Por Juliana Gomes

} Hoje, dia 26 de Novembro, tem Deal With The Devil @ Clube Berlin!

Se você gosta de rock, mas rock mesmo, então você não pode perder a noite de hoje do Berlin com a banda Deal With The Devil.

Os violões de aço plugados, com a bateria, o baixo acústico e a gaita dão o timbre diferenciado para os clássicos revisitados pelo Deal With The Devil. A banda paulistana, formada por Johnny Monster que está presenta na voz, baixo, violão e percussão, Judaz Mallet na voz, violão e baixo, Mondrian Alvez com o violão, voz e gaita e Eduardo Ramirez com o som da bateria, voz e percussão. O quarteto homenageia grandes nomes e assina seu pacto com os ídolos que incendiaram o mundo da música.

As influências são do mais puro rock dos anos 60, 70 e 80. De Rolling Stones, Beatles, Doors, Yardbirds, Cramps, Drifters, Stooges, Who, Clash, Led Zeppelin e grandes ícones como Iggy Pop, Elvis Presley, Ray Charles, Johnny Winter, Robert Johnson e Raul Seixas. Até mesmo Amy Winehouse e não perca o set especial do AC/DC que os meninos farão para aquecer o show que está por vir em São Paulo.

I have a love-hate relationship with punk.

Intellectually I get the whole kicking-against-the-establishment thing and the DIY ethic.  I recognise that in the late 70s these bands were a shock to the ears of a public accustomed to disco and prog-rock. I even get the primal desire to jump around and bash into each other.

But, I typically struggle with the reality of the recordings. The sloppy vocal stylings, trashy guitar and haphazard rhythms just ain’t that shocking through a 21st century lens.   What I mean is that it just doesn’t seem that dangerous or rebellious, and instead can be a bit of a chore.

This album is a case in point.  The DKs were at the forefront of shocking the conservative US, what with their name, their expletives and (elsewhere) supposedly perverse album covers. They dished up an angry, sarcastic critique of early 80s Californian and American mundanity and tyranny.

That’s all and good, but much of this compilation just sounds just sound like poorly constructed Cramps ‘tunes’ and Stooges outtakes.

When the band do get it right, they get it very right, however. Their most famous tracks (i.e. the first three plus Holiday in Cambodia) are justifiably subcultural icons.

File under: Give me competence

Book your flights for London because All Tomorrows Parties is cracking out another awesome gig for its Don’t Look Back series. Don’t Look Back has seen ATP working to curate seasons in which artists perform famous or acclaimed albums in a live setting in album order, it kicked off in 2005 with The Stooges performing “Fun House”  since then other performers have included Gang of Four with “Entertainment”, Belle and Sebastian with “If You’re Feeling Sinister” and Sonic Youth with “Daydream Nation”. Iggy’s back to celebrate the fifth anniversary of Don’t Look Back in May 2010 this time as Iggy and the Stooges. Their 1973 album “Raw Power” is on the cards with album co-writer James Williamson back on board as their lead guitarist following the recent death of Ron Asheton. And if that’s not enough support on the night comes from Suicide performing their their first LP.

Hammersmith Apollo, London – Sunday 2nd May and Monday 3rd May 2010
Tickets are £30 plus booking fee
For more info and tickets click here

Como já foi dito em algum outro lugar, a apresentação do FAITH NO MORE em São Paulo, no MAQUINÁRIA FESTIVAL 2009, não foi um show, mas um acontecimento.

E não foi só.

Havia muito tempo que eu refreava, por precaução, minha pulsão rock n’ roll, porém receio informar que esse tempo acabou.

Não mais!

Ver, num só dia, NAÇÃO ZUMBI, SEPULTURA, DEFTONES, JANE’S ADDICTION E FAITH NO MORE foi uma carga energética com poder suficiente para reavivar o ogro rocker que há em mim…

Assim foi o MAQUINÁRIA FESTIVAL 2009, mas não só…

Os preços, proibitivos para minha categoria profissional, eram salgados, porém a LINE UP, compensava o sacrifício.

Nas atrações brazucas, NAÇÃO ZUMBI...

... ou pelo menos 2/4 deles...

A profissão de professor, afora os aspectos positivos subjetivos, reserva poucos (diria nulos?) benefícios objetivos a seus membros paulistas, contudo a garantia de meia-entrada em eventos culturais é um deles.

