Foram eleitas a melhores músicas da década, e sinceramente esperava mais…

Eis a lista

1. Beyoncé – “Crazy in love”  – como diria o kanye west: “Single Ladies é a melhor música da década”
2. MGMT – “Time to pretend”
3. The Strokes – “Hard to explain”  – existem músicas deles que são melhores – Reptilia, Someday, Electricityscape…
4. MIA – “Paper planes”  – também existem música melhores dela – Pull up the people, 10 dollar, bucky done gun
5. Outkast – “Hey ya!”  – ainda lembro do estardalhaço com essa música, mas depois de eles deram uma bela sumida
6. The Rapture – “House of jealous lovers’
7. Klaxons – “Golden skans”
8. Blur – “Out of time”
9. Arcade Fire – “Rebellion (lies)”
10. Arctic Monkeys – “A certain romance”
11. The Libertines – “Can’t stand me now”
12. The Streets – “Dry your eyes”
13. The Walkmen – “The rat”
14. The White Stripes – “Seven nation army”
15. Yeah Yeah Yeahs – “Bang”
16. Rihanna – “Umbrella”
17. Yeah Yeah Yeahs – “Maps”
18. Outkast – “Ms Jackson”
19. Radiohead – “Reckoner”
20. Hot Chip – “Over and over”

Sobre o resto, não comentarei muito… A lista foi produzida pelo seminário inglês “NME”, o que esclarece o motivo de não haver outro tipo de música, ao não ser aquela relacionada com o idioma inglês… e também a maioria dos músicos serem ingleses…quero um dia poder ver uma lista que também envolva músicas com outros idiomas, existem músicas muito boas por aí e que não são cantadas em inglês.

. 

Blueprint Events and Red Bull Present:

Artist: Steve Aoki with My Gay Husband! and Expendable Youth

Date: December 20th, 2009

Venue: Rickshaw Theater

Tickets available here.

**All ages show

Although it seems like its been over a year since hearing anything from Steve Aoki, doesn’t mean he hasn’t been busy. Producer, DJ, runs a record company and owns a restaurant, if anyone has a full plate its Steve Aoki. Other than a couple remixes he hasn’t released anything lately, but apparently he has finished a remix of Dr. Drake’s “Forever” which features Kanye West, Lil Wayne, Drake and Eminem. Could this mean that those of us lucky enough to get tickets to this show will get an early listen… who knows…. Even if we don’t, this guy knows how to rock a party. Having remixed everyone from Micheal Jackson (I know who hasn’t) to Lenny Kravitz to Duran Duran to Weezer, he has been around the block. Not to mention his label Dim Mak Records releasing music by MSTRKRFT, The Bloody Beetroots, Klaxons, Scanners, Whitey ,Mystery Jets and Mustard Pimp. This guy is a heavy hitter on the party scene and should not be missed.

Also unless you have been living under a rock you have probably had the pleasure of witnessing My Gay Husband! spinning his records all over this city. I think he says it best on his myspace page when he’s described as “the best house party you have ever been too where the cops don’t come and the booze+smokes don’t run out.” If Steve Aoki wasn’t enough add My Gay Husband! and the Rickshaw Theater and you’ve got a mix even better than the one’s bellow…

Posted By: Tyler Swan

A década está acabando e não param de surgir listas das melhores coisas destes últimos 10 anos, essa história já ta ficando um pouco chata. Mas a lista da vez é bem legal, novamente a revista britânica NME fez a votação, desta vez para escolha das 100 melhores músicas da década. Legal foi que os brasileiros do Cansei de Ser Sexy entraram na posição 91 da lista, com a música Let’s Make Love And Listen To Death From Above. Ta certo que eu gostaria que algo mais Rock ficasse em primeiro lugar, mas não da pra negar que a Beyonce tocou muito nesses últimos anos e arrebatou uma porrada de prêmios, não faz a minha cabeça, mas a mina é foda. De qualquer forma, tem MUITA coisa boa na lista, escute TODAS!

Veja aqui o Top 10:

1 – Beyonce - Crazy In Love (2003)

2 – MGMT - Time To Pretend (2008)

3 – The Strokes - Hard To Explain (2001)

4 – MIA - Paper Planes (2008)

5 – Outkast - Hey Ya! (2003)

6 – The Rapture - House Of Jealous Lovers (2002)

7 – Klaxons - Golden Skans (2007)

8 – Blur - Out Of Time (2003)

9 – Arcade Fire - Rebellion (Lies) (2005)

10 – Arctic Monkeys - A Certain Romance (2006)

E a lista completa no link: http://www.nme.com/list/100-tracks-of-the-decade/158050/

Téléchargez moi [Plantes vertes.Mp3]

1. FletWood Mac / Keep on Going [Cosmo Vitelli Edit] – 1973

Aaaahhh, la grande époque du poil de couille sur les joues, de la chemise tergal ouverte sur un torse pubère, de la sardine blanche, du maquillage a la truelle (ou au pistolet à pression je ne sais pas). Moi non plus je n’avais pas écouté FM jusqu’à ce dépoussiérage.

2. De La Soul / Transmitting Live From Mars – 1989

Bah oui. C’est un morceau sur un disque. C’est pas la pendule de Nova qui t’indique de bouffer ton steak.

3. Jurassic 5 / Quality Control – 2000

Au départ, je me suis dit que j’allais faire un mix de Hip Hop fin 80 puisque je n’y connais rien. C’est un des morceaux qui reste. Certes, il date de 2000 mais ça prouve que j’ai bien travaillé.Bon, Jurassic 5 c’est aussi un groupe où trainait Cut Chemist aux platines (les “scritch”-”scritch” derrière c’est lui). J’ai idolâtré ce mec : on peut faire de la musique sans jouer un “Do” ou un “Si”.

4. “La culture c’est…”

Vas y appuie sur ton buzz et compte les points. Si tu fais au moins 5 points, tu gagnes un Week end à Poitiers (enfin pas loin), chambre avec vue sur Nationale.

