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Archive for August, 2006

Thursday, August 31, 2006

Mission of Burma Ticket Giveaway (Seattle, WA) and our friends at Matador records are giving away a pair of tickets to the Mission of Burma show on September 15th at the Crocodile Cafe in Seattle, WA

How do you win?? Man alive it’s SOOOOOO simple.. Just send an email to kingblind(at)gmail(dot)com with MISSION OF BURMA in the subject line and your name and address in the body of the message and we will randomly pick the winner. (This show is is 21+ ONLY You must show valid photo ID to enter the venue)

About Mission of Burma’s latest album:: The Obliterati
We’re slightly in awe of Burma’s new, 3rd full-length studio album proper, ‘The Obliterati’, which came out on May 9. Recorded at Boston’s Q Division Studios with firmly ensconsed 4th wheel Bob Weston, ‘The Obliterati’ might be the most aggressive, raw and challenging recording in the band’s storied career. With equally strong contributions from Roger Miller, Clint Conley and Peter Prescott, ‘The Obliterati’ , while having the odd melodic moment or 2 dozen, is as relentless and engulfing an album as we’ve heard since…well, since Burma’s ‘Vs.’ some 24 years ago. Whether or not this album is as topical, absurdist or just plain hit-packed as that one, you’ll have to figure out for yourself. For the moment, our senses are just shattered.

Listen to Mission of Burma
Mission of Burma:: Donna Sumeria MP3

Sep 15 – Seattle, WA – Crocodile Cafe
Sep 16 – Portland, OR – Doug Fir
Sep 17 – Eugene, OR – WOW Hall
Sep 19 – Sacramento, CA – Harlow’s
Sep 20 – San Francisco, CA – Great American Music Hall
Sep 22 – Los Angeles, CA – Troubadour
Sep 23 – San Diego, CA – Brick by Brick

Dinosaur Jr. Gear Stolen!!

Attached and listed below is a list of gear that was stolen out of the Dinosaur Jr trailer last night (Tuesday 8.29.06) outside of their hotel in Long Island City, NY. We would appreciate spreading the word and passing this list around in hopes of recovering their gear. Please notify and alert your local guitar shops, pawn shops, music and web stores etc. to keep an eye out for this gear. Feel free to send this list to any and all band, tour and production managers, guitar freaks, touring personnel, venues, musicians and or thieves that you think could help us.

If anyone has any information about this gear, please call Brian Schwartz at the number below or on his cell at 303.956.9671 or Bart Dahl at 212.777.0922 or on his cell at 720.331.1836. Thanks and Best, Brian


1959 Fender Jazzmaster SN# 38927.
-decal coming off. cracked headstock at top near low E peg. color black with purple/bluish sparkle coming through. adonized pick guard gold metal. tuneomatic bridge gold, tuning pegs gold.

1961-3 Fender Jazzmaster SN# 62012.
-purple sparkle, black pickup covers. headstock repaired, a whole new piece of wood was glued on for the top part of the headstock under the tuners and up a 1/2” , along the whole top of the headstock. gold tuneomatic bridge, gold tuners

1964-5 Fender Jazzmaster SN# L21581.
-orange, white pearl pickguard, stickers we’re all over it, original tuners.

Fender Purple Jazzmaster new SN# R074329.
-purple sparkle with matching headstock gold adonized guard tuneomatic bridge.

Rory Gallagher Stratocaster new SN# R25507.
-has a big gold grover tuning peg on low E

Rickenbacker 197? Fireglo Bass SN# 4001.
-checker-board binding.

B.C. Rich Warlock Bass SN# 4242413

Custom pedal board with custom audio electronics RS-10 foot controller, Teese RNC2 wah pedal, boss stage tuner, mute box, and cables.

[1] Paiste 20″ 2002 medium
[1] Paiste 20″ giant beat
[1] Paiste 20″ 2002 crash
[2] Paiste 19″ 2002 crash
[2] Paiste 15″ 2002 sound edge top hi-hats
[1] 15″ 2002 sound edge bottom hi-hats

On Black backpack with Sony headphones, tools, etc.


