2009 collection from the British showman. Whether singing, acting, presenting or judging, John Barrowman has become one of the most popular all round entertainers in the UK.
His infectious laugh, handsome demeanor and great singing voice put him at the forefront of British talent. Hear some of his greatest showstoppers on this compilation of Barrowman at his finest. 16 tracks. Metro Music.

Download The Essential

Köp Ozzy Osbourne – The essential.

Disc 01

Paschendale
Rainmaker
The Wicker Man
Brave New World
Futureal
The Clansman
Sign of The Cross
Man On The Edge
Be Quick Or Be Dead
Fear of The Dark (Live)
Holy Smoke
Bring Your Daughter To The Slaughter
The Clairvoyant

Disc 02

The Evil That Men Do
Wasted Years
Heaven Can Wait
2 Minutes To Midnight
Aces High
Flight of Icarus
The Trooper
The Number of The Beast
Run To The Hills
Wrathchild
Killers
Phantom of The Opera
Running Free
Iron Maiden

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Quatro álbuns do cantor estão entre os cinco mais vendidos da Grã-Bretanha.

O cantor Michael Jackson segue no topo da parada britânica de álbuns pela terceira semana consecutiva, informou a Official Charts Company neste domingo (12).

Confira tudo o que já foi publicado nesse blog sobre Michael Jackson.

O álbum “The essential”, com os maiores sucessos de Jackson, é o primeiro colocado na lista dos mais vendidos pela segunda semana seguida. Na primeira semana logo após a morte do cantor, o CD mais vendido foi “Number ones”.

“Lungs”, de Florence and The Machine, ficou no segundo lugar da parada nesta semana, e é o único entre os Top 5 que não é de Michael Jackson.

“Off the wall”, “Thriller” e “The Motown years” completam o ranking.

Na parada de singles, a música “Man in the mirror”, de Jackson, caiu da segunda para a terceira posição.

Os álbuns de Jackson venderam, juntos, quase 600 mil cópias na Grã-Bretanha, na semana passada.

Desde a morte do cantor, no último dia 25 de junho, o número de álbuns e singles vendidos chega a 1,5 milhão.

Siga pelo Twitter

Fonte: G1

Saying that this is one of the best love songs doesn’t nearly do this song, or group, any  justice. one of the most accomplished R&B  bands ever Earth,Wind andFire remain on my everyday play-lists. Due to their timeless sounds and sensual lysics this song remains atop my 10 favorite R&B tracks ever

My Urban Dictionary desk calendar says that today is “Bank Holiday” in Scotland. What better way to celebrate than to discuss some Scotch folk? I’ve been meaning to badger you to listen to these kids for a while, but just haven’t gotten around to it. Who are they? A quartet of ladies and gentlemen who sound Scottish, ornery, and danceable all at the same time.

Album: The Repulsion Box (2005)
Am I forgetting about 2003’s Love The Cup? No…just avoiding it because S&D hadn’t really hit their stride yet and “Broken Bones” is the only song that holds my interest. The Repulsion Box, though, is full of non-stop goodness. “Medicine” is a good “nice to meet you” of S&D’s sound: Scotch polka, with strong female vocals. “Scotch polka” doesn’t sound very alluring, now that I type it, but I promise it’s good. “Hunt” has made it onto a couple of compilations, for good reason; singer Adele Bethel sounds Scottish as five hells, but it’s awesome. She can sing, yell, and do the punk chick shriek. “Taste The Last Girl” sounds a bit like The Smiths, if Morrissey were a ballsy lady. There’s a snarky little breakdown at 1:50 that paves the way for a marching, drum-filled build up. “Gone” is a showcase for Bethel’s chesty growl, made even more fun by her very Groundskeeper Willian pronunciation of “go.” Before the song is over, there will be banshee screaming and finger snapping, and men everywhere being scared to death of Bethel.

I’m not talking about every single track here because I’d like to keep this at a length you might actually read, but every song on the album is good. Speaking of every song being good….