5. Visage / Fade to grey – 1980

Oué, parfaitement c’est le groupe du bassiste de Nick Cave & the Bad Seeds… Inventeurs / précurseurs d’un genre (“les nouveaux romantiques”), c’était le moyen pour le chanteur de se faire de la pub, pas de faire de la musique.Avant l’idée du mix Hip Hop, j’avais l’envie de faire les “tubes de la Shame” (ceux qu’on écoute caché…). Bon Bah Visage, ça tue quand même. En l’écoutant dans la rue, j’ai eu peur d’être pris pour un ours : tous les poils que je n’ai pas étaient dressés en l’écoutant.Et en même temps, c’est de la musique de soucoupe volante qui se serait perdue chez Michel Drucker.

6. Film de cow boys

7. The XX / Crystalised – 2009

Le grand retour des accords à la basse, du minimalisme, et des sanglots longs monotone. Ca sent Cure / Pixies / Young Marble Giant. Ce disque présente un immense avantage : vous ne pouvez pas l’écouter en entier d’une seule traite. Pourtant chaque track est un petit bijou.C’est un peu Comme se trouver face à 12 kilos de Valrhona. Enfin… au moins 300 grammes.

8. Cold War Kids / Red Wine, Success ! – 2006

Premièrement “Robbers & Cowards” est un des meilleurs premiers disques Ever. Chaque morceau vous emmène à droite ou en haut, assis ou sous la mer.Par exemple ce petit bijou, bien propre au début finissant en quelque secondes, démembré, désarticulé, faux… comme une bonne biture.

9. Suicide / Dream Baby Dream – 1980

Avec Ludo, j’ai vu Alan Vega en concert, finalement on a discuté avec un type avant de partir 10 minutes après le début.Ce qui est vachement rock & Roll puisque généralement Alan Vega a une overdose durant le premier quart d’heure.

10. Fais ta mélodie avec 2 notes sur ton Bontempi

Vivement l’hiver et ses tartiflettes.

11. Klaxons / Its not over yet (Brodinski edit) – 2009

Klaxons avaient réhabilité le yogging vert qui brille il y a 3 ans. Brodinski, le DJ rémois mondialement over known rend tout ca bien mélancolique et par les temps qui court ca me va bien la mélancolie.

12. Phoenix / Rome – 2009

LE groupe français qui remplit Central Park, So cute – So Hype. Quoi ! Vous connaissez pas ? Pas de monde 2, de supplément Libé du Week end chez vous ? Quoi Vous n’êtes pas fan de Sofia Coppola (tiens mon T9 me propose ‘Chipolata’) ?C’est chanté comme un monologue intérieur. Moi ca me va bien comme truc mélancolique.Tiens, Il a la voix de David Byrne. Donc années 80.

13. Coming Soon / Walking – 2009

Le disque est sorti le 7 septembre, c’est pour vous dire à quel point c’est pointu ici.Voilà un vrai groupe FRANCAIS, produit avec peu de sous (21 titres en 12 jours / 15 sur le disque). Le batteur a 15 ans, le chanteur 26 et porte un chapeau de cow-boy. Je dis ça, si jamais vous les croisiez sur la route. Ca sent le putain de bon groupe qui restera dans l’anonymat. Tiens, il a la voix de Tom Verlaine.

14. Girls in Hawaï / Organeum – 2003

Fume c’est du belge. Je pense que ca pourrait très facilement faire une pub pour un gros pollueur genre TOTAL, Areva ou je ne sais.

It’s always strange the way I feel

When I’m looking back on things

We’ve been lucky maybe who knows

Or have we just made some good choices

It’s around this time each year that journalists, bloggers and any one else similarly obsessed with letting everyone know their bloody opinions get rather excited.

This has nothing to do with the imminent gifts or feasts of meat and alcohol that xmas inevitably brings.

No, this time of year means one thing for these people. Lists.

Yes, they have already started flooding in. Furthermore, this year, while not quite as salivatingly-big an opportunity as the Millennium, we have the prospect of a ‘greatest album of the decade’-a-thon!

The NME has this week been the most prolific perpetrator of this culture with their 100 Greatest Albums of the Decade.

On first inspection, and considering the usual standards of the aforementioned publication, their list seems surprisingly good. The Strokes don’t seem a bad shout for number one seeing as whatever is chosen will make people who believe too much in their own opinions cry. The album also sounds fairly relevant nine years on.

The inclusion of the obligatory Radiohead, Interpol and The Holdsteady also tick the seemingly ‘given’ boxes needed to appease their blinkered readership. And although I wouldn’t argue with any of these, how they figure In Rainbows is better than Kid A is bewildering. Even for the NME.

Arcade Fire’s Funeral and Relationship of Command by At the Drive In are nice surprises, as are The Rapture, Bright Eyes and The Walkmen. All excellent albums.

But, and this is rather large interjection, when you look at the detritus filling out the other spaces on the list, and think about it for marginally more time than it takes to flick through the New Musical Express’ fickle pages, the list loses rather a lot of credibility.

I know this debate is essentially down to taste so I wont deride choices such as Green Day’s American Idiot or Klaxons’ Myths of the Near Future; no one is forcing us to read this. However, I feel the list is characterised by its frankly puzzling omissions: worthy albums; albums which I would expect the NME to include.

Where was Phoenix’s amazing Wolfgang Amadeus Phoenix? Where was Burial’s Untrue? Where the bloody hell was Madvillainy?!

These are not the esoteric choices of a bitter music snob. These are merely the most surprising and obvious absentees from an NME list. Is Kasabian’s Empire a not better — if not, more obvious — choice than the detestable and shallow ‘band’ Hard Fi?

Are the NME being purposefully pugnacious by not including anything by Daft Punk? How can one recognise Bright Eyes and Sujan Steves yet ignore Iron and Wine?

My point is to ask if NME are taking the piss or if they really are as inept as we have long suspected?

