Thursday, August 31, 2006

Mission of Burma Ticket Giveaway (Seattle, WA)

Kingblind.com 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

ALL DATES WITH 50 FOOT WAVE
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

Guitars:

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.

Cymbals:
[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.

EVERYONE PLEASE RE-POST THIS LISTING!!

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
CLICK TO DONWLOAD

Jeremy Enigk:: Been here before
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Soul Wax:: Miserable Girl
CLICK TO DOWNLOAD

Stars of Track and Field:: Movies of Antartica
CLICK TO DOWNLOAD

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 www.petetownshend.co.uk/projects/tbwhim/.

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)
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Pinback:: Messenger
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Pinback:: Loro
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Pinback:: Chaos Engine
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Kunek:: Coma
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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 Billboard.com 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
CLICK TO DOWNLOAD

Mountain Goats: "Moon Over Goldsboro"
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Ratatat- Kennedy (E-Rock remix)
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johnny cash on the radio circa '58
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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
THE INFORMATION
NEW ALBUM OUT OCTOBER 3rd
MICHEL GONDRY-DIRECTED VIDEO FOR "CELL PHONE'S DEAD" COMPLETED
HEADLINING DETOUR AND DOWNLOAD FESTIVALS
"HELL YES" NOMINATED FOR BEST SPECIAL EFFECTS VMA


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.com, 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

MOGWAI Team Up with PORTISHEAD for New CD

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

MAJOR cast shuffle at SNL.

Kingblind Downloads

Frida Hyvonen:: You never got me right
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Yo La Tengo - 'Pass the Hatchet, I Think I'm Goodkind'
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Eric Bachmann:: Carrboro Woman (From his new album "to the races")
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Eric Bachmann:: Lonesome Warrior (From his new album "to the races")
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Cursive:: 'Dorothy At Forty' - from HAPPY HOLLOW
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Lambchop:: Damaged (Album Review)

A man enters his private study. Clothed in a robe and loafers, he walks quietly but purposefully into the room. His room. The man is relaxed, allowing his hands to brush against his desk, his chair and finally, his books. Ah, the library. It’s his pride and joy, the achievement of decades. He pours himself a Macallen 18 neat; it’s been a long day. He runs his hand briefly through his graying hair and sighs deeply, acknowledging his aching legs and the years of blackened ash weighing on his lungs. He raises a needle and puts a record on, finally sitting down in his favorite chair – it’s green, and a bit lumpy, but it fits him well. The record begins to spin while the man takes a long sip of his drink. The scotch is smooth on the palate -- that’s what he’d paid for -- but leaves a burn all the way down his throat, and he relishes it, smoky and thick. As the first song plays, strings enter elegantly, floating with grace over plucked guitar chords and a dry, smoky voice. The man smiles, eyes closed, drink firmly in hand. His name is not important; the album, however, could only be Lambchop’s Damaged.

These are not songs for those in the prime of life. Like the finest bottle of cabernet, aging has only refined Lambchop’s reflections. The path from the hormonal panic of the teenage years to the aimless anxieties of the quarter-life is not so distant, but where artists such as the National and Ryan Adams stop at the nocturnal melancholia of one’s 20s, Damaged looks back from farther down the road. It’s an album for interminable days, sleepless nights, haggard mornings; the kind of record best enjoyed with a strong cup of coffee or, perhaps, a more potent potable. Unlike Lambchop’s most recent work (the paired albums Aw C’mon and No You C’mon [2004]), Damaged does away with the instrumentals and electric rock songs. Though the tracks are lengthy, they’re not indulgent but patient, moving at the pace of Frank Sinatra’s September of My Years (1965) rather than the National’s Alligator (2005).

Damaged is nothing if not evocative, recalling the twilight mood of Sinatra’s classic LP and Willie Nelson’s Stardust (1978). Much of the album deals with the minutiae of everyday life; the slowed-down Al Green soul of “I Would’ve Waited Here All Day” examines a narrator’s patience in the face of domestic solitude. “My favorite hour of every day / is the one before you get home / a fleeting sense of anticipation is one that I’ve come to know,” Kurt Wagner sings. It sounds as cautiously optimistic as the songwriter can make it, but the song ends, unresolved, with a pause: “You’ll come around the corner…it’s been a lousy day.” “Paperback Bible” matches lingering guitar arpeggios with lines borrowed from the Tennessee radio show “Swap Shop”: “Yeah, I’d like to find a 27-inch color TV. Has to be non-working, an RCA ‘cause I need the parts.” A piano flourish and Wagner’s delivery sell it, and somehow a simple statement of desire is transformed into one of agonizing grief.

