Kingblind Downloads:: Halloween Edition (Part 2)
Matt Pond PA:: Halloween
Archive for October, 2006
Tuesday, October 31, 2006
Kingblind Downloads:: Halloween Edition (Part 2)
Monday, October 30, 2006
Dark side of the rainbow
What happens when you sync Pink Floyd’s Dark Side of the Moon with The Wizard of Oz??
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Tonight: The Decemberists Live in Concert
Hear Full Concert on NPR.org From Washington, D.C. (9:30 Club)
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Friday, October 27, 2006
Gnarls Barkley:: Who Cares (Music Video)
Kingblind.com news that you can use
Clear channel radio for sale?
Thursday, October 26, 2006
Mastodon:: Colony of Birchmen (Music Video)
Here is the 2nd Video from Mastodon’s brilliant album “Blood Mountain” it’s directed by Jonathan Rej and Tom Bingham of Authority Films
Kingblind Downloads (Tom Waits Edition)
Some free and legal downloads of tracks from the new Tom Waits record “Orphans”
Tom Waits:: Bottom of the World (NEW !!!)
Wednesday, October 25, 2006
Sean Lennon:: Friendly Fire (Album Review)
If it’s considered fair to spend any amount of time talking about who Sean Lennon’s dad was, then it’s equally fair to save time for his mom. Eight years after his debut album for the now defunct Capitol offshoot Grand Royal, Lennon is still best characterized by the same emphasis on pop cultural awareness exhibited by Yoko Ono, a responsiveness to contemporary music trends and issues that tends to date music while poking at significance. Into the Sun (1998) parked its hopscotch mentality out in left field, abstaining from stylistic, unifying threads to allow its heap of then-hip guest appearances to define it from song to song, moment to moment, and was thus of the kind of late-nineties, cross-culturalism toyed with by Beck, not to mention former Grand Royal owners the Beastie Boys. Like his mom’s debut album, Sean Lennon entered stage left with name recognition and an attempt to capture the sounds of his time.
At first listen, Friendly Fire may seem the pendulum swinging back the other way. Bringing Jon Brion on board not only packs onto easy, accessible song structures the lush accompaniment and warm production for which Brion is known, but also unifies the album into a character mostly alien to Into the Sun. Gone is the broad approach to musical accessory, the sponge into which is soaked the contributions, whatever they may be, of Lennon’s friends. Instead Friendly Fire demonstrates an exacting, precise musicality; strings and keyboards segue seamlessly alongside Lennon’s wafer-thin voice and undemanding arrangements, perfectly accentuating without overshadowing. Brion plays the role to which he was accustomed for Fiona Apple, and Lennon’s songs are elevated well beyond their fundamental quality. Friendly Fire sounds like it could be the Elliott Smith album Brion and Smith were purportedly supposed to make.
But as the album progresses kindly from nice, mid-tempo melody to nice, mid-tempo melody, it becomes clearer and clearer that Lennon’s stylistic change is not one from reflective to non-reflective songwriter; simply, it’s the temper of the times that have changed. Accordingly, Lennon’s lyrics throughout Friendly Fire paint a portrait of fatalism, depression and the absurdity of death’s omnipresence in current day America. “Dead Meat” opens the album with the question “Don’t you know you’re dead meat? / You just messed with the wrong team / Better not try to fall asleep.” In Yorkeian fashion, Lennon’s threats resonate with a culture’s dread; the singer imagines his own destruction by simulating it elsewhere, and the present day context hardly need be pointed out here. Lennon soon admits on “Wait For Me,” only two songs into the experience of Friendly Fire, that “everyone was born to die,” a leaden pronouncement for what almost amounts to the album’s first impression.
First (and excellent) single “Parachute” conflates love with the defeatist qualities of America’s ever-present terror. “Love is like an airplane / You jump and then you pray / The lucky ones remain / in the clouds for days.” The words punch like ubiquitous, sorrowful video footage before Lennon consigns himself to the album’s defining thought: “If I have to die tonight / I’d rather be with you / Cut the parachute […] we had some fun before we hit the ground.” The reckoning to which Lennon exposes his listener is less the shouldering of responsibility pontificated upon by the nation’s politicians, but a feeling of helplessness in the face of forces beyond his control. By the time he begins his second verse with “Love is like a hurricane,” Friendly Fire, with its imagery of airplanes crashing and natural disasters destroying, has set itself up as a requiem for the new American experience. It’s a fascination with the apocalyptic that first revealed its specter during the Cold War context of Sean Lennon’s parents and has returned, in recent years, to post-9/11 America. So, Lennon has not actually eschewed his reflexive ways; Friendly Fire is a lament that would have been out of place amid the optimism of Into the Sun’s 1998 but, today, mimics the defeatism first popularized by his parents’ culture in considering the possibility of unpredictable and sudden destruction.
The title is apt — a sometimes anti-war activist, Lennon and friends must sometimes feel a greater threat from precedents set at home than from the faceless threat of the 21st Century’s New Enemy. In a divided country, Sean Lennon has effectively and darkly captured the tenor of the alienated half. On the title track Lennon sums up with “You launched the insult / with the first cannonball,” and in doing so contrasts the album’s professional prettiness with the feeling of being one of the unnamed casualties.
