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Archive for October, 2007

Wednesday, October 31, 2007

Kingblind Download Edition: Happy Halloween!

Misfits- Halloween II

Blue Oyster Cult- Don’t Fear the Reaper

Siouxsie & The Banshees- Halloween

Ministry- Everyday is Halloween

Nina Simone – I Put A Spell On You

Dead Kennedys – Halloween

Joy Division- Dead Souls

Otis Redding – Trick Or Treat

Ray Parker Jr – Ghostbusters

The Ramones – Pet Semetary

Michael Jackson – Thriller

Editors – Blood

Robert Johnson – Hell Hound On My Trail

Metric – Monster Hospital (MSTRKRFT Remix)

Thriller: Philippine Prison Version= AWESOME!
1,500 plus CPDRC inmates of the Cebu Provincial Detention and Rehabilitation Center, Cebu, Philippines at practice! This is not the final routine, and definitely not a punishment! just a teaser. Happy Halloween!

Slayer concert DVD + Halloween = awesome

Those cute munchkins in Slayer have a little Halloween treat for us. Beginning at midnight this morning (naturally), they posted on myspace a concert video of “Eyes of the Insance” from the Unhole Alliance Tour DVD. Check it out here.

The 90-minute DVD was released in stores yesterday and also features performances from Lamb of God, Mastodon, Children of Bodom and Thine Eyes Bleed. Bonus footage includes backstage, behind-the-scenes and one-on-one interviews, many of which were conducted by the Unholy Alliance artists themselves. Pretty much gets none more evil than that.

Tuesday, October 30, 2007

Mudhoney schedules tour dates

Legendary Seattle rock act Mudhoney has scheduled a short run of November and December live appearances. These shows will apparently find the band dipping into the entirety of its back catalog, which includes last year’s Under a Billion Suns, after the band ran through Superfuzz Bigmuff for a Don’t Look Back show back September. Follow on after the jump for Mudhoney’s tour dates…

11/2 Chicago, IL – Double Door
11/3 Athens, GA – 40 Watt
11/16 Seattle, WA – El Corazon
11/30 Hoboken, NJ – Maxwell’s
12/1 New York, NY – Music Hall of Williamsburg
12/2 New York, NY – Bowery Ballroom

Oasis to begin recording new album

Oasis will enter London’s Abbey Road studios on November 5 to record their seventh album. They have already completed work on two songs set for the album, and have demoed the rest.

Speaking to BBC 6Music, Noel Gallagher revealed that the band already began initial recording at the studio six weeks ago, and plan to mix the album after a Christmas break.

“We start in Abbey Road a week on Monday [November 5],” he said. “Then we’ll probably work through a couple of months there, have Christmas off, then go and mix it and see where we’re at.

“We all write separately, but for some reason all the songs sound like they’ve got a common thread. We’ve been focusing round the grooves more this time.”

He added: “The last album [‘Don’t Believe The Truth’] was quite ‘songy’, if that makes any sense – it was quite a British, retro, ’60s sounding album. This [new album] is focusing round the grooves more.”

Gallagher went on to explain that he’d been having difficulty coming up with lyrical inspiration.

“I’ve literally got nothing left to write about,” he said. “I’ve written about being a youth, and I’ve written about being a rock star, and I’ve written about living life in the big city.”

Elvis tops dead celebrity list; Cobain doesn’t make the cut

Kurt Cobain doesn’t even show up on this year’s Forbes list of top-earning dead celebrities despite being number one last year thanks to Courtney Love selling part of his catalog for a reported $50 million. Instead, he’s been dethroned by the King, who returns to the top spot.

Forbes reports that Presley’s estate last year generated a total income of $49 million as a result of a massive overhaul of Graceland. Meanwhile, Cobain’s estate didn’t earn enough for him to stay listed despite the fact that the catalog sale opened the door for future ad dollars. As for other legendary musicians on the list, John Lennon jumped from number four to number two. Here’s a prediction: Expect Lennon’s position (as well as that of George Harrison, who’s now number four) to jump next year if/when iTunes releases the Beatles catalog.

Here’s the top ten:
1. Elvis Presley
2. John Lennon
3. Charles M. Schulz
4. George Harrison
5. Albert Einstein
6. Andy Warhol
7. Dr. Seuss
8. Tupac Shakur
9. Marilyn Monroe
10. Steve McQueen

Monday, October 29, 2007

Athlete:: Beyond the Neighbourhood (Album Review)

One of those bands who quietly sell respectable amounts (this is their third album), Athlete purvey gently angsty, pretty, middle-of-the-road rock, in which pianos and mildly glitchy synths twinkle politely, guitars sound about as boring as they can, and bits of melody wisp about in search of something anthemic.