Kingblind Downloads

Teddybears – Cobrastye Diplo Remix (mp3)

Trailer for upcoming Mission of Burma Documentary “Not a Photograph”

Trailer for upcoming Sparta film

Wednesday, August 30, 2006

Kingblind Downloads

The Grates:: Feels Like Pain

Jeremy Enigk:: Been here before

Soul Wax:: Miserable Girl

Stars of Track and Field:: Movies of Antartica

All music downloads from largest record seller will be free (But you can’t burn them, use them on your iPod or your mac)

LOS ANGELES — Music fans for years have been telling record labels what they want to pay for downloaded songs: nothing.

The labels now are starting to agree that free might work for them, too.

Universal Music Group’s announcement Tuesday that it is licensing its digital catalog to a Web site offering free, legal downloads marks a significant shift in an industry long criticized for fighting, rather than harnessing, the Internet’s potential.

The Web site, backed by New York company SpiralFrog, hopes to make money selling advertisements that play while songs download.

In addition to Universal’s artists, which include U2 and Kanye West, SpiralFrog is seeking to license the catalogs of Sony BMG Music Entertainment, Warner Music Group and EMI Group.

“This is really promising that the labels are going to finally stop kvetching and start thinking intelligently about where their money’s going to come from in the 21st century,” said Aram Sinnreich, managing partner of Radar Research. “SpiralFrog is one small step for the record labels, one great leap for music kind.”

Two big buts: The tracks cannot be burned to a CD, and the service will not work with Apple Computer’s Macintosh computers or iPod music players.

The deal between SpiralFrog and Universal Music, the world’s largest record seller, reflects how the entertainment industry is scrambling to find new ways to make money as the Internet rewrites the rules of distribution and marketing.

“If someone wants to buy a million CDs from us and then give them away on a street corner, that’s fine with us as long as we get paid,” said Larry Kenswil, a top digital-media executive at Universal Music.

The record company will receive an upfront payment from SpiralFrog and a portion of the company’s advertising revenue. “Anything that encourages people to get music from legitimate sources is a good thing.”

But SpiralFrog’s success is far from guaranteed.

Record labels have spent much of the seven years since the debut of Napster trying to convince music fans not to download free songs from online file-sharing networks. They have fought the networks in court and sued thousands of individual users for copyright infringement.

And online ad revenues are unlikely to replace the $33 billion spent worldwide last year on recorded music. Even with the success of outlets such as Apple’s iTunes Music Store and Seattle-based RealNetworks’ Rhapsody online music service, labels still make most of their money selling compact discs — although those sales have been declining.

“There’s a real risk that, over time, consumers will eventually lose their willingness to pay for music at all,” said analyst Mike McGuire of research firm Gartner. “You have to drive a lot of ads to a lot of eyeballs to make as much money as iTunes earns by selling songs for 99 cents each.”

Finally, there’s the question that cuts to the core of SpiralFrog’s business model: Will fans sit through a 90-second ad to get free music?

Despite the conventional wisdom that young people don’t want to be bombarded with marketing messages online, ads are some of the most popular video clips bouncing around the Internet. Teenagers routinely sign up to receive promotions and e-mails from their favorite brands.

“The currency we’re using is time,” SpiralFrog chairman Joe Mohen said. “Young people are already downloading free songs illegally on peer-to-peer networks. We believe that advertisers will pay to show those consumers ads, and that those payments will rival what music companies get from iTunes or other online retailers.”

SpiralFrog’s site is expected to debut this year. A beta version is expected to go live in December. When it does, users will be able to save downloaded tunes to a hard drive or a portable music player. Users also will have to visit the Web site once a month to watch more ads. Otherwise, digital locks will make it inaccessible.

Some information was provided by The Associated Press.(By Charles Duhigg and Dawn C. Chmielewski)

Tuesday, August 29, 2006

The Who return with 1st studio album in 25 years

NEW YORK, NY. (Universal Republic Records) – Universal Republic Records will release new music from the legendary rock band The Who, it was announced today by Mel Lewinter, Chairman and CEO of the Universal Motown Records Group, and Monte Lipman, President of Universal Republic Records. The historic signing with Universal Republic will include the first studio album by the band in 25 years, Endless Wire, scheduled to hit stores October 31, 2006.