Natural. Óbvio.

De outra maneira seria impensável freqüentar quaisquer eventos para além de quermesses com nossos polpudos salários. Por isso somos tutelados e subvencionados, assim como os estudantes, assim como os incapazes, com uma esmola oficial dada pelo estado. (já mencionei aqui a Associação dos Professores Mendicantes de Indaiatuba, no qual sou presidente e fundador?).

Agora, voltando ao Festival…

Woodstock fellings...

bucolismo 70's...

... cuca fresca...

... e rock pesado.

Além do FAITH NO MORE, o Maquinária 2009 reservava atrações suficientes para que a escolha recaísse sobre esse, já que no mesmo dia e hora, acontecia no playcenter o PLANETA TERRA 2009, que trazia entre as atrações STOOGES e SONIC YOUTH.

Escolha sofrida, mas entre as memórias da adolescência (FAITH NO MORE) e as imagens da idade da pré-maturidade universitária (SONIC YOUTH), fiquei, nostalgicamente, com as primeiras. Afinal, ainda hoje, mantenho muitos dos hábitos da adolescência, já da vida universitária quase nada restou… alguns amigos queridos, uns poucos livros amarrotados, lidos e relidos à exaustão.

Desculpem-me, mas a tele-objetiva do uol era maior que a minha...

Agora, ânimos já frios, posso dizer que presenciei um show histórico. As duas bandas que encerraram o festival (JANE’S ADDICTION E FAITH NO MORE) estavam longe dos palcos há tempos e os prognósticos sobre as suas voltas, formações originais, era negativa, na linha de outros “revivals” malsucedidos.

O tempo fez muito bem às duas bandas. Os vocais de Patton e Farrell, mais maduros e consistentes. Cada nuance expressiva das interpretações é explorada e amplificada.

O JANE’S ADDICTION fez uso de todos os recursos de palco e de sedução conhecidos:

1. i.            Um guitar hero controverso e parcialmente nu chamado DAVE NAVARRO;

1. ii.            Um fundo de palco psicodélico e hipnótico;

1. iii.            Um vocalista (PERRY FARRELL) chic-andrógino-performático que sobreviveu as mais loucas experiências dos anos 90, incluindo o HIV;

1. iv.            BAILARINAS ASIÁTICAS minimamente vestidas;

1. v.            Um setlist bombástico impecavelmente executado.

Foi todo o mito e a energia californianos em uma única cápsula 500 mg, ingerida com whisky cowboy, mas de canudinho…

O que dizer sobre a apresentação do FNM? Dizer que, na adolescência, eu agia e dançava e cantava e tocava o puteiro pensando que era o MIKE PATTON indaiatubano? Dizer que eu descobri BLACK SABBATH via FNM? Dizer que era um dos poucos conneceur do MR. BUNGLE (projeto paralelo de Mike Patton) por estas bandas interioranas? Ou lembrar que vi, salvo engano, em 1994, Patton, vestido de frentista da Texaco trepado na estrutura do palco do MONSTERS OF ROCK, vociferando WAR PIGS?

Tudo isso e outras coisas que nem mais me lembrava, atualizou-se em minha mente em um choque neural profundo e indelével…

Trajando black-tie, Patton em um sóbrio costume vermelho bordel, cravo na lapela e um distintivo à la FBI no pescoço, a formação original da banda adentra o palco sob a chuva fina que caia em São Paulo… épico!

Vale registrar que, mais maduro e canastrão, Mike Patton, está incrivelmente parecido com o jovem JACK NICHOLSON!

Sobre o festival em geral, não direi que a cerveja itaipava custava 6 realetas nem que a garrafinhazinha (200ml) d’água, R$ 4 nem que os banheiros químicos ficavam nas baias dos cavalos da Chácara do Jóquei…

Credenciamento etílico...

... e me senti um centáuro mijão...

Ao invés disso destacarei a bela surpresa reservada pelo palco MYSPACE, com loas para as energéticas apresentações das bandas Maldita (de quem faturei, no tapa e na técnica, uma “peita” lançada para o público) e Comodoro. Os bicões Supla e seu irmão-marido-da-maria-paula também se apresentaram, mas isso não conta…

Comodoro...