Whether it’s Wagner himself or his narrators who are damaged, the music is remarkably whole. As a recording with seventeen band members, the songs are painstakingly crafted chamber orchestrations, and almost unbearably delicate at times. “Prepared” opens with light jazz piano before waltzing toward something more sinister, recalling the National’s murk with its sudden detours and dissonances. In another life, “A Day Without Glasses” and “Beers Before the Barbican” might have been right at home on a Nelson album with their loosely tangled guitars and soft-focus pedal steels. It’s “Beers Before the Barbican” that throws off the nostalgia with short but propulsive instrumental breaks, where horns and lead guitars fire off into the sky before the song returns to slow ache. Later, “Crackers” picks up the pace and “The Decline of Country and Western Civilization” ends the album with the bang of thudding piano and Wagner’s harshest vocals.

Like our man in the faded green chair, Lambchop has led a long, wearying life. But if the years weigh heavily on Wagner and his band, the fires of experience have only made them better, more articulate musicians. Those looking for the easy fixes of Nashville twang or gritty rock may find this album lacking; however, those in search of restraint and regret and quiet glory will consider it water to parched throats. Damaged may burn a little on the way down, but it’s good to the last drop.
(David Greenwald)

Wednesday, August 23, 2006

Modest Mouse return with new album in late '06

Modest Mouse will return Dec. 19 with its highly anticipated new Epic album, "We Were Dead Before the Ship Even Sank."

It's the follow-up to the band's 2004 mainstream breakthrough, "Good News for People Who Love Bad News," which has sold 1.5 million copies in the United States, according to Nielsen SoundScan.

The new album was recorded at Sweet Tea Studios in Oxford, Miss., and features the contributions of former Smiths guitarist Johnny Marr. Marr has since become an official member of Modest Mouse and will tour with the band in the future. (via goldenfiddle)

Kingblind's Favorite Finds

South Park Creators to Make New Film: "Giant Monsters Attack Japan"

Paramount cuts ties with Tom Cruise: WSJ

Bob Dylan says modern music is worthless

Live Rattlesnakes Released In 'Snakes On A Plane' Theater

Kingblind Downloads

Zero 7::"Futures" (Rub n Tug Remix)
CLICK TO DOWNLOAD

TV ON THE RADIO:: A Method
CLICK TO DOWNLOAD

TV On the Radio:: Wolf like me
CLICK TO DOWNLOAD

ROB MO's BLOC PARTY VS. BUN B (DRAPED UP REMIX)
CLICK TO DOWNLOAD

Tuesday, August 22, 2006

The Beach Boys:: Pet Sounds (40th Anniversary Edition)(CD/DVD & Double Vinyl LP)