“We are thrilled beyond words to welcome The Who to Universal Republic,”stated Mr. Lewinter. “They are truly one of the quintessential rock bands of all time. Larger than life, never compromising – The Who’s profound insight and willingness to push the musical envelope embodies everything vital about the indispensable music culture they helped spawn.”

Stated Mr. Lipman: “The Who not only defined their generation, but every generation of artists that followed with their genre-defying mixture of rock, R&B, and conceptual breakthroughs. We’re honored they’ve chosen Universal Republic and are certain their new album is poised to reinvigorate the music world all over again.”

Commented Doug Morris, Chairman and CEO of the Universal Music Group: “I join Mel and Monte in welcoming The Who to the Universal Republic family, and look forward to the next great chapter in one of the most indomitable and innovative legacies in the history of rock n’ roll.”

Universal Republic will inaugurate the new pact with the release of the first new Who studio album since 1982. The disc will include all new songs, as well as music culled from a 29 minute operatic work, described by The Who’s co-founder Pete Townshend as “A Mini-Opera inspired by his Novella The Boy Who Heard Music.” Townshend has made the book available online at

A recent EP, Wire & Glass, (available only on import in the U.S.), which includes music from the mini-opera, and one full length song, “Mirror Door”, all of which will be available on the new studio album, has garnered rave reviews, proving the venerable band has not lost their magic touch.

The multi-talented Townshend, who along with vocalist Roger Daltrey has been the long-standing dynamic force behind The Who (drummer Keith Moon died in 1978 and bassist John Entwistle died in 2002) indicates that the new material is definitely on par with what Who fans have come to expect from the legendary band.

The formidable duo also recently described themselves as “fit and ready to rock”, as they announced their first world tour in almost 20 years. The Who will embark on a whirlwind trek that will find them hitting the U.S. in September, kicking off in Philadelphia on September 12th, with more shows to follow in U.S. and Canada in October and November, as well as South America, East Asia, Europe and Australia in 2007. The band’s touring lineup is also to include Zak Starkey, Ringo Starr’s son on drums, and Simon Townshend, Pete Townshend’s brother on guitar, Pino Palladino on bass guitar, John Bundrick on keyboards.

Few bands have had a more lasting impact on the rock era than The Who. Inducted into the Rock n’ roll Hall of Fame in 1990, their incendiary style garnered them one of rock’s most loyal fan bases, with the brash foursome bursting onto the scene in the mid-1960’s armed with a searing new template for rock, punk and everything after. Their 1965 coming of age anthem “My Generation,” also heralded the arrival of Pete Townshend as one of rock’s most prescient songwriters, with the prolific icon going on to pen one of the most influential and recognizable canon’s in rock, an evocative musical repertoire that has endured for more than 4 decades. The Who have sold more than 100 million albums worldwide, including ferocious and diverse classics such as the 1969 groundbreaking rock opera Tommy (which won 5 Tony awards for its Broadway adaptation in 1993), 1971’s pummeling Live At Leeds which has recently voted best live album of all time in the UK, 1973’s Quadrophenia, 1978’s Who Are You, and their final studio album 1982’s It’s Hard. Known for their combustible live shows as much as their conceptual and innovative album and song structures, their electrifying presence onstage and off has garnered comparisons with the Rolling Stones for the title of ‘world’s greatest rock n’ roll band.’
Most recently, Pete Townshend and Roger Daltrey reunited for the 2005 Live 8 Concert in London’s Hyde Park, as well as the 9/11 Benefit concert at Madison Square Garden, receiving glowing reviews for both shows. This summer, The Who offered a glimpse of their upcoming U.S. live show with a string of well received, sold-out concerts in Europe. Dates in South America, East Asia, Europe and Australia are tentatively scheduled for early 2007. Filling out the touring lineup will be Zak Starkey on drums, Pete Townshend’s brother Simon on guitar, Pino Palladino on bass and John Bundrick on keyboards. Dates are as follows:

