for Dirty Lovers (Brassland/Talitres 2003). The staff was the same, though Peter Katis, who produced both Interpol records, helped produce and mix, and Australian composer Padma Newsome from Clogs collaborated on arrangements and strings. The result got noticed by Rolling Stone and other magazines. When the record made its way to Europe, magazines the band had never heard of began saying it was one of the year's best.

A show at their favourite bar became a van ride to neighbouring cities, became a plane ride to Europe, became two summers overseas. Their ties to those good jobs slackened.

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Recently, The National have signed to Beggars Banquet, but they continue on their own path. Four have moved further out in Brooklyn to Ditmas Park, where there is space and familiar suburban streets and even Geese on Beverley Road. Their new album, Alligator (Beggars Banquet, 2005), much of which was recorded at their homes in Ditmas Park, was engineered by Paul Mahajan, who has worked with the Yeah Yeah Yeahs and TV on the Radio. Padma Newsome camped out for a month with the band, and Peter Katis added more production and mixed the record at his house in Bridgeport, Connecticut. Matt Berninger's potent baritone still intones about matters fraught and funny and sad; about record collections, missing persons and medium-sized American hearts.

But the record's not simply gothic or miserablist - more like the plays of Tennessee Williams, it •s full of peculiar intimacies and awkward grace. Alligator's heroes are reckless and possessed seducers, but they are apologetic ones. In The National's imaginings, in songs alternately lush and spare, there is something twilit and dreamy worked out in the basement of our brains.

Bio By The Label

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Ere’s a little quiz for you. Please take a moment to reflect. Answer honestly and no peeking at your neighbors papers. Proceed:

1) True or False: Stellastarr* was a good idea poorly executed.
2) True of False: Elefant was so concerned with rock posturing the songs got lost in the shuffle.
3) True or False: Coldplay writes pretty songs but need a swift kick in the ‘nads.
4) True of False: Joy Division is currently the band most cleverly copped by today’s indie-rock ruling elite.
5) True or False: The Strokes are a naked rip-off shamelessly proffered as something original.
6) Please open your blue books and write at least 300 words on this theme: According to Pablo Picasso good art is created, but great art is stolen.
If you answered true to the above questions then The National is patiently waiting to be your favorite band. All the members of The National reside in Brooklyn, by way of Cincinnati. The band consists of two sets of brothers playing instruments and banging on things and singer Matt Berninger baring the blood and guts of heartbreak and remorse in the best sounding Ian Curtis you’ve heard since, well, Ian Curtis. If Chris Martin wrote songs and made records as if he were the bully and not the kid getting his lunch money stolen, Coldplay would sound like The National. Okay, this one’s even better: If Chris Martin and that Paltrow woman were thrust into a Raymond Carver short story becoming half-cocked motel operators along Interstate 95 in Florida, Martin might write songs like The National routinely conjure up.

Now on to item #5 on the above quiz. Everything is derivative. The task at hand is making it sound or feel or read like something that hasn’t already gone before. The challenge is to steal the old, acknowledge the theft, and spit it back coated in your own ideas. Bands that are able to incorporate past styles and move forward are ultimately the most musically successful and most respected. It’s something that Interpol, Magnolia Electric Co., Knife & Fork, the freak folk movement, and The National have done. It’s what The Strokes, The Bravery, The Killers, and The Thieves haven’t done.

Alligator, the second album from The National, is an unabashedly dynamic record. The beats are propulsive, the guitars vary from clean and incisive to ragged and dripping, piano haunts the corners, strings cling to the melodies like moss, boy/girl harmonies arrive unexpectedly, the lyrics are clever, obtuse, metaphoric character studies of lives misjudged and decisions reflected on with regret.

While The National make a wonderful noise, the star of the show is lead singer Matt Berninger’s baritone. His voice is perfectly suited to his lyrical content, but more importantly it’s perfectly suited to the music that strains around him. Berninger recalls the previously mentioned Curtis on an up day or Brett Sparks of The Handsome Family minus the Americana spirit. When he sings a lyric like “didn't anybody tell you how to gracefully disappear in a room,” it’s a question, order, and invocation of pity all at once. When he sings about his “medium sized American heart” it’s with sadness and celebration. When the band rips into the chorus of “Lit Up” it’s like stepping off a cliff and not falling, we hover above water, held in place by the shouted lyrics.