Lists are controversial; that’s why they are published. But to show that when making a list there’s no need to be so firmly camped inside a bubble of shit, here are some far more considered alternatives.

Paste Magazine’s top 50 albums of the decade.

and

Pitchfork’s 20 greatest albums of the ’00s.

Opinions etc?

EDIT: No, I did not sleep with him.

Con: He definitely just wanted to get in my pants.

Pro: I only wasted a handful of days on him.

Con: I feel like shit about it. And no one I’ve tried talking to about it understands why*. It’s all lectures and ‘everyone does it’ and ‘I completely understand, but….’ No, you very clearly do not understand. And there isn’t a ‘but.’

Pro: Hot Chip and The Klaxons are right there with me.

Con: Random keys on the right side of my ‘board have stopped working. No more plusses, equals signs, left-side brackets or up or down arrow key-using for me.

Pro: I bought an 8-inch, pink, sparkly Christmas tree today. Guess whose work cube is gettin’ some Christmas spunk à demain?

Peace out, The Hipster/The Clerk/Schnuckums/Dream Boat/Mike/Michael/Mikey/wtf else were we calling him?

*’You are not a beautiful and unique snowflake. You are the same decaying organic matter as everyone else, and we are all part of the same compost pile.’
Chuck Palahniuk | Fight Club

I very much need this to be true. Sometimes I don’t want to be a snowflake. I just want to be the same decaying organic matter as everyone else.

My knowledge of this particular remixer consisted of his amazing remix of Franz Ferdinand’s Do You Want To and that he did that thing with Boys Noize (which was also pretty damn amazing). After researching (scourged for all his remixes and wikipedia’d the man), I discovered a couple of interesting things about this guy; he makes some crazy good, headbanging electronic remixes of indie artists (Bloc Party, Klaxons, Interpol and more) and produced the Late of the Pier record. For the second feat alone, I applaud him, it is quite a marvelous record. But that’s not why we are here, his remix of Death From Above is fantastic. Their aren’t words which can give this remix justice, but it’s basically just chopped up heavy, funky bass lines with some great build-ups.

Romantic Rights (Erol Akan’s Love From Below Re-Edit) – Death From Above 1979

Bonus: Waves – Erol Alkan & Boys Noize

official, myspace, beatport, podcast

September 7th, 2009

The dust has settled and this morning our adventurous jaunt to Ireland’s premier festival, Electric Picnic, is sinking in.

We were to play in the area known as the Mindfield . As a more intelluctual (some might say pretentious) side of the festival, it was peppered with a theatre tent offering abridged Shakespeare and comedy; a spoken word / poetry tent (which I had vacate almost immediately because I didn’t want to piss myself laughing at some ‘oul one reading some god awful verse with about as much enthusiasm as a corpse) and our own Leviathan tent – hosting “Political Cabaret”.

…..

Yeah, I know. That’s what I thought.

Anyway it was actually quite entertaining – economists battled politician battling socialist battling every fucking irate / drunken punter going.

Lots of swearing and accusations, but that’s pretty much how Irish people have been handling the recession anyway.

So business as usual except with microphones.

We had picked up Danny our manager (legend) from Dublin airport around 1ish and got to the festival site  around 3ish.

We discovered we were way too early-ish.

We were scheduled to go on at 6.15, so we gave ourselves a little bit of time to wander into a couple of the larger tents and caught a great set by Dublin band Jape and then Billy Bragg giving the crowd shit (quite rightly) over the Lisbon vote; to which, oddly, some people whooped and applauded to.

Trying to be as professionally punctual as possible (try saying that drunk), we trudged over to the Leviathan tent. Here we discovered the debate was still raging on.

And on.

And on.

And on.

Once the shouting had died down and the drunken, fist waving polemists had finally admitted that they were way too hammered to remember their original point (s) – it was game time.

And what a game.

Aided by a great sound (thanks Evin) and some enthused dancing, we pretty much played our best show ever.

Odd seeing that written down, but it’s true.

Crowd was fantastic – like a sea of Bez’s – and anyone who stuck a curious head in, not only stayed but joined in.

Yeah, that qualifies it, alright.

Pulling that off in a periphery tent whilst Bat For Lashes, Klaxons and fucking Brian Wilson were kicking off, is pretty damn impressive (editor’s note : Bat For Lashes never showed up, Klaxons are shit and Brian Wilson just smiled and drooled, apparently).

Smiles all round and we swiftly made our way back to Doug’s motor to get Danny back for his red eye flight on Sunday morning (the trip back was a little less swift than planned after a nearly fruitless attempt to find an open petrol station in the wilds of  County Laois. However, thanks, to Chris’ GPS on his Blackberry it was a lot swifter than it could have been).

The next day we were untethered from our manager and decided to travel a little later as to avoid the hanging around. We didn’t count on the All Ireland Hurling Final providing a 2 kilometer tail- back on the motorway, but as before, things were running late and we had loads of time to spare.

We arrived to catch the end of a lecture / presentation by legendary rock and roll photographer Bob Gruen. Bob’s been in the business 40 years and it was pretty amazing seeing his snaps of everyone from the Sex Pistols, The Clash, Dylan, Springsteen to Bon Jovi (!) and Green Day.

Showtime was upon us again but, due to my ever present genius, I had forgotten my bag of leads and pedals, as well as Niall and mine’s guitar straps. Leads were found and Niall myself looked quite punk rock as we improvised by using duct tape to fashion straps for ourselves.

We knew we probably couldn’t top the previous night and were a little nervous when we saw that the tent filled out and we only had about a dozen people in front of us. The main stage was in full final night swing and we had lost a lot of people due to our unintentional later stage time.

In a testament to the band’s attitude we played our asses off and, thanks in no small part to Niall’s talent at audience interaction, we managed to end up with the tent, at the very least, three quaters full.

We felt like winners again and after a barnstorming encore we ended up with the crowd on their feet and bopping away.

After loading the gear into our van, we then legged it back to Doug’s car once more to gleefully return to Dublin for some much deserved rest.