Joel Pott sings like a scuffed-up Chris Martin – still adenoidal, but gruffer – and manages to be a slightly more focused lyricist, though only The Outsiders has a line that makes you sit up. (As a chorus, “I’m away with the fairies now” is so ludicrous, it’s almost affecting.) As you listen to Beyond the Neighbourhood, you find yourself spending an awful lot of time asking yourself whether you’re feeling anything yet.
(David Peschek)

Vinyl May Be Final Nail in CD’s Coffin

As counterintuitive as it may seem in this age of iPods and digital downloads, vinyl — the favorite physical format of indie music collectors and audiophiles — is poised to re-enter the mainstream, or at least become a major tributary.

Talk to almost anyone in the music business’ vital indie and DJ scenes and you’ll encounter a uniformly optimistic picture of the vinyl market.

“I’m hearing from labels and distributors that vinyl is way up,” said Ian Connelly, client relations manager of independent distributor alliance IODA, in an e-mail interview. “And not just the boutique, limited-edition colored vinyl that Jesu/Isis-style fans are hot for right now.”

Pressing plants are ramping up production, but where is the demand coming from? Why do so many people still love vinyl, even though its bulky, analog nature is anathema to everything music is supposed to be these days? Records, the vinyl evangelists will tell you, provide more of a connection between fans and artists. And many of today’s music fans buy 180-gram vinyl LPs for home listening and MP3s for their portable devices.

“For many of us, and certainly for many of our artists, the vinyl is the true version of the release,” said Matador’s Patrick Amory. “The size and presence of the artwork, the division into sides, the better sound quality, above all the involvement and work the listener has to put in, all make it the format of choice for people who really care about music.”

Because these music fans also listen using portable players and computers, Matador and other labels include coupons in record packaging that can be used to download MP3 versions of the songs. Amory called the coupon program “hugely popular.”

Portability is no longer any reason to stick with CDs, and neither is audio quality. Although vinyl purists are ripe for parody, they’re right about one thing: Records can sound better than CDs.

Although CDs have a wider dynamic range, mastering houses are often encouraged to compress the audio on CDs to make it as loud as possible: It’s the so-called loudness war. Since the audio on vinyl can’t be compressed to such extremes, records generally offer a more nuanced sound.

Another reason for vinyl’s sonic superiority is that no matter how high a sampling rate is, it can never contain all of the data present in an analog groove, Nyquist’s theorem to the contrary.

“The digital world will never get there,” said Chris Ashworth, owner of United Record Pressing, the country’s largest record pressing plant.

Golden-eared audiophiles have long testified to vinyl’s warmer, richer sound. And now demand for vinyl is on the rise. Pressing plants that were already at capacity are staying there, while others are cranking out more records than they did last year in order to keep pace with demand.

Don MacInnis, owner of Record Technology in Camarillo, California, predicts production will be up 25 percent over last year by the end of 2007. And he’s not talking about small runs of dance music for DJs, but the whole gamut of music: “new albums, reissues, majors and indies … jazz, blues, classical, pop and a lot of (classic) rock.”

Turntables are hot again as well. Insound, an online music retailer that recently began selling USB turntables alongside vinyl, can’t keep them in stock, according to the company’s director, Patrick McNamara.

And on Oct. 17, launched a vinyl-only section stocked with a growing collection of titles and several models of record players.

Big labels still aren’t buying the vinyl comeback, but it wouldn’t be the first time the industry failed to identify a new trend in the music biz.

“Our numbers, at least, don’t really point to a resurgence,” said Jonathan Lamy, the Recording Industry Association of America’s director of communications. Likewise, Nielsen SoundScan, which registered a slight increase in vinyl sales last year, nonetheless showed a 43 percent decrease between 2000 and 2006.

But when it comes to vinyl, these organizations don’t really know what they’re talking about. The RIAA’s numbers are misleading because its member labels are only now beginning to react to the growing demand for vinyl. As for SoundScan, its numbers don’t include many of the small indie and dance shops where records are sold. More importantly, neither organization tracks used records sold at stores or on eBay — arguably the central clearinghouse for vinyl worldwide.

Vinyl’s popularity has been underreported before.