Album: This Gift (2008)
If the point of The Repulsion Box was fire and marching, the point of This Gift is strong songwriting. This album is a little less punk than the other, but the sheer orneriness has been traded in for really strong melodies. “Iodine” is the best illustration of this, with guitars and vocals that conspire to break your heart. If you prefer the fire, consult “Gilt Complex,” “This Gift,” and “The Bell.” On “Rebel With the Ghost,” Bethel’s voice is so sweet that you’d think she’d be a wussy singer if you didn’t already know better. Down in that girlish voice, there’s always the threat of a shriek, a growl, or spontaneous combustion. It’s this power and energy that set S&D apart from other quasi-new-wave bands. At any rate, there’s something (or a lot of things) to love. Jrob will tell you that Bethel has lost her Scotchness and become just like everybody else, but I disagree. Her signature accent lives on, and one can still pick S&D’s sound out of a lineup. New-new wave bands are kind of a dime a dozen, but Sons And Daughters stand out from the crowd.

So it’s almost Christmas Eve and you still don’t know what to give to your beloved ones? Here the solution, it’s a DJ Schmolli greatest hits double-cd everybody! Doing mashups for quite a few years I now decided to make a collection of my most well known tracks, from my very first mashup “What’s This Name For” originally made in 2000 (here the re-recorded version from 2006) to “Justice For Billie Jean”, probably my biggest success of 2008. You’ll get to hear the best of  the “Schnipseljagd” Vol.1-7 compilations plus 3 tracks from “Falco Re:loaded”, “2 Songs Crashed” from “Gold” and the infamous “God’s Gonna Cut You Down” mix which hasn’t been available on any of my compilations. Most of these tracks are available in 320 kbps bitrate for the first time! Here’s what you get:

CD1 (Mild):

01.Justice For Billie Jean (Michael Jackson vs. Justice vs. C&C Music Factory)
02.Mash Me Amadeus (Falco vs. Nelly vs. Luniz vs. Queen & others)
03.Hollaback Thriller Girl (Michael Jackson vs. Gwen Stefani) (Single Version)
04.Jacko Breaks Free On Earth (Queen vs. Michael Jackson vs. Belinda Carlisle) (Single Edit)
05.She Works Hard To Beat The Cash Machine (Donna Summer vs. Hard-Fi)
06.S.O.S. It’s Weeping Tainted Men (Rihanna vs. Soft Cell vs. Weather Girls vs. Skunk Anansie)
07.Temperature Calling 2008 (Falco vs. Sean Paul)
08.Check On Major Tom (Peter Schilling vs. Beyonce ft. Slim Thug)
09.The Faith Message (George Michael vs. Grandmaster Flash) (Single Edit)
10.Losing My Believe (R.E.M. vs. Cher)
11.No Wonderwall Diggity (Oasis vs. Blackstreet) (Single Edit)
12.The Galvanized Clock Is Mine (Coldplay vs. David Guetta vs. Chemical Brothers)
13.Feuer (Exodus Out Of The Dark) (Falco vs. Jan Delay vs. Bob Marley)
14.Ice Ice Kylie (Kylie Minogue vs. Vanilla Ice vs. Modern Talking)
15.Don’t Cha Push My Humps (Sugababes vs. Black Eyed Peas vs. Pussycat Dolls vs. Madonna vs. Gorillaz)
16.Upgrade The Casbah (The Clash vs. Beyonce vs. Nelly Furtado vs. Ofra Haza) (Single Edit)
17.Behind Kelly Klar-kson (Jan Delay vs. Kelly Clarkson)
18.Rock Wit The Original Waterpumpee (Seeed vs. Offspring vs. Dem Franchize Boyz)
19.Don’t Cha Rock My Milkshake (Zoe vs. Pussycat Dolls & Busta Rhymes vs. Kelis)
20.I Can’t Drop Upside Down (Ying Yang Twins vs. Genesis vs. Diana Ross)

CD2 (Wild)

