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| juepucta |
 Posted: Sun Aug 29, 2004 5:12 pm |
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Joined: 22 May 2004
Posts: 52
Location: Los Angeles, California
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Hey!
Feel like practising your german? Want to go beyond lines like "i have shampoo with my salmon" and "they call me super fantastic"?
Dig Franz Ferdinand?
Check this out - and dance to this insane punk mambo concoction:
http://dominorecordco.com/catalogue.php?release=521
:)
G. |
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| chris563 |
| Posted: Sun Aug 29, 2004 7:57 pm |
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Joined: 28 May 2004
Posts: 50
Location: SF CA USA
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kanye west's set on the mtv awards was pretty great. he made these other mtv bands which have been sucking up the programme look even worse (chaka kahn's axl rose impersonation notwithstanding)
the new ipod commercial with like boombox breakdancers doing it to a bluegrass soundtrack (etc) is amusing |
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| Macca00 |
| Posted: Sun Aug 29, 2004 8:46 pm |
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Joined: 30 May 2004
Posts: 390
Location: Liverpool/England
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This used to be a city in denial about its musical heritage. The 60s were so comprehensive in their musical landmarks that it cast such a shadow. Here in Liverpool that was magnified to the power of ten. As a consequence, early 70s Liverpool bands were immediately hyped as the new Beatles, & then quickly dismissed once the burden of that tag became too much.
Punk & New Wave marked a generational break from the era of post-Beatle flotsom & jetsam in Liverpool. A new sound had emerged; Elvis Costello, Wah Heat, Deaf School, Echo & The Bunneymen & others all moved the focus on to a new Liverpool scene. Any mention of the Fab Four would be greeted with a mixture of indifference & irritability. I was one of those who reacted in that way. After all, teenagers never take kindly to the view that their moment of expression/rebellion, call it what you will, is just the latest in a long line of such phenomena.
There was also the context of Liverpool's economic decline as a city & port. Mass lay-offs by large employers led to civic disillusion & unrest. Against this background, any celebration of the Beatles was, at best, a distraction.
John Lennon's death was a shock to all, Liverpool included. However, the feeling persisted in the city that the Beatles had made their fortune, left their home town, & that a new generation of local bands should be encouraged: history is history.
Things changed in the early 90s. Britpop revived interest in 60s music. For all their oafish antics & paint-by-number efforts, Oasis did make teenagers born in the 80s aware of the Beatles. Around the same time the Matthew Street Festival was launched as an annual event. The trickle of mainly U.S. tourists quickly became a torrent. Soon, people from all over the world were booking rooms in Liverpool's limited number of top class hotels.
Fast forward to today. The city has adapted to the annual influx of visitors: new hotels, new bars, new amenities. This weekend has been a blast. Tomorrow, a public holiday, is the climax. With a million people expected on the streets of central Liverpool, things have come full circle. The city can truly revel in a massive part of its musical heritage.
Webcams covering tomorrow's festival can be accessed via the Matthew Street Festival website (enter in any search engine & you'll get there) as well as www.bbc.co.uk/liverpool . |
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| chillywilly |
| Posted: Wed Sep 01, 2004 6:05 pm |
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Joined: 20 May 2004
Posts: 8250
Location: Salt Lake City
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Nickelback and Puddle of Mudd
USANA Amphitheater
West Valley CIty, UT
August 31, 2004
I love amphitheaters as they can seat a lot of people, normally have a big lawn area to fit even more people into and are built with acoustics in mind. For my first visit to USANA, Nickelback and Puddle of Mudd would test the waters for me, allowing comparisons to other like-venues that I’ve previously enjoyed.
Being a virgin to seeing Nickelback live, I didn’t have a preset idea of what to expect. But knowing a good amount of their catalog helped as each song they performed was familiar to my ears. Songs like “Someday”, “How You Remind Me”, “Figured You Out” and “Leader Of Men” all showed the talent Chad Kroger and band had. Mixed with pyrotechnics, moving lights and variable-height platforms, the 90 minute performance was very good. With few exceptions like throwing half-full beer glasses to the audience and pre-recorded voice tracks preceding a few of the songs (“Hero” – minus duet partner Josey Scott, “Never Again”), the show provided each and every fan a delight and a good value, considering most of the tickets were under $35 (we paid $20 each and had very good seats).