All in all a triumphant weekend.

Back to work in the studio this week - but not without the small matter of going to see Fleet Foxes tonight…!

See y’all soon!

Disko

X

Soundtrack : Smokestack Lightning – Howlin’ Wolf

“Space and The Woods” by Late of the Pier

My buddy, my pal, Josh (aka ShomerfuckingShabbos), brought both Late of the Pier and Klaxons into my life by suggesting them to Sassy O’Malley, my brother, as seen over there to the left with his Twitter feed (he will be a contributor soon enough). I can’t thank him enough for this.

These two bands showed me there is much to be appreciated in dirty, spastic, synth-y rock. They’ve both been referred to as “nu rave” or “nu wave,” but anybody who feels the need to call them that can screw off, largely due to the association with whoever coined “nu metal” for what became the end of popular radio as an even remotely respectable medium. It’s gotten to the point where new bands that I love cannot be defined easily. Rather than saying, “Oh, they’re part of that whole new-new wave thing,” most respectable music aficionados that I know simply try to ballpark it with a couple of somewhat related bands and an adjective or two.

Klaxons, for example, was introduced to me by my brother simply saying, “Trust me. You’re going to like this. It’s totally your thing.” He was completely right, but more importantly, I know why he didn’t throw any band names my way to prepare me. It’s because they have a truly unique sound. There were no obvious musical reference points, and it didn’t fit neatly into a specific genre.

“As Above, So Below” by Klaxons

Do we need to make up a new genre for this music? I think the last useful new genre name I heard was “post-rock,” and that’s partly because it is so broad. These bands like Godspeed You! Black Emperor and Sigur Rós were using rock and orchestral instruments to make music that clearly did not have the same intention as any traditional rock song. Even as such, post-rock as a genre term is useful but not necessary, and it’s broadness saves it from insulting the huge variety of bands that are included in it.

I think trying to make up a genre for a modern-day band heavily influenced by new wave by calling them “nu wave” is incredibly simple, especially considering the branding of “new wave” bands in the 80s is similar to post-rock in that it describes what it isn’t rather than what it is. There just isn’t a good reason that I can see for making up new genre names, especially those that simply mix or reference the names of other long-established genres.

Now is the time to quit with the genre excess and simply do what comes naturally: use adjectives and give points of musical reference. More importantly, for all of these modern bands soaking in seventy years of modern musical influence, neither of these descriptors attempts to define the band or song or composer. It’s more to spark interest and excitement in the listener for the new, undefinable experience they’re about to go through.

Better yet, do what my brother did: say “trust me” and hit play.

Október 26-án jelent meg az MR2 Petőfi Rádió első nemzetközi válogatáslemeze ‘Egy kis külföldi’ címmel. Az albumon a Petőfi Rádió legtöbbet játszott és legnépszerűbb külföldi dalai hallhatók. A korongon helyet kapott többek között az angol elektropop duó La Roux (Bulletproof), a fiatal angol énekesnő-dalszövegíró és táncos Pixie Lott (Mama Do), angol indie rockot játszó együttesek közül a Kaiser Chiefs (Good Days, Bad Days), és akiket élőben is láthattunk az idei Sziget fesztiválon: a Klaxons (It’s Not Over Yet) és a White Lies (To Loose My Life), a szintén angol Noisettes (Never Forget You), valamint az ausztrál énekesnő Gabriella Cilmi (Sweet About Me) – aki idén nyáron fellépett a Szegedi Ifjúsági Napokon – is. Az albumon az alábbi számok találhatók:

1. La Roux – Bulletproof
2. V V Brown – Shark In The Water
3. Swayze – Corona & Lime
4. Mando Diao – Dance With Somebody
5. Ladyhawke – Back of the Van
6. Asher Roth – I Love College
7. Pixie Lott – Mama Do
8. Noisettes – Never Forget You
9. Kaiser Chiefs – Good Days, Bad Days
10. Klaxons – It’s Not Over Yet
11. White Lies – Lose My Life
12. Gabriella Cilmi – Sweet About Me
13. David Jordan – Sun Goes Down
14. Yeah Yeah Yeahs – Zero
15. Keane – Perfect Symmetry/The Lovers Are Losing
16. Flobots – Handlebars

Recomendacion no te aburriras con este remix



El sitio del sello Matador lo confirma: Pavement se reúne en el 2010 y habrá una gira por Estados Unidos. La alineación completa: Mark Ibold, Scott ‘Spiral Stairs’ Kannberg, Stephen Malkmus, Bob Nastanovich y Steve West. El primer (y único  concierto anunciado hasta el momento) se llevará a cabo el  21 de septiembre, del 2010, en el Rumsey Playfield (en Central Park), de Nueva York. Pronto tendremos más información y las fechas del resto de la gira.

Si no los llegaron a conocer, y por lo tanto no comprendan lo que significa esto, les dejo un par de videitos a ver si empiezan a agarrarles el gusto

El nombre lo han tomado de un marsupial australiano. Son The Wombats, un trio de pop de guitarras formado en Liverpool por tres estudiantes de la LIPA, la escuela de arte fundada por Paul McCartney en su ciudad natal. Los miembros de la formación son Matthew Murphy (voz y guitarra), Dan Haggis (voz y batería) y el noruego Tord Overland-Knudsen (bajo y voz).

Let’s Dance To Joy Division fue el primer éxito de su álbum debut Proudly Present…A Guide To Love, Loss & Desperation (Noviembre 07) seguido por Moving to New York y Backfire at the Disco, este último producido por Jimmy Robertson (Klaxons).

