viernes, 26 de enero de 2007
Hope You Saved Your Glow Stick
taken from the article for NY TIMES
TO most people in Britain, rave is a memory, and a blurry one at that. For four years at the end of the 1980s and the beginning of the 1990s, Britain’s youth took to the fields, forests and warehouses, took Ecstasy, wore some of the silliest outfits ever devised — like cricket hats, white gloves and gas masks — and ushered out Thatcherism in a strobe-lighted haze of electronic music that shook the ground they danced on.
Then Parliament passed the Criminal Justice Act of 1994, which humorlessly characterized rave music as “the emission of a succession of repetitive beats,” and gave police the power to shut raves down. That swiftly put an end to the scene’s drug-induced violence — and to the scene itself.
But if you happen to be in London these days, there are signs that something like rave is stirring again.
“The first time around, rave really seeped into the mainstream,” said Carri Mundane, 26, a designer who was a child during the first rave scene but kept the fliers amassed by her older brother. “The music was in the charts, and everything just became a little bit more psychedelic.”
This time, it’s more insular. And it’s different in other ways, too: some of the music is rock, not electronica, and the scene is no longer as defined by the twin illegalities of drugs and trespassing.
But a collection of young creative types are dressing up and making music that unmistakably refers back to the garishness, the euphoria and the escapism of 15 years ago.
In mid-December, the Klaxons — an indie rock band and the self-appointed leaders of the scene — invited a pack of D.J.’s, artists and other performers to play a final gig of the year under the railway arches of London Bridge.
The location was the site of illegal parties in the early 1990s but, in keeping with the more sanitized character of today’s movement, is now a well-appointed nightclub with a bouncer, sofas to lounge on and $7 beers.
The music didn’t sound like rave. Though tinged with electronica, the Klaxons and two other bands played stripped-back rock, not unlike much of the music that has been in vogue in Britain the last few years. And the dance floor was more of a punkish mosh pit, with lots of shoving revelers, than a blissed-out, synchronized community of dancers.
Still, there were glow sticks — a kind of waving coral reef of neon pinks, yellow and greens — and between acts, young men in leather jackets nudged their way around the dance floor, offering Ecstasy. Teenage fans wore reflective jackets, neon paint, sunglasses, beads and whistles as they hurled themselves back and forth, up and down, suggesting that if this wasn’t rave, then it was certainly a somehow-related cousin.
Like the original, the new rave scene may be a refuge from reality. Although neither incarnation of rave would claim anything as coherent as an ideology, there may be an echo of Margaret Thatcher’s frustrated youth among those experiencing the last days of Tony Blair’s Britain, said Tahita Bulmer, the lead singer of the band New Young Pony Club.
“That spirit of contentment has faded,” she said, with the country vehemently opposed to the way the prime minister has handled the war in Iraq. But it’s when people are unhappy, she added, that “everything goes neon and gets exciting.”
Ms. Mundane, the designer, who wears brightly colored clothing that has made her an arbiter of rave fashion, said, “What I like about rave is the positivity of it, the fact that it is so utopian.”
The rave renaissance may be a reaction to the country’s dour political state or to the tyranny of indie rock. “There’s only so much partying you can do to these shoe-gazing indie bands,” said Jaimie Hodgson, a music journalist, referring to Britain’s emo-heavy music scene.
Many participants say they are nostalgic for a movement they are old enough to at least remember, even if they have not experienced it themselves. Or perhaps they’re just looking for an excuse to dress up and take Ecstasy, otherwise known as MDMA, a drug best known for inducing a touchy-feely, sensation-inducing high.
The new rave scene is a small, tightly connected movement of artists, D.J.’s, bands and partygoers forged in a series of warehouse parties that, beginning in 2003, were organized by a gang of artists called the Wowow Boys, in New Cross, a ragtag neighborhood of students and boarded-up buildings southeast of London Bridge.
As in the 1990s, the gatherings attracted newly formed bands that were eager to create an environment “where the specific aim was to party, “ said Jamie Reynolds, the bass player of the Klaxons.
Hence, the outrageous outfits: At a New Young Pony Club gig, Oisin Butler, a psychology student who said he was starting a band called Aids Baby, sat wearing a purple bow tie, a red cardigan and glasses with Day-Glo frames and no lenses. His jeans were so tight there was no room for his keys. “You can wear anything, as long as it’s odd, or glittery, or neon, or is really disgusting,” he said.
At a popular monthly dance party in Islington, North London, people are encouraged to download smiley masks — a throwback to the original rave scene and an Ecstasy reference — from a Web site. The event started in 2003 with a party in an abandoned public bathroom; this summer 3,000 people in fluorescent attended its Glade Festival.
The dance-music scene has been “snowballing” for the last three years, says the party’s D.J. and promoter, who calls himself Saint Acid. He added that his early events were mainly attended by people in their 30s, wearing old clothes and looking to relive the dance parties of their youth, but now the crowd is “getting younger and younger.”