“Baby We’ll Be Fine” is a devastatingly nuanced portrait of a struggling couple. Berninger’s small details, “you spilled Jack and Coke on my collar,” are accents to the dysfunctionality that the song chronicles. Drums ring in the background, a small string section struggles to be heard above the guitars, Berninger sings, “Baby, come over I need entertaining, say something perfect I can steal.” It’s all carefully laid out, divided into equal parts beauty and pain, dependency and desperation.

Throughout Alligator certain lyrical snippets fly from the speakers like drops of jellied gasoline, carried by a segment of violin, the ringing of a sublimely clean three note guitar run, or the frantic pounding of drums, these words stick to your skin:
“You should have looked after her better, you should have locked the door.”
“Fill the coat with weapons and help her get it on.”
“I’m a birthday candle in a circle of black girls, God is on my side.”
“I used to be carried in the arms of cheerleaders.”
In all these moments The National is keenly aware of their purpose. They are writing rock songs, lyrically mysterious often deep rock songs but part of a genre nonetheless. Most of the songs hover at the three-minute mark, content to say their piece and move along. That’s not to say that these songs aren’t ambitious. They are decidedly unique in sound and scope. The National are able to pack as much power into the songs on Alligator as any of the more heralded indie-rock bands working right now, only The National have taken the common influences and grafted them into something altogether fresh and remarkable. Pencils down, it’s time to listen.

By Stylus Magazine

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Matt Berninger (comparatively un-picturesque name notwithstanding) is a frontman in the grand tradition of Morrissey and Robert Smith -- not because he necessarily sounds like those guys (his syrupy baritone has more in common with Leonard Cohen), but because at first listen, he tends to upstage the music. It's not an easy feat; the two sets of brothers (Aaron and Bryce Dessner and Scott and Bryan Devendorf) behind Berninger create a tapestry that comes more and more into focus as Alligator repeats.
And make no mistake, this album will grow on you. You might love it right out of the shrinkwrap, or you might be all "ehhh", but you'll almost certainly end up liking it better than you did the first time you heard opener "Secret Meeting". The song features layers of intricately picked guitar and has an intimate small-room sound, as if to say "Come on in. It's a bit cozy, but we promise you'll like it in here."

There's a lot to like. Berninger's casual yet intense voice is an apt vehicle for his clever, occasionally wry lyrics; even when he's not being overtly sarcastic, there's a certain world-weary irony present. He's one of those singers who can curse so elegantly that the words aren't dirty; maybe it's the context, but "Put me in a chair / Fuck me and make me a drink" in the lovely but decidedly downbeat "Karen" sounds more languid than lascivious. Most of Alligator is like this: painstakingly crafted, casually baroque music for people who get off a little bit on feeling blue. It might not be the disc you throw on to get hyped up for a night out, but it has its lighter moments: the catchy little refrain nestled amid countryish fingerpicking in "Looking for Astronauts", "Abel"'s abrupt upswing into rough-voiced barroom swagger. Still, the more contemplative (read: depressing) tracks seem to better capture the band's essence. The restless paranoia of undulating bass and tap-tapping beats in "Friend of Mine" mesh well with its chorus ("I'm getting nervous / Na na na na na na na / No sign of a friend of mine"). "Baby, We'll Be Fine" sounds like a study in quiet desperation, with Berninger helplessly repeating "I'm so sorry for everything" as the guitars chime gently.

Alligator is the kind of record you get turned on to by a friend who heard it and thought of you. Like most rather sad music, it has the potential to dig down to where you really live and become something you put on when going through a breakup or after you get fired. But even if the attraction is no more than surface-deep, Alligator packs enough beauty to keep you interested for a long time.

By Splendid Magazine

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"Abel" ~ Video

Go To Watch Read & Listen At Home Page

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Listen To The Album Samples

Image Hosted by ImageShack.usFor A Long Time They Were Only Sowing...Now It's Time To Reap It Up.

Thursday, December 8

The Early Years - A New Amazing English Band...Don't U Miss That One

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New-ish band alert The Early Years their new single has an Echo & The Bunnymen [Porcupine era], Joy Division, Mogwai, Neu, Television type intensity. Very atmospheric, production has a rich full uber epic psychedelic sound, guitars glide in arcs, vocals drift in and out in, psychedelic effects with the guitars that go into overdrive at the end of track.


