THE WOLF – MAN

Yo! So one of my homie up here in Toronto is just blazing up the city rapidly like a brush fire in a desert sun. Wolf is a very much talented rapper/singer hybrid who brings out the what Spek-Won would say “Hip-Life”. A cool ass dude, graphic designer by day and late nights, a stage blazer at the prime of the evening. Recently dropped a “Tape-Mix” entitled “Upside Down Day” for the monetary value of $Free.99!

I repeat!…. $FREE.99

The collections of music is definitely priceless and I will vouch that this dude the essentially “DA ISH”. He is making Edward Cullen and all vampire dem look bad with the Wolf action for the winter. This dude music sounds like a man with a iTunes library of millions of songs, reminds me Janelle Monae, Andre 3000 and switch it up to  Mr. Hudson type ish., so please.. Pay Attention

“GRIZZLY PANDA BEAR”

FOR MORE WOLF J MCFARLANE

WEBSITE —>>> www.wolfj.com

TWITTER —>>> www.twitter.com/wolfjmcfarlane

Please Vote For “Grizzly Panda Bear” on to Flow 93.5 Mega City Countown

VOTE HERE

Also Down The Tape-Mix “Upside Down Day” and Enjoy

FREE DOWNLOAD HERE

PEACE

awww im a nerd girl =)))

This post is to celebrate Chester French followin me on twitter…notoverit notoverit at all! woohoooo!

and janelle monae……nuff said..

Ya’ll, the Lilith Fair is getting a reboot this summer. I missed the festival during its original run in the late-90s. Honestly, I wasn’t too invested in it. I was happy that founder Sarah McLachlan was putting it together, but the majority of the bill offerings were pretty nice white lady adult contemporary at the time.

But co-founder Terry McBride has resurrected the festival and it’s coming to Austin some time next summer. I gotta say that this summer’s roster looks good: Loretta Lynn, Mary J. Blige, Erykah Badu, Cat Power, Gossip, Metric, Norah Jones, Jill Scott, Beth Orton, Emmylou Harris, Janelle Monáe, Teagan and Sara, Corrine Bailey Ray, fuckin’ Heart. Of course, we’ve still got plenty of nice white lady music, but it seems as if there was some effort to mix up the genres a little bit so it isn’t only about ladies strumming acoustic guitars (ex: Mary fuckin’ J!). On that tack, I’m pretty uninterested in Sheryl Crow, Miranda Lambert, Sara Bareilles, and Colbie Caillat’s involvement, but I understand that the festival’s gotta draw in some big MOR names. That said, I like that there’s some rad queer ladies and women of color on the bill. 

As I don’t think the bill is 100% finalized, I’m hoping Thao and the Get Down Stay Down gets a spot on the bill. I’d also support additions like Jean Grae, Bat for Lashes, Neko Case, Marnie Stern, Shunda K, and Ponytail. I think it’d be cool if a stage was set up for local acts so folks like Follow That Bird, Yellow Fever, and Schmillion could get some more exposure — or even cooler if said bands formed their own counterfestival. Oooh, and if only they could get Sleater-Kinney to reunite. Can’t wait to see how this shapes up. For more up-to-date information, keep an eye on the festival’s Web site.

In case you haven’t heard, or don’t know, Sarah McLachlan is restarting Lilith Fair! This all-female tour began in 1997 and went until 1999. It wasn’t the first tour of its kind (Michigan Womyn’s Music Festival, Riot Grrrl’s LadyFest, ect), yet, it was the most visible and monetarily successful all-female tour in history. It reached over 1.5 million fans in and raised over $10 million dollars for various charities. Sarah began the tour out of need for female artists to gain more exposure and just plain old R-E-S-P-E-C-T. At the time, it was radio station policy not to play female artists back-to-back. The assumption was that most radio listeners were male, and wouldn’t want to hear those whiney females singing about babies and broken hearts and all that girly stuff. **Rolls eyes** While that is not radio station policy anymore, anything that gives these talented women more exposure is just what the music industry needs!

So, here’s to the women of Lilith! Check out the lineup and cities scheduled so far!

Lilith Fair 2010 Artist Lineup!

