“With supergroups seemingly being all the rage these days, I’ll focus some attention on Tutankamon. While Monsters of Folk gets all the attention over here in North America, Sweden and Scandinavians alike can relish in the fact that they have one to call their own too. Tutankamon is comprised of Shout Out Louds’ frontman Adam Olenius, Peter Bjorn & John’s very own Peter Moren, The Concretes’ Daniel Varjo and Niklas Korsell from The Plan/New Rose. Together, they released a self-titled full length debut last month to what appeared to be little fan fare over on this side of the pond.
Like Monsters of Folk release earlier this year, Tutankamon jumps from all of the contributing member’s trademark styles instead of finding one common ground genre. Olenius and Moren share vocal/guitar duties, so you can expect to feel like you’re jumping back and forth between new P,B&J and new Shout Out Louds material. While none of the songs are epics that truly grab from the immense talent in the band, what you do get is a 11-track glorious jam session between some of Sweden’s best songwriters. I’ve been enjoying listening to this one for the last couple of weeks and some of the simpler songs have been really growing on me. If you’re a fan of any of the above bands, it’s a must have” (blalocksirp.com)
“Want some noisy, tuneful, shoegazy indie pop from Sweden do you? DO YOU???????? You don’t? Well i’m going to tell you about this CD by Lothar called ‘Montgolfier’ anyway – I just don’t give a feck me. Its actually very very good stuff recalling Blonde Redhead, Stereolab, Pia Fraus and the straightforward end of Deerhoof. The guitars are set to ‘noisy’, the songs are very catchy and very energetic and the singer is a lady. I’d heartily recommend this to those folks who are rather fond of early Lush records. I think the label Quince Records might be from Japan as the lyrics are printed in Japanese…….. unless they are just having a laugh” (normanrecords.com)
1-Can’t Buy Me Love (Take 2, grabada en los estudios EMI Pathe Marconi, de Paris, el 29 de Enero de 1964)
2-There’s A Place (Take 3, inicio falso, grabada el 11 de Febrero de 1963)
3-There’s A Place (Take 4, grabada el 11 de Febrero de 1963)
4-That Means A Lot (Take 2, grabada el 20 de Febrero de 1965)
5-Day Tripper (Take 2, Inicio falso, grabada el 16 de Octubre de 1965)
6-Day Tripper (Take 3, 16 de Octubre de 1965)
7-I Am The Walrus (RM4, Take 17, Acetato del 6 de Septiembre de 1967)
8-Misery (Take 1, grabada el prolífico 11 de Febrero de 1963)
9-Leave My Kitten Alone (Take 5, 14 de Agosto de 1964, Sessions)
10-We Can Work It Out (Take 2, 20 de Octubre de 1965)
11-A Hard Day’s Night (Take 3b, 16 de Abril de 1964)
12-Norwegian Wood (This Bird Has Flown), (Take 4, con dos falsos inicios, 21 de Octubre de 1965)
The Beatles Official Page
1. 1963 The Beatles Christmas Record
2. 1964 Another Beatles Christmas Record
3. 1965 The Beatles Third Christmas Record
4. 1966 Pantomime – Everywhere It’s Christm
5. 1967 Christmas Time (Is Here Again)
6. 1968 Christmas 1968 (Happy Christmas)
7. 1969 Happy Christmas
8. Happy Christmas (War Is Over)
9. Ding Dong, Ding Dong
10. Wonderful Christmas Time
11. Rudolph The Red Nosed Reggae
12. Christmas Time (Is Here Again)
1. A Saturday Club Xmas – Crimble Medley
2. Hello Dolly
3. Speeches Take One
4. Paul’s Speech
5. White Christmas
6. We Wish You A Merry Christmas
7. Merry Crimble – Happy Rudolph
8. Ringo Christmas Greeting
9. Christmas Time (Is Here Again)
10. Jingle Bell
11. Jock And Yono
13. Ringo’s Christmas Plea For The Blind
14. John & Yoko’s Message From Ascot
15. Happy Xmas (War Is Over)
16. Happy Xmas (War Is Over)
17. Ding Dong, Ding Dong
18. Wonderful Christmastime
19. Happy New Year from John
20. John, All You Need Is Adrian Love
21. Another Ringo Christmas Message
22. Paul’s Christmas greeting
23. Christmas Time (Is Here Again)
24. George’s Christmas message
25. A Nelson Wilbury Christmas message
26. Another Paul Christmas Greeting
27. Paul’s Jingle Bells
“Singer-guitarist David Kilgour of the Clean here takes some of Sam Hunt’s poems (despite the attribution, Hunt’s distinctive sing-song voice isn’t heard here) and works them into a breezy folk-rock with a little guitar jangle. But there’s a musical and emotional restraint throughout that doesn’t always serve the lyrics — although the consistent tone could doubtless have wide appeal, especially to those who have followed Kilgour’s recent, and uniformly excellent, solo albums.
And his downbeat delivery throughout reminds me of the tone on Lloyd Cole’s solo albums, a similarly off-hand story-telling and easy way with a lyric.
But Kilgour and Hunt together will inevitably throw up real gems and they are scattered throughout the song/poems (which are book-ended by a little sonic scene setting): the strum and easy melody of Every Time It Rains Like This which uses the title as the pivot; Talking of the Winter which could have slid easily into an earlier Kilgour album; and the Dylan-style settings of They Are Clouds and the acoustic A Summertime Blues for Tom.