As a Beach Boys’ fanatic, what could be more serendipitous than sharing your 40th birthday with their greatest achievement? I mean “Pet Sounds” is arguably the best album ever to be released, and Capitol is once again dusting it off and parading it around. And why not? I’m sure you fellow fans already own this album many times over. The gorgeous box set that was released a few years back is probably the cornerstone of your collection. But hear me out. If not for your own good, then for the good of all the kids who don’t yet own this gem.
To bring everyone up to speed, Brian Wilson wrote this album as an answer to The Beatles “Rubber Soul”. It was a massive shift in direction for the Beach Boys, who everyone had written off as the best in a slew of surf bands. With the rest of the Boys on tour, Brian, alongside lyricist Tony Asher, composed a masterpiece that altered the parameters of pop music. It also created an irreparable divide in the Beach Boys camp, as some of them feared the shift from songs about cars and girls to what they deemed was nonsense. The record company felt the very same. Regardless, “Pet Sounds” has not only stood the test of time, but influences musicians to this day. What would our world sound like without this gem? Could we survive in a world without R.E.M., The Teenage Fanclub, The Flaming Lips, The Pixies, heck, even The Posies? Well sure we could. But what a better place this planet has been with them. And all of them have been influenced by this album in some way.
What other album features a song that can be played at both your wedding and your funeral (“God Only Knows”)? What better modern misfit anthem than “I Just Wasn’t Made For These Times”? “Pet Sounds” is timeless and perfect. And yes, it needs to be heard again. And again.
This anniversary edition is a great way to introduce, or reintroduce yourself to Brian’s masterpiece. The two disc CD/DVD version features all 13 original tracks in both mono and stereo, with “Hang On To Your Ego” as a bonus. The DVD has a behind the scenes documentary on the making of the album. This is worth the price of admission alone just to see Mike Love (BOO! HISS!) speak through gritted teeth about his “Pet Sounds” experience. You also get such pop luminaries as Elvis Costello, Pete Townshend, Hal Blaine, and Carol Kaye waxing lyrical about it. The excerpt of Sir George Martin, taken from an old BBC documentary, is a little sad, as he sounds about a hundred years old. How did The Beatles ever get anywhere with this square in their corner? Also included are the priceless original 1966 promotional films for a handful of tracks.
The real excitement for longtime fans will be the vinyl version of this release. Double gatefold! Colored vinyl! Stereo and mono! Limited and numbered edition! And even a sessionography! Oh, the sweet sound of thousands of swooning fans as I write this!
So people, buy this record. Maybe for the first time, maybe for the umpteenth. But buy it. Marvel in the fact that Brian was able to convey his vision not only to a handful of brilliant studio musicians, but also to his doubtful bretheren. Listen to the most beautiful harmonies and melodies known to man. And hear something perhaps only Brian was aware of. He inadvertently captured the death of innocence, not only for himself, but for his band and his country. That it still has all the magical, wide-eyed, teenage splendor after 40 years? Well that’s just the icing on the cake.
(Review by: Lisa Matson)

Beach Boys- Pet Sounds Podcast starts TODAY

There is a new Pet Sounds blog that will be having a great series of podcast breaking down the Beach Boys Classic... Below are the details

PET SOUNDS PODCAST EPISODE UPDATE SCHEDULE ~

www.petsounds.com

8/22 PET SOUNDS PODCAST SERIES OVERVIEW EPISODE 5:32

8/29 WOULDN'T IT BE NICE (1) 4:02
YOU STILL BELIEVE IN ME (2) 1:28

9/5 THAT'S NOT ME (3) 2:45
DON'T TALK... (4) 1:55

9/12 I'M WAITING FOR THE DAY (5) 2:32
LET'S GO AWAY FOR AWHILE (6) 1:24
SLOOP JOHN B (7) 3:24

9/19 GOD ONLY KNOWS (8) 4:51

9/26 I KNOW THERE'S AN ANSWER (9) 2:43
HERE TODAY (10) 2:38

10/3 I JUST WAN'T MADE... (11) 2:55
PET SOUNDS (12) 1:12
CAROLINE NO (13) 3:21

10/10 GOOD VIBRATIONS (BONUS EPISODE) 7:22

Kingblind Downloads

Super Distortion:: Hollow Shell
CLICK TO DOWNLOAD

Primal Scream:: "Country Girl" video (uncensored)
CLICK TO VIEW

The High Dials:: Holy Ground
CLICK TO DOWNLOAD

Atmosphere:: Watch Out
CLICK TO DOWNLOAD


DJ Never Forget Going To Work mix mp3
The tracklist:
Hot Chip A Glue Too Thick
Portugal. The Man How The Leopard Got Its Spots (Blake Miller Remix)
The Kingdom Love is my Nation (Copy Mix)
Cassius Toop Toop (Olivier Koletski Mix)
The Knife We Share Our Mothers Health (Trentemoller Remix)
The Klaxons Gravity's Rainbow (Van She Remix)
Flow Flux Clan Fascination Street
Lo-Fi-Fnk vs Karin Strom Psykos (LFF Club Mix)
Justice Vs Simian Never Be Alone
Mstrkrft Work On You

Monday, August 21, 2006

Kingblind Downloads

As Tall As Lions:: Ghosts of York

French Kicks:: So Far we are

Of Montreal:: She's my best friend

Iron & Wine:: Jesus the Mexican Boy

Beastie Boys:: Tom Sawyer (Live)

Busta Rhymes Arrested For Assault In New York

Rapper Busta Rhymes has been arrested and charged with assault in New York, police said today. According to the New York Daily News, Rhymes (real name: Trevor Smith) was investigated for assaulting a man who may have spit on the artist's car.