“The Consumer Electronics Association said that only 100,000 turntables were sold in 2004. Numark alone sold more than that to pro DJs that year,” said Chris Roman, product manager for Numark.

And the vinyl-MP3 tag team might just hasten the long-predicted death of the CD.

San Francisco indie band The Society of Rockets, for example, plans to release its next album strictly on vinyl and as MP3 files.

“Having just gone through the process of mastering our new album for digital and for vinyl, I can say it is completely amazing how different they really sound,” said lead singer and guitarist Joshua Babcock in an e-mail interview. “The way the vinyl is so much better and warmer and more interesting to listen to is a wonder.”
(by Eliot Van Buskirk- Wired)

New version of Zeitgeist available from Best-Buy, Billy Corgan’s integrity R.I.P, 2007

You’ve got to hand it to the man. Billy Corgan is prolific. Really. 5 albums in one year? Are you kidding me? Wait. It’s the same album.

Zeitgeist is coming out. Again. For those of you who must (I must stress “must” because one is probably better off writing a check for the same amount and sending it to P.O. Box Your Toilet) the newest version of features bonus tracks Death From Above, Stellar and Ma Bell and is part of a Best-Buy exclusive. To make sure there is no confusion – since the aforementioned tracks already appeared on other versions already released – this Best-Buy exclusive will also be accompanied a (yawn) dvd documentary on the making of the album.

This is the fifth “exclusive” release for the album. Let’s count: the regular edition, the iTunes version, the Target, the first Best-Buy and now the second Best Buy. I’m going to buy a new dictionary because apparently it’s definition of exclusive is not up to date.

ENON:: Grass Geysers … Carbon Clouds (Album Review)

In the four years since Enon’s last studio album, the band has issued a thrilling b-sides and rarities album, logged hours helping out friends Les Savy Fav and Love As Laughter, done commercial work for the Sundance channel and built its own studio. So it’s not surprising that Grass Geysers was born out of an impulsive, needy and brief energy. While Enon has previously been guilty of betraying its most energetic moments with a tendency to fall into loping, aimless slow-burners, Grass Geysers never stops freaking out. Whether blistering through the Ramones-like “Those Who Don’t Blink,” slinking out the grimy back-and-forth of “Mr. Ratatatatat” or crafting loungey psychedelia fit to soundtrack that eerie Leonard Nimoy-hosted show In Search Of…, the band manages to harness the immediacy of being a three-piece without sacrificing sonic depth or complexity. Each track offers thick layers of simply sweet hooks, space-race organ or skronky rave-up guitar, buttressed by deep, slinking bass lines and urged onward by frenetic drumming. John Schmersal and Toko Yasuda trade and share lead vocals, his desperate near-falsetto feeling unhinged while her sexy cooing stabilizes things. Lyrically, Schmersal is as loopy as ever, melding sci-fi nightmares with ambivalent lamentations of love lost or innocence swiped.

Country Legend Porter Wagoner Dies At 80

Country legend Porter Wagoner died yesterday (Oct. 28) in Nashville, just a few weeks after being hospitalized with lung cancer. Wagoner was known for a string of country hits in the ’60s, perennial appearances at the Grand Ole Opry in his trademark rhinestone suits and for launching the career of Dolly Parton.

The Missouri-born Wagoner signed with RCA Records in 1955 and joined the Opry in 1957, “the greatest place in the world to have a career in country music,” he said in 1997. His showmanship, suits and pompadoured hair made him famous.

He had his own syndicated TV show, “The Porter Wagoner Show,” for 21 years, beginning in 1960. It was one of the first syndicated shows to come out of Nashville and set a pattern for many others.

Among his hits, many of which he wrote or co-wrote, were “Carroll County Accident,” “A Satisfied Mind,” “Company’s Comin’,” “Skid Row Joe,” “Misery Loves Company” and “Green Green Grass of Home.”

In May, after years without a recording contract, he signed with Anti- records, an eclectic Los Angeles label best known for alt-rock acts like Tom Waits, Nick Cave and Neko Case.

Wagoner’s final album, “Wagonmaster,” was released in June and earned him some of the best reviews of his career. Over the summer, he was the opening act for the White Stripes at a sold-out show at New York’s Madison Square Garden.

“The young people I met backstage, some of them were 20 years old. They wanted to get my autograph and tell me they really liked me,” Porter said with tears in his eyes the day after the New York show. “If only they knew how that made me feel — like a new breath of fresh air.”