• A Fine Frenzy
• Ann Atomi
• Ash Koley
• Brandi Carlile
• Butterfly Boucher
• Chairlift
• Chantal Kreviazuk
• Colbie Caillat
• Corinne Bailey Rae
• Donna De Lory
• Emmylou Harris
• Erykah Badu
• Grace Potter and The Nocturnals
• Ima
• Indigo Girls
• Ingrid Michaelson
• Janelle Monae
• Jennifer Knapp
• Jill Hennessy
• Jill Scott
• Katzenjammer
• Ke$ha
• Mary J. Blige
• Meaghan Smith
• Metric
• Miranda Lambert
• Nneka
• Sara Bareilles
• Sarah McLachlan
• Serena Ryder
• Sheryl Crow
• The Submarines
• Sugarland
• Tara MacLean
• Tegan and Sara
• Vedera
• The Weepies
• Vita Chambers
• Ximena Sarinana
• Zee Avi

Tour Cities:

• Atlanta, GA
• Austin, TX
• Boston, MA
• Calgary, AB
• Chicago, IL
• Dallas, TX
• Denver, CO
• Detroit, MI
• Edmonton, AB
• London, UK
• Los Angeles, CA
• Minneapolis, MN
• Montreal, QC
• New York, NY
• Philadelphia, PA
• Portland, OR
• Salt Lake City, UT
• San Francisco, CA
• Seattle, WA
• St. Louis, MO
• Tampa, FL
• Toronto, ON
• Vancouver, BC
• Washington, DC

Past Lilith Fairs on Youtube:

Heidi Montag – Superficial

After three years and two-million dollars out of her own pocket, former reality-tv star and current tabloid fixture Heidi Montag has finally unleashed her self-proclaimed masterpiece upon the world. Fittingly titled “Superficial,” the album serves as Montag’s robotic love letter to the Hollywood party life. Montag has already publicly compared the dance-pop album to Michael Jackson’s legendary 1982 album “Thriller,” claiming that her album stands up to his since she has put in more time and money than he did. A valid claim, since most intelligent people agree that time and money determine artistic merit…right. As one might expect, auto-tune runs rampant through this recording. The vocals are as digitally altered as Montag’s physique on the album cover. Montag moans and whispers over wannabe GaGa beats, sounding more like a fembot than anything else. I would only buy this album as a curiosity piece. I think we’ve found a Florence Foster Jenkins for the new millennium.

That aside, let’s talk about some albums you should own by some hot female artists worth knowing.

1. Janelle Monae – Metropolis: The Chase Suite

Atlanta native Janelle Monae released this ambitious little LP in 2008, following some high-profile work with Outkast. Originally envisioned as the first suite in a four-part opus, Metropolis tells the story of Cyndi Mayweather, an android on the run from the authorities after falling in love with a human (criminal activity in futuristic Metropolis). Over the 7 tracks, Ms. Monae switches between sounding like a female version of Outkast’s Andre 3000 and channeling the trumpet-esque voice of Shirley Bassey, pulling both sounds off stunningly. I would definitely recommend this short album to anyone. Be on the lookout for more from this talented lady with her next effort, Metropolis Suites II & III: Arch Android set to release sometime this year.

Watch: “Many Moons”

2. Robyn – Robyn

You might remember Robyn’s early hits from the mid-90s. “Show Me Love” and “Do You Know (What it Takes)” were both major radio hits in the pre-Britney teen pop era. I have both of those songs in my library, but it was this awesome comeback album that made me fall in love with Robyn. Released in Sweden in 2005, it didn’t see American shores until 2008 (unless you count the copy I imported in 2006, soon after its UK release). On this album, Robyn fuses electronica beats with organic string instrumentation to great effect. Add in Robyn’s quirky, solid vocals and you have a recipe for avant-garde pop gold.

Watch: “With Every Heartbeat”

3. Nikka Costa – Pebble to a Pearl

Former child star Nikka Costa first got mainstream attention with her catchy single “Like A Feather”. I, like many critics, assumed that this 2001 single would propel her to national stardom. While it did garner her a loyal fanbase, Nikka is still no household name. Now on a new label (Stax Records), Nikka is doing her best work yet. With arrangements that could have come right out of the 70s, Nikka gives a master class in real singing. If you are feeling some raw Janis Joplin meets James Brown vocals, give this girl a listen!