Friendly Fire isn’t angry enough to be a protest record, and therein also lies its greatest fault. Lennon doesn’t move from his position of isolation through to catharsis, or rational engagement, or even denial, but simply submits his listener to the sound of defeat. Friendly Fire could have been an inspiring album, more than just a snapshot of the times for which it was written, but doesn’t offer hope or solutions. The melodies and production are top-notch, even if, lyrically, the album’s motifs barely move from sullen dismay to cheery dismay (see the handclaps on “Headlights” and the occasional sweeping, major chord of “Would I Be the One”). Sean Lennon is his own writer, and to ask him for “Imagine” would be as facile as it would be unfair, but the thought doesn’t make this accurate, accomplished, impressive but certainly depressing sophomore album any more fun to listen to. If it takes eight more years for Lennon to record his third album, let’s hope both the gravity of the times and his ability as a songwriter to respond to them take a more positive direction.
Cobain Bests Elvis As Top-Earning Dead Celeb
Elvis Presley has ceded his crown to Nirvana lead singer Kurt Cobain on Forbes.com’s list as the top-earning dead celebrity. The list, published yesterday (Oct. 24), said Cobain earned $50 million between October 2005 and October 2006. Presley wound up in the No. 2 slot with $42 million, down from last year’s $45 million.
Forbes.com bases its dollar amounts on licensing deals for using the deceased celebrities’ work or image in advertising or elsewhere. This was Cobain’s first time on the list in its six years of publication. Presley has ruled the roost since its inception, said Forbes.com staff writer Lacey Rose.
Cobain’s coup was thanks to his widow, actress and singer Courtney Love, who sold a 25% stake in the Nirvana’s song catalog to New York music publishing company PrimeWave.
Ranked after Presley is “Peanuts” cartoon strip creator Charles Schulz at $35 million. Rounding out the top five were the Beatles’ John Lennon at $24 million and groundbreaking physicist Albert Einstein at $20 million, whose estate profited from such licensing deals as the popular “Baby Einstein” educational videos.
Other celebrities on the list include Theodore Geisel, better known as children’s book author Dr. Seuss; Ray Charles, silver screen legend Marilyn Monroe and reggae superstar Bob Marley. Past top earners include songwriter Irving Berlin and actor Marlon Brando. (via billboard)
Tuesday, October 24, 2006
Monday, October 23, 2006
Kingblind.com news that you can use
iPod is 5 today
Portastatic:: Be Still Please (Album Review)
Does Mac McCaughan ever rest? After a decade and a half as the mastermind behind a majority of Superchunk’s contagious catalog, the North Carolinian carries on his prolificacy with Portastatic–essentially McCaughan handling all instrumental chores except for an ever-slight and gyratory cast of musicians. Unable to pen and record a clunker amidst his handsome ballads and cascading rockers, McCaughan coalesces sugar-coated melodies with personal, often uproarious lyrics that can make his 40-something voice sound half its age. “Oh, you had some information that you turned into a hymn/That you sang into the answering machines of all your friends/But they never got the message,” he sings on “Black Buttons” beneath the delicate accompaniment of violin, oboe, and backing vocals by Laura Cantrell. The gentle acoustic-led folk song is one of several low-key gems, which split the nine-tune record with uptempo delights like “I’m in Love (With Arthur Dove)” and the utterly iridescent “Cheers and Applause.” As he cries out “Spinning, spinning, and no one’s as desperate as me,” perhaps McCaughan could take his own advice and, as the title suggests, be still. But–selfishly–let’s hope he doesn’t.
Friday, October 20, 2006
The Way We Get By + Rockstar Heroes- VAIN- Seattle, WA Nov 06 (Art Show)
The Way We Get By, photos of local musicians at work both on + offstage by Breanne Koselke
The Way We Get By featured members of Seattle bands The Divorce, The Catch, Schoolyard Heroes, United State of Electronica, Kane Hodder, and Siberian.
The raffle will go on through the month of November at VAIN.
Rockstar Heroes, stencils of music icons on canvas by Michael Lane
First Thursday opening reception Thursday, November 2nd, 6 – 10pm
2018 1st Ave
With DJ Teenage Rampage & DJ Kingblind, an art raffle to support the Vera Project, + a you-be-the-band photo shoot
Art on display through the month of November
?Breanne Koselke is a freelance photographer who shoots everything from rock shows to weddings. Her work reflects a documentary view of people, their lives, and what drives them. Her photos have appeared in Tablet, The Stranger, Seattle Weekly, and on Spin.com. She is currently working towards her Masters in Fine Art. The Way We Get By takes a photographic view of how a handful of local musicians continue to make rent to make music, capturing them in both their worlds of day job employee and onstage performer. The project is about people as they are and as they strive to be.
Philadelphia native Michael Lane studied fine art at the Pennsylvania Academy of Fine Arts as a painting and printmaking student. He’s since made a living making prints and furniture out of salvaged materials from abandoned Victorian buildings, designing sets for theater and opera, and running a wallpaper manufacturing facility. Rockstar Heroes takes Michael back to his salvaging roots- these stencil portraits of music icons are painted on old opera canvas backdrops- originally 40 by 80 feet, now cut down to small sizes. The musicians featured in this series include David Bowie, Lou Reed, Iggy Pop, Debbie Harry, Siouxie Sioux, and Patti Smith.
The First Thursday opening reception for these artists’ shows will be on November 2nd from 6 to 10pm and will feature DJ Teenage Rampage & DJ Kingblind (spinning music inspired by ‘Rockstar Heroes’ subjects) and a you-be-the-band photo shoot, where people can pose with VAIN-styled rock models. In addition, both artists have generously offered to donate a piece of art each to a raffle benefiting The Vera Project’s Capital Campaign.
2018 1st Ave @ Virginia, Seattle
206.441.3441 | www.vain.com