Analog Pussy: "Future" Video
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Psy-trance meets Bob Marley and Deep Purple! Analog Pussy are Jiga and Jinno, a girl/boy trance duo located in Germany. Jiga was born in Jerusalem and played bass for metal bands. Wanting be more than a bassist, she bought a $50 synthesizer and a computer and began producing on her own. Jinno, A synthesizers freak, was experimenting with noises and sounds from age 16. He built a studio in his parents? storage room and produced music 18 hours a day. The two met and formed Analog Pussy in 1997. With no money or label, they used the internet as a promotional tool, giving their music for free to download. They built a huge following this way. Without an album out, they became well-known and performed live all around the world. In 1999 they released their first melodic trance album "Psycho Bitch from Hell". In 2000 they relocated from Israel to Germany and established their own label "AP Records". Two albums followed: 'Underground' - minimal techno-trance and 'Trance N Roll'- edgy rocky trax that made a rebellious use of live bass and guitars in the trance formula. For more information, please visit the Analog Pussy website: http://www.analog-pussy.com
Psy-trance meets Bob Marley and Deep Purple! Analog Pussy are Jiga and Jinno, a girl/boy trance duo located in Germany. Jiga was born in Jerusalem and played bass for metal bands. Wanting be more than a bassist, she bought a $50 synthesizer and a computer and began producing on her own. Jinno, A synthesizers freak, was experimenting with noises and sounds from age 16. He built a studio in his parents? storage room and produced music 18 hours a day. The two met and formed Analog Pussy in 1997. With no money or label, they used the internet as a promotional tool, giving their music for free to download. They built a huge following this way. Without an album out, they became well-known and performed live all around the world. In 1999 they released their first melodic trance album "Psycho Bitch from Hell". In 2000 they relocated from Israel to Germany and established their own label "AP Records". Two albums followed: 'Underground' - minimal techno-trance and 'Trance N Roll'- edgy rocky trax that made a rebellious use of live bass and guitars in the trance formula. For more information, please visit the Analog Pussy website: http://www.analog-pussy.com
Minister's melodic trance hit has been used on several of NASA's DVDs and is rapidly becoming a world wide sensation, as it is showing up more and more in many music television shows across the globe.
Samsung Trance (Verizon Wireless)
The Samsung Trance is a great MP3 phone that combines excellent audio quality in a slim and attractive package.
R&B legend Rick James was one of the most influential black musicians of all time. As an artist, songwriter and producer, James provided the funky hits that resuscitated Motown Records in the late '70s. His Punk Funk sound updated the label's style and saw it through the mid-'80s. By 1981, Rick was at the peak of his commercial success with the platinum selling Street Songs album and the hit singles "Super Freak" and "Give It to Me Baby." The following year, Rick James & the Stone City Band took the stage in Essen, Germany to open the 10th Rockpalast-Festival. This 1982 performance was the first time James played in Europe, bringing his brand of American Punk Funk to a whole new audience. Together with the Stone City Band, James did not disappoint, burning up the stage with his trademark sound and special effects. Now for the first-time, this classic performance is available on DVD. Featuring classic hits like "You and I," "Mary Jane," and of course, "Super Freak," this is Rick James at his very best. Super Freak 1982 is not only a must-have collectors item but also a fitting tribute to an R&B legend. Track Listing: 1. Intro 2. Ghetto Life 3. Big Time 4. All Day All Night 5. Freaky 6. Fire It Up 7. Love Gun 8. Guitar Solo 9. Harp Bolo (Call Me Up) 10. Big Day 11. Standing On The Top 12. Mary Jane 13. Mary Jane March 14. You and I 15. Give It To Me Baby 16. Super Freak
R&B legend Rick James was one of the most influential black musicians of all time. As an artist, songwriter and producer, James provided the funky hits that resuscitated Motown Records in the late '70s. His Punk Funk sound updated the label's style and saw it through the mid-'80s. By 1981, Rick was at the peak of his commercial success with the platinum selling Street Songs album and the hit singles "Super Freak" and "Give It to Me Baby." The following year, Rick James & the Stone City Band took the stage in Essen, Germany to open the 10th Rockpalast-Festival. This 1982 performance was the first time James played in Europe, bringing his brand of American Punk Funk to a whole new audience. Together with the Stone City Band, James did not disappoint, burning up the stage with his trademark sound and special effects. Now for the first-time, this classic performance is available on DVD. Featuring classic hits like "You and I," "Mary Jane," and of course, "Super Freak," this is Rick James at his very best. Super Freak 1982 is not only a must-have collectors item but also a fitting tribute to an R&B legend. Track Listing: 1. Intro 2. Ghetto Life 3. Big Time 4. All Day All Night 5. Freaky 6. Fire It Up 7. Love Gun 8. Guitar Solo 9. Harp Bolo (Call Me Up) 10. Big Day 11. Standing On The Top 12. Mary Jane 13. Mary Jane March 14. You and I 15. Give It To Me Baby 16. Super Freak