As for Puddle of Mudd, they took their mid-bill position of the night as both laid back and ass-kicking. Their set was much shorter than expected, omitting songs like “Bring Me Down” and “Never Change” from 2001’s Come Clean album. But their hit songs like “Away From Me”, “Control”, “Blurry” and “She Hates Me” had the crowd singing along – sometimes remembering only the chorus. Having seen them last year in Las Vegas, I was expecting a great performance. I got that, but wished for a longer set. Wes Scantlin continues to shine on vocals and stage persona that is neither overboard or under performed.
Show openers 12 Stones were good and seemed to provide a good set of hard rocking songs to the few that filled the arena, inviting those arriving late with a 35 minute set to warm them up for Puddle of Mudd and Nickelback. Not being familiar with their work, it was a cross between Papa Roach and Limp Bizkit, which seemed to appeal to a good amount of the audience.
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Chilly
"If you should die before me / Ask if you could bring a friend" |
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| shannon |
| Posted: Wed Sep 01, 2004 10:15 pm |
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Joined: 21 May 2004
Posts: 1628
Location: NC
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| Okay, first The Strokes, The Vines, and The Hives have released second albums nearly identical to their formers and now The Libertines have done it, too. Next year all four will do the big third album radical departure, wait and see. |
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| ehle64 |
| Posted: Wed Sep 01, 2004 10:21 pm |
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Joined: 20 May 2004
Posts: 7149
Location: NYC; US&A
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| shannon |
| Posted: Wed Sep 01, 2004 10:47 pm |
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Joined: 21 May 2004
Posts: 1628
Location: NC
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New Bjork is good, no radical departure despite all the "vocals only" talk. Sounds like old Bjork, really. But I like.
First Bjork is all "just say no to instruments," then Trent Reznor is like "just say no to chords." WTF? Is it the in thing for all mid-90's studioheads to declare themselves anti-pop? Next Tricky will be like "my new album will be have no lyrics whatsoever, just animal sounds" and Portishead will declare "music is sooo out" and release an album of nothing but silence for 79 minutes. |
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| Marc |
| Posted: Wed Sep 01, 2004 10:56 pm |
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Joined: 19 May 2004
Posts: 8424
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shannon,
the anti-music thang is ancient history. Ever hear METAL MACHINE MUSIC or THE GODZ? |
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| shannon |
| Posted: Thu Sep 02, 2004 7:06 am |
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Joined: 21 May 2004
Posts: 1628
Location: NC
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| I kinda like Metal Machine Music, but only for about ten minutes. |
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| chillywilly |
| Posted: Thu Sep 02, 2004 3:18 pm |
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Joined: 20 May 2004
Posts: 8250
Location: Salt Lake City
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I never made it to Monday's My Chemical Romance show here in Salt Lake, but here's a review from it.
Quote: Monday night's family home evening at In the Venue was a lesson in the evolution of punk music, taught by My Chemical Romance and Face to Face.
Face to Face, on its final tour after 12 years of music making, bears the marks of punk that was popular in the mid-90s - high on energy, low on melancholia. Lyrics are simple and straightforward, void of overwhelming sardonic angst or postmodern musings (see "My Chemical Romance" for that).
The Southern California band blazed through the first several songs of its set, including "You've Done Nothing," "Big Choice" and "Struggle." After informing the enthusiastic crowd that the band would play "70 to 80 songs," band leader Trever Keith launched into the best song of the night, "What's in a Name?" followed shortly by the equally charged "Dis- appointment."
Keith promised and delivered "something fast and upbeat" for "A-OK." Ditto for "Complicated" and the crowd pleasing "Walk the Walk."
As for the band's future, Keith jokingly speculated about several business prospects: soy beans, mufflers - or solo, acoustic Face to Face tours at local coffee houses.
Moshers in the never-ending pit were kinder than most: Participants picked up comrades when they fell. But here's a hint, children: It's never a good idea to mosh near a large metal pole.
Vampiric Gerard Way of My Chemical Romance prefaced his band's set with "we're going to play for 40 minutes if you want to go out and get a beer."
Those who took his advice to heart missed a 40-minute cacophony of sound and sight.
"Honey, This Mirror Isn't Big Enough For the Two of Us" was dedicated to the "girl who's been at our last three shows," followed by the catchy "Helena," a song that showcased the band's stature in the "screamo" genre. Its sound may seem scattershot, but underneath the distorted reverberations and screaming vocals is design and orchestration competent enough to make any rock prof proud.
