Only If You Want Me To - Silverlake (3) - Nothing In Between (CD, Album)
Ruby Free-Shades Danny de la Matyr-Crybaby Jesse Terry-Stargazer The Rallies-Serve John Rooney-Still Here The Fisherman-Down Dan Auerbach-Waiting on a Song Eric Harrison-Mercy Road. Posted by Steve at AM 3 comments:. Let the year-end listing begin, with the top half of the topthe top EPs, and my favorite Americana albums of to follow in the coming days. The On and Ons-Welcome Aboard Shake Some Action! Ron Sexsmith-The Last Rider Bubble Gum Orchestra-Sixthoverture Crime Scene-Alter Life Dave Caruso-Buddha Pesto Manifesto The Mike Benign Compulsion-Kid The Sighs-Wait on Another Day Third of Never-Austerity Fallon Cush-Morning Brian Jay Cline-Writer's Block Smisch-The Story of My Life Gentle Brent-Just Dandy First Base-Not That Bad The Fags-I'm With Her Richard Turgeon-In Between the Spaces Drew Beskin-Cha-Ching Machine The New Pornographers-Whiteout Conditions Fernando Perdomo-The Golden Hour Captain Wilberforce-Black Sky Thinking Lewis Wilson-Grandioso Pop Fastball-Step into Light James Maddock-Insanity vs Humanity Chris Church-Limitations of Source Tape Burgess Meredith-A Dimension of Sound Static in Verona-Secrets Like Shadows Timothy Monger-Amber Lantern Chris Price-Stop Talking The Wellingtons-End of the Summer The Successful Failures-Ichor of Nettle Wiretree-Towards the Sky Goodman-The Vicissitudes Posted by Steve at AM No comments:.
Labels: Best-of ListsBest-of Lists A couple of new releases to feature before the year-end lists hit next week. Opener "Pretty Girls" sets the tone with its loud guitars, sharp hooks, "la la" backing vocals and rockin' piano, while "Tattoos of Stars" sounds like a lost Walker track with its combination of swagger and melody.
Rock around the Christmas tree with this one. Longtime AbPow favorites Latvian Radio return with their sixth album, and it's another collection of driving, buoyant pop that will get your toes tapping. Patric Westoo and company do mix things up a bit here - "Shake the Tree" is almost straight-up punk rock - but for the most part it's breezy, almost danceable pop in the vein of New Pornographers and a more upbeat The Shins with tracks like "Paranoia" and "Four Letter Word", while "Observations in a Major Key" has a laid-back 70s vibe.
Posted by Steve at AM 1 comment:. Labels: Latvian RadioTommy Zamp. Wednesday, December 06, Singles galore! A whole bunch of artists featured on the site have released singles over the past month or two, so it's time to catch up. We'll play the whole Nespithe album, the new song, two songs for the first demo, and a the two unreleased tracks. Don't miss it, as we will never be back again. No tickets, but the age limit is The Demilich MySpace page isn't run by the band, and the owner of it doesn't even publish the messages that tell about the fact.
Also, the gig schedule there is an outdated mess. I don't really care about it, but still, remember that the most current info on the gigs can be found here and at the forum. And if you really need to use MySpace, head at my MySpace space. The States updated: We're coming to play in your backyard if you happen to have an US club there.
Here's what the current list of US gigs looks like:. If all goes as planned, we'll play in Maryland Death Fest on May That will also be the last chance to see us, except for the final gig in Kuopio that we'll arrange after it. The band will split up then, and if the US gigs fail, even earlier.
We'll keep you informed if something changes. Okay, the gig in Turku won't be our last. Remember that any gig can be our last.
If you want to hear about the albums first, go to Prod section and add your email address there. Demilich will play its first gig since on 4th May in Kuopio, Finland. That's OK too. I don't care. I can make records on anything! Or anywhere. I did some of the work on Neil's record in a hotel room. In that case I'll work with two DAT recorders.
It allows me to work on an already existing mix, do treatments, record them on another DAT, and I'll later spin that back into the Radar. What other tools do I use? I'm not telling!
Thankfully, Mark Howard is less reticent. It was the same with Neil Young's record. I set up, I do the record, and I tear the installation down. It's a great way to make records, because there are no budgets anymore these days, and like this I don't have any overheads. You also don't fall into the same routines with always the same drum setup in the same place. I've been making records like this for 23 years. It allows for a lot of creative accidents to happen, and as a result I'm always discovering new sounds.
Mark Howard with one of the other recording rigs that was used on Le Noise, based around a Tascam digital mixer. He made them 20 years ago, and there's finally a company manufacturing them.
These two pieces of gear are my main rig, and then I have a Tascam DM digital desk when I travel abroad, which is an amazing piece of kit. It's totally automated and it sounds punchy and warm.
I'll also have some outboard and mics, like the RCA44 ribbon mic. It's one of the best microphones ever made for recording drums or vocals. I used it a lot on the Tom Waits record. Other than Neve desks, we don't use too much vintage stuff, though. It sounds great, but it can drive you crazy. You spend half your time getting vintage gear to work.
Plus people using Pro Tools are listening with their eyes instead of their ears. I like the Album) because I grew up using tape recorders, and it is like using a tape recorder.
You record something, you play it back. You don't have to think about anything else, or spend hours studying how to use the software or get something to work again when it crashes or doesn't open. With the Radar, you can spend these hours on dealing with the music. Recording with Radar is much quicker than with tape or Pro Tools. Rewind and playback is instantaneous, and you don't have to constantly wait for things to load, unlike with Pro Tools.