Ask most serious bands about the recording process, and if they dont compare it to giving birth, they'll likely tell you that making an album is akin to psychotherapy. But lets be real here: How many of those bands actually take the album-as-therapy idea literally? For Atlanta quintet Norma Jean, who for all intents and purposes should be some of the most content dudes in underground music right now, the recording sessions for their third album, Redeemer, packed group therapy, boot camp and endurance test into one gnarly package. Produced by Ross Robinson (At The Drive-in, From First To Last, Sepultura), Redeemer is at once the heaviest and most personal album in this bands arsenaland thats saying something: With their 2002 Solid State Records debut, Bless The Martyr And Kiss The Child, Norma Jean established themselves as one of the noisiest and most adventurous young bands in metal today. With the 2005 follow-up, O God, The Aftermath, drummer Daniel Davison, bassist Jake Schultz, and guitarists Chris Day and Scottie Henry welcomed new vocalist and Arkansas native Cory Brandan to their lineup and took their artful, technical noise to the proverbial next level, earning critical acclaim and a 2006 Grammy nomination (for Asterik Studios awe-inspiring artwork) in the process, and embarking on a grueling tour schedule that most recently found them on Ozzfest 2006s second stage. And now, with a new, expanded edition of Aftermath in stores, the obvious question follows: When you still have past glories to coast on, why make a new album at all? Basically, we had too much material brewing inside us, and we wanted to get it out, says Davison, laughing. We probably couldve waited to record until after we cut back on what we had, but when the opportunity to work with Ross came up, it just felt like, Man, being in the studio with this guy is something Ive wanted to do since I was 12 years old; Im gonna do anything I can to make this happen now. After practicing, in Davisons recollection, pretty much ever day, for about 50 days solid, and going through rigorous pre-production at home in Atlanta, the band decamped with Robinson to Radio Star Studios in the tiny mountain town of Weed, California, to start work on Redeemer. Though some of the songs were still works-in-progress (as Brandans recalls it, Songs were changing up until 20 minutes before we tracked them) the lyrics, again written collaboratively by Brandan, Henry and Davison, really took shape once the band got into the studio. Wed rehearse a song till we felt we had it worked out, and then wed bring in Ross and sit down for another hour or two just to discuss it, Brandan says. He had us all in there as a group, talking about each songwhat the lyrics were about, where they came from, what the song meant to us personally and spiritually. It was really intense; so much stuff came out during those sessions, and in the end, it was really unifying for us as a band. While rehearsals took place in a beautiful, open-stage environment inside the studio, tracking itself was another storyall part of the intense process that would eventually shape the songs. I tracked my drums under the stage, Davison remembers, laughing. Wed get done talking about the song, and then wed head down below the stage into, like, this little dungeon. It was really small, and the drums were set up with mikes all over them; there were hot water pipes, ventilation, everywhereit was really intense. We could barely stand up because the ceiling was so low, but Ross was there the whole time, coaching us and keeping us in that mindset. Just one listen to Redeemer confirms the ferocity of the bands performances. From the discordant breakdowns and jarring time changes of The End Of All Things Will Be Televised to the newfound melodic intensity of Blueprints For Future Homes, the album packs some of Norma Jeans most unhinged, soul-baring playing into the span of 11 songs. And though the weird angles and difficult guitar figures that comprised Aftermath are still prevalent, that albums refined, very-much-studio feel has given way to raw atmospheres in which you can practically see the sweat running onto the instruments. Brandan, whos already proved himself a formidable vocalist, fully comes into his own on Redeemer with a style that veers between unhinged screaming and down-on-his-knees melodic belting. As has been the case with Norma Jeans previous albums, fans will interpret Redeemers title in a number of ways: Theres the obvious (its their shortest album title ever); the semi-obvious (the band members are Christian; the albums called Redeemeryou follow?); and the not-so-obvious (look up Redeemer in Websters Dictionary for even more possibilities). All of these, says Davison, are valid readings, but as before, its better just to listen to the whole album before settling on an opinion about what it all means. We just wanted a title that was short and simple, but also really powerful, Davison explains. Redeemer was the most powerful word we could think of, and obviously, for us, being a spiritual band, it takes on special meaning. Brandan agrees. We didnt call it Redeemer and then try to make the lyrics work around that [idea], he says. Theres some really personal stuff on this record, and even though Im seeing in hindsight that the title ties into some of that, Ive always thought its best just to let people come up with their own ideas about the songs, rather than say, This is our concept; this is what the records about. No matter how you interpret it, one things for sure: Slide it into your player, and you will feel Redeemer more than any