Watch: “Stuck to You” (live on Conan)

4. Solange – Sol-Angel and the Hadley St. Dreams

Solange finally finds her stride with this fun and soulful record. Finding more inspiration from artists like Jill Scott and Erykah Badu, Solange distances herself from the clean pop sound of older sister Beyonce. If Beyonce is a trumpet, Solange has the wah-wah mute on, throwing her voice through 4 octaves fearlessly. Lyrically, Solange gets even more experimental. Imagine Kate Bush writing the lyrics for a Joss Stone album and you’ll almost have it. Who knows what Ms. Knowles will do in the future. Whatever it is, I’m gonna bet she surprises us again.

Watch: “Sandcastle Disco”

5. Little Jackie – The Stoop

When you listen to Little Jackie’s début album, things might sound a bit familiar. They should. The lead singer is Imani Coppola who had a huge MTV hit in 1997 with the video for “Legend of a Cowgirl.” Imani then toured with the Lilith Fair before being dropped from her label. Mostly self-releasing since then, this effort his her first with S-Curve records. A sonic cousin of genre-bending group Gnarls Barkley, Little Jackie makes catchy music with something to say. Whether humorously teaching Amy Winehouse a lesson on “Crying for the Queen” or sharing experiences of growing up in a broken family on “Go Hard or Go Home,” Coppola is always telling a story. If conscious hip-hop and soul is your bag of tea, download this one.

Listen: “The Kitchen”

Opinions? Write a comment!

In lieu of talking about how very frigid and below freezing it is outside, and my miserable cold, which is a result of the weather, let’s heat things up by imagining that it’s hot, and I mean steaming hot. That stupid, ridiculous kind of  hot that makes your head hurt and puts you in a foul mood for days, sometimes even weeks. The kind of hot that makes you static and lethargic; the kind of hot that draws sweat beads from your forehead and neck within the first few moments of stepping outside.

That’s the kind of hot that it was when I first heard the funktastic Janelle Monae, and her band, this past summer at Bonnaroo Music and Arts Festival.

I stood near the Other Tent waiting for Janelle Monae, some artist I had never heard of before, to come on stage. At this point I was already sweaty, as I felt the sun baking my shoulders, and my head beginning to feel moist underneath my straw sun hat. I could feel the humidity of the threatening grey rain clouds as my hair went from wavy to seriously curly in no time. The one person I came with had already left me for the photo pit, so I began my basically lone weekend at Bonnaroo, trying to be discreet about my sour attitude, but unable to even fake a smile.

As I looked around I was feeling unusually negative to be at one of the biggest music festivals in the country. Sure, I was there on the job, and I wasn’t there with a pose’ of friends, geared up for a wild weekend of mind altering experiences, heavy partying, and subconscious experiences, but looking back, I was being unreasonably negative.

As I saw it, I was treading water in a sea of eager, sweaty strangers, all uncomfortably close to me, pushing their sweaty, hairy bodies forward and  into me in the anticipation of the music to come. I felt jaded. This was my fifth Bonnaroo, fourth time covering it, and the summer before the photographer and I had travelled all across the country looking for the ultimate festival experience. “Had I really exposed myself to too much of a good thing? Had I really robbed myself from feeling festival euphoria every again?” … I was really starting to feel sorry for myself at this point. I was  unimpressed and uninspired.

Finally, three people entered the stage; all wearing black pants, white dress shirts, bow ties, cumber buns, and saddle Oxfords. The crowd began to roar, everyone screaming and all smiles. As I heard Janelle Monae and the band begin to play, my heart began beating faster. That familiar feeling of butterflies and star-dust kicked in. The music, vibrations, and energy took hold of me, as the boom of the audience grew louder, and the anticipation in the air exploded….Janelle considers Big Boi and Andre from OutKast as her music mentors, and the OutKast influence in her music is funktastically undeniable….I immediately fell in love with her sound. 

After the show I awkwardly hovered around the platform for a couple minutes and waited my turn to try and talk to the band. I told Janelle and the band how much they rocked my socks off. Janelle touched her heart, and genuinely smiled from ear to ear.  She pulled me in and gave me  a huge hug, then someone snapped our picture.

If you get a chance to see Janelle Monae do not pass it up, no matter how cold or hot you are. Trust me, you will thank me later…. xoxo

We’ve been slacking a little on the news front lately, sorry. It’ll all be worth it when the new website is finally finished. To start things off, here’s a wee roundup of some recently announced collaborations that we can look forward to later in the year…

Neko Case and Shelby Lynne contribute guest vocals to Peter Wolf’s upcoming seventh solo album, Midnight Souvenirs, out in April. It will be the J Geils Band frontman’s first release in eight years and also features country music legend Merle Haggard.