Rhymes performed solo and in collaboration with Yerba Buena at Saturday's AmsterJam festival at Randall's Island, and also took numerous opportunities to promote his recent album, "The Big Bang" (he wore a yellow T-shirt emblazoned with the title).

Having been tipped off that the police were looking for him after his set, Rhymes and his entourage tried to leave the area but were arrested around 8 p.m. Saturday. He was questioned for several hours and then released.

The Daily News says police utilized the opportunity to question Rhymes about the Feb. 5 murder of his bodyguard, Israel Ramirez, during a Brooklyn video shoot. Rhymes has to this point refused to cooperate with investigators.

According to the Daily News, police believe the shooting stemmed from a fight involving G-Unit rapper Tony Yayo, in whose car the shooter is believed to have escaped. Yayo has also declined to be interviewed about the case. (Via Billboard)

Friday, August 18, 2006

Kingblind's Favorite Finds

Tom Waits to release three-disc Orphans

Future Rock Hall is calculating current artists' chances of getting into the Rock & Roll Hall of Fame using your votes and a set of predictive criteria. According to the site, the Beastie Boys currently have an 82% chance for election to the Hall in 2007.

First review of Snakes on a Plane!....and it's good!

Burton, Depp Reunite For Sweeney Todd

Oscar freebies come at a cost

Fans fight to save famous London venue

Kingblind Downloads

Gnarls Barkley 2006-08-11 Avalon Boston,MA *Requires Registration for download

MORRISSEY - some US TV Appearances 1992-2002 - NTSC DVD* *Requires Registration for download

SEX PISTOLS - Live at the San Francisco Winterland (14.01.78)

Outkast - Idlewild [2006 advance - new album!]

Robert Johnson:: The Complete Recordings

Thursday, August 17, 2006

Gnarls Barkey:: Smiley Faces (Video)

Amazing new video from Gnarls Barkley
CLICK TO VIEW (Requires .WMV)

Kingblind's Favorite Finds

Recording Industry Bans Musician From Charts For Supporting Free Music

A World Without Movie Theatres

Will Ferrell's New Movie - "Stranger than Fiction" (Trailer)

THE SADIES:: In Concert, Vol. 1 (Album Review)

Back in February, the Sadies held a two-night rip through their back catalog with friends and family at Lee's Palace and brought in Steve Albini to record the shows for posterity. The two-disc, 41-track In Concert, Vol. 1 turns out to be a straight-up document of the proceedings stripped of the woozy banter, miscues and most of the audience participation. The advance planning that made it a relatively hitch-free affair didn't leave much room for happy accidents, impromptu bursts of inspiration or the brotherly stage squabbling that can add a lot to the entertainment value of a Sadies show. Still, there are stellar performances by Jon Spencer, Neko Case, the Good Brothers, Jim Cuddy and Greg Keelor, and particularly impressive vocal contributions from mom Margaret Good, who really should be making albums of her own. (Tim Perlich)

Kingblind Downloads

NEW Outkast:: PJ and Rooster

CALEXICO / La Route Du Rock St-Malo / August 11 2006

Neko Case: 2006-06-25, san Francisco

Be Your Own Pet 2006-08-05 Lollapalooza

Fugazi, at Irving Plaza in NYC, April 4th, 1995.

Initial CMJ 2006 Line-Up (MUCH MORE TO COME)

Many other bands will be added.. But this is what's available so far

The Knife, the Slits, Hot Chip, the Black Keys, Madlib, Ben Lee, Deerhoof, Blonde Redhead, the Boy Least Likely To, Blue Cheer, Joseph Arthur, Erase Errata, Green Milk from the Planet Orange, Holly Golightly, Cold War Kids, Silversun Pickups, Califone, White Whale, hellogoodbye, Anathallo, Dr. Dog, Professor Murder, Archie Bronson Outfit, Keren Ann, Brother Ali, Someone Still Loves You Boris Yeltsin, Oakley Hall, These Arms Are Snakes, Micah P. Hinson, Portastatic, P.O.S., Cloud Cult, Jason Forrest Band, Thunderbirds Are Now!, Strike Anywhere, Percee P, Mute Math, Suzanne Vega, Extra Golden, 120 Days

CMJ hits NYC from 10/31 to 11/4.