E a performática Maldita...

... bélicos?

O resto, meus jovens e roqueiros leitores, é história…

Veja o setlist do FAITH NO MORE no MAQUINÁRIA FESTIVAL 2009:

Reunited (Peaches & Herb)
From Out of Nowhere
Be Agressive
Caffeine
Evidence (em português)
Surprise! You’re Dead
Last Cup of Sorrow
Ricochet
Easy (Comodores)
Epic
Midlife Crisis
Caralho Voador
The Gentle Art of Making Enemies
King for a Day
Ashes to Ashes
Just a Man

Bis
Stripsearch
We Care a Lot
This guy is in love with you
Digging the Grave

The easy way to review Fairy Tail is to say “This is One Piece, but with wizards instead of pirates.” It’s mostly true, too. There’s a little more going on than that, though, so it’s worth taking a deeper look at the show to see past the similarities and judge it on its own merits.

Fairy Tail is the latest example of a formulaic shounen fantasy adventure, cut from the same cloth as so many other manga and anime. What usually sets these shows apart from the pack are the quality of the action, the likeability of the characters, and the writing – usually in that order.

In terms of the magical action, Fairy Tail hasn’t impressed me at all. Only a few episodes in, it’s already relied heavily on stock footage and most scenes just end with a punch to the face. There hasn’t been much in the way of creativity either – Natsu, the male lead, mostly just punches people in the face, while Lucy spends her time summoning useless creatures onto the battlefield and then yelling at them.

That, more than anything else, is the strong point of this show: the comedy. It’s the classic Japanese kind of comedy, with a bunch of characters acting oblivious and stupid in amusing ways while one character shouts at them (think The Three Stooges with slightly less violence). Often, it seems like Lucy is the only character with a good head on her shoulders, since everyone around her comes with crippling (but amusing) character defects.

It’s definitely fun watching all of the wizards acting like idiot children – Natsu has no sense of restraint, Gray sheds his clothes between camera cuts without even noticing, and the Fairy Tail cast is full of freaks just like them. Lucy’s shrill voice of reason keeps the show from descending all the way into chaos, but only barely, and it’s far more amusing to watch the heroes squabble incessantly than it is to see them fighting the bad guys.

So, even though I don’t think I’ll stick with Fairy Tail for very long, it’s a pretty amusing ride – and, unlike its other weekly counterparts, it hasn’t resorted to filler episodes yet, which is a big plus.

The Good:
- Solid comic timing and a flair for the ridiculous.
- Great cast that carries the dialogue well.

The Bad:
- Generic in almost every other way – throwaway plots, forgettable fights, and not much else.

The Ugly:
- What’s with the ugly mascots lately? The little drill-nosed white thing doesn’t contribute to the show in any way.

Crédito das fotos: Site oficial Planeta Terra

E aconteceu neste sábado calorento e chuvoso o esperado Planeta Terra Festival 2009! Cerca de 17 mil pessoas lotaram o espaço do Playcenter, intercalando diversos shows com alguns passeios nos principais brinquedos do parque (além de muita farra, bebidas e demais “atividades” hehehe). Obviamente, não consegui ver TODAS as bandas, mas isso já é de praxe de qualquer festival, pois sempre acontece de 2 bandas tocarem no mesmo horário em palcos diferentes.

Cheguei em plena hora do show do Primal Scream, e como já tinha começado, não consegui pegar desde o início, mas achei que foi bom (das músicas que eu lembro, tocaram Swastika Eyes, Movin’ On Up, Rocks e terminou com Accelerator)  e ficou um gostinho de “quero mais”( talvez porque eu quisesse que eles tivessem tocado Loaded! rs). Não achei que empolgou tanto, o som estava meio baixo, o palco escuro e em uma das músicas eles pararam 2 vezes (achei que foi proposital, mas depois descobri que houve um problema no som mesmo).

Na sequência veio a chuva (e eu me molhei toda, claro!) e a banda que eu mais esperava: Sonic Youth! Para mim foi o melhor show da noite. A banda está em ótima forma (estavam ali as tão conhecidas guitarras distorcidas e mais pesadas ao vivo do que nunca), empolgaram a galera e mostram que o tempo de estrada faz toda a diferença num show de rock (eles estão desde 1980 na ativa). Boa parte do repertório foi do último disco The Eternal (2009), que eu não tinha ouvido até então, e gostei muito! Ah, e um detalhe feminino que não pude deixar de notar: a Kim Gordon (minha musa baixista all time) estava linda: um vestido prateado todo brilhante e uma luvinha estilosa igualmente prateada (me lembrou a Cat Power, que usa uma parecida com os dedos cortados – eu quero!!!).