"You Know What They Do to Guys Like Us in Prison" was accurately described as a "gospel jam," while "Give 'Em Hell Kid" was a mix of stadium rock and modern punk. The group finished its set with "Vampires Will Never Hurt You." That may be true, but musical vampires like Way certainly know how to bring out the animal instincts within.
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Chilly
"If you should die before me / Ask if you could bring a friend" |
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| Macca00 |
| Posted: Thu Sep 02, 2004 9:51 pm |
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Joined: 30 May 2004
Posts: 390
Location: Liverpool/England
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| Check out this website : www.bbc.co.uk/newsnight . Saw the programme broadcast & can't wait for the release of "The Vanilla Tapes". Mick Jones said in an interview that there's a whole lot more in tapes he has lying about his house. |
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| censored-03 |
| Posted: Fri Sep 03, 2004 11:57 pm |
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Joined: 24 May 2004
Posts: 3058
Location: Gotham, Big Apple, The Naked City
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| unohoo |
| Posted: Sat Sep 04, 2004 10:03 am |
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Joined: 30 May 2004
Posts: 210
Location: Houston, Tx
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| I like that new Bjork album too, although I think I expected a little too much. When I heard about the choir and this throat singer dude I thought well they are gonna try and re-create all of the ambient sounds they relied on keyboards for with voices. So for whatever reason I figured there would be these huge vocal arrangements, layered harmonies, layered melodies, and whatever else they could think of. But it seems like they played it close to "Vespertine" where there was a lot of room on the tracks and then you have Bjork's voice sort of cutting through it all. It's good though. |
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| jeremy |
| Posted: Sun Sep 05, 2004 2:14 pm |
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Joined: 21 May 2004
Posts: 6794
Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)
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The Clash were the band, the last gang in town. Punk had attracted a disparate bunch of followers - the bored, the committed, the political, fun seekers, suburban boys in search of something, inner city kids escaping something else. The whole thing began to fragment almsot as soon as it had begun. But everybody loved The Clash - they would storm the charts, break America, make everyone understand.
They didn't stand a chance, and sure enough the were squashed by the weight of expectation. The band were right to abandon the play fast, play loud, neo-metal of Give 'em Enough Rope but the tame reggae-blues-rock hybrid of London Calling was a big disappointment. not becasue it wasn't good, it had some great tracks, but at the visceral level it just didn't deliver - they had thrown out the baby with the bathwater.
It was not that they couldn't do it - White Man, the messy Stay Free (used in Rock School showed that there was life beyond the punky thrashing. My favourite Clash moment was from the film Rude Boy where Joe Strummer is playing blues alone on the piano - unlike the Pistols these guys were the real thing - their love of the music shone through. I didn't feel the same passion on London Calling
I'd be interested to hear the London Calling outakes. it may give some insight into what The Clash were trying to achieve. What they rejected could be revealing. But I'm not expecting to be blown away. [/i] |
_________________
I am angry, I am ill, and I'm as ugly as sin.
My irritability keeps me alive and kicking.
I know the meaning of life, it doesn't help me a bit.
I know beauty and I know a good thing when I see it. |
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| Mr. Brownstone |
| Posted: Mon Sep 06, 2004 12:22 am |
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Joined: 21 May 2004
Posts: 2450
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All right, I'm putting together my best singles of 2004 album, and here's what I got so far:
1. Slither, Velvet Revolver
2. 99 Problems, Jay-Z
3. Growing on Me, the Darkness
4. I Miss You, Blink-182
5. The Outsider, A Perfect Circle
6. How About You, Staind
7. Ch-Ch-Check It Out, Beastie Boys
8. I Just Don't Know What to Do with Myself, the White Stripes
9. Cold Hard Bitch, Jet
10. Hold On, Good Charlotte
11. Weak and Powerless, A Perfect Circle
12. Fall to Pieces, Velvet Revolver
13. Careful, Guster
14. Is She Really Going Out with Him, Sugar Ray
15. Behind Blue Eyes, Limp Bizkit
16. Extraordinary, Liz Phair
17. Maps, the Yeah Yeah Yeahs
18. Float On, Modest Mouse
What have I missed? |
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