Mark Archer is half of Altern8, a riotous dance act last seen playing the violin in biological warfare suits in 1991. After 15 years of relative quiet, Mr. Archer, now 38, played at the recent Islington party and is enjoying the unlikely satisfaction of seeing a young band, Trash Fashion, cover one of Altern8’s old tracks.
“If someone had told me 16 years ago that I would still be playing now the same music I was then, and that rock bands would be covering our songs, I would have laughed,” he said. “All of a sudden rave has become cool again. It’s been a bit of a shock.”
Publicado por keem en 12:21
martes, 23 de enero de 2007
LCD Soundsystem Announce New Album Sound Of Silver And 2007 Tour Dates
Following quickly on the heels of the release of 45:33, there's also news of European tour dates and a new album for LCD Soundsystem.
The release will be a full studio LCD Soundsystem album to be released in March of 2007. It's called Sound of Silver, and will be released on March 20th via DFA and Capitol Records.
The 45:33 project is one long song, made as a soundtrack for running. It's an iTunes-only release.
“Sometimes the best way to keep running is to find the parts of the run that are actually rests – that while you’re still running, you’re viewing some of the run as soothing and recuperative, rather than constantly feeling like you’re running for your life,” said a statement on the LCD Soundsystem web site.
LCD Soundsystem: Tour Dates
03-07 - Birmingham, England - Academy
03-08 - Leeds, England - Metropolitan University
03-09 - Glasgow, Scotland - Barrowlands
03-10 - Manchester, England - Academy
03-11 - Norwich, England - UEA
03-13 - Bristol, England - Academy
03-14 - London, England - Astoria
03-15 - London, England - Astoria
03-16 - Brussels, Belgium - Ancienne Belgique
03-17 - Amsterdam, Holland - Melkweg MAX
03-19 - Cologne, Germany - Stollwerck
03-20 - Berlin, Germany - Postbahnhof
03-21 - Munich, Germany - Kleine Elserhalle
03-22 - Milan, Italy - Rolling Stone
03-24 - Toulouse, France - Salle de Tourefeuille
03-26 - Barcelona, Spain - Razzamatazz
03-27 - Paris, France - Bataclan
Sound of Silver Track List:
01 Get Innocuous
02 Time to Get Away
03 North American Scum
04 Someone Great
05 All My Friends
06 Us v. Them
07 Watch the Tapes
08 Sound of Silver
09 New York I Love You But You're Bringing Me Down
You can Pre Order here
Publicado por keem en 10:02
Yes, I'm a Witch is a remix album by Yoko Ono to be released in February 2007.
Artists invited to contribute were asked to select a song from Ono's back
catalogue, and were then presented with all the necessary elements to create a
remix/cover to their desires. According to the press release, nearly every
artist chose only the vocals, and created entirely new backing tracks to
demonstrate the versatility of Ono's compositions.
Notable contributors include Peaches, Le Tigre, The Flaming Lips, DJ Spooky, and
Polyphonic Spree. The song choices span Ono's career from her early experimental
work with John Lennon in the late 1960's through her solo career in the 70's and
80's. The album draws its title from a 1974 Ono song featured on her album A
Story, a track which is also featured here reworked by The Brother Brothers.
Flaming Lips collaborate with Yoko Ono
Peaches, Le Tigre and Polyphonic Spree also get involved
The Flaming Lips are among 17 artists covering Yoko Ono on a new album entitled 'Yes, I'm A Witch'.
Cat Power, Polyphonic Spree, Peaches and Antony of Antony & the Johnsons all contributed to the album, which involved each artist producing entirely new versions of her tracks, with most bands opting to use the original vocals.
The Flaming Lips' frontman Wayne Coyne said: "To be able to play with a track as uncompromising and confrontational as John and Yoko's 'Cambridge 1969' is, for any curious artist, a rare treat.
"We took Yoko's primal screams and John's moaning feedback and turned them into a kind of Ornette Coleman-esque melody...I fear we may have de-fanged rocks' most disturbing performance-art-jam."