01.Don’t Cha Take A Robot Around South Of Heaven (Daft Punk vs. Slayer vs. Pussycat Dolls vs. Limp Bizkit)
02.Oops Oh My Block Rockin’ Beats (Chemical Brothers vs. Tweet)
03.Land Of Sonic Numbers (Kraftwerk vs. Members Of Mayday vs. Genesis)
04.Since You’ve Been Rosenrot (Rammstein vs. Kelly Clarkson)
05.2 Songs Crashed (Blur vs. Gwen Stefani)
06.Blocalicious (Bloc Party vs. Fergie)
07.Sabotaging The Kooks (The Kooks vs. Beastie Boys)
08.Hamma Princes (Spin Doctors vs. Culcha Candela)
09.What’s This Name For (Creed vs. Destiny’s Child) (2006 Version)
10.Undone Lullaby (The Cure vs. Korn)
11.DJ Schmolli vs. Johnny Cash Allstar Band – God’s Gonna Cut You Down
12.M.I.A. Wanted Dead Or Alive (M.I.A. vs. Bon Jovi)
13.Fire, Smoke And Tone Loc (Tone Loc vs. Deep Purple vs. Mousse T. & others)
14.Lick It Wild Thing (Kiss vs. Tone Loc vs. 20 Fingers)
15.Jump! In The Name Of Love (Van Halen vs. The Supremes)
16.Love Me On The Wild Side (Mötley Crüe vs. Lady Sovereign)
17.The Great Sean Kingston Swindle (Sex Pistols vs. Sean Kingston)
18.Smells Like Bleeding Love (Nirvana vs. Leona Lewis)
19.Roadhouse Metal (Metallica vs. The Doors)
20.Party Started, Word! (Paradise Lost vs. Pink)
21.Christl Going Under (Evanescence vs. Christina Stürmer)
22.Madonna’s Carcass (Carcass vs. Madonna)

Download options:

Uploaded [CD1] [CD2] [Artwork & Samplelist]
Megaupload [CD1] [CD2] [Artwork & Samplelist]
Mininova [Torrent]

Just when I start to think that emusic has begun to outlive its usefulness for me, I stumble upon an entire discography of awesomeness and decide that emusic ain’t so shark-jumping after all. Case in point: Jill Tracy. She’s like a dark Little Earthquakes-era Tori amos, a less effed-up Fiona Apple and a less-prone-to-screaming Amanda Palmer all rolled into one. That is to say, she can play the living hell out of a piano, write a darn good song, AND do both while steering subject matter toward poisoning people, armageddon, and disembowelment. What is not to love? While every album is a best-of, I will attempt to limit myself to 3 songs per album. (But, for real….listen to the rest of the albums.)

Album: Quintessentially Unreal
- “Between The Black”: Jaunty, torchlight piano provides a background for this collage of antonyms.
- “Hour After Hour”: Tight piano-playing, mixed with a tasty chorus that namechecks Pavlov.
- “You Kill Me”: More jaunty fun, written from the p.o.v. of the lover you love to hate.

Album: Diabolical Streak
- “The Fine Art of Poisoning”: The title is pretty self explanatory, and the piano and strings plod lighty like a snuggly cat that’s entered a nursery to smother a baby.
- “Pulling Your Insides Out”: Unexpected quasi-Beatnik jazz that builds to the chorus “it’s worth the pain, when they’re pulling your insides out.”
- “Evil Night Together”: Sly swing full of possible murderous alternatives to dinner & a movie.

Album: The Bittersweet Constrain
- “Torture”: Cry for mercy, paralleling unrealized desires and…well, torture. Bonus points for the bit about Chinese water torture.
- “Sell My Soul”: Deal with the Devil, or love song?
- “In Between Shades”: Vocals are particularly Tori-esque (in a good way) in this ditty punctuated by a chorus of “let’s pretend we’ve got this world on a string, like we promised we would.”

Words and Photos by RD.
Photo Manipulation and Layout by WA.
Regular Juan : Christer Arman Del Rosario
Much thanks to Ryane Peñafiel and Mrs. Librada Diño

Or, what we Pinoys refer to as white long sleeves. Google “Men’s Style Ten Essentials” and more likely than not, it’s on every list there is, and the one on top. We couldn’t agree more.

