The Kingblind.com top 10
We always get emails asking what we are listening to here at the Kingblind HQ.. Well here is our top 10 for the month.
1) The Shins:: Winching the night away
2) LCD Soundsystem:: Sound of Silver
3) Bloc Party:: Weekend in the city
4) The Good, The Bad & The Queen:: S/T
5) Tom Waits:: Orphans: Brawlers, Bawlers & Bastards
6) Clinic:: Visitations
7) The Beatles:: Love
8) Peter, Bjorn & John:: Writer’s Block
9) Beck:: The Information
10) Mastodon:: Blood Mountain
Archive for January, 2007
Wednesday, January 31, 2007
Rob Crow:: Living Well (Album Review)
Rob Crow bounces around a lot, from the assorted weirdness of Thingy to his fondness for the Optigan, an obscure type of organ noted primarily for its legendary unreliability. He’s also the frontman for the constantly up-and-coming Pinback, and so he knows his way around cerebral indie pop. Living Well, recorded quickly and cheaply between projects (and while raising a new son) captures him at his most unfussy. He sounds rushed, like he doesn’t have time for too much tinkering. This is a good thing; Crow’s prolific creativity, a positive trait usually, can be a mixed blessing when it pushes him away from the core of his songs. The guy can write tremendously endearing pop, and he profits when concentrating on just that. Take “Up” for instance, a dreamy little two-and-a-half minutes of brainy, soothing song craft, or the split harmonies that roll over the fading chorus of “Chucked.” Like Sea and Cake without the jazzy overtones, they’re loaded with tender, fleeting wisps of sunny melody. It’s all stripped-down and personal, and even the occasional quirk-freak misstep (“Ring”) eventually dissolves in a warm intimacy. Thoreau famously said “simplify, simplify,” and Crow has apparently listened, much to our collective listening pleasure. –Matthew Cooke
Tapes ‘n Tapes Spring Tour
Just got word that Tapes ‘n Tapes is hitting the road this spring.. Here is the word from their label on the tour AND the new album..
The band is going to have a new release sometime this year, and they’re so excited to play new material. In fact, they’re so excited, they decided they needed to get
out and tour and try these new songs out. They’ll be hitting the road in
April/May to test out the new tunes, new gear, and new facial hair. More
dates will be added sometime this week. We hope you all can make it to a
show!
2/23 St Paul, MN Fitzgerald Theater with Chuck Klosterman
3/10 Mexico City, Mexico MX Beat @ Deportivo
4/16 Columbia, MO Blue Note
4/17 St.Louis, MO Creepy Crawl
4/18 Nashville, TN Mercy Lounge
4/20 Dallas, TX Gypsy Tea Room
4/21 Austin, TX Emo’s
4/22 Houston, TX Numbers
4/27 Indio, CA COACHELLA
5/2 San Francisco, CA Great American Music Hall
5/4 Portland, OR Dante’s
5/5 Seattle, WA Neumo’s
5/6 Vancouver, BC Plaza Club
5/9 Denver, CO Bluebird Theater
5/10 Omaha, NE Sokol Underground
5/11 Des Moines, IA Vaudeville Mews
5/12 Chicago, IL The Abbey (Two shows)
5/15 Montreal, QUE Le National
5/16 Toronto, ON Lee’s Palace
5/18 New York, NY Irving Plaza
5/19 Boston, MA Paradise Rock Club
5/23 Columbus, OH The Basement
5/24 Newport, KY Southgate House
Tuesday, January 30, 2007
The Police Confirm Grammy Reunion Performance 
After weeks of speculation, the Police confirmed today (Jan. 30) that it will reunite to open the 49th annual Grammy Awards Feb. 11 at the Staples Center in Los Angeles. The group has not performed live since its 2003 induction into the Rock and Roll Hall of Fame; the Grammy appearance is widely expected to kick off a year’s worth of reunion shows throughout the world.
Last week, Vancouver radio station CFMI reported Sting, Andy Summers and Stewart Copeland had ensconced themselves at the city’s Lions Gate Studios to rehearse for the Grammys.
In other Grammy news, Joan Baez, Melissa Etheridge, Jennifer Judson, Queen Latifah, Stevie Wonder and Chris Rock have joined the roster of presenters. The event will also feature performances from Beyonce, the Dixie Chicks, Gnarls Barkley, the Red Hot Chili Peppers, Christina Aguilera, Mary J. Blige, Ludacris, Justin Timberlake, Carrie Underwood and the trio of John Mayer, John Legend and Corinne Bailey Rae.
Blige leads the field of nominees with eight. The Chili Peppers earned six, while James Blunt, Dixie Chicks, Danger Mouse and Prince are among eight artists with five each. (via Billboard online)
Clap Your Hands Say Yeah:: Some Loud Thunder (Album Review)
The stunning independent success of Clap Your Hands Say Yeah’s fab self-released debut disc, which circumvented conventional label, distribution and publicity operations to scan 120,000 copies, means the knives will be out for their new Dave Fridmann-produced Some Loud Thunder album. No doubt there’ll be some blogger grousing about the dearth of immediately catchy iPod-rockers, but CYHSY never were a disposable singles band. With Fridmann’s guidance, they slow the pace to experiment with different sound textures (some Flaming Lips-style bleeping and blooping) and structures (“Let’s try it without drums”), although the excited yelping of frontman Alec Ounsworth remains a constant. Not every track is a winner, but fans of their brash debut will still find a lot to enjoy here, particularly the sweet Emily Jean Stock and the concert fave Satan Said Dance, which should be heard in clubs for months to come. Props for continuing to do it all on their own terms. (Tim Perlich)
Monday, January 29, 2007
Clinic – ‘If You Could Read Your Mind’ (Music Video)
[youtube=http://www.youtube.com/watch?v=zgez1yQPm7o]
Deerhoof:: Friend Opportunity (Album Review)
After the brilliant sprawl of The Runners Four, it would’ve made sense if Deerhoof continued in the same direction on their next album. It turns out that Friend Opportunity is a model of efficiency, packing just as much dazzling creativity into ten tracks as The Runners Four did into 20. This new approach could be seen as a reaction to the departure of Chris Cohen, who left to concentrate on his own band, the Curtains, but Deerhoof is such a mercurial group that some kind of change was inevitable. And, as good as The Runners Four was, Friend Opportunity just might be even better. It’s as though the band took the ideas they tossed around last time — more streamlined, structured songs combined with a wider sonic palette — and threw in more highly concentrated sweetness and weirdness for good measure. Though most of these songs are short, they’ve got a lot of presence, and Friend Opportunity opens with three of Deerhoof’s most adorable, accessible songs yet. “The Perfect Me” kicks off the album with galloping percussion and organs that sound like rays of sun bursting through clouds, two of Friend Opportunity’s main musical motifs. “+81″ is the single, which makes sense, since its collision of acrobatic guitars, subtle electronics, marching band snippets, and irresistible “choo-choo-choo-choo beep beep” chorus distills the album’s kitchen-sink pop perfectly. “Believe ESP” is a surprisingly funky departure, with a slinky melody that lilts, slithers, and takes detours into chamber pop and noisy breakdowns, yet still sounds purposeful. Later on, this ultra-pop side of Deerhoof resurfaces with “Matchbook Seeks Maniac,” which easily ranks as one of the band’s best songs yet. It’s also one of their most straightforward songs, with a soaring melody that leads into a bittersweet yet rousing chorus, but lyrics like “I would sell my soul to the devil/If I could be on top of the world” keep things nicely unpredictable. The other facets of Deerhoof’s sound sparkle on Friend Opportunity, too: they explore their softer side with “Whither the Invisible Birds?,” a symphonic ballad sweet and yearning enough for a cartoon heroine, and “Choco Fight,” which is surprisingly pretty and mellow, given its title. Things get more experimental as Friend Opportunity ends: “Kidz Are So Small” is a startling track, even by Deerhoof’s standards, with Satomi Matsuzaki singing from the perspective of a dog and a man over tumbling beats and rubbery synths (based on this song and Milk Man’s “Dog on the Sidewalk,” man’s best friend inspires some of the band’s most out-there songs). “Look Away,” an 11-minute suite-like piece, balances the rest of Friend Opportunity’s poppiness with loping guitar riffs, rambling pianos, and keyboards that sound like feedback. Deerhoof is in an undeniable groove — with each album, they make their flights of fancy seem easier, and push pop’s boundaries farther. Friend Opportunity is the perfect name for their approach: they look for, and find, the best possibilities in whatever comes their way.
Kingblind news that you can use
BB King hospitalized in Galveston
Friday, January 26, 2007
The Good The Bad And The Queen – Kingdom Of Doom (Music Video)
[youtube=http://www.youtube.com/watch?v=eBEqBsgz7aQ]
Of Montreal:: Hissing Fauna, Are You The Destroyer? (Album Review)
Now that the Apples in Stereo are reunited and have a new album coming out next month, Of Montreal can no longer lay claim to the distinction of being the only Elephant 6 band of note to outlive the once-sprawling psych-pop collective’s sad demise. But thanks to mastermind Kevin Barnes’s evident insatiable hunger for new sounds, the Athens -based outfit can call itself the most unpredictable E6 band ever: Of Montreal records have included bits of everything from cardigan-core pop to T. Rex–style glam to endless-groove Afrobeat, and not at all in a way that makes Barnes seem like a cool-hunting hipster desperate for blog love. Hissing Fauna, the follow-up to 2005’s trippy The Sunlandic Twins, is for the most part an exercise in Prince-like electro-funk, full of squelchy keyboard fuzz and chicken-scratch guitar noise and absurdly complicated falsetto harmonies. You wouldn’t think this proudly eccentric manchild would muster much as a new recruit in the Department of SexyBack. But you’d be wrong. (MIKAEL WOOD)
Thursday, January 25, 2007
The Good, The Bad & The Queen:: S/T (Album Review)
After you’ve been a Britpop titan, cartoon rock star and holder of the Guinness record for best-selling album (by a virtual band), your next move can be elusive. Blur singer/Gorillaz founder Damon Albarn formed his third group by scanning credits on fave albums and making some calls. Enlisting producer and Gorillaz satellite member Danger Mouse, Clash bassist Paul Simonon and Fela Kuti drummer Tony Allen, he created this downcast thematic follow-up to Blur’s epochal ’94 album Parklife — that is, another album about contemporary England. But unlike the rousing punk-, Kinks- and new-wave-colored mosaic of Parklife, this one sticks to sepia-toned, dub-nodding abstractions — “Over London’s bridge we must go/Where the guns burn with might and the hearts are low” — suggesting a wee-hours stroll through London on an LSD comedown. Which, given how England has changed since ’94, sounds about right. (Chris Norris)
Wednesday, January 24, 2007
Clinic:: Visitations (Album Review)
At their best, Clinic’s songs are puzzles that, despite being made of simple pieces, are nigh-on impossible to figure out. The band goes deeper into their mysterious, noisy blankness on Visitations, which they’ve described as a “party album.” Though it actually seems better suited for a bad trip or a séance, there’s no doubt that this is some of Clinic’s most consistently exciting work since Internal Wrangler (the band reunited with Gareth Jones, who mixed Wrangler, for this album). And while there aren’t any drastic changes here, by the time the surging opening track, “Family,” literally ends with a bang, it’s clear that the men of Clinic are back to their gleefully cryptic selves. The band doesn’t spend much time with the extremes of their sound — “Tusk,” a fiery rave-up, and the torchy title track are as far as it goes for Clinic’s thrashy and reflective sides. Instead, they delve into their weird middle ground with spectacularly odd results, like “If You Could Read Your Mind”‘s gypsy psych-rock and “Gideon”‘s spaghetti Western punk. Zithers, autoharps, theremins, and percussion of all kinds give Visitations a creaky, antiquated feel, especially on the evil nursery rhyme folk of “Jigsaw Man”; even when Clinic goes acoustic, they’ve got a lock groove of bongos and rattlesnake rhythms powering them. They also craft some strikingly surreal audio collages: “Animal Human” begins with haunted house doo-wop incantations, then segues to a rumbling bassline and boom-chick-a-wow guitars straight out of a ’70s porn soundtrack. “Children of Kellog” starts with a flourish of brass before moving to a lumbering groove sprinkled with xylophones, then an explosion-like gong sounds and the song morphs into a pretty slow jam with sawing sound effects in the background. In fact, there are only a couple of songs on Visitations that feel close to predictable. The languidly strummy “Paradise” sounds almost exactly like “Kimberley” from 1998′s Cement Mixer EP, and “Harvest”‘s insistent bass, tribal beat, and garbled vocals are so typically Clinic that they make the song too safe of a choice for Visitations’ single — especially since “The Second Line,” the song that made their name in the first place, sounded like nothing else at the time. Overall, though, this dark, knotty album shows that Clinic’s muse is back. Visitations may not be as immediate as Walking with Thee or Winchester Cathedral, but that’s exactly what makes it intriguing — and a welcome return to form. (Heather Phares)
Kingblind news that you can use
Van Halen Reuniting With Roth For Tour
Great MSNBC profile on Seattle indie band Kinski
Tijuana police issued slingshots… No this story is not from The Onion.. It’s true.
Glasto tickets to include purchaser photo
Decemberists Exploring New Ground On Spring Tour
2007 Academy Award nominations
Crowded House Hops On Reunion Bandwagon
Tuesday, January 23, 2007
The Shins:: Wincing the night away (Album Review)
“The Shins will change your life!” That kind of proclamation is loaded with expectations when it’s just one friend talking up a band to another, but it’s magnified a thousandfold when Natalie Portman says it in a hit movie. The band’s popularity was already growing steadily with each album they released, but Garden State took them to another level entirely — if anyone’s life was changed by that praise-filled cameo, it was the Shins’. The expectations and pressure that the Garden State effect brought could’ve been too much for any band, especially a delicate, wistful one like the Shins. Though they took a little while to deliver a new album, Wincing the Night Away shows that time was well spent. Neither a retread nor a radical departure — nor, thankfully, a conscious attempt at making “life-changing” music — the album is a mix of quintessentially Shins songs and tracks that take their sound in subtly different directions. Wincing’s clean, borderline slick production is the main concession to the band’s post-Garden State fame, but this just makes joyfully sad songs like “Australia” and “Turn on Me” sound like nods to jangly ’80s indie instead of jangly ’60s guitar pop. “Phantom Limb,” Wincing the Night Away’s single, is the closest the album comes to the Shins-by-numbers that some fans feared this album would be in the wake of their mainstream success, though the strange, soaring chord change that leads into the chorus keeps things from being too predictable. Actually, many of the album’s best moments show how the Shins’ music has progressed: “Sleeping Lessons” begins and defines Wincing the Night Away, moving from shimmery opening keyboards to strummy acoustic guitars to a rousing, electrified finish. “Black Wave” is another standout, a stark ballad with chilly layers of electronic textures surrounding James Mercer’s plaintive vocals, and “Split Needles” continues this dark, dreamy, synth-heavy feel. The band ventures even farther from familiar territory with “Sea Legs”‘ slinky beat and funky bassline, and with “Red Rabbits”‘ keyboards, which sound like a cross between dripping water and steel drums. These experiments never feel contrived, and never get in the way of the vulnerable heart of the Shins’ music (which beats loudest on the hopeful album closer, “A Comet Appears”). Wincing the Night Away is the sound of the Shins acknowledging where they’ve been and moving on to new territory, and while it probably won’t change your life, it probably will make it more enjoyable — and, most likely, that’s all the Shins wanted to do in the first place.
THE SHINS:: PHANTOM LIMB MP3
Monday, January 22, 2007
Kaiser Chiefs:: Ruby (Music Video)
[youtube=http://www.youtube.com/watch?v=eh4ffv-WyTc]
Friday, January 19, 2007
Thursday, January 18, 2007
Kingblind Contest:: Graham Coxon (Former Blur Guitarist) Vinyl Giveaway
WE HAVE A WINNER.. THANKS TO EVERYONE WHO ENTERED!!
It’s contest time kids! Kingblind is happy to be giving away a 7″ vinyl set from former Blur guitarist Graham Coxon. We will randomly be picking a winner this week. Here is what you have to do:
Send an email to CONTEST OVER!! with GRAHAM COXON in the subject line and your name and address in the body of the message. Remember you MUST have Graham Coxon in the subject line and your name and address in the body of the message!!
Good Luck!!
What exactly you are winning::
Double 7″ vinyl “I Can’t Look At Your Skin” + “What’s He Got.” Features “Time For Heroes” and “Outta My League, Dear” as the B-Sides. It’s beautiful packaging and, like always, all the art is done by Graham himself.
Listen to Graham Coxen
CLICK TO LISTEN
www.grahamcoxonart.com
www.myspace.com/gcoxon
www.grahamcoxon.co.uk
Wednesday, January 17, 2007
Bloc Party:: Weekend in the City (Album Review)
Critical adulation and commercial success hasn’t changed Bloc Party. On A Weekend In The City, they’re still rolling with the punches, frustrated by small minds, social inequality, and a world that reduces the life’s wonderful possibilities to a grey routine. “East London is a vampire,” sings Kele Okereke on the opening “Song For Clay (Disappear Here)”, “it sucks the life right out of me.” This, unmistakably, is Kele’s album. Whereas the group’s debut, 2005′s Silent Alarm, felt powered primarily by the sturdy rhythm section of Gordon Moakes and Matt Tong, here the whooshing groove recedes slightly, allowing for more lyrical reflections: see “Waiting For The 7.18″, which finds Okereke pondering the quiet hell of the daily commute, or “Where Is Home?” – a thoughtful, bruised song about racism given a special bite by stint of Kele’s background as a second-generation Nigerian immigrant. Also notable is a move towards more synthetic, electronic textures, thanks in part to the presence of producer Jacknife Lee. If before, Bloc Party sometimes sounded like they were trying to be machine-like, now they actually do, drums arranged in dense loops, guitars gasping robotic feedback. All in all, it’s a less gripping album than Silent Alarm – but it’s definitely a growth, and in the long run, it may prove easier to love. –Louis Pattison
Kingblind Downloads
Sufjan Stevens:: Live at the Wiltern Theatre L.A.
Wilco:: November 22, 2006 Barrymore Theater, Madison WI
Modest Mouse w/ Johnny Marr – Wiltern LA Nov 6, 2006
James Brown:: Soul Power (LIVE)
Bonnie Prince Billy:: Cursed Sleep
Black Keys:: When the lights go out (from the Black Snake Moan OST)
Tuesday, January 16, 2007
President Obama?
CLICK TO VIEW VIDEO
Buddha Machine:: (Gear Review)
It has a funky name, and it is, in fact, a little funky. The Buddha Machine ($23) is a little box of a music player that features headphone out and a built-in speaker. It plays one of 9 ambient chill-out tunes recorded by FM3, a duo of Christiaan Virant and Chinese keyboardist and computer musician Zhang Jian. It only plays the 9 songs that are on it, and you don’t get to “load it up” with your own tunes — but for less than $25, there’s little reason not to check one out for yourself. Hell Brian Eno owns 12 of these things.. What’s not to love!
CLICK TO PURCHASE
LCD Soundsystem:: Sound of Silver (Album Review)
The second album from New York uberproducer James Murphy’s LCD Soundsystem project is every bit as smart, funky, and literate as its predecessor. Party-starting dance music indebted to the driving percussion of early-’80s New York acts like Liquid Liquid and ESG, the pneumatic thud of house music, and the arch, modernist pop of Brian Eno or David Bowie circa Heroes. If you don’t know the reference points, it really doesn’t matter: “Someone Great” is the sort of delightful, dazed disco to rank amongst Ladytron or Goldfrapp’s best, surfing a six-minute wave of woozy keyboards, acid blips and tapped xylophone, while “Us Vs Them” is a combative punk-dance march built from aggressive cowbells and splinters of funk guitar. But the clued-in will get an additional kick, both from James Murphy’s hipster humour (“Take me off your mailing list,” he wheezes, on the weary “New York I Love You”) and the myriad reference points wired into the machinery of each song: see the tongue-in-cheek ‘North American Scum’, the sound of Fatboy Slim’s ‘The Rockabilly Skank’ rewired by industrial terrorists Throbbing Gristle. Making music ‘intelligent’ so often kills its rump-shaking appeal, but Sound Of Silver does its thinking on the dancefloor.
Monday, January 15, 2007
Sonic Youth:: The Destroyed Room: B-Sides And Rarities (Album Review)
Devoted to the more open-ended rarities that have gathered in Sonic Youth’s discography in the decade spanning from Experimental Jet Set, Trash & No Star to Sonic Nurse, The Destroyed Room serves as a reminder that even the band’s sketches and non-album tracks remain fascinating. Pieces like the Murray Street outtake “Fauhemians” and “Campfire,” which originally appeared in the 1999 collection At Home with the Groovebox and sounds like static kisses, are great examples of Sonic Youth’s ability to make dissonant, weird, and otherwise unexpected sounds feel soothing (something they’ve done especially well in recent years). Likewise, “Fire Engine Dream,” the ten-minute Sonic Nurse-era jam that kicks off The Destroyed Room, is pretty subtle despite its hypnotic fuzz; along with the shimmering sound collage “Loop Cat,” it shows that the band’s seemingly far-flung experiments are balanced with structure and restraint. Given that many of the tracks here ended up tucked away as bonus tracks on Japanese editions of albums, or on the cutting-room floor, it’s understandable that an unfinished feel pervades The Destroyed Room. This incompeleteness is by no means a bad thing, though, especially on the twangy, off-the-cuff Experimental Jet Set snippet “Razor Blade” and the beautiful “Kim’s Chords,” an instrumental full of changing moods and Sonic Youth’s distinctive ebb and flow. There are also a few fleshed-out but hard to find songs here, chief among them “Blink,” the band’s contribution to the soundtrack to Pola X, Leos Carax’s 1999 experimental film noir, and the (very) full, 25-minute long version of “The Diamond Sea,” which emphasizes the avant jam band feel they’ve cultivated in later years. Just as this collection’s name and artwork turn the rock cliché of trashing a room into a work of art, The Destroyed Room is a creative — and quintessentially Sonic Youth — approach to the rarities and B-sides comp.
Wednesday, January 10, 2007
Updates light this week.. Traveling!!
John Reis pulls plug on Sultans
John Reis is trying his best to dissapear from the music spotlight completely. 2005 saw Reis disband both Hot Snakes and Rocket From the Crypt, and now, in a message left on the Swami Records message board, Reis has revealed that Sultans will play one final show, on January 10, before joining his other projects in the rubble heap. The performance, at the Casbah in San Diego, is part of the Fourth Project benefit show.
As for the reason why Reis is calling it quits, here is the entire statement he released about the break-up:
“The Sultans have been on permanent hiatus ever since the last time we played. Mario [Rubalcaba, drummer] and his wife had a baby, and a couple months after my wife and I had one too. Prior to this I was already thinking of wrapping things up with all the musical endeavors in my life and to simplify things by focusing on one thing at a time. I am no longer interested in playing in different bands and spreading my efforts thinly. So, I came to the realization that I needed to slam the door shut with an intention of permenance so a new musical identity would have room to germinate.
So now, the Sultans play one more time in hopes of helping out our good friend. If it wasn’t for this benefit we would not be playing again. It will not be a teary goodbye. I definitely don’t want to say we will never EVER play again, but I just don’t see it happening. So we are letting everybody know, ‘Hey check it out if you wanna because this is most likely the last time we will be playing.’ The Sultans do not have the history or the dediction of the other musical endeavors I have preoccupied myself with. That was the intention of the band in the first place. I always thought of the band as a sand castle out of grease and chicken guts and now the tide of blood and seminal fluid will wash us back out to the sinister abyss from where we came.” R.I.P. Sultans
(via prefix)
Tuesday, January 9, 2007
Monday, January 8, 2007
Low announce US tour dates
Low In support of their upcoming album Drums and Guns, slowcore band Low will be touring the U.S. starting this April. The first part of the tour covers the Northeast and the second part of the tour starts in June and has the band touring the West Coast. The new album will be out on March 20 on Sub Pop. (via prefix)
Here are the upcoming tour dates.
April 2007
6 – New York, NY – Webster Hall
7 – Somerville, MA – Somerville Theater
9 – Philadelphia, PA – First Unitarian Church
10 – Washington, DC – 9:30 Club
11 – Cleveland Heights, OH – Grog Shop
12 – Detroit, MI – Magic Stick
13 – Chicago, IL – Metro
14 – Minneapolis, MN – First Avenue
June 2007
13, 14 – Seattle, WA – Triple Door
15, 16 – Portland, OR – Doug Fir Lounge
19, 20 – San Francisco, CA – Great American Music Hall
22, 23 – West Hollywood, CA – Troubadour
Willie Nelson:: Songbird (Album Review)
America’s greatest living ballad singer is notoriously inconsistent — just listen to last year’s ghastly reggae experiment, Countryman. But Songbird, a collaboration with Ryan Adams (who produced and lent his backing band) is Willie Nelson’s finest in a decade. The sound is burly, surrounding his inimitable lilt with shuddering electric guitars. But the slow and stately stuff really sparkles, such as a weirdly menacing cover of ”Amazing Grace” and the new Nelson composition ”Back to Earth,” which proves the old troubadour can still write the best weepers around.
Friday, January 5, 2007
Kingblind news that you can use
Shortlist Music Prize Is Back; Short-Lived New Pantheon Is Out
Police reunion talk heating up
Digital music offsets drop in CD buying
Warners combines HD and Blu-ray formats in new disc format
Bonnaroo Organizers Purchasing Festival Site
Thursday, January 4, 2007
Kingblind Downloads
Modest Mouse:: Dashboard (New Single)
CLICK TO LISTEN
Silversun Pickups – “Well Thought Out Twinkles”
CLICK TO DOWNLOAD
Lady Sovereign – Pretty Vacant (Sex Pistols cover)
CLICK TO DOWNLOAD
Hot Chip:: Boy from School
CLICK TO DOWNLOAD
Final Fantasy – He Poos Clouds
CLICK TO DOWNLOAD
The Knife:: We Share Our Mother’s Health
CLICK TO DOWNLOAD
Liars:: The Other Side of Mt. Heart Attack (7″ Single Mix)
CLICK TO DOWNLOAD
Wednesday, January 3, 2007
Kingblind Downloads
Arcade Fire:: Intervention (NEW SINGLE)
Grizzly Bear – On A Neck, On A Split
Albert Hammond Jr. – Back To The 101
Upcoming Releases for 2007 that are worth your $$$
Deerhoof – Friend Opportunity (23rd January)
Of Montreal – Hissing Fauna, Are You The Destroyer? (23rd January)
The Shins – Wincing The Night Away (23rd January)
Clap Your Hands Say Yeah – Same Loud Thunder (30th January)
Patrick Wolf – The Magic Position (5th February)
The Apples In Stereo – New Magnetic Wonder (6th February)
Bloc Party – A Weekend In The City (6th February)
Sondre Lerche – Phantom Punch (6th February)
Explosions In The Sky – All Of A Sudden I Miss Everyone (20th February)
Do Make Say Think – You, You’re A History In Rust (26th February)
!!! – Myth Takes (6th March)
Air – Pocket Symphony (6th March)
LCD Soundsystem – Sound Of Silver (20th March)
Ted Leo And The Pharmacists – Living With The Living (20th March)
Arcade Fire – Neon Bible (March/April)
Bright Eyes – Cassadaga (10th April)
Tuesday, January 2, 2007
Peter, Bjorn & John:: Young Folks (Music Video)
[youtube=http://www.youtube.com/watch?v=51V1VMkuyx0]
Kingblind Downloads (Classic Rock Edition)
Bob Dylan:: Live in Memphis 4.24.06
James Brown: The Godfather of Soul – Live @ the Roundhouse, London – 10/26/06 (Mpeg Movie)
CLICK TO DOWNLOAD
Rolling Stones :: Beggar’s Breakfast
1) Gimme Shelter – early mix with Keith Richards on vocals
2) Brown Sugar – early mix with different lead guitar by Mick Taylor
3) Stop Breaking Down – early mix with different Mick Jagger lead vocal
4) Shake Your Hips – Rehearsal take recorded in Montreaux, March 1972
5) Loving Cup (Version 1) – Early version recorded at the same session as ‘Honky Tonk Woman’, June 1969, first session with Mick Taylor
6) Loving Cup (Version 2) – The same song, recorded two years later, finally appeared on ‘Exile on Main Street’ but this is a very different early mix with different vocals and much longer in duration.
7) Shine a Light – Again, a different mix with different vocals.
8) I Ain’t Lying – A song work-out/improvisation which was never developed any further and therefore remains unreleased. Recorded circa 1970
9) Sway – early mix from acetate
10) Sweet Virginia – early mix with additional keyboards and no backing vocals
11) I Don’t Care – same as ‘I Ain’t Lying’
12) Sympathy for the Devil – An excerpt from the recording sessions, as seen in parts in Jean Luc Godards “One Plus One” film, March 1968
13) Tell Me – alternate version, never released, late 1963
14) Rice Crispies Jingle – advertisement for radio use only, recorded in the USA, 1964
15) You Can’t Judge a Book By the Cover – An excerpt from the first ever Rolling Stones studio session, October 1962, taken from a battered 4 song acetate, played on the radio by proud owner, Chris Jagger
Kingblind news that you can use
Danger Mouse Resurfacing With Underground Animals begins work on new Gnarls Barkley record.
CLICK TO READ
Sundance announces music performances
CLICK TO READ
FBI releases more Lennon files
CLICK TO READ