A simple vista no son mas que otra banda indie, pero esta tiene algo

the wombats

diferente,

tomaron sus intrumentos y empezaron a

divertirse, eso se nota en cada una de sus canciones, no tienen la presion de hacer grandes exitos, de estar en la radio, de ser famosos, ellos, simplemente aprendieron a tocar lo que les gusta, sin importar si a los demas les agrade, esa es la

actitud, en estos tiempos, a los seudogrupos, solo les importa vender vender vender, para ellos de eso trata esto, de ser famosos, de tener fans, de llenar estadios,sin importar la calidad de las canciones,  a THE WOMBATS se ve que no les interesa, que ellos ya hicieron lo que querian y el exito obtenido, es solo un bonus, ojala y asi fueran todas las proximas bandas, que su objetivo fuera hacer buenas canciones sin importar el exito que se valla a obtener

After causing a stir in London, touring and recording with the likes of Crystal Castles and The Klaxons, winning NME’s best newcomer award and appearing at Glastonbury The Big Pink have finally released an Album.

The Big Pink are an Electro Rock/Folk duo hailing from London, they are comprised of Robbie Furze and Milo Cordell, lifelong friends who had previously released records for bands such as Crystal Castles and Titus Andronicus on their own record labels before signing to 4AD in February 2009. Their fourth single Dominoes and their first album A Brief History of Love was released in September this year.

The Big Pink are named after an album by The Band but upon listening to them for the first time you may think that is where the influence ends. The droning deep sounds and sharp tightened beats are more reminiscent of the Black Rebel Motorcycle Club or some tortured soul dragged from the gutters of 90’s Manchester and raised on a diet of Pins and Placebo than of 70’s country. But listen more closely and perhaps you can hear the folk melodies fighting for position amongst the phasing electronica. This is certainly not the only reference to past masters the band have made an effort to make; they have covered both Cocaine by Cream and Love Song by The Cure in the past couple of years.

The Big Pink are creating a certain amount of hype around them at them moment but this seems to be as much to do with the company they keep as it does with their music. I expect this band will end up in a pitched battle with their style fighting their content. Their first single from the album,  Dominoes, has certainly given content a good beating, a poor attempt at epic sound that just doesn’t work and sounds far too overproduced and glossy compared to the garage sounds of pre album releases like Too Young To Love. I recommend listening to them now in case they end up using shockwaves to make their heads resemble Daliesque nightmares ergonomically designed for wanking off The Klaxons on an NME cover coming to your local Costcutter soon.

The Big Pink are currently Touring Europe, the US and Japan until the end of the year, briefly interrupted by a number of dates supporting Muse on their UK arena tour this November.

IOHO recommends the tracks:

Too young to Love and She’s No Sense

Websites:

musicfromthebigpink.com

www.myspace.com/musicfromthebigpink

Too Young to Love

This past weekend, Bubble Punch teamed up with Caro from Hi Hi Caro!, to create a set for promotional spots for the Hero:108 series, produced by Cartoon Network.

the Klaxons

The Charlatans

This week, bands such as the Klaxons and The Charlatans will be shooting in this space to create promotional spots to be aired on Cartoon Network!

Throughout the year, this set will also be used to tape other celebrity personalities in conjunction with the animated show.

Because the animated series “Hero 108″ is set in ancient China, we incorporated that feel for the set. We poked around Chinatown and the fabric district in downtown Los Angeles to gather materials, and here’s what we came up with!

Completed Hero 108 Set

Detail shots, progress photos, and ridiculous posing after the jump!

Browsing stores in Chinatown

Our bare set, after we'd just begun to hang fabric

Our goodies we collected from downtown

Scattering of Chinese New year money envelopes on the ground

Close up of props on set

Close up of the awesome firecracker hangings we found

Hat and Chinese straight sword we purchased for bands to pose with... and ourseves... haha

Very pretty Chinese straight sword

We had a lot of fun working with Caro on this set! Poking around Chinatown made us very nostalgic for our childhoods…!

Nous écoutons autant de groupes rock (weezer, phoenix) que d’artistes electro (daft punk, M83), mais finalement ce qu’on retient surtout à l’heure actuelle sont les groupes qui arrivent à mêler les deux genres (MGMT, Empire of the Sun, klaxons). Quand on nous demande quel style nous faisons lors d’Interview, notre manager aime répondre que nous faisons de la « Nu Rave », sorte de rock électro taillé pour le club ! Nous ne savons pas exactement dans quel univers nous jouons, mais toujours est t-il que nous avons un amour pour le live, joué avec de vrais instruments, sans machines, même si nous ne nous considérons pas comme de vrais musiciens . Nous sommes justes 3 potes qui aimons la musique et qui essayons d’en faire, pour s’amuser, et plus si affinité.

Nous sommes des amoureux du web 2.O et de tous ces sites de musiques communautaires et sites de streaming audio qui offrent la possibilité d’écouter de la musique gratuitement et légalement, sans avoir besoin de charger sa bibliothèque d’albums qui prennent beaucoup trop de place sur une étagère ou sur un disque dur . Gkoot est donc la possibilité pour nous, de mettre à disposition des internautes notre musique, en écoute, et d’en découvrir a notre tour en allant sur les fiches artistes.

Cette semaine, Gkoot vous fait découvrir un trio venu d’Angers. Autodidactes, passionnés et talentueux, I’m fresh, You’re pretty ! sont les nouveaux représentants du “rock électro”, multipliant les dates, préparant la sortie de leur nouvel E.P, on risque bien d’entendre parler d’eux !

Comment le groupe « I’m Fresh, You’ re pretty » est né, de qui est-il composé ?

I’m Fresh! You’re Pretty! existe depuis à peine 2 ans. Le groupe est composé de Benoit (voix / batterie), Olivier (basse / clavier) et Matthias (guitare / clavier). Nous sommes originaires d’Angers. Autodidactes, amis d’enfance et issus de l’univers rock, nous avons créé ce groupe après une envie commune de faire de la musique pour s’amuser et faire un peu danser les gens. Nous ne pensions pas aller plus loin que ça avant qu’on nous invitent à venir jouer sur des scènes parisiennes (Inrocks, Showcase, Flèche d’Or,..), et qu’on signent sur un label electro. Tout a été très vite, et encore aujourd’hui, nous sommes un peu perdu…

Décrit-nous votre univers, vos sources d’inspiration ?