Not to be outdone, Neko’s sometime backing singers Kelly Hogan and Nora O’Connor will provide support for soul and gospel icon Mavis Staples on her upcoming, as yet untitled album, produced by Wilco’s Jeff Tweedy. The album is currently being worked on at Tweedy’s studio in Chicago and should be out on Anti- Records later this year. Staples has been on a roll lately with 2007’s incredibly powerful We’ll Never Turn Back (one of our albums of the decade) and last year’s live album Hope At The Hideout, so this should be something pretty stellar.

* * *

Now we’ve mentioned Mavis, it leads us nicely onto MAVIS, a new project from Ashley Beedle and Darren Morris inspired by the legendary singer, both her solo work and her time with The Staple Singers. The eponymous album, out February 8, features a fantastic selection of wonderful women, including Cerys Matthews, Candi Staton, Saint Etienne’s Sarah Cracknell and Dear Reader’s Cherilyn MacNeil, plus relative newcomers Danielle Moore (of Crazy P) and Icelandic vocalist Disa. Other guest vocalists include Lambchop’s Kurt Wagner, Ed Harcourt, Chris Coco and Edwyn Collins. A launch party for the album takes place at the Luminaire in London on February 18, with Sarah Cracknell, Chris Coco and Ed Harcourt in attendance. Tickets are available here. Explore the MAVIS microsite here.

* * *

In other musical legend news, Rock ‘n’ Roll Hall of Famer Wanda Jackson is working with Jack White on a new album, the follow-up to 2006’s Presley covers collection, I Remember Elvis. While details of the album remain sketchy for now, White’s Third Man Records will release two new Jackson recordings – covers of Amy Winehouse’s ‘You Know I’m No Good’ and Johnny Kidd & The Pirates’ ‘Shakin’ All Over’ – via its subscription service (here) and through iTunes on January 26. Wanda returns to the UK in April with a show at the Luminaire (again), where she’ll be supported by Irish rockabilly upstart Imelda May. They’ll each play a set of their own before joining each other on stage for a very special collaborative set. Tickets are £22.50 plus booking fee from here or here.

* * *

Solange Knowles and Janelle Monáe have been in the studio with Of Montreal, as frontman Kevin Barnes recently revealed in an interview with Stereogum. The band’s new album currently has the working titles of False Priest or The Controller Sphere.

* * *

Jessica Larrabee of She Keeps Bees joins ex-RGBs frontwoman Becky Jones (aka Saint Saviour) on the new Groove Armada album, Black Light, due in February. Other guests include Will Young and Bryan Ferry.

* * *

Rose Melberg, Mirah and Dear Nora’s Katy Davidson are among the guest vocalists appearing on the debut album from Gigi, the retro-pop styled side project from No Kids frontman Nick Krgovich. Others lending their voices include Karl Blau and Owen Pallett.

* * *

Alan Pedder

In November, a track from the new John Mayer album, Battle Studios,  featured none other than little-miss-everywhere Taylor Swift. This combination struck me as a bit odd, but then I found out that apparently, Mayer joined Swift onstage at a show back in May at the Staples Center in LA to sing “Your Body is a Wonderland.” Kind of creepy… considering Mayer was 31 at the time to Swift’s 19.

And I thought Mayer was trying to shed his good boy image with that sleeve…

Right.

Then apparently Of Montreal is slated to collaborate with Janelle Monae and Solange Knowles (1). Let’s have bizarre celebrations.

Solange Knowles

Of Montreal

hmmm… 2010, you are already shaping up to be a weird one. It kind of reminds me of all that collaborative work last year with The Hazards of Love… except that a project with The Decemberists, My Brightest Diamond’s Shara Worden and Lavendar Diamond’s Becky Stark suddenly seems to be predictable and safe.

–

(1) Yes, the little sister of Beyoncé. To make matters more… uh… interesting, Beyoncé told the Guardian: “My sister [Solange] has put me on to bands like of Montreal. I would love to do something like that on my next album.”

The Gladwell-reading, Metropolis-watching, stylish Hotlantan Janelle Monae is putting stereotypes on blast.