It suits every skin tone. Who doesn’t look good in white?

It cleans up your act. A crisp, white shirt is a mark of a neat, well-groomed guy.

It’s cool. Literally, since the color white reflects back light, keeping you cool and fresh – perfect for our tropical climate.

It’s simple but classic. Honestly, who hasn’t worn one in their life? And we believe it’s for good reason. Pulling out the white shirt is usually reserved for looking your best on special occasions, but by that definition the white shirt should be picked out everyday.

On Christer:
All clothes, stylist’s own
Plaid flat front shorts from everygood.multiply.com

It’s versatile. Nothing says “business casual” more with a streamlined, contemporary elegance than wearing it with dark jeans and a slim-fit suit jacket (and sans a tie) to work. Roll up the sleeves then slip on sandals and a braided belt for an out-of-town trip and be leisurely in style. Pair it with shorts and loafers on the weekend for that refined casual look.

Tips on picking the perfect white shirt:  Go with comfy, breathable fabrics (check the tag if it’s 100% cotton). Take a size that fits you just right – check if the sleeve starts where your shoulders end.

—

Is the white shirt a keeper? Start/join the Thread for The Essential – White Shirt.

Staples for every Juan’s wardrobe

Admit it. There are days when you just roll out of bed and grab the first thing on top of the pile. For a lot of guys this may probably be the norm and their accustomed way of life. I’ve had a lot of these days myself recently, partly due the lack of time to get ready but more because I’m just not in the vibe to dress up. Some days (okay, maybe A LOT), I simply don’t care. Unfortunately, your appearance for the day is directly proportional to the time and effort put into dressing up. In an ideal universe, we can look put-together everyday involving the most minimal thought process and the least amount of effort.  The practical solution? Stuff your closet with The Essential. Just stick to these staples and you don’t have to buy a truckload of clothes. Keep the approach (devil-may-care) but change the outcome (effortlessly well-dressed).

Har nyss skickat efter skivor från Cdon. Det blev Elvis-The essential till mig och maken, Brolle Jr-Paradise will wait och Rebellious Heart till mig och Carola-Guld Platina & Passion- Det bästa till dottern. Dottern diggar Carolas gamla låtar som Främling och Tommy tycker om mig, då den skivan hade vi tänkt att hon skulle få när hon fyller år

emusic.com continues to recruit, and it appears that the Dark Dimensions label group has loaded up a huge part of its catalog in the last couple of months. This means that my suggestion box has been flooded with shitty industrial music sung by people who should never be allowed to “sing.” Honestly, Scanner Records would probably sign ME if I happened to have recorded an hour’s worth of myself rambling about blood or a desolate future or something. Much more fortunately, though, this also means that the Alice In… catalog is also being uploaded. It makes for easy access to Antiworld, Scarlet’s Remains, No Critics, and New Days Delay. Remember when you had to order this stuff through the mail? Gag.

New Days Delay sound most like The Last Days of Jesus, but with a female singer. My god, it’s so bouncy that it’s the musical embodiment of a Muppet on a surfboard. Wheee! High points from their Splitterelastisch album:

• Extraordinary: At the 1:57 mark, singer Insa derails into high-pitched screaming.
• Japannimation: The organ sounds stolen from The Doors, the singing in phrased in a very Last Days of Jesus kind of way…oh, and more wailing. Yep.
• Radioactive: Sounds a little like Switchblade Symphony but, unlike Switchblade, the song doesn’t stay in slow-speed throughout. I don’t think Switchblade would use that much high-hat, either.
• The Illustrator: Insa wails “I’m so tiiiiiired of love songs! I dislike your feelings!” That would be enough to satisfy, but the chorus is also pop song tight.
• Stereokatastrophe: That title is pronounced “STARE-ay-oh kat-as-TROE-fuh,” and it’s fabulous. This is one of the few danceable songs, what with the synthcheese drums. Delish.