Mas não fiquei até o final (e me arrependi, como previa, pois depois eles tocaram músicas do Daydream Nation¬¬), pois queria conferir algumas bandas novas no outro palco. E daí veio a surpresa da noite: Metronomy. Super simpáticos (o vocalista estava meio “alegre” hehe e falava toda a hora com o público), dançante e animado. Os caras usam muito synths de teclados e baixo grooveado, o que confere um som meio oitentista para a banda. Gostei e achei o máximo o círculo de luz que cada um tinha na camiseta (que acendia de acordo com o ritmo das músicas).

E veio o show mais polêmico do evento: Iggy & The Stooges. Ouvi muitas pessoas dizerem que foi chato e pior que o de 2005 no Claro que é Rock, que eles estão velhos demais e etc, mas é rock n’roll das antigas (não tem como negar que os tiozinhos aterrorizam nos instrumentos ainda) e o Iggy Pop (mesmo parecendo um maracujá velho e beirando os 70 anos) continua performático e esbanjando energia, fazendo muita bandinha de rock comer poeira. Ah, e a polêmica (vocês devem ouvir falar disso ainda) se deu ao fato de um menino ter sido “apagado” pelos truculentos seguranças e desmaiado no chão com traumatismo craniano, isso quando o Iggy fez o famigerado “convite” para a galera subir no palco (nem preciso dizer que ficaram umas 500 pessoas lá em cima e que logicamente ia ter alguma confusão).

Encerrei a noite vendo a apresentação da dupla de DJs N.A.S.A., que foi dançante e deixou um clima de balada na pista. Gostei dos remixes que fizeram para algumas músicas conhecidas e também dos bonecos que ficavam dançando ali no palco junto, foi divertido vê-los! Mas minhas pernas reclamavam de dor de tanto ficar em pé e acabei indo embora antes de terminar.

No geral, achei que foi a edição mais fraquinha do evento e com muito menos coisas do que as anteriores (talvez efeito da crise, nem o TIM Festival sobreviveu e foi extinto este ano). A infra estava ok (o fato de ter sido num parque de diversões facilitou muito), as comidas estavam mais pobrinhas (no ano passado tinha até comida japonesa, este ano só hot pocket da sadia rs, mas em compensação tinha cerveja Heineken relativamente barata /) e contou uns pontos o fato dos brinquedos estarem abertos (eu não curto montanha russa, mas tinha fila pra ir em todos). Mesmo assim, gostei muito e não mudou a minha opinião de ser o melhor festival de música que acontece no país.

Não tínhamos dinheiro, estávamos quebrados. Éramos pequenos criminosos viciados em drogas. Íamos a lojas de conveniência para tentar roubar comida

Quem vê Iggy Pop na foto vestido com todo Garbo & Elegância hoje nem imagina que foi assim o início de carreira dos Stooges, que estarão sábado no Planeta Terra (#euvou!).

ao som de: alguma coisa muito alta que ‘vaza’ do fone de ouvido do meu irmão na cama ao lado, exatos 23h59.

Iggy também acredita no fim do mundo em 2012?
Você acredita no Iggy Pop?

Stooges fans will be warmed by the news that Iggy Pop plans to take the band back on tour again next year, despite the death of guitarist Ron Asherton.

This is unexceptional news really, rock groups from days gone by have been reforming since the turn of the century and the Stooges are one of the rawest and edgiest (buzzwords) rock groups of all time.

The trouble is that Iggy is better known these days for being an empty, soulless car insurance salesman and not a fucking rock star. To paraphrase the great philosopher Bill Hicks: Once you endorse a product you stop being an artist.

I don’t know about you but I am sick of seeing Iggy’s 100-year-old chest, wrinkling and folding as he prances about our television screens.

It poses a few questions: When did Iggy Pop sit his driving test? And how high are his premiums? This is a guy whose live show during the Stooges days included vomiting, rolling around in broken glass and jumping off the stage.