1. Witch Shocktronica Intro (With Hank Shocklee)
2. Kiss Kiss Kiss (With Peaches)
3. O'oh (With Shitake Monkey)
4. Everyman Everywoman (With Blow Up)
5. Sisters O Sisters (With Le Tigre)
6. Death Of Samantha (With Porcupine Tree)
7. Rising (With DJ Spooky)
8. No One Can See Me Like You Do (With The Apples In Stereo)
9. Yes, I'm A Witch (With The Brother Brothers)
10. Revelations (With Cat Power)
11. You And I (With The Polyphonic Spree)
12. Walking On Thin Ice (With Spiritualized)
13. Toy Boat (With Antony Of Antony And The Johnsons & Hahn Rowe)
14. Cambridge 1969/2007 (With The Flaming Lips)
15. I'm Moving On (With The Sleepy Jackson)
16. Witch Shocktronica Outro (With Hank Shocklee)
17. Shiranakatta (I Didn't Know)(With Craig Armstrong)
Buy it here or somewhere else...fact ..buy it
Publicado por keem en 9:43
jueves, 18 de enero de 2007
jueves, 11 de enero de 2007
After a chance introduction through a mutual friend in the summer of 2005, writer/producers Olly and Jay got together in an East London studio and went about creating an individual sound nasty enough to irregulate heartbeats and perforate eardrums the world over. The result of their labours was Devil’s Gun.
The duo’s hard-hitting productions provided a twisted amalgamation of electro, breakbeat, house and sleazy synth-rock and lay the foundations for the band's inception. Next into the mix were writer/vocalists Jagga and Dominique, who’d both worked with Jay on previous projects. The creative chemistry between the quartet moved the project to the next level and the tracks soon began to pile up on the hard-drive. After introducing Olly’s old friend Adam Hyde on guitar and Manumission resident percussionist and general loon Don Bastardo into proceedings, the band was finally complete.
Not content with the confinements of the studio, Devil’s Gun soon took their show on the road, playing live as a 6-piece at gigs ranging from seedy, underground electro clubs in Shoreditch to the XFM stage at The Secret Garden Party, to see if their material stood up in the public domain. The answer to that question was clear and the band quickly began to secure a staunch live following and a reputation for infectious tunes and high energy performances.
As well as causing a stir with their live shows, an early demo began to circulate and their tracks were soon being supported by tastemaker DJs on XFM, Virgin Radio and Kiss 100. Recently likened to the mighty Basement Jaxx “…only with a broader musical palette” in the UK’s most prominent music publication, Music Week, the future looks promising for a band that appeals to the generation who's insatiable appetite for both live performance and dance music needs to be satisfied.
‘...see them now is all I can say. They won't be affordable or accessible for long!’ - One Week To Live
‘“…pairs the energy and style of an early Basement Jaxx, but with a broader musical pallete.” - Music Week
“…soon going to be the best thing on your iPod”. - DJ
“This is bitingly catchy stuff…” - Metro
“Devil’s Gun just grew into a beast and will become a monster very soon…” - IDJ
“In Raising the Beast, Devil's Gun defines breakbeat music for the next generation." - Silent Dave, Virgin Radio Xtreme
“Fucking love this tune…” - Jay Cunning, Kiss 100 FM
"Devil’s Gun produces a power, a passion and an energy that will climb out of your stereo and give you the good, healthy slap you deserve. Do not underestimate this band." - Simon Dale, Kiss 100 FM
Taste a track from their forthcoming Vinyl
Devil´s Gun - Raising the Beast (extended mix)
Publicado por keem en 4:44
miércoles, 10 de enero de 2007
# "...instant gratification... of all the films in the 2001 lineup, it's the least Oscar friendly. It was nominated anyway... Rejected pits its excruciatingly minimalist form against a double-decker concept. Sarcasm graduates to reflexive insanity as Hertzfeldt's frustration with [the channel's] dissing his admittedly unacceptable submissions turns to fury... the human resonances, psychological meandering and social asides enhance the art, as opposed to the look outstripping the ideas. The form skips merrily behind the content. This is what separates the animated statements from the cartoons."
Wesley Morris, San Francisco Chronicle
# "...brilliant... runs in the exact opposite direction from slick Pixar, deploying black and white stick figures in deadpan-voice episodes (with scenes of blood shooting from an anus and jetting out of eye sockets) and ending in a fantastic self-referential apocalypse."
David Cole, Time Out New York
# "Born from the same twisted mind that brought us the deliciously cruel animated short Billy's Balloon, ...Rejected continues Don Hertzfeldt's marriage of simple animated line drawings with the unexpectedly disgusting plot turn. We learn from the written narration that Hertzfeldt was commissioned by the Family Learning Channel to come up with a series of promotional segments. His submissions are so weird and existential, they're promptly rejected, which causes the cartoons themselves to implode on one another. I laughed till it hurt."
Warren Epstein, Gazette (Colorado)
Publicado por keem en 12:14
sábado, 6 de enero de 2007
Knights of the Round Table - Knights of the Round Table EP
U can buy their records straight from their webpage. DO IT !