Basically, the whole album is worth having. As they say on Squidbillies, go git you some.

sound clips on emusic
New Days Delay on MySpace

I will preface this post by saying that I understand that is may be a deeply questionable and disappointing music choice. Many (if not all) of you are probably losing all respect for me. Hear me out. I’m totally going somewhere with this. Promise-omise.

In order to understand this, you have to start with the viewpoint that Fall Out Boy aren’t exactly a rock band. They are (almost) everything that is pop; they probably even have a stylist…or at least a product placement deal with Motorola. I don’t believe that there’s anything inherently wrong with being “pop,” and I think that indie rock elitism is stupid and often counter-productive. The only thing wrong with pop music is that, like anything that involves assloads of money, things tend to get very safe and homogenized very quickly. “But Amy,” you say, “how are you going to tell me for one millisecond that Fall Out Boy are somehow NOT indicative of everything wrong with rock & roll?”

Like this: it’s not necessarily their fault.

It’s not their fault that their success led to a seemingly endless parade of skinny whites dudes wearing eyeliner (ok, Pete Wentz has a record label…but still). As completely fucking stupid as The Emo Haircut is, it’s not Pete Wentz’s fault. These things are the fault of record labels (see? there’s the Decaydance indictment) and hack stylists, respectively. Did they have bajillions of dollars’ worth of help from expensive, record-producing Svengalis? Well, yeah. But if your record label’s success was riding on your success, they’d offer you good producers. If you had half a brain, you wouldn’t say, “no, thank you…we’d rather not have Butch Walker’s help.”

In the case of Fall Out Boy, this was a good decision. They’ve come a long way from the “so whiny it makes you want to shoot yourself” of their first album, Evening Out With Your Girlfriend. The guitars are still a bit buzzy, and they’ve not completely abandoned the VERY bad habit of trying to yell like Davey Havok during the breakdown of “Miss Murder” (it doesn’t even work when Havok does it), but they’re getting there. Patrick Stump has slowly learned to stop whining and start singing, which makes him FOB’s secret weapon. Other bands can copy the guitars and the hair, but they can’t match Stump’s vocals. Did a high-paid producer teach him that? Probably. Did a high-paid producer help with the counterpoint ad-libbing? Probably. Did he have a high-paid voice coach? Probably. Do my eardrums care about any of those things? Not so much.

You won’t want to keep every song, but you don’t want to toss out the well-produced baby along with the emo bathwater, either. Thus, I’m here to guide you through the songs that are worth not deleting. High art? Not yet. Pop songs tighter than a mosquito’s arse? Well, yeah.

Album 2: From Under The Cork Tree (song titles truncated because “come ON”)

• Dance, Dance: quickly-rhythmed syllables hit a high point at 2:39 which Stump’s hissy fit bursts into flames.
• Sophomore Slump, etc.: The chorus careens into the subdivision next to Boybandia, but when Stump self-consciously sings, “no matter what they say…don’t believe a word,” I get a picture of someone trapped in a double-edged bubble of success. Not Nick Carter.
• Champagne For My, etc: bouncy little ditty about the shallow nature of Hollywood friendships. A little over-produced even for me, but when Stump hits, “traitors in shallow water,” we get a picture of someone raised on Stevie Wonder rather than Blink 182.
• I Slept With, etc: Stump’s typically self-conscious vocals collide with guitars that exceed the speed limit…which is enough to let you excuse the aforementioned Havok-esque yelling.
• A Little Less, etc.: The exclamation of “kiss her! kiss her!” comes off actually sounding NOT like a bucket full of cheese, perhaps because the whole song is laced with bouncy 50s-style “That Thing You Do.”