Wednesday, August 16, 2006

Badly Drawn Boy:: Born in the UK

Touch & Go Records Mini Documentary

Here is an amazing 10 min documentary of Chicago's Touch & Go Records.
CLICK TO VIEW Requires QT

For the record.. Kingblind LOVES THE *uck out of Touch & Go.. God bless those folks.. Happy 25th Anniversary. May you have another 25 years of glory and fun.

Kingblind's Favorite Finds

YouTube talking to record labels on music videos

Ian Svenonius set to tour America

Dave Grohl goes solo for film soundtrack

The Mars Volta bottled offstage at festival: Band urge crowd to bring them the 'head of the bottler'

Gay's in Metal

Top Ten Snake Movies

Kingblind Downloads

4.9MB/ DISTORTIONS / written by Clinic / performed by Christopher Walla (Death Cab for Cutie) / recorded on the eight track at the Alberta Court on August 9, 2006 / mixed via analog console into Peak on August 9, 2006


Pinback:: Messenger

Joanna Newsom:: Little Wing (Hendrix Cover) Live @ Meltdown Festival, London, UK

Iggy Pop:: Nightclubbing

The Pipettes - Pull Shapes (radio one session)

The Sleepy Jackson:: God lead your soul

Midlake:: Roscoe (Live) Via Bradley's Almanac

Plan B:: Who Needs Actions When You Got Words (Album Review)

Hailing from the same label as The Streets comes a new voice from the streets of Britain. Plan B is 22 year old Ben Drew's alter ego. This is his way of telling the kind of stories that you really hope aren't reflective of youth culture in today's climate.

His tales of everyday life have naturally led to comparisons to Mike Skinner and Eminem, but in actuality there is very little similarity in what Plan B is doing.

First of all his songs aren't primarily built out of an array of samples and break beats. Many of his songs are driven by acoustic guitar with Plan B's vicious raps punctuating like thrusts from a butterfly knife. If anything he's invented a new genre - Folk Hop anyone?

Not that he'd be particularly welcome at many folk festivals. It's quite likely that the chubby, bearded, real ale swillers would quietly ask him to ramble off within a minute of the opening salvo of Kidz. Opening with, "This is my time now, you get me? Fuckin' cunts" is likely to ruffle a few feathers.

It is obvious from all of these songs that Plan B is assuming a persona, which during the course of this album is probably the only source of comfort. Kidz tells the story of a 14 year old kid assaulting everything that comes before him. He's stabbing "some cunt" in an alleyway, fucking (or raping) underage girls, and aspiring to be a notorious dealer. This apparently, is the mentality of kids today. As an opening track it slaps you around the face and punches you in the stomach. It's a harsh reflection of urban life and terrifyingly none of it really seems to be the work of fantasy.

According to almost every newspaper in the country we are currently living in a 'Knife Culture'. If these songs are anything to go by they were hardly being alarmist. Stabbings are everywhere from the opening bar to the last. Sick 2 Def depicts such an assault in reverse - it's certainly shocking, but perhaps most importantly, it shows off Plan B's lyrical dexterity. So enthralling is his style that Sick 2 Def almost becomes a cinematic experience.

It's not just the yoof that are running amok throughout Who Needs Actions. On Mama there's a step dad who hits the crack pipe hard, making our hard talking protagonist's life even harder. "30 something years old, he should be ashamed" he says, downtrodden. It's not just the kidz that are fucked up in Plan B's world, it's pretty much everyone.

There is a glut of ruthless tales on show here. There are absent fathers, religious bigotry, underage sex encounters, drug abuse, and eyeballs being stabbed with biros at almost every turn, but as bleak as Plan B's world may be, Who Needs Actions offers a glimmer of hope.

This is one of the most exciting debut albums for sometime, and if a record this good can come from this world then perhaps Oasis should relocate. Complex narratives run through out these songs. It is a smart and sincere record. Rather than glorifying street violence, it shows it for what it really is, utterly mindless. His subjects are harsh, and his mouth is dirtier than a crack whore's gusset, but Plan B has made an absolutely vital album that you can't afford to miss. (Sam Shepherd UK)

Official Plan B website

Tuesday, August 15, 2006

The Interpol rumor mill continues

Well it looks like the new round of rumours for Interpol are popping up again.. News is that Interpol formally signed to Matador records was going to sign to Interscope... Well.. I guess that is wrong too. Now the word on the street is that they are moving to Capital Records.. I guess only time will tell..