The Round Table Knights are a DJ trio consisting of DJ Questionmark, DJ Atomik and DJ Splinter. If you'd have to characterise them by one term, it can only be diversity. Founded in the year 2000 in Berne, the trio started as a Turntablism- and Scratchband. Soon they focused especially on mixing and the musical horizon was enlarged in many directions. Today the RTK play all kinds of Rock, Electrofunk, Pop, Hip-Hop, House….etc "it’s all about the mix" they say. Since 2002 the Knights are throwing parties all over Switzerland and inviting guests from different musical genres. They played with TTC, DJ Vadim, Gilles Peterson, TY, Spank Rock as well as Modeselektor, Tiga, Simian Mobile Disco, Who Made Who, Tortoise, Tokyo Sex Destruction just to mention a few. In 2004 their first Mix-CD with the slightly ironic title “Only for the Money and the Fame” was released on the Berne-based label Revolt Records, and it hit like a bomb. Immediately the RTK were booked to the Miles Davis Hall at the Jazz Festival Montreux 2004. Also abroad, people began to pay attention to them. Apart form several shows all over Switzerland they rocked Berlin and Vienna the in same year. In Spring 2005, the RTK did some Co-Productions for several Swiss artists. DJ Questionmark did some scratches for the famous Swiss rapper Kutti MC and DJ Atomik scratched on the Open Season-Release Hot & Fire. Also their second Mix-CD called “It’s Funny How Money Changes The Situation”, was released. In addition to that, a 7” made it’s way from Switzerland to record stores in London, Berlin and Vienna. Their live performances on 4 turntables and their aura on stage is legendary. Since mid 2004 the Visual Jockeys from Walldisplay complete the music with their visuals. Their live-sets, coordinated with the music, add another thrilling dimension to the RTK-club-nights. In December 2006 the first RTK 12” will hit the stores. So watch out for more hot releases.
Round Table Knights EP
Artist: Round Table Knights
The first Round Table Knights 12” includes 3 great remixes:
-BE MY LOVE
Justin Timberlake totally cutted up!
- COKE WET REMIX
Dirty synths, guitars, a catchy bass line and of course Spank Rock's vocal skills!
- BALTIMORE CLOCK ROCK
This crazy rock ’n’ roll Baltimore tune will make you rock around the clock!
Artwork by Foederation. / 500Pieces only!
Be My Love
Coke & Wet Shit Remix
Baltimore Clock Rock <----------- takeittakeit
GOODBOOKS - LENI (remixes)
GoodBooks is all about the convergence of rare and varied skills. Chris Porter produced chart-worrying singles by Take That and Wham. Following flirtatious moments in the NBA and working in California as a stand-up comic, he found himself wanting more. Max Cooke decided that his distinguished career as a concert pianist in Melbourne, Austrialia wasn't for him after all. John Paul Duncan was a professor at Oxford University from 1946 until 1975, but found the creation of the synthesizer more stimulating than writing books on "The Political Philosophy of Elijah Jordan", among other respected titles. Leo von Bülow-Quirk is the only member of the band who doesn't have illustrious former careers provided for him through Google, as he is surely the only one of him on this planet.
They came together, spent 3 and a half weeks learning instruments, like guitar, bass, drums and synthesizer, and decided that the world needed a band who would come on stage to 'Return of the Mack' by Mark Morrison. And so, here we are, with a steady flow of songs and live shows promised. Join the mailing list, and we'll let you know where you should be and when.
FROM THEIR SPACE ABOUT THE NEW LENI MIXES
Well this is very exciting, I am finally popping my blogging cherry and I'm frankly loving it.. Just thought I'd let everyone, who gives a crap, know about the remixes we've had done of Leni. There are 3 of them and they are all totally amazing in their own special way. First up is the Crystal Castles remix which turns Max into a pitch mad chipmunk playing a SNES, then we've got the Caucasian Disco Dub, which manages to make us sound cool and a bit like LCD Soundsystem..and finally the one that dj's like Mylo, Freelance Hellraiser and Layo (however not Laurent Garnier who in his words described all the remixes as not for him) are loving is the Kissy Sell Out Remix, who I'm predicting to be one of the biggest producers/dj's of 2007..he's made us sound like Daft Punk doing an irish jig, which is never a bad thing!
Also on the other side of the wonderful remixing coin we have been very busy boys remixing the lovely Larrikin Love chaps and I think it's our best remix yet.. fingers crossed it should be out in the New Year.
Anyway, have a wonderful Christmas and I hope u all enjoy the Crystal Castles mix that should be appearing sometime very soon on the myspace.
White label 12" sent to clubs. I couldnt found any record store selling it yet
We imagine that means indie clubs, rather than Happy Hardcore @ Turnmills, but you never know.
1. Leni (Crystal Castles Remix)
2. Leni (Eliot James Remix)
3. Leni (Kissy Sellout remix) <------------- takeittakeit
Publicado por keem en 15:34
LISTEN TO THIS TRACK
Trash Fashion - It's A Rave Dave (JE2 Grade 8 Mix)
from the record by TRASH FASHION
GET IT HERE BITCH
$$$$ I want it now cause im a brat $$$$
Publicado por keem en 12:20