BBC Session

"All Ones and Zeros" (demo)

"Things" (demo)

"High Times and Low Lives" (demo)

the debut single "All Ones and Zeros" will be released on the 16th January on Beggars Banquet.

Recorded at The Contino Rooms with Death in Vegas' Tim Holmes, the tracklisting is:

1. All Ones And Zeros
2. A Little More
3. I Heard Voices

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The Early Years were born in 2004 when David Malkinson decided to do a solo gig armed with a guitar, an amp and a large number of effects pedals creating a wash of psychedelic guitar noise for 20 minutes in front of about 20 people.

From there the only way forward was to expand the line up to include two friends Roger Mackin and Phil Raines on guitar and drums respectively. Creating a noise born out of Dave's love for ambient noises and melody (Mogwai, Acid Mother's Temple, Spiritualized), Roger's hankering for 60's Garage, drones and feedback (Television, Velvet Underground, Spectrum) and Phil's dedication to the krautrock beat (Neu!, Can, Tortoise), The Early Years set off to create the kind of music which stood out against the post-Libertines sound of London at the time.

Since then, they have gone from strength to strength playing a number of successful shows across London and getting a number of plays on Huw Stephens' One music show, Steve Lamacq, and John Kennedy's XFM show. This then led to The Early Years recording sessions for Radio One and XFM.

Description By Dj Martian's

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A Reminder - David Axelrod - The Edge: David Axelrod at Capitol Records 1966-1970

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Producer is a funny word. It describes a position that has had varying responsibilities over the years. In David Axelrod’s day, a producer basically oversaw the process, arranging and engineering and even writing the material. Our current image of a producer is more technical, a button-pushing artist responsible for actually creating the music. Their work is often overseen by a rapper, who will choose the beat and eventually become the co-star of the recording. The roles of these producers are similar, but these distinctions are important.

The Edge collects Axelrod’s work during his time as a producer for Capitol Records in the late ‘60s, an era that would go down as the label’s glory years. It was also around this time that Axe started the black-music division at Capitol, made stars out of many otherwise mediocre acts and released three solo records that influenced — and continue to influence — jazz, rock, soul, funk and hip-hop, as well as infinite fusions of these genres.

This compilation is perfect. An exciting release based purely on its musical merit, it’s also a testament to the collaborative spirit of the original artists and the forces that came together to reissue this slice of history. For The Edge, Blue Note Records’ Director of A&R Eli Wolf gave Stones Throw Records’ General Manager Eothen “Egon” Alapatt full access to Capitol’s tape library. Egon flawlessly compiled (and insisted on a full re-mastering of) the material. Even the art direction, handled by Jeff Jank, gives The Edge the look it deserves. (When Egon and Jank come together to assemble an anthology, you know no detail will go unnoticed. The pair is also responsible for The Funky 16 Corners, The Stark Reality's NOW and The Third Unheard: Connecticut Hip-Hop 1979-1983.)

Listeners who think they are not familiar with Axelrod’s work will be pleasantly surprised by the number of songs they recognize here. Most songs in Axelrod’s catalogue have been sampled over the years. Madlib, Lord Finesse, Pete Rock, Da Beatminerz, Diamond D, DJ Muggs, Godfather Don, DJ Shadow, DJ Krush, The X-Ecutioners, Prince Paul, Alchemist, Juju, Dr. Dre, RZA, Rockwilder and Hi-Tek have each sampled the songs that appear on this album. Even if you’ve never heard the name David Axelrod, chances are he’s one of your favorite producer’s favorite producers.

The majority of the seventeen songs compiled here are from Axelrod’s three solo Capitol releases. Filling out the bill are a few Lou Rawls classics, two great selections of the easy-listening vocal pop of actor David McCallum and one-offs by saxophonist Cannonball Adderley, composer Don Randi and jazz vocalist Letta Mbulu.

The Edge is a document of historical importance and should be required listening for all students of music.

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"Song Of Innocence" mp3

"The Edge" mp3

Axelrod Home Page

All Collection mp3 Samples At Juno

Interview With The Master