Spin Magazine, March 2009

Neko Case, striking chords and melting hearts; image courtesy of merryswankster.com

I love lists. At the end of every year, I dutifully check in with my AV Clubs and my Pitchforks and my NPRs and my Dusteds and whatever other publications appeal to politically liberal youngish people trying to keep up.  

There’s a special place in my heart for music lists. Back in my college radio days, we used to devote hours (some of them on air) to dissecting the year-end best-of lists. Having served posts at office jobs that require a considerable amount of editing and fact-checking, and thus allow for some quality headphones time, these sorts of lists now serve as a discursive mix tape that I can alternately love, hate, or dismiss.   

Yet, I tend not to make lists. It isn’t a matter of feeling like my opinions aren’t valuable. It’s a resistance to canon formation. I question whether the list itself is a useful tool with which to measure history. There’s something so arbitrary about ranking, so temporal about certain offerings, and so glass-cased final about the results. It seems to render the chosen cultural moments accidental, temperamental, and airless. And often the items deemed worthy on these lists have nothing to do with me or anyone else who isn’t a straight white adult male.   

To me, the only use a list has is to argue about it with a group of friends over beer, make another list to counter someone else’s (whether it be drafted by a friend or a respectable publication), or scrawl all over the margins of the pre-existing document. Otherwise, the proceedings seem deceptive and unsatisfying to me. And even though I like to wrestle with lists, I don’t really need proof that good things came out each year. Good movies, TV shows, books, and especially music get made every year.  

That said, I do believe in favorites. While favorites can shift with time and gathered experience, I’m a big believer in selecting a defining text that encompasses the year. I don’t remember if I originally thought Pedro Almodóvar’s Volver was my favorite movie of 2006, though I know I loved it. When I think about it now though, I remember calling my mother immediately after the screening I attended because the thought of living in the same house as a grown woman with your mother who might be a ghost was too profound an idea not to relate to her.  

I remember how TV on the Radio’s Dear Science captured the hope of change promised by the potential election of Barack Obama, especially in the wake of a demoralizing Bush administration that the band gestured toward in previous, more emotionally turbulent albums.  

So what of this year? Well, my choice for album of the year picked me. 

Cover for Middle Cyclone (Anti- , 2009); image courtesy of pastemagazine.com

 Before getting into why I picked the album I did, which I established as my #1 way back in March despite keeping fantastic company with offerings from Bill Callahan, Animal Collective, Dirty Projectors, P.O.S., Fashawn, Micachu & The Shapes, Thao and the Get Down Stay Down, St. Vincent, Bat for Lashes, Speech Debelle, Grizzly Bear, Themselves, Memory Tapes, Janelle Monáe, Phoenix, Taken By Trees, Nite Jewel, Destroyer, Julianna Barwick, Fever Ray, The Noisettes, Atlas Sound, Vivian Girls, Gossip, Best Coast, Dan Deacon, Brother Ali, and so many others, I’d like to be candid for a moment. When I think about this year, I think about how I tried to make it a good one. I believe I was successful and I know I have many people to thank for that. But it was definitely a growing year, and usually not in the certain, considerable, triumphant ways that “growth” often suggests itself as a word.  

I started this blog at the end of April. While I made a New Year’s resolution to do it, I created it out of a need to control my feelings about a professional setback that rendered itself more heart-breaking than I thought it would when the decisions were finally handed down. Throughout this year, I’ve often (re: daily) reflected upon my future and who I want to be, worried not so much that I lack the ability to progress toward a career I really want and think I’d be great at, but that I’ll never get the chance to develop and move forward. That’s some heavy shit. It doesn’t translate well into party-time chit-chat either, especially when some of your friends are already on the path you’d like to be on someday.  

As a result, I tried to broaden my focus and interests. I tried to get some related things accomplished and made some progress. But I also got comfy and more involved with my current job, read more books, saw more movies, heard more music, hung out with my friends, had quiet nights at home with my partner and our cat, got involved with Girls Rock Camp Austin, co-taught some rad music history workshops, paid off my loan, and threw myself into this blog with abandon. Admittedly, it’d be nice to get paid to put this site together, as I could easily be happy making a career out of it. But it’s been so fun and rewarding to write up these posts and have smart, sensitive people follow along and participate. I’ll gladly pay the money to keep the domain name.  