Kingblind's Favorite Finds

Sacked Beatles drummer Pete Best still on the beat

Kate Hudson & Chris Robinson split

J.K. Rowling earns $230 per minute

Robin Williams plays John Stewart

The Art Of Crafting A Movie Trailer...

ONEIDA:: Happy New Year (Album Review)

Just when I think I have a band all figured out, everything falls to shit. Look at, say, Gene Simmons. Sexy arena-rock icon, right? Then he goes and covers the Prodigy's Firestarter and I'm all "Whaahh?!?" Or there's Ethel Merman, who went from Broadway to disco, and all of a sudden people don't know up from down. So now Brooklyn's Oneida open their new album with this totally freaky, dreamy retro Brit-psych thing and I'm all "Neat! Old-sounding!" Then all of a sudden they're krautrocky and real noisy and things get more dancy for a bit, then there's a ballad and some traditional-sounding British folk, and it's all really beautiful when it wants to be and despondent and rocking when it wants to be. So while I'm quite certain they're intentionally fucking with my head, I don't mind so much, cuz Happy New Year is unpretentiously unique, challenging and eclectic. (Evan Davies)

Kingblind Downloads

101'ers - Elgin Avenue Breakdown (early Joe Strummer recordings)
CLICK TO DOWNLOAD

Bonnie "Prince" Billy: 2006-08-12, KCMP
CLICK TO DOWNLOAD

Yo La Tengo:: Pass the Hatchet, I Think I'm Goodkind
CLICK TO DOWNLOAD

Belle and Sebastian:: “Another Sunny Day”
CLICK TO DOWNLOAD

Aloha:: all the wars
CLICK TO DOWNLOAD

Ratatat:: Lex
CLICK TO DOWNLOAD

Bonnie "Prince" Billy announces west coast tour

Bonnie “Prince” Billy’s forthcoming album, The Letting Go is due out September 19 on Drag City. In support of this release, Will Oldham has announced a series of West Coast dates throughout October and November.

10-23 Solana Beach, CA - Belly Up Tavern
10-29 Santa Cruz, CA - The Attic
10-30 San Francisco, CA - Great American Music Hall
10-31 San Francisco, CA - Great American Music Hall
11-03 Portland, OR - Mission Theater
11-04 Portland, OR - Mission Theater
11-05 Portland, OR - Mission Theater
11-06 Seattle, WA - Tractor Tavern
11-07 Seattle, WA - Tractor Tavern
11-09 Vancouver, BC - St. James Hall
11-10 Vancouver, BC - St. James Hall
11-11 Vancouver, BC - St. James Hall

Monday, August 14, 2006

Kingblind Loves (Suicide Squeeze Records)

In our new series "Kingblind Loves" We feature a new record label that we love. We will be spanning the globe covering many labels both large and small, Some you have heard of... Some will be brand new to you. But that's the point isn't it !! Anyways, This series will help our readers find great new music and hopefully a better way to spend their hard earned cash... Enjoy the ride

Suicide Squeeze Records (Seattle, WA)
In August of 1996, SUICIDE SQUEEZE was born in Seattle with the release of a 7" single from rock outfit, 764-HERO. The label quickly defined itself as a serious voice in the world of independent record making in the Pacific Northwest, no small task in a town that hosts that other label you might find represented in your crates of records.

While many of the bands and businesses in the city struggled to find their way out of the dirty fog left hanging in the air after Time Magazine started talking about a logging town up near the border of Canada, SUICIDE SQUEEZE followed that first release with a new and highly sought after treasure chest of singles, EPs, and 12" from other Northwest Greats. There are two fan favorite Elliott Smith singles, bonefide essential Modest Mouse singles, and holy goodness from Pedro the Lion...an impressive stable! Since the very first record sporting the Squeeze logo, the label has been aiming all arrows at top caliber records, great music made with great care and a punk rock soul. Untarnished by the haze of ripped jeans and flannel shirts, label owner David Dickenson worked tirelessly with infectious enthusiasm developing the roster to include full-lengths from other Northwest bands and songwriters, as well as artists stretching to many corners of North America.