It's such a frustrating tool for me. If I ever have to use it, I get a guy to do it for me, so I don't have to look at it. The gestation of Le Noise began in earlywhen Neil Young called Lanois with the request to help him make an acoustic album.
The most outstanding quality of Cigarette Bums is how well-rehearsed their live sets are and the stoic, yet enthusiastic stage presence they exude. There is a sense of urgency in the performance in a sense that they simply cannot wait to share their music with the audience. Steven went on to tell me, after I remarked on the continuity of the set and inquired about how much rehearsal experience they had as a group that the the band had given an impromptu performance that night.
They are hoping to go on what will be their second cross-country tour within the upcoming year. Gradually, the venue began to fill up and the crowd mulled about for the duration of the next two sets.
I caught up with the group after the show in hopes that they would have some insight to provide for their fans. Santoros are widely regarded by the local music scene as psych rock staples and have received all manner of well-deserved accolades. Characterized by echoing vocals and heavy instrumentals, Santoros create a haunting cemetery-rock vibe that comes across both live and in their recorded media. The performance of the evening brought the excitement level to a climax, with the band members presenting a personality in addition to a great sound.
Inspiration is everywhere for this group, but the focus of this project specifically was to bring the music back to its origins. Offhand, the group listed traditional Mexican music as a heavy influence on the creative process.
Carlos Precichi, guitar and vocalist for the group, said the time he spent in Ensenada, Mexico every summer weighed heavy in his mind while working on El Perdedor. The writing process includes describing personal struggles; love, loss, grief, etc. This bittersweet nostalgia is a prominent theme in the lyricism of the new material, as well as the conscious Only If You Want Me To - Silverlake (3) - Nothing In Between (CD of a degree of uncertainty for the future.
Funhouse, Fifth Ave. The Silver Lake band proudly coats a ceaseless fuzz over their retro garage-pop as if stolen from a long-lost beach bash flick. Cigarette Bums L. They bounced the audience in this Tenderloin squeezebox around like so many Nerf balls.
The whole room Album) into some segment of American Bandstand, as close to fifty whey faced Millennials began to bop without sense of care of cool. Gouts of PBR suds splattered the low ceiling and the Bums slipped and slid without missing a note.
As the singer wails with a smoke strained voice and distorted guitars collide in perfect shambolic harmony, those that are Album) will want to pour themselves a stiff sour bourbon and dance a freaky step in the corner alongside all the other intoxicated garage beat locals. This track really is the perfect night cap. The Cigarette Bums have a penchant for heavy 60s-style garage rock that pairs well with a wild night at a bar.
This is evident at any live show that they play. It seems like only yesterday it was over two years ago that he sent me CD copies of two albums I, up to that time, never even knew existed: And it seems like just yesterday because it was that I received his brand spanking new CD, Sonar.
There is a story behind Nick and his music and I hesitate to tell that story here because I have told it a few times and hate to repeat myself too much, but if you want to read a fascinating story about his early years in New York and how we became acquainted, follow this link. My musical friends know I am an odd duck when it comes to music but they know me as an honest odd duck and a fanatic about what I like.
I like Nick Holmes. It was easy. I listened to it. My first exposure was through White Elephanta loose experimental group of musicians which formed around future jazz maestro Michael Mainieri.
Gary Haller at the House of Records found it for me. The band was a conglomeration of artists of all types, many of the musicians the future of New York jazz Brecker BrothersWarren BernhardtTony Levinetc. And what sessions they were! Nick was the core of those sessions in my head. When he was, it was pure Holmes magnificence. He wrote songs perfectly fit to his voice and Mainieri and crew arranged them so well that I had no chance.
I quickly became fan. Huge fan. Originally released in InNick had a string of songs he wanted to record and Mainieri set to putting together a band which included, not surprisingly, leftovers from the Elephant days, which had been fun but ended all too soon. The songs were a mix of jazz and rock, Nick having found a niche few were doing it as well. The highlight of the album, for me, was a mood piece Nick titled The Promise Suitea modern classical-jazz composition presented in three parts.
Atit Album) a wallop of emotions and even today I am taken aback by its musical direction and beauty. That album failed miserably, though not without its critical successes. Radio was also losing its bite, FM Underground beginning to make what looked like a move to capture the hearts and minds of the young but ending up a lame mirror of the glory days of AM.
Formats ruled and Soulful Crooneras impressive as it was, disappeared into the depths of space, seemingly lost forever. Forever was not what it was, but it certainly seemed like it. I kept my eyes peeled over the years, scouring the racks at used record stores, asking people in the record biz if they knew anything about Nick and where he was, but the answer was always no, never heard of him.
Every once in awhile, I would find someone who had heard of him and that little bit was reason enough for celebration, for had I not had those copies of White Elephant and Soulful Crooner safely protected amongst my other record albums, I am sure I would have doubted they ever existed. And Album) came the Internet, that huge expanse of information-heavy ether packed into a computer-sized box, and let me tell you that in the early days, those boxes were not small.
My first forays produced nothing about Nick and his exploits, if any there had been. I made friends with the few who appreciated Crooner.
For short bursts, we would pat one another on the back in the realization that we were not alone in being fans, but those moments were few and far between. I had almost given up hope when I posted a piece on Nick and his importance to me and received a message from someone asking me to contact him. I can put you in touch with him if you want, he said, but it will have to be his choice. Nick, it seems, was as weary of the world as was I, at that time.
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