Album 3: Infinity on High

• The Take Over, etc.: If you close your eyes, you can picture Terrence Trent D’Arby singing for a rock band. Seriously. The whole album is so damn grandiose, but somehow FOB pull it off by being ultimately self-conscious. Besides, it’s not nearly as grandiose as…well, any song by My Chemical Romance.
• This Ain’t A Scene, etc.: The high-point comes at 1:43 when Stump slides into “bandwagon’s full, please catch another,” in such a way that the little hairs on the back of your neck will stand up.
• Thnks Fr Th Mmrs: high-point at 1:58, with “page six lovers.” That’s a difficult slurred note, kids. Stump aces it.
• Don’t You Know, etc.: another difficult slur at 1:45…oh, it’s fun to watch him go.
• (After) Life: not one of the better songs, but the freakout at 2:38 makes the whole song worth it.
• Carpal Tunnel, etc.: The whole song is a collage of vocal strengths and spot-on rhythm section work.
• Fame > Infamy: discorama! And more delightful singing.
• You’re Crashing: bouncy little ditty about the sketchiness of the justice system…Stump proves that he can sing soprano, too.
• I’ve Got All This Ringing, etc.: one of the less-inspired songs, but when Stump sings “tell the boys where to find my body” like a plainer, chubbier Lenny Kravitz, you’ve got to hand it to him. Vocal histrionics don’t always work out, but Stump’s self-effacing tendencies makes them go down easily.

Give them a chance. I won’t even tell your friends if you disable your Last.fm scrobbler to do so.

Dancey industrial band The Strand have been around since 2000 and performed on the main stage at Convergence 2005. I’ve had them in my “possible song o’ the week” pile for a while now, but I can’t decide. Thus, we just talk about the band as a whole, and you get (evil)’s essential Strand. They have somehow managed to be an industrial band while not forgetting how to write a melody and, most importantly, they avoid being boring (I’m looking at you, VNV Nation). Ready?

• Shut Your Face (from Diatom): What keeps this from being just another song of distorted yelling? The fake strings, baby. We’re given a festive little string line, which proceeds to be inverted, staggered and changed up all over the place. Besides, who can resist a chorus containing the line, “shut your face/shut your fucking face?”
• Onslaught (from Diatom): Yeah, they’re milking that guitar line for all its worth, but it works somehow. My guesses? The rhythm of the vocals provide the funky rhythm rather than the guitar, and the whole thing is broken up during the chorus.
• Run or Escape (from Diatom): This time, verses are handed off to a female who sounds like the gal from Ayria, but with less glitter. You think you’re home free and know where this is going, but no! The chorus comes in with busy pseudo-strings and yelling, sending the song firmly out of the “you’re starting to bore me” range and into, “oh….yeah.” The Strand aren’t done with you, though. They bring in another drum line that’s oddly in the tradition of a hip-hop breakdown. If you’re not dancing by then, you should go have your groove thang checked.
• Shake Me (from In The Trench): If The Strand did a version of the theme for Halloween, this would be it. The things that make the song? Whispered vocals and drums that stutter so deliciously that Timbaland would be jealous.
• Apparent Disaster (Rivet Mix) (from In The Trench): Just when you think this sond is about to bust out into crazyindustrialWTFBBQ, it doesn’t. It gets broken down into a bass line. That bit of unexpectedness isn’t the best part, though. The best part is the lyric “bouffant debutante” being repeated over and over. It’s bizarrely Devo.
• I Hate My Fucking Job (Imperative Reaction mix) (from Rmx01): The stuff on Rmx01 is more straight industrial than the wtf festivals of In The Trench, but even when The Strand do “hey, we’re gonna yell and do remixes,” it works out. I Hate My Fucking Job may be non-wtf, but it still riles up the aforementioned groove thang.
• Onslaught (Bryon Anderson Mix) (from Rmx01): With the exception of the chorus, this sounds almost exactly like the non-remixed Onslaught, but what the hell. The ingredients that made it good the first time still work.
• Haunted (Massiv in Mensch Mix) (from Rmx01): Don’t start thinking that this is going to be some bullshitty, redundant suckEBM. All of the usual industrial suspects are hear (yelling, distortion, machiney sounds), but they’re broken up enough to keep things interesting. And then there’s the female vocals in the middle…
• Chicks Suck (Forced Mix) (from Rmx01): +10 points for concept and channeling the spirits of Lords of Acid.
• Haunted (Azoic Mix) (from Rmx01): “Did we REALLY need a second remix of this?” Yes, since they hardly sound like the same song. Besides, I can’t NOT tell you about that delicious pitch bend. Aw, man.