Now, ten years after that first single, comes a celebratory double-CD release spotlighting songs from most every artist the label has worked with. Here find classics from timeless singles including an exclusive Black Heart Procession track, early career Constantines grit, and a quintessentially quirky Unicorns jam to name only a few. To accompany those gems are several songs from records now out of print (The Melvins, Les Savy Fav), remixes and demos from some current roster favorites (Minus the Bear, The Aislers Set), and some brilliant combinations of great talents coming together to make magic (Iron and Wine with Six Parts Seven, Modest Mouse with 764-Hero). Slaying Since 1996 exemplifies the steadfast diversity that truly helped the label rise above the typical genreism that plagues much of the industry.
SUICIDE SQUEEZE's current stable offers a true cross-section of what makes independent music so exciting, vibrant and crucial; the spazz-damaged skronk of Hella rubs up with the anthemic-pop of Minus the Bear as easily as Headphones pulsing synths butt up against the smoldering hooks of Crystal Skulls, and this only scratches the surface of what Slaying and the entire label catalog have to offer.
Track-listing:
Disc 1
1. 764-Hero "Now You're Swimming"
2. Modest Mouse "A Life of Arctic Sounds"
3. The Scenic Vermont "Elementary" #
4. Elliott Smith "Division Day"
5. Modest Mouse / 764-Hero "Whenever You See Fit (DJ Dynomite D REMIX)
6. Pennsy's Electric Workhorses Songs "Cycle Suitor" * #
7. Pedro the Lion "June 18, 1976"
8. The Black Heart Procession "After the Ladder" #
9. Aspera "Bird's Fly" #
10. Constantines "Dirty Business" #
11. The Magic Magicians "Cascade Express"
12. The Black Keys "Yearnin' (live)"
13. Iron and Wine / Six Parts Seven "Sleeping Diagonally"
14. The Melvins "With Teeth (live)" #
15. Les Savy Fav "We'll Make a Lover of You" #
16. Hint Hint "Natural Collegiate"
17. We Ragazzi "Making You Queens Tonight"
18. The Unicorns "2014"
19. S "5 Dollars"
20. Goon Moon "Rock Weird (Weird Rock)"
Disc 2
1. Minus the Bear "The Game Needed Me (Dalek REMIX)" *
2. The Aislers Set "What Fades First (demo)" *
3. Headphones "Gas and Matches (acoustic)" *
4. Crystal Skulls "Baby Boy (demo)" *
5. Six Parts Seven "Afternoon Bed" *
6. Metal Hearts "Jean Baptiste" *
7. Of Montreal "Voltaic Crusher/Undrum to Muted Da" +
8. Chin Up Chin Up "Trophy's for Hire" *
9. Earlimart "Caruthers Boy" *
10. Red Stars Theory "Evergreen and Ivorbean" *
11. Black Mountain "Voices" +
12. Russian Circles "Upper Ninety" *
13. These Arms Are Snakes "Old Paradise" *
14. Hella "Meth Leper" *
* - Previously Unreleased
+ - First time on CD
# - Out of Print

Suicide Squeeze MP3's
PAGE FRANCE:: JUNKYARD

Chin Up Chin Up:: This Harness Can't Ride Anything

FOR MORE INFORMATION ON SUICIDE SQUEEZE RECORDS
http://www.suicidesqueeze.net

Big Acts:: What made them great
764-Hero, Modest Mouse, The Melvins, Elliott Smith, Pedro the Lion, The Black Heart Procession, Earlimart

New Blood: Why they are still great
These Arms are Snakes, Page France, Eugene Mirman, Hella, Minus the Bear

Ali Farka Touré:: Savane (Album Review)

The blues originated in Mali. Oh, you’ve heard that one already? Well, I think that notion, perpetuated in part by the marketing mavens at Putumayo, oversimplifies this particular slice of musicology. If H.G. Wells could joyride us back to 19th century Saharan Africa, would we really hear some dude strumming away on a guitar (or, perhaps more realistically, a gourd fitted to a broom handle and strung with wires) and exclaim, “Hey, that sounds like the direct antecedent to Charley Patton!” Don’t get me wrong. I’m thoroughly convinced that the polyrhythms, flatted fifths, and a large portion of the flavor of blues vocals closely followed the forced migration of Africans to the New World, with these root elements surviving through work songs and gospels. From there, a slow evolution took place, musical styles intermingling as they always have and always will. African-American inventions cross-pollinated with those carried over from European folk traditions and popular song, and many musical forms were born, not least of which were jazz and the blues.