But none of this fucking matters when a tornado is ripping up your house or a killer whale is eating your lungs. And with that, let’s get into Neko Case’s Middle Cyclone.  

So, the second time I heard this album, I knew it was the one to beat. And before people cry “safe choice!” or “bias!” I’ll point out that Animal Collective secured many publications’ top spot with a crossover hit back in January. And then I’ll add that Middle Cyclone, much like Merriweather Post Pavilion (and Dear Science before it and Kala before it) distilled the musician’s artistic growth. In this particular case (no pun intended), she honed her considerable writing ability, developed her Gothic noir musical tendencies, piled on catchy melodies and haunting harmonies, and showcased a maturing, perfect alto. The issue of vocal range is one of great importance to me, as it means I can sing along with her. We had some good sessions in my car.  

It was also the long-awaited follow-up to Fox Confessor Brings the Flood, which continued but further shaded the cinematic work the singer had done with Blacklisted. Fox Confessor was a cycle of post-apocolyptic fairy tales about car accident victims, army widows, and fingerless cannery workers.  

As is evident in much of her earlier and subsequent work, animals show up. Sparrows, lions, and foxes make often allegorical appearances, though her gendered connection to nature would take a more literal, weirder turn when she decided to record crickets chirping for Middle Cyclone’s final 30 minutes. Sometimes cover songs get re-interpreted, as on the spiritual “John Saw That Number” and Sparks’ “Never Turn Your Back on Mother Earth” and Harry Nilsson’s “Don’t Forget Me” on her follow-up.   

Sometimes Case would show up too, most noticeably on “Hold On, Hold On.”   

But Case is all over Middle Cyclone. Whether she’s singing about a love-lorn tornado or a biker’s wife or a convict or an owl, she’s singing from their perspective rather than narrating their lives. She’s also often singing as herself, revealing who that might be with lines about being the dangling ceiling of a caved-in roof or threatening to punch a lover in the face if the word “forever” is uttered in “The Next Time You Say Forever.” I also love her assertion that “heaven will smell like the airport” but that we shouldn’t worry about whether we get proof of it is fair in “I’m An Animal.” However, her candor on the title track moves me the most.  

Through the liner notes, we even got more of a sense of who she is. Her deprecating sense of humor is evident, as is her confident sense of artistic ownership and her craftiness with collage art and découpage glue. As this was the year Austin City Limits released their cookbook, I can’t wait to try out her recipe for houndstooth chocolate chip cookies. And let’s not forget how many pianos she needed to make this album. She may be a goddess, but she’s also a kooky lady.   

This goddess and kooky lady are evident as one on the album’s bad-ass cover. While it’s Neko on the hood of a car, the image is far from Vargas girl cheesecake. This one is barefoot and holding a sword, but she’s also 38 (now 39) and pretending to be an eight-year-old boy.  

In sum, Middle Cyclone was a defining and distinctly female work that came about from age, experience, a clear sense of self, some hard knocks, and even more defiance to overcome them. It was exactly the album I needed to hear this year, often and at full volume.

The Ark Android is Janelle Monáe’s “self-realization album.” Monáe’s previous concept album, Metropolis: The Chase Suite, introduced the world to futuristic android Cindi Mayweather. The Ark Android acts as the second and third suites of the story, where Mayweather realizes her super powers and discovers that she is the Ark Android, a figure that will ultimately lead the androids to freedom. Monáe uses this story as a parallel to modern-day communities and individuals who take a stand and challenge issues.

I loved Jane before she strictly wore black and white. Boy, do I love her music. Pure art. Cant wait for the Ark Android and to follow Cindi Mayweather on her journey. Too bad its being released alllll the way in December of 2010. I hope she shows us some sympathy and pushes that up a bit.

Hey peeps

Bin listenin to some Ms Monae and found this video from last year..thought it was cute and christmassy and felt like sharing it

Proton – Good Guys

Proton is a group out of Atlanta that I’ve been diggin for a little while now.  I first discovered them back in 2007 when I downloaded the track above, Good Guys.  Their Red & Purple Vol. 1 mixtape is pretty dope too.  They’ve done tracks with artists like Janelle Monae and Santigold, so if you’re on that kinda wavelength, you’ll like Proton.

Check this quick article in The Fader about Proton from 2008.

Another video after the jump.

Proton – Fade Away