09-12 Philadelphia, PA – Wachovia Center

09-13 Wantagh, NY – Jones Beach Theater

09-15 Ottawa, ON – Scotia Place

09-16 Boston, MA – TD Bank North Garden

09-18 New York, NY – Madison Square Garden

09-19 New York, NY – Madison Square Garden

09-21 Holmdel, NJ – PNC Bank Arts Center

09-23 Baltimore, MD – Pimlico Race Course

09-25 Chicago, IL – United Center

09-26 Des Moines, IA – Wells Fargo Center

09-29 Detroit, MI – Palace at Auburn Hills

09-30 London, ON – John Labatt Centre

10-03 Winnipeg, MB – MTS Centre

10-05 Calgary, AB – Pengrowth Saddledome

10-06 Edmonton, AB – Rexall Place

10-08 Vancouver, BC – GM Place

10-10 Portland, OR – Rose Garden

10-11 Seattle, WA – Key Arena

11-04 Los Angeles, CA – Hollywood Bowl

11-05 Los Angeles, CA – Hollywood Bowl

11-08 San Jose, CA – HP Pavillion

11-24 Atlantic City, NJ – The Borgata

11-25 Philadelphia, PA – Wachovia Center

12-04 Toronto, ON – Air Canada Centre

Primal Scream:: Riot City Blues (Album Review)

When you stop and think about it for a minute, the very idea of rock and roll is totally ridiculous. The world inhabited by rock stars is a preposterous reality; one in which fully grown men are allowed to dress up in leather well into their 40s, turn up for work smashed off their faces and then proceed to strut across stages like constipated peacocks. Yet still, we remain in thrall to it. Hearing a gnarled rock and roller talk about doing copious amounts of mind bending drugs is dangerous and sexy, whereas overhearing Dave the plumber from down the pub going on about doing a line of coke in the bogs is a non-event.

It’s the same thing with hearing a familiar distorted telecaster riff being played over a 4/4 backbeat. We’ve all heard it a million times before, but it still has the power to quicken the pulse and steal the heart. It’s certainly something that Primal Scream all too aware of, and even as they enter their mid-40s, they’re as in thrall to this rock and roll sound as we are. Indeed it could be said that the Scream’s entire career has been a wasted tour through rock and roll’s best and most ridiculous moments. It’s all there: from the Bourbon-soaked Southern rock, fuzzy glam melodies and furious techno punk of the music, to the whirlwind of excess and intake that the band threw themselves into with gleeful abandon. It comes as a massive bummer then that this, the most shamelessly out-and-out rock and roll record of their career, feels so flat and strangely lifeless.

Because the thing is, Primal Scream have frequently been far more than a rock and roll history lesson and at times have teetered on the edge of brilliance. 1991’s Screamadelica is rightly lauded as one of the most blindingly uplifting records ever. A shimmering, transcendental masterpiece, it was every bit as important to its acid-house times as something like Exile on Main Street was to the early ‘70s. Even after the lumpen Lynyrd Skynyrd/Credence pastiche that was Give Out But Don’t Give Up, Vanishing Point was a blissfully dubbed out experiment, before 2000’s XTRMNTR found the band politicised and wired, tearing through electronic terrorist punk and sounding utterly vital.

Well, Riot City Blues sounds like those moments of adventure never happened. It’s the most blatant and least imaginative record Primal Scream have ever made. Every twist and turn here was signposted some 30 years ago. The big, dumb Bowie riffs and Jagger-esque shapes that are slapped all over Riot City Blues are predictable, familiar and at times hilarious. Which frankly wouldn’t matter a jot if the tunes here were kick-in-the-balls, seat-of-the-pants fantastic. Only they’re not. And while I have no problem whatsoever with the absurdity of a 40-something father drawling on about overdoses and giving head to priests (“Suicide Sally & Johnny Guitar”), when the tune is as non-existent and lazy as this it gets boring fucking quickly. As for the lyrics, we surely can’t not mention the delights that Bobby Gillespie has cooked up for us here. Taking rock and roll clichés to new extremes, they really are something else. The listener is confronted with a constant barrage of “loaded guns”, “motorcycle rides” and “baby’s”, “honey’s” and “sugar’s”, which are either brilliantly dumb or more likely, just plain embarrassing.