Enter the late and truly great Malian singer and guitarist Ali Farka Touré (b. 1939, d. March 7, 2006). He was a rice farmer all his life, both before and after he became internationally known and acclaimed. Singing the blues was his side gig, as it was for Muddy Waters before Chicago and the electric sound of Chess Records; as it was for Mississippi John Hurt from the Great Depression and until the 1960s folk music revival. This connection to the land, the years of toil, these lead to the audible, almost tangible, kind of “authenticity” that the largely Caucasian (and, especially, the squeamishly comfortable) suburban middle class have been salivating over for the last 50 years or more. They, we, I represent a mammoth slice of the worldwide record-buying pie.

And, so, it was in the latter third of Ali Farka Touré’s recording history that his “career” really began. If you had to guess the name of the man who was most directly responsible for launching said career, who would it be? Well, Ry Cooder, of course! Far more accomplished as a sideman, curator, promoter, producer, and advocate of and for other musicians than he was as a solo artist (which he mostly gave up in the ‘80s), Cooder has primed the world stage for a cadre of older Cuban musicians with Buena Vista Social Club, resurrected the long-forgotten song-makers from a Latino neighborhood in Los Angeles with Chavez Ravine (which, although it’s made far less of a splash, is really great), joined forces with Subcontinental mohan vina master V.M. Bhatt, and, most important to this review, introduced the world at large to Ali Farka Touré, thanks to their 1994 collaboration, Talking Timbuktu. The most polished of Touré’s albums, it carried more than enough of that “authenticity” tag to get the Boomers (and even some Gen Xers) digging for their wallets. Even if it doesn’t possess the same weary-yet-resilient vibe that Ali Farka’s other works do, it’s still a very pretty and relaxed CD of “world music,” so tagged because the African blues are diluted (or, depending on your own point of view, enhanced) by Ry’s Hawaiian-sounding guitar licks (did I forget to mention his long-ago stint with Gabby Pahinui?) and his son, Joachim’s, Cuban percussion.

Although Touré chose to retreat from his newfound celebrity and back to his life as a farmer, the floodgates to the marketplace had been opened. Buyers began to search out his earlier albums, including 1991’s powerful and excellent full band release, The Source. In 1996, a collection of his earliest recordings, broadcast in the 1970s, was issued as Radio Mali. His voice was higher back then, but his slyly, mournfully funky style of guitar playing was there from the get-go. Comparisons to John Lee Hooker have followed Touré throughout his career, and rightly so. He first heard Hooker back in the 1960s and has always shared the American bluesman’s rhythmic sensibilities and deeply soulful approach.

This connection to Western blues is brought to the fore on Savane, the final recording made by Ali Farka Touré. Look at him there in his rocking chair, guitar sprawled like a lazy cat across his lap, and his shades deflecting the scorching yellow sun. That’s a blues album cover, if I’ve ever seen one. Of course, the dead giveaway is the proclamation, beneath Ali Farka’s name, that he’s “The King of the desert blues singers,” a slogan that purposefully mimics the label attached to the legendary Robert Johnson (substituting “Delta” for “desert”, of course). The music, too, is Touré’s most overtly blues-leaning. With a wailing harmonica and the ripened voice of its leader calling out between melodic licks, the opening track, “Erdi”, could be Lightnin’ Hopkins (well, aside from the lingual differences, that is). After track two, “Yer Bounda Fara”, an obvious ode to Hooker, he settles further into his own groove on “Beto”, pushing forward the hypnotic melodic spirals common to much North African music, while aided by the sultry combo of a female backing vocalist and some restrained bursts of weeping saxophone. The title track slowly struts, as flashes of electric guitar are complimented by mellifluous flourishes of kora. “Soya” is warm and lively, but laid-back and inviting, with soft percussion burbling underneath. All throughout, Savane pulls off the greatest trick of the album format: It offers plenty of variety, but it also corrals its songs into a unified sound. This could be good mixing and production, but I prefer to attribute this success to the power of Ali Farka Touré. Although in his last year of life, this final record shows Touré still brimming with vitality. Savane is his wonderful farewell gift.

Great Ali Farka Touré Video:: Extracto del film de Martin Scorsese Presents The Blues Feel Like Going Home.

Friday, August 11, 2006