Nous écoutons autant de groupes rock (weezer, phoenix) que d’artistes electro (daft punk, M83), mais finalement ce qu’on retient surtout à l’heure actuelle sont les groupes qui arrivent à mêler les deux genres (MGMT, Empire of the Sun, klaxons). Quand on nous demande quel style nous faisons lors d’Interview, notre manager aime répondre que nous faisons de la « Nu Rave », sorte de rock électro taillé pour le club ! Nous ne savons pas exactement dans quel univers nous jouons, mais toujours est t-il que nous avons un amour pour le live, joué avec de vrais instruments, sans machines, même si nous ne nous considérons pas comme de vrais musiciens . Nous sommes justes 3 potes qui aimons la musique et qui essayons d’en faire, pour s’amuser, et plus si affinité.

Avez-vous des nouveaux titres de prévus, des collaborations, des événements ?

Nous commençons par avoir quelques jolies actualités, et pensons que le groupe prendra vraiment forme cette année. Nous sommes désormais entourés de personnes qui nous suivent (ou nous babysittent, au choix) aussi bien pour le management, que la promotion, le booking, et la scène.

Nous sommes actuellement en studio, dans l’optique de sortir un premier E.P en novembre sur le label FTW, car jusqu’à présent nous n’avons rien sorti à part quelques titres, enregistrés dans notre cuisine. Cet E.P sera distribué uniquement en digital par Believe. Vous pourrez retrouver le single en streaming audio sur Gkoot, avant la sortie de l’EP si tout se passe bien. Le maxi sera disponible sur toutes les plateformes de téléchargement et beaucoup de sites de streaming audio.

Parallèlement, nous préparons notre nouveau show en vue de la tournée des Trans, et le festival des Transmusicales qui nous attendent en novembre et décembre. Cela va nous permettre d’expérimenter d’autres scènes que les clubs parisiens et soirées électro FTW dont nous sommes résidents.

Qu’est-ce que Gkoot vous a apporté ?

Nous sommes des amoureux du web 2.O et de tous ces sites de musiques communautaires et sites de streaming audio qui offrent la possibilité d’écouter de la musique gratuitement et légalement, sans avoir besoin de charger sa bibliothèque d’albums qui prennent beaucoup trop de place sur une étagère ou sur un disque dur . Gkoot est donc la possibilité pour nous, de mettre à disposition des internautes notre musique, en écoute, et d’en découvrir a notre tour en allant sur les fiches artistes.

A venir…

I’m Fresh! You’re Pretty !

www.imfreshyourepretty.com

1st E.P // Digital Release in November 09

(FTW / Believe)

jeudi 29 octobre :

I’M Fresh! You’Re Pretty! w/ Who Made Who @ Chabada – ANGERS

vendredi 20 novembre :

Tournée des Trans | I’M Fresh! You’Re Pretty! @ Citrouille – ST BRIEUC

jeudi 26 novembre :

Tournée des Trans | I’M Fresh! You’Re Pretty! @ L’Ubu – RENNES

samedi 28 novembre :

E.P Release | I’M Fresh! You’Re Pretty! @ Lieu Unique – NANTES

vendredi 4 décembre :

Transmusicales | I’M Fresh! You’Re Pretty! @ le 4Bis – RENNES

Hoy creo que es el día en el que me he hecho amiga el genius de mi itunes (he dicho). Resulta que antes no me gustaban nada las mezclas que me hacía, y esta mañana, como por arte de magia, he descubierto una opción llamada mezclas genius (que creo que tendrá algo que ver con la nueva actualización que le metí ayer mismo), que me ha encantado. Tenemos las sigiuentes listas:

1. Mezcla pop rock, basada en : Band of Horses, Peter Bjorn and Jhon, CSS y otros
2. Mezcla pop rock indie, basada en: Deluxe, Josele Santiago, Love of Lesbian y otros
3. Mezcla singer/songwriter, basada en: Feist, Andrew Bird, Cat Power y otros
4. Mezcla rock, basada en Klaxons, Radiohead, Iron and Wine y otros
5. Mezcla alternativa, basada en: Maximo Park, Ben Harper, Jane’s adiction y otros
6. Mezcla pop, basada en Quique Gonzalez, Los planetas, Pereza y otros
7. Mezcla electronica, basada en Calvin Harris, Ladytron, Patrick Wolf y otros
8. Mezcla indie, basada en Fleet Foxes, Islands, Belle and Sebastian y otros
9. Mezcla chanson, basada en Bruce Springsteen, Les Rita Mitsouko, Eef Barzelay y otros
10. Mezcla electrónica(esta vez con acento ?¿), basada en Bjork, Hot Chip, Beck y otros
11 Mezcla rock 2, basada en Bon Iver, Wilco, Calexico y otros
12 Mezcla folk, basada en Nick Drake, Bob Dylan, Nacho Vegas y otros

Os dejo una captura de las listas, que es que son tan graciosas.

Sinceramente, no se yo si habrá acertado al hacer la clasificación de arriba (se que más de uno se escandalizaría), pero de momento estoy escuchando la mezcla folk y la selección está siendo increíble. ¡Mi iTunes me quiere y sabe lo que me apetece escuchar!
Aunque, ahora que lo pienso, la que se lo que me gusta soy yo, que para eso he metido las canciones…
Ya os contaré qué tal se va portando con el resto de las listas.