Shut Your Face
Onslaught
Run or Escape
Shake Me
Apparent Disaster (rivet mix)
I Hate My Fucking Job (Imperative Reaction mix)
Onslaught (Bryon Anderson)
Haunted (Massiv in Mensch)
Chicks Suck (Forced)
Haunted (Azoic)

These are troubling times, people. These are the days where one can hear no fewer than 3 Combichrist songs in one goth night and hear someone say “what the hell is this” when The Cure are played. These are times when one can go an entire hour without hearing a single vocal. Isn’t anybody doing punky goth anymore?

Well, yeah. It’s just that Gothic Beauty magazine is too busy covering The Cruxshadows to tell you about it.

On the goth timeline, we see…
1. The five seconds in the 70s when people used pipe organ with no sense of irony
2. “We’re kinda serious, but not really” pipe organ a la London After Midnight or Nosferatu
3. “Not only are we not serious, we are openly wearing polka dots. We don’t just watch Killer Klowns From Outer Space, we ARE Killer Klowns From Outer Space.”

Case in point today are The Last Days of Jesus. Their label’s web site describes them as “shizzo deathrock,” but that seems a tad serious for a band who starts a song with “gimme some spooky organ, man.” Here are some of my suggestions for how to describe my second-favorite subgenre:

Psycho Clown Car
Muppet Murder
Devil’s Polka

That is to say, they do the kind of music that makes you picture Muppets dancing in a musical number featuring circus freaks and that puppet from Saw. TLDOJ’s singer went to the Rozz Williams school of gothsing, with a minor in Peter Murphy. Electives: makeup, effective use of bouncy pipe organ. If your favorite Bauhaus song is “Watch That Grandad Go,” if your favorite Cure song is “So What” (half credit for “Meathook”), or if you find lime green inexplicably hilarious, I strongly suggest a listen. It’s a hell of a lot more fun than listening to amelodic songs in which some dude repeatedly yells “Christfuck! Christfuck!” Ain’t no damn irony in that.**

**Not to mention that it’s a little on the nose, don’t you think? I envision Wumpscut holding a focus group to see what song title will be more offensive. “Christ” or “Fuck?” Why decide? Pick “Christfuck!” Great taste! Less filling!

Per someone’s request, I shall now review the musics of two bands who are playing at Salvation on Sunday (Code Blue, 1907 Division St).

The Birthday Massacre

While they sometimes have the tendency too veer into Black Tape for a Blue Girl “dream goth” territory, they generally stay within the realm of the dancey without roaming into cheese*. You will thank them. Steal the following songs, and then even out your karma by buying merch at the show:

-Broken
-Horror Show
-Lovers End
-Over
-Play Dead
-Promise Me
-Video Kid
-Violet

The Start

Their singer sounds like a weird combination of the chick from The Cranes, Siouxsie, and the singer from Missing Persons. Music? Also dancey and delicious, and there go my emusic credits for this month. Get these:

-A Thousand Years
-All or Nothing
-Big Shot
-Christian Christian
-Dead End Queen
-Death Via Satellite
-Hi Flyer
-Jewel
-Like Days
-Los Angeles
-Peacocks
-The 1234

Now that I look at that list, it occurs to me that it would have been a lot less typing to tell you which songs not to get….

All of this is not to say that I’ll actually be at the show on Sunday. As Sunday falls between the days of August 6 and August 28, I can’t go out. The Man wants another digital magazine and I shall be spending all of my time making it for him. Sadly, it won’t even be a portfolio piece when it’s done, as The Man also isn’t interested in paying for anything beyond bares-bones layout. Hear that? It’s the sound of my soul dying. *handstapleforehead*

*Not that there’s anything wrong with cheese. I love cheese.