I don’t believe he has a conscientious attitude towards his driving, if he did it would just be weird.

I’m sure he has enough money and doesn’t need to be embarrassing everyone with those adverts but I can live with that, just for the love of God man! Put a shirt on!

Setting: I’m working on my latest hat design one night, trying to get all my notes down and actually record the creative process. So, I’m trying the hat on, trying to make sure the shape of the bill is just right and just about ready to make the final snip to tie off. Dear hubby is multitasking – recommending a yellow flower for the side while wailing on the new Fender he just bought. And my dear daughter (11 at the time) is fondling the yarn balls I just snipped free from the hat I’m finishing.

Story:

“Oh, I just love this yarn,” my daughter sighs, handling the shimmery lilac one. “That’s mohair,” I say, never missing a moment to teach. All these years she’s always heard me talking about one fiber or another.

But this time, she paused long.

And then my super genius 6th grade but high-school level science whiz tells me, “Ummm Mom, I don’t know what a Mo is……”

So that’s where I stop and nearly choke laughing!

To make matters worse, without skipping a strum, my dear hubby chimes in dryly, “Oh you know honey,” he says to our daughter. “From the Three Stooges. The guy with the hair chopped off in the front. Mo-hair.”

Setting: I’m working on my latest hat design one night, trying to get all my notes down and actually record the creative process. So, I’m trying the hat on, trying to make sure the shape of the bill is just right and just about ready to make the final snip to tie off. Dear hubby is multitasking – recommending a yellow flower for the side while wailing on the new Fender he just bought. And my dear daughter (11 at the time) is fondling the yarn balls I just snipped free from the hat I’m finishing.

Story:

“Oh, I just love this yarn,” my daughter sighs, handling the shimmery lilac one. “That’s mohair,” I say, never missing a moment to teach. All these years she’s always heard me talking about one fiber or another.

But this time, she paused long.

And then my super genius 6th grade but high-school level science whiz tells me, “Ummm Mom, I don’t know what a Mo is……”

So that’s where I stop and nearly choke laughing!

To make matters worse, without skipping a strum, my dear hubby chimes in dryly, “Oh you know honey,” he says to our daughter. “From the Three Stooges. The guy with the hair chopped off in the front. Mo-hair.”

Setting: I’m working on my latest hat design one night, trying to get all my notes down and actually record the creative process. So, I’m trying the hat on, trying to make sure the shape of the bill is just right and just about ready to make the final snip to tie off. Dear hubby is multitasking – recommending a yellow flower for the side while wailing on the new Fender he just bought. And my dear daughter (11 at the time) is fondling the yarn balls I just snipped free from the hat I’m finishing.

Story:

“Oh, I just love this yarn,” my daughter sighs, handling the shimmery lilac one. “That’s mohair,” I say, never missing a moment to teach. All these years she’s always heard me talking about one fiber or another.

But this time, she paused long.

And then my super genius 6th grade but high-school level science whiz tells me, “Ummm Mom, I don’t know what a Mo is……”

So that’s where I stop and nearly choke laughing!

To make matters worse, without skipping a strum, my dear hubby chimes in dryly, “Oh you know honey,” he says to our daughter. “From the Three Stooges. The guy with the hair chopped off in the front. Mo-hair.”

No statue? This will have to do.

“I’m often asked what makes Bomp different. One answer is that where most labels concentrate on a small roster, I’ve always preferred to give a lot of bands the chance to be heard…I guess I’d most like Bomp to be remembered as a label utterly dedicated to the people who care most about music: the fans and collectors.”

Five years ago we lost one of our greatest soldiers, Greg Shaw. Most pop music writers have read him if not been influenced by him; many saw an opportunity to take the leap from fan to participant because of his magazine and his labels. Shaw began by writing fan letters to magazines and was soon writing reviews for everyone from Rolling Stone to Creem.  Along the way his journey led to managing bands, working at major labels (assembling compilations, of course) and running a record shop, but legions of powerpop fans point to a 1978 issue of Bomp Magazine as the rallying cry that launched a movement.