…being on stage with IAMX is like fucking hundreds of people every night so you have to dress up and make it sexy. (chris corner)

iată-mă aici, ladies & gentlemen, cu amintiri proaspete de aseară, pe care îs gata să le împărtăşesc cu voi, după cum am promis. hehehehe.

so, of course că am ajuns acolo cu muuuuuuuuuuult înainte faţă de ora la care ar fi trebuit să fiu de fapt (cei de la livada îmi spuseseră să fiu pe la 19.30). însă prietena a. era mult prea excited. ca şi mine de altfel, ce să o mai dăm la întors. “fată, taci, i’m hyperventilating here!!!” a fost fraza mea preferată pentru ceva vreme. încet-încet m-am luat cu trăncăneala şi… well… m-am mai liniştit. erau pe acolo şi nişte jurnalişti, very cute de altfel. când unul dintre ei a auzit că sunt una din câştigătorii concursului, a ţinut să facă un clip cu mine (mini-interviu gen). a fost foarte fun când a trebuit să îl sun pe john de la livada, pentru că era la doi paşi de mine şi eu nu îl vedeam, lol. din fericire şi din păcate, nu a filmat nimeni scena. din fericire pentru mine (c-a fost puţin jenant) şi din păcate pentru posteritate, făcea toţi banii scena cu pricina. şi-uite aşa am pus gheruţa pe cd-ul cu pricina (aka “kingdom of welcome addiction”, ultimul album iamx). pentru întâlnirea cu chris a trebuit însă să mai aştept, ţinând cont de faptul că încă nu se terminase ze soundcheck, plus că trebuiau să ia şi jurnaliştii interviurile & stuff. după ce am intrat în fratelli cu frate-meu şi cu prietena a., i-am lăsat pe ei în faţă şi eu m-am dus să mă perpelesc mai pe margine, în timp ce pe scenă mixa marika. nu sunt fană a muzicii electronice, dar un plus c-a băgat la interval oleacă de placebo (“twenty years”), klaxons (“gravity’s rainbow”), ba la un moment dat şi “farewell to the fairground” a celor de la white lies. however.

după vreun secol şi ceva, am avut şi io ocazia de a mă duce în backstage (premieră; nu mai fusesem niciodată în viaţa mea) împreună cu alţi trei fericiţi. linişte, pace, un loc ashea spaţios, plus chris corner. îmbrăcat în negru şi roşu şi machiat cu negru pe la ochi. pure love, vă jur.

“hi, i’m an iamx fan, but i guess you can tell that, haha”, am spus, arătând spre tricoul pe care îl achiziţionasem cu scurt timp în urmă (the almighty god of rock mi-a ascultat rugăciunile şi în această privinţă; bre, norocoasă mai sunt!) “oh, nice t-shirt”, zice el. una dintre fete adusese un desen făcut de o prietenă, m-a lăsat gura apă, era genial. altă fată era cu paharul în mână. “whisky?” “no, vodka!” “do you check your myspace?” l-am întrebat eu pe chris. “yeah, once in a while” i-am explicat după aia că era o curiozitate de-a mea, îi lăsasem câte un comment pe myspace în fiecare zi până la concert – “i made some sort of a countdown”. şi aici vine faza care m-a lăsat cu gura căscată. a zâmbit a recunoaştere şi face “ooooh, you’re the uga-chaka girl!” eu era cât pe ce să mă scufund sub pământ. “HOW do you know?” şi mi-a explicat că îi spuseseră cei ce se ocupau de myspace că era o tipă care posta câte un comment în fiecare zi şi uneori scria pe acolo *does uga-chaka dance* holy macaroni and spaghetti. i was speechless. pe urmă, la cerere, i-am explicat ce e cu dansul ăla, că am preluat denumirea de pe iutub şi că nu are reguli, că dansez cum îmi vine la momentul respectiv. oh boy. până şi pe cd mi-a scris for raluka, the uga-chaka lady, chris. am ţinut să îl întreb dacă va cânta “my secret friend” (aş fi vrut şi “heatwave”, “missile” şi “running”, dar ştiam că nu le va cânta, deci ar fi fost inutil să întreb). la care el “hmmm… i don’t knoooooow… maybe” (“aha, deci o cântă”, mi-am zis eu)

evident, pictures were banned, după cum s-a exprimat şi john, dar poză de grup s-a făcut. nu am scăpat ocazia să spun “i look awful in pictures” (which is true, by the way), la care chris de lângă mine “oh, i look great in pictures”. pure love! când am ieşit din culise, eram ceva gen “uiiiiiiiiiiiiiiiiii, uiiiiiiiiiiiiii, double-uiiiiiiiiiiiiiiiiiiiiiii”.

pe urmă strecoară-te prin public şi reuşeşte să ajungi (prin naiba ştie ce minune, bănuiesc că trebuie să îi închin jertfe atotputernicului zeu al rockului) în faţă, second row. “uite, fată, uite, fată!”, eu către prietena a. într-un acces de groupie, fluturându-i cd-ul prin faţă. acum bineînţeles că aşteptam cu înfrigurare să apară ei pe scenă. înfrigurarea s-a transformat uşor-uşor în enervare pe măsură ce marika continua şi continua şi continua să mixeze. în spate vreo câţiva înfierbântaţi deja huiduiau. m-am ferit de aşa ceva pentru că, sinceră să fiu, mi-era un pic milă de marika. uh well, a trecut şi-asta, adică, mai bine zis, momentul marika. şi s-au stins luminile. un pic (mai mult) de soundcheck. deja făceam crize.

da’ şi când au apărut pe scenă… ohohohohohoho! cum a sărit lumea în sus! s-a urlat aşa de tare, încât băieţii şi fata de la iamx au intrat numaidecât în priză. şi restul e… istorie. pur şi simplu nu mai pot povesti. iamx live nu pot fi povestiţi. trebuie ascultaţi şi simţiţi. e nebunie. erotism. iubire. tot ce vrei tu să fie. dacă sunteţi fani, ştiţi deja ce vreau să spun. so… probabil că o să mă înţelegeţi. dacă vreţi o recenzie ceva mai la obiect şi mai analitică, aşteptaţi până o postez pe cea de pe nowavefanzine.

la cât de ameţită sunt, nici setlistul nu mi-l mai amintesc în ordine. pot să vă zic ce au cântat, da’ ordinea… dumnezeu cu mila. iaca:

president (asta a fost ultima piesă. 100% sigură de asta)
the alternative
nightlife
song of the imaginary beings
the negative sex (şi asta a fost la bis)
bring me back a dog (deci cred că asta a fost prima)
spit it out (but of coooouuuuuuuuuuurseeeeeeeeeee)
nature of inviting
kingdom of welcome addiction
tear garden
my secret friend
an i for an i
i am terrified
think of england
you can be happy
kiss and swallow
sailor
skin vision

şi dacă am uitat ceva, mă corectez eu mai încolo. sau mă corectaţi voi.
ah, pure, pure love. aş fi vrut numa’ să îi aud vocea mai bine lui chris, că de unde eram eu se auzea instrumentalul prea tare… da’ pe iutub am văzut că se aude okay. ciudaaaaaaaaaaat.