Like a living, breathing museum of rock and roll past, almost every song here is played out as homage to Gillespie’s heroes. There’s the sub T-Rex shuffle of “We’re Gonna Boogie”, the New York Dolls’ gonzo punk-pop of “Dolls (Sweet Rock and Roll”)” and oh look, The Rolling Stones, just about everywhere else. In going hell for sweaty leather to make the ultimate document of rock and roll fandom, the sense of adventure and, let’s face it, excitement that pulsed through an album like XTRMNTR has been well and truly stunted. As it is, other than the mildly interesting Eastern-tinged drone of “Little Death” the only decent song here is the recent single “Country Girl”. A fantastically catchy Stonesy barn-dance, it features a snaking mandolin solo and exhalant chorus, and it’s at least ten times more exciting than anything else on the album. Which basically means that you may as well switch Riot City Blues off after three minutes.

Riot City Blues would make a wonderful addition to any pub’s jukebox, but it’s galling how ordinary Primal Scream sound when they’re not crackling with the sparks of invention that coloured a record like Screamadelica. Sure the playing is shit hot, and there’s no doubting the conviction of it all, but without the input of people like Kevin Shields, Jagz Kooner or Andrew Weatherall—clearly more that just outside collaborators—Riot City Blues is a mess of stodgy bar-band pastiche pieces. Of course, the unbelievably dumb lyrics, Gillespie’s transatlantic garage sneer, and the musical tributes make it clear that Riot City Blues is not meant to be taken as anything more than a party album. Which would be absolutely fine and worthy of anyone’s 10 quid if, like The New York Dolls or T-Rex, it was actually any good. Ultimately though, it’s not about elitism or inverted musical snobbery, it just that when it comes down to the nitty gritty, Riot City Blues sounds like it’s been made by a band on rock and roll autopilot. It’s a record without the sense of impending danger or collapse that makes truly great rock and roll so thrilling, and as such, is instantly forgettable.

Kingblind Downloads

Paul Brill:: Paris is on (Jason Forest Mix)

Pinback:: Messenger

Pinback:: Loro

Pinback:: Chaos Engine

Kunek:: Coma

Monday, August 28, 2006

Outkast:: Idlewild (Album Review)

If, as Public Enemy frontman Chuck D once claimed, hip-hop is black America’s answer to CNN, then the hip-hop skit – those interminable sketches that pepper every rap album – may well be black America’s answer to the BBC1 sitcom My Hero: you never meet anyone who thinks they’re funny, but for some reason, new ones keep getting made. But if the skit that opens OutKast’s sixth album is unlikely to leave the listener requiring medical attention for injuries sustained while rolling in the aisles, it at least seems to be making a point about Hollywood snobbery.

The skit’s protagonist is a fruity-voiced black actor, protesting that rappers “who get into acting are disrespecting the craft – they’re taking jobs from us trained actors”. This is not so far from Samuel L Jackson explaining why he turned down a role in 50 Cent’s biopic Get Rich or Die Tryin’: “Hollywood people tend to think that because one is successful in one area of entertainment, they can bring them into this particular world.” Admittedly, no one told Samuel L Jackson to “act like he got some sense up in his bitch” as happens here, but it’s hard not to draw a parallel.

It doesn’t end there. Although much of this album consists of songs from Outkast’s forthcoming movie musical, Idlewild, awkwardly interpolated between them are non-soundtrack numbers that focus on Hollywood itself. “Things have changed, the cast is Hollywood,” complains Life Is Like a Musical. “Don’t let them change us.” The mournful Hollywood Divorce flatly accuses the film industry of racism: “All the fresh styles always start out as a hood thing … by the time it reaches Hollywood, it’s over … take our game, take our name, then they kick us to the kerb.” Outkast have never made things easy for themselves – Andre “3000” Benjamin’s defiant dandyism spawned a rumour that he was gay, a career-killer in the notoriously homophobic world of hip-hop – but this represents a whole new strain of bloody-mindedness: simultaneously trailing your debut feature film and attacking the institution that allowed you to make a feature film in the first place.

Intriguingly, both tracks are solo efforts by Benjamin. It’s a moot point whether his concern about Tinseltown racism and snobbery is founded in his own painful attempts to start an acting career: simply watching Guy Ritchie’s Revolver is enough to instil a profound loathing for the entire movie industry, so imagine how Benjamin must have felt after taking a supporting role in the film. But either way, it certainly makes for peculiar listening.

A more pressing question is why the songs from the soundtrack seem such hard work. The movie is set in the 1930s, and the music understandably follows suit. It is OutKast’s misfortune to become fixated on updating swing-era jazz at precisely the same point that everyone, with the possible exception of Michael Parkinson, has become heartily sick of the idea of updating swing-era jazz, stupefied by toothsome young men doo-be-dooing their way through Radiohead’s Fake Plastic Trees, unable to face another unprovoked assault on the Great American Songbook by Robbie Williams or Rod Stewart. It doesn’t matter how dextrously the duo do the updating – and while you’d never confuse anything here with the oeuvre of Jamie Cullum, there’s certainly nothing as exotic or intriguing as the similarly minded Bowtie from Idlewild’s multi-platinum predecessor, Speakerboxxx/The Love Below. The mere sound of another big band parping into life is enough to leave the listener feeling like a foie gras goose: shove much more of this stuff down my throat and I’m going to burst.

If that was all that was on offer, we would be in deep trouble, but when Idlewild the album shifts away from Idlewild the movie, it soars. Forthcoming single Morris Brown is spectacular. A rare collaboration between OutKast’s two members – Benjamin provides the music, partner Antwan “Big Boi” Patton the rap – it features a clattering rhythm, a glorious chorus rooted in 60s sunshine pop and the unexpected appearance of a marching band. Famed for his catholic music tastes, Benjamin’s non-soundtrack contributions are suitably off-the-wall. Life Is Like a Musical features a kind of distorted electronic muzak; the impossibly doomy eight-minute closer A Bad Note has its roots in Funkadelic’s Maggot Brain; and on Hollywood Divorce, Benjamin manages to corral Lil’ Wayne, one of the New Orleans rappers who coined the phrase “bling bling”, into basically apologising for doing so. But Patton’s efforts are often equally striking. The Train retells OutKast’s story to a backing of horns and psychedelic effects, while Mutron Angel sounds like a gospel-infused soul ballad that has had every last trace of joy surgically extracted.

Idlewild bulges with brilliant ideas, but its biggest idea seems oddly underwhelming and over-familiar: thus an album half the length of its predecessor contrives to sound more rambling and undisciplined. Ambitious but flawed, at turns stunning, maddening and confusing, Idlewild is a curate’s egg – but the good parts are implausibly delicious. (Alex Petridis-UK)

Rhino Speeds Through ‘Hardcore’ Soundtrack

Appropriate to the breakneck pace of the hardcore genre, Rhino has packed 26 songs into its 37-minute soundtrack for the documentary “American Hardcore.” The album will be available digitally Sept. 26 and in stores on Oct. 10; the film opens Sept. 22 in New York and Los Angeles.

The soundtrack cherry-picks from regional hardcore staples to provide a complete picture of the scene’s early days. Minor Threat, Scream and Bad Brains represent Washington, D.C., while the Circle Jerks, Black Flag, the Adolescents, Flipper and D.R.I. fly the flag for California.

“I think the most interesting thing to me was to see what has happened to people,” the film’s writer Steven Blush told earlier this year about tracking down prominent artists from the scene. “When we go see Flea from the Red Hot Chili Peppers, it’s this mansion up in the hills in Malibu, and then on the other hand, you see how poor some of these people are, and how bitter some of these people are — people who did not get their due.”

Here is the track list for “American Hardcore”:

“Nervous Breakdown,” Black Flag
“Out of Vogue,” Middle Class
Click to learn more…
“Pay To C*m,” Bad Brains
“F*cked Up Ronnie,” D.O.A.
“Red Tape,” Circle Jerks
“Filler,” Minor Threat
“I Remember,” MDC
“Nic Fit,” Untouchables
“Kill a Commie,” Gang Green
“Boston Not L.A.,” the Freeze
“Straight Jacket,” Jerry’s Kids
“Boiling Point,” SS Decontrol
“Who Are You/Time To Die,” Void
“Came Without Warning,” Scream
“Friend or Foe,” Negative Approach
“Bad Attitude,” Articles Of Faith
“Think For Me,” Die Kreuzen
“My Minds Diseased,” Battalion Of Saints
“I Hate Sports,” 7 Seconds
“Brickwall,” Big Boys
“I Was a Teenage Fuckup,” Really Red
“I Hate Children,” Adolescents
“Enemy for Life,” YDI
“Runnin’ Around,” D.R.I.
“Don’t Tread on Me”,” Cro-Mags
“Ha Ha Ha,” Flipper
(via Billboard)

Kingblind Downloads

Oxford Collapse:: Please visit your national parks

Mountain Goats: “Moon Over Goldsboro”

Ratatat- Kennedy (E-Rock remix)

johnny cash on the radio circa ’58

Friday, August 25, 2006

Kingblind Downloads

Golden Fiddle loves those trains

Favorite Sons:: Hang on Girl (Ex-Rollerskate Skinny)

Favorite Sons:: No one ever dies young (Ex-Rollerskate Skinny)

Elliott Smith:: “All My Rowdy Friends Have Settled Down (Hank Williams, Jr. cover)”

Spoon Live in Berkeley, Ca 2006 “I turn my camera on”


Beck has confirmed an October 3 U.S. release for his new album, The Information. Three years in the making, The Information is the album Beck began work on with producer Nigel Godrich (Beck’s Sea Change, Mutations; Radiohead’s OK Computer, Kid A) before last year’s Guero. The Information was finally completed earlier this year once extended touring engagements necessitated by Guero’s success, as well as Nigel’s other commitments, were fulfilled.

The Information is comprised of 15 songs and a DVD featuring homemade videos for each of the 15 songs shot in-studio during the actual sessions. The artwork for The Information is either non-existent or infinite, depending on one’s point of view: Each copy will come in a blank package with one of four collectible sticker sheets specially designed by American and European artists hand-picked by Beck.

In addition to the self-shot videos currently floating around on, Beck’s MySpace page, Youtube and various other corners of the Internet, Beck recently shot a video for “Cell Phone’s Dead,” directed by Michel Gondry. In other Beck video news, last year’s “Hell Yes” clip will be up for Best Special Effects In A Video when the 2006 MTV Video Music
Awards air 8 p.m. August 31.

On the live front, Beck will follow his previously announced headlining slot at this year’s Download Festival September 30 at San Francisco’s Shoreline Amphitheater with a top billed appearance at the Detour Festival October 7 in downtown Los Angeles

Thursday, August 24, 2006

Kingblind’s Favorite Finds

The Shins Stretching Out On Third Album

Weezer denies break-up

MY BLOODY VALENTINE Head to Play w/ Patti Smith for UK Gig

10/3 BECK CD Art to Include Stickers for Fan Art Contest

TOWER RECORDS Files Chapter 11


The James Gang reform??!! WTF!! WATCH VIDEO

MAJOR cast shuffle at SNL.

Kingblind Downloads

Frida Hyvonen:: You never got me right

Yo La Tengo – ‘Pass the Hatchet, I Think I’m Goodkind’

Eric Bachmann:: Carrboro Woman (From his new album “to the races”)

Eric Bachmann:: Lonesome Warrior (From his new album “to the races”)

Cursive:: ‘Dorothy At Forty’ – from HAPPY HOLLOW