“Punk had already had its day by 1978, when Bomp Magazine ran a cover story proposing Powerpop: a hybrid style with the power and guts of punk, but drawing on a pop song tradition with wider popular appeal. I had in mind bands like The Who and The Easybeats, (hell, even The Sex Pistols fit my definition!) but much to my chagrin, the term was snapped up by legions of limp, second-rate bands hoping the majors would see them as a safe alternative to punk. I took a lot of heat for starting the whole business…”

But he should also get credit for what did go right. Many great bands rose from the masses of skinny tie wannabes, and some (including Shoes, 20/20, Paul Collins, The Plimsouls, and The Romantics) started at Bomp before landing at major labels. Writers including Lester Bangs, Greil Marcus, Dave Marsh, Mike Saunders and R. Meltzer passed through his masthead. That Bomp didn’t become a haven for great bands like Sire Records is a shame, but Shaw was unwilling to compromise his vision just to play on a bigger stage.

In the ’80s retro-garage was bursting out thanks to bands like The Fuzztones, The Lyres and The Chesterfield Kings; Shaw’s Voxx label attracted a ton of groups. He launched a series of compilations called Pebbles (inspired by Nuggets) featuring some of the rarest original ’60s punk records from his personal collection. He picked up Iggy Pop’s first solo album, Kill City (“when nobody else would touch it”) and issued a series of Stooges outtakes under the title of The Iguana Chronicles. In the ’90s he aligned with Alive Naturalsound Records which brought great bands like Black Keys, Bloody Hollies and Soledad Brothers into the fold, and he continued to discover and nurture new bands that tweaked his antennae until his death from heart failure. He was only 55.

I think the essence of Greg Shaw can be found in this quote:

“I think it comes down to the fact that Bomp is an outgrowth of my love for music. Where many would view it as a marginal business that barely breaks even, I prefer to see it as a hobby that’s profitable enough to allow me to build my life around it.”

Contemplating the impact Greg Shaw had upon the industry, it just makes me sadder when I think about politics and greed making charlatans wealthy and famous, while true visionaries are sometimes just cult heroes. But fame is cheap commodity and wealth dissipates. Legacy is the coin that matters, and Shaw’s legacy continues to inspire. 

The BOMP website

Tributes from other writers

The book:  Saving The World One Record at a Time

The date of October 19th also claimed guitarist Glen Buxton of the original Alice Cooper Band, who died in 1997; he was only 49.

(Vimeo)

Ein Model-Casting frei nach “I wanna be your dog” von Iggy Pop and the fucking Stooges.

So I’m on vacation in northern Ireland and Scotland for 12 days or so. It took me a while to get to Belfast but now that I’m here, the first thing I did was go check out the HMV.

Well, you would think I would have had my fill of HMV after seeing a lot of bad branches of it in London back in Memorial Day, but sometimes the stuff that you just cannot get in the United States is too powerful an allure.

Here is the tally so far for CD shopping along with some commentary.

a-ha, Foot of the Mountain. Supposedly the long awaited “return to synthpop” for Norway’s most famous band, Foot of the Mountain has not yet been available in the US. But here it is and at a reasonable price too. I haven’t even listend to it yet, but I have high hopes. When once discussing my music collection with Chris Kent, I mentioned that I have three a-ha albums (the first three). His response: “What? Who on earth needs more than the one song?” Answer: Me.

Blancmange, Happy Families. After long owning the Warner Platinum collection of Blancmange singles, I was pleasantly surprised to see their albums remasters and available. So I had to buy this, the first, to gain a bigger appreciation for one of the most appreciated of the New Romantic-styled bands. This album, with “Living on the Ceiling” and “God’s Kitchen,” may be their best.

Dollar, The Platinum Collection. Can I tell you how long I have been keeping my eyes open for something like this? I’ve long had a little taste of Dollar, as produced by Trevor Horn, with the single “Mirror Mirror (Mon Amour).” Possessing a complilation of the boy/girl duo who went very New Romantic under Horn’s direction is a little bit too exciting. Once he produced Dollar and delivered solid UK hits with them, he want on to produce Lexicon of Love with ABC and many other amazing New Wave/New Romantic albums. Totally impressive!