-videoclip de dreamoverdose-

well, acu’ bag iamx la greu. cine ştie cunoaşte. just follow the echo of my voice… it’s okay…

*credits to iamx for title… and for my musical orgasm*

I am a fan of Blur. In so far as I like their music and have some of their CD’s. I have also always wanted to see them live. By the time I got ‘into’ music I had only got into the ‘Best of’ that my brother had. I remember in my early days of musical education, my Brother (one of my favourite guitarists) saying “I love Graham Coxon’s sound. he’s very unique.” From my brother that is a BIG compliment. He never compliments anything, let alone anyone. So it stuck with me. Later, when I joined the Psychotic Reaction having loved their album Rumble, and found Alex Williams (another of my favourite guitarists) was a fan of Coxon too. This became more evident as his choice of guitars came to light and certain idiosyncrasies in strumming, chords etc. Prior to this I had always drawn parallels between my friend Josh’s frontman actions to that of Albarn. Both high-energy and stirring stuff. My other friend James can also be said to have a similar presence. So all in all many of my ‘closer-to-home’ influences counted Blur as an influence. As such I got into them and have enjoyed their work eversince. I did, however, miss their heyday and whilst ThinkTank was different and Gorrilaz are great, Coxon solo had the edge but still none of the err… stuff Blur had. So when the initial reunion was mooted I got very excited.
So I got paid yesterday and while paying a bill online I got a targeted add on Facebook that told me there were still tickets available. I checked. There were. They were also expensive. Ticketmaster has a timer on the page so it acts like a virtual ‘que’. With seconds to spare and no one responding to my texts I caved. Normally I buy tickets waaaaaay in advance so I was excited all day today for a gig I hadn’t planned for, for a band i really wanted to see. So I went home and washed and brushed up then headed straight out. Took me half an hour to get to the MEN (I loooooove Manchester) picked up my ticket and went in.
The MEN is a tomb. A frickin’ barn of great proportion. All concrete with little charm. Doesn’t even feel that big. Not an auspicious start. I went in to glance at the support.
As a parenthetical aside, who books, suggests, demands, hires, feels they need support bands? I can count on the fingers of one hand the amount of good or relevant support bands I’ve seen when seeing a headline act. They do little to warm-up, enhance or reflect the head bands music/performance normally. In fact, i have plaid a few gigs where I thought “What the hell am I doing here?”
Anyway, I don’t know who the fuck Florence and the Machine are but all I know is I want her dead. I truly haven’t seen a band play a gig that big, that Baaaaaadly. They were actually bad. The girl cannot sing an iota and everything was out of her range. Truly, truly dreadful. I stomached a song and a half then walked out. First time I have ever walked out of anything. Ever.
The Klaxons were up next, who I had at least heard of. I’m not a fan of theirs either. I didn’t like Rave the first time round and I like it less now. They were very energetic and ‘exciting’ but as my Dad used to put it, “All fur coat, no knickers”. Lots of style, no substance. I managed two songs then left again. Dull, dull, dull.
I returned for the main event and realised the MEN can change with more people in it. When the boys came out I experienced that weird sensation you get when you see people you’ve only ever seen in photos and on telly. With barely a hello they Launched into She’s So High and I was in Heaven.
Albarn, say what you will of the man, is a force of nature on stage. Far more so than his oh-so-arrogant counterpart/nemesis L*am G*ll*gh*r. He really goes for it and even more amazingly for a man well in his 30’s kept up the pace and didn’t chicken out on any of the notes. Melodies were almost always note for note and hardly embellished. I was really impressed.
James looked a tad bored, which I might be mistaking for ‘looking-cool’ but the bass sounded excellent and Girls & Boys and Tender were pretty much carried by him.
Rowntree is of the Ringo school of drumming, simple but effective. No real ‘fills’ or showy-off bits but played for the song all the way. Very solid. What more do you need?
Then comes Coxon. As stated, I’ve always liked him but now he is my new favourite guitarist. He seems to match Mathmatical precision with all-out WROCK! He really threw himself around (even causing the guitar to cut out for a good minute) but had a note for note, pitch for pitch guitar sound from record. As such he did the work of 10 guitarists. He favoured his Tele Deluxe and an lovely Gibson ‘59 or ‘60 with P90’s. Twin Marshall stacks pushed a truly bassy and roaring sound out that made me feel all warm and fuzzy inside. Beetlebum sounded Fan-fucking-tastic, I still don’t know how he wrote or plays that riff. Brilliant.
The other thing that was really great was, unlike the G*ll*gh*r brothers, they really seemed to ENJOY the gig. Albarn and Coxon mucked about and laughed and smiled. They all looked rather, well… happy.
Downsides; too bloody loud (i’m getting old) and the rather predictable “Poor Jacko” moment. Blah, blah, blah.
Highlights; Beetlebum probably my favourite. Country House and Parklife- I have never seen an audience go TRULY Ape-shit before (and I mean seriously Gaga) but you really get swept along. Wow. This A Low – Felt the love, man. The first set of encores – punk-tastic! And the truly Epic finale of The Universal. Awesome in the truest sense of the word. Awe inspiring.
In Summation, after REM and Ed Harcourt it comes a very close third in my top 5 best gigs. If you haven’t already seen them, do so. Catch ‘em quick or you might just get a Blur.
(God that was cheesy…)
Leo