Kilgour tells a good story about how this project came about, (“serendipity”, he says, using a word I have always loved) and of course the attraction of Hunt’s words is entirely understandable, they can be deeply engaging — even if the musical setting Kilgour offers isn’t always so (I Throw You Flowers, the rather lightweight melody offered the aggressive words of First One Hit, Friend to Many which again opts for melody over meaning).
So, uneven as might be expected when it comes to setting poetry to pop, but peppered with highlights nonetheless” (elsewhere.co)
“Glitter Rock. Opulent ’80s Pop. Glammy Prog. Bearded, backwoods Elk Rock. Who gives a rat’s ass if there’s no melody at the heart of it; no soul.
Not that The Orange Peels don’t dabble in these styles. They just don’t have the time to waste on cute, genre-based music that cuddles up to a pre-existing audience. Defiant, dramatic and probably a little bit of a showboat, bandleader Allen Clapp tells it like it is on “Shining Like Stars,” a glammed-up rocker from the band’s forthcoming album, 2020: “If making melodies is a crime, I’m guilty as charged.”
As the title suggests, 2020 deals with perceptions. Being released on the precipice of a new decade, the album is as much about looking back on 10 years gone awry as it is about looking forward to the promises of the future. Sometimes life comes at us in crystal clear geometry and hard numbers, and sometimes details reveal themselves only in the soft-focus of memory.
Moving in and out of focus through these 10 songs, the band has achieved its own vision on its own terms. Recording the album at its modernistic Eichler headquarters in Sunnyvale, California, the band took its time to decorate each track (or in some cases, de-decorate) for maximum emotional impact.
“It’s not our job to just record a performance and dump it on the unsuspecting public,” Clapp says. “It’s incumbent upon us to drill down into the soul of what makes each song tick and bring that up to the surface. It’s like raw, emotional source code.”
Featuring Clapp on vocals, piano guitar and drums, Oed Ronne (The Ocean Blue) on lead guitars, electric sitar and vibes, Jill Pries on bass guitars, Bob Vickers (The Incredible Vickers Bros.) on drums and guitars, John Moremen (Jad Fair, the Roy Loney Band) on guitars, all the current and itinerant members of the band are represented. Even original Orange Peels lead guitarist Larry Winther took off his reunion-era Mummies bandages for a few minutes to grace the album’s lead track with a chickeny guitar solo” (theorangepeels.com)
“A dar cuenta de la diversidad y de la nueva pujanza de la flora y fauna musical de este país (la música “made in Spain” lo abarca todo y lo abarca bien, o al menos cada vez mejor) viene nuestra segunda lista de canciones. Podrían haber sido más, e incluso otras si en vez de hace algunas semanas hubiéramos llamado a la realización de estas listas con el año ya cerrado (son varios los discos con promesa que acaban de ver la luz y que tristemente acabarán pasando desapercibidos en estas y otras tantas listas), pero esto es lo que ha dado de sí nuestro recuento puntual de adhesiones” (playgroundmag.net)
“Formed in 2005, Little Black Dress is the brainchild of veteran Dallas musicians Toby Pipes and Nolan Thies. The two have collaborated on the writing, engineering and producing of all the cuts that will appear on their upcoming debut album in 2009. Their unique sound might remind you of a deep-cut track from one of your favorite 4 A.D. compilations with influences spanning decades of innovative music – from synth driven sounds of Cabaret Voltaire, to the droning but noisy guitars and under-stated vocals of My Bloody Valentine and The Jesus and Mary Chain, to the layered melodic swirling of the Cocteau Twins. Along with Toby (vocals, guitars) and Nolan (vocals, bass), Little Black Dress is backed by Brent Elrod (guitars), Earl Darling (drums), Cooper Heffley (electric drums/keys) and Taylor Tatsch (guitars)” (MySpace)
Little Black Dress – Robin
Found at skreemr.com
“On various websites, including their own, Hellogoodbye have said they’ve been working on a new record. The name of the new album has not been confirmed. They have released a single entitled “When We First Met”. During some shows they have been playing a new song entitled “You Sleep Alone”. An electric version of their song “Betrayed By Bones” from their Ukulele Recordings EP may be on their new record. The band paired up with Hanson starting on September 30 in Tulsa followed by dates in October and early November on what is called the “Use Your Sole Tour”. Other bands scheduled on the tour are Steel Train and Sherwood. On August 5, 2009, Hellogoodbye did a live stream of their new song “When We First Met” on absolutepunk.net” (wikipedia.org)
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“Number two in Dan Brasco’s triplet of concept EP:s is yet another elegant synthesizer journey. Over a steady beat the different melodies play around and together they create a dreamy atmospheric experience. Dark yet playful with just the right amount of retro feel added to it.
If you’re into labeling life, than maybe slomo minimal trance would do it. However we recommend you to leave the analysis behind on this one, and just enjoy the ride. Or dance the night away for that matter.
Dan Brasco is a European, hailing from Bremen, Germany. In the early 1990s he started to prepare his first mixtapes which mainly consisted of material from radio stations, but also recordings of his own voice. If labled as anything these experiments moved around between pop and hip hop. Years later Dan started gaining interest in electronic music and consequently producing his own material. Something covering dark techno synth arrangements, lovely straightness and delirious experiments, brewed together” (astorbell.com)
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