Filthy Dukes, Nonsense in the Dark. I was first introduced to this modern electropop band via Liberation Dance Party. It took a couple of songs to grow on me. Then last May, Jeremy Bailey and I somewhat accidentally crash landed in the middle of the very awesome Stag & Dagger festival (http://www.staganddagger.com/) in London. We kept the party going at a venue called the Vibe Bar on Brick Lane (famous avenue of UK curry). Anyway, we thrashed the night away to Abe Vigoda and then the Filthy Dukes, who impressed with a tight show. Sooooo I had to buy the disc, put it off until I got home, discovered it wasn’t coming out in the US, and brought it now that I’m back in the UK. Circuitous.

Pet Shop Boys, Disco 4. HMV had this album of PSB remixes of other people’s songs for sale for super cheap. I like PSB (and I’ve seen them the last two times they’ve been in DC), so I bought it.

the stooges, Funhouse. Did I have to buy this here? No but it was affordable and I’m on a super Iggy kick lately. Besides, it has “Loose,” which I’ve always liked a lot since the Blake Babies covered it way back in the day.

The Undertones, An Anthology. Feargal Sharkey and the Undertones are from Derry, Northern Ireland, where I’ll be going next week to do some exploring some family history. So it seemed like the perfect time to pick up an Undertones collection and expand my knowledge of their music beyond “Teenage Kicks” and “My Perfect Cousin” (although I’m envious of that degree in bionics…). Sharkey’s best work IMO will always be that one-off with Vince Clarke as The Assembly for the song “Never Never,” however.

As an aside, there is a club here called Yello, which initially made me think that the electronic band Yello (still an ongoing concern) was doing a long residency somewhere in Belfast!

Also, among my places to visit tonight was a swank little club called Stiff Kitten, which I can’t help think is named in honor of Joy Division. The place had a retro slick 80s neon vibe to it, and played a whole bunch of different music. Bottom line: I didn’t love it but it wasn’t so offensive.

slipped with a fake Security T-shirt and DV Cam. Keep an eye out for Johnny Walker of Austin, TX, and Kirsten Dunst in Hollywood, USA. TINYURL.COM / BLACKMAGICROLLERCOASTER … Stooges sxsw

http://www.youtube.com/watch?v=MAs7zzVkHxI&hl=en

Finally the turntable gets another spin.  And this album has definitely given the machine a workout.

The Cosmic Psychos are icons of a peculiar part of the Aussie music scene. A trio of roughnut blokes playing straight ahead, Stooges-style garage punk, these guys were reknown for drinking VB in copious amounts, swearing up a storm, roo-shooting and agricultural imagery.

There’s nothing pretty or arty about this men.  They compose incredibly direct tunes (with such couplets as “I wanna be like David Lee Roth and have girls suck me off”), with pounding beats and wah-wah laiden riffs. 

It all works well and captures the spirit of the late-80s, early-90s garage punk bands that for better or worse would inspire the grunge movement. 

I’m feeling guilty listening to this without a beer in my hand (a can of course), that I’m not wearing a wife-beater singlet and am unadorned with prison-style tats.  But these blokes would forgive all (well, maybe not the beer bit), as it was never about how you looked and all about how much you liked the unbridled rock experience.  And I do…

The stand out tunes: the aforementioned David Lee Roth, the riff-heavy Rain on You and Going Down. 

File under: The Oz-Rock that should be played once an hour on “classic hits” stations

Confirmado. Iggy & The Stooges vão tocar no Planeta Terra 2009, que acontece dia 7/11, no Playcenter.

Mas tem que ficar esperto, que o primeiro lote dos ingressos já se esgotou, e já está sendo vendido o segundo, que custa R$170,00 (inteira), e R$85,00 (meia). Para comprar, ou pela ticketmaster, ou pelo Call Center (11) 2846 6000.

Além dos Stooges, já estão confirmados: Sonic Youth, Primal Scream, The Ting Tings, N.A.S.A., Maximo Park, Copacabana Club, Macaco Bong, Móveis Coloniais de Acaju, Metronomy, EX!, Patrick Wolf e os DJs Etienne de Crécy e Anthony Rother.

A última vez que Iggy veio ao Brasil com os Stooges, foi no Claro que é Rock de 2005. Tocaram ao lado do Sonic Youth também, do Flaming Lips, Nine Inch Nails e do Fantômas.

Mais uma dobradinha Sonic Youth e Iggy, não vai nada mal. Ainda mais quando acompanhados de Primal Scream. (Maximo Park, tb, não vai nada mal). Espetáculo garantido.

post: Gustavo