To many music fans, Wagoner was best known as the man who boosted Parton’s career. He had hired the 21-year-old singer as his duet partner in 1967, when she was just beginning to gain notice through songs such as “Dumb Blonde.” They were the Country Music Association’s duo of the year in 1970 and 1971, recording hit duets including “The Last Thing on My Mind.”

Wagoner was born in West Plains, Mo., and became known as “The Thin Man From West Plains” because of his lanky frame. He recalled that he spent hours as a child pretending to be an Opry performer, using a tree stump as a stage.

He started in radio, then became a regular on the “Ozark Jubilee,” one of the first televised national country music shows. On the Opry since 1957, he joined Roy Acuff and other onetime idols.

At one point his wardrobe included more than 60 handmade rhinestone suits. “Rhinestone suits are just beautiful under the lights,” he said. “They’ve become a big part of my career. I get more compliments on my outfits than any other entertainer — except for Liberace.”

While he continued with the Opry, and even had a small part in the 1982 movie “Honky Tonk Man” starring Clint Eastwood, his recording career dried up in the 1980s — until his return this year.

“I stopped making records because I didn’t like the way they were wanting me to record,” he said. “When RCA dropped me from the label, I didn’t really care about making records for another label because I didn’t have any say in what they would release and how they would make the records and so forth.”

Sunday, October 28, 2007

The Hold Steady – “Stuck Between Stations” (Live on Letterman)

Friday, October 26, 2007

Nine Inch Nails’ Trent Reznor Pushes the Envelope Further on the Latest Saul Williams Album Release

Following in the footsteps of Radiohead’s overwhelming successful release of In Rainbows through direct web distribution, Trent Reznor and Saul Williams are taking a similar approach with the release of The Inevitable Rise and Liberation of NiggyTardust! Estimates range from $5-12 million in download revenue that Radiohead has earned so far from their on site distribution efforts. Despite those numbers there is still some skepticism as to how successful lesser known artists will be using similar self distribution methods. The success or failure of The Inevitable Rise and Liberation of NiggyTardust! will be a major indicator of how the future of music distribution will play out.

The chances of success appear promising given the fact that this is the most involved in a non-NIN recording that Trent Reznor has been in since Marilyn Manson’s breakthrough album Antichrist Superstar. For those unfamiliar with Saul Williams music he is a former street poet who has opened up for Nine Inch Nails on several tours across North America and Europe. His music is loosely categorized as rap but is truly a cross genre blend of styles that is not easily pigeonholed into traditional music formats. Mixed by Alan Moulder the album is being promoted as a joint effort between Saul Williams and Trent Reznor. Williams describes the new album as “The Inevitable Rise and Liberation of NiggyTardust! is the lovechild of Trent and me.”

The Inevitable Rise and Liberation of NiggyTardust! will be available for download with a choice of choice of DRM-free 192kbps or 320kbps mp3 file sizes November 1 at Pre-orders are being taken on the site now with a suggested artist donation of $5 but will also be available for free as well. Saul Williams will kick off world wide tour in support of the release starting with a show at Washington State University November 2.

Happy Friday!! WTF??

THE SADIES:: New Seasons (Album Review)

Neko Case’s favorite Canadian band may wear the alt-country tag, but the Toronto twangers have never been standard-issue honky-tonkers, having also collaborated with Jon Langford, Andre Williams and others. The Sadies’ sound owes as much to surf and psychedelia as to country and bluegrass, and you can trace a direct line from them back through the sunbaked choogle of the Meat Puppets to the cosmic cowboy twang of Quicksilver Messenger Service and Clarence White-era Byrds. All those influences crop up on New Seasons. The eerie psych-garage of “A Simple Apparition” would fool Lenny Kaye in a Nuggets blindfold test, while classic country instrumentals get their due in “Wolf Tones,” which channels the theme music for an imaginary pioneers-and-wagon-trains Western. The Meat Puppets vibe is prominent in “What’s Left Behind,” featuring virtuoso picking and woozy, overlapping vocals from brothers Dallas and Travis Good. And in the rippling, echoey guitars and insistent rhythmic chug of “Ann Leigh,” a tragic tale of a young man being chased by his woman’s premonition, the Sadies craft a sonic and narrative masterpiece destined to be covered by many artists (my bet’s on Case). As produced by Gary Louris (Jayhawks/Golden Smog), New Seasons is a reverb-drenched, genre-hopping gem, the culmination of a 10-year, eight-album journey that promises to bear even more riches farther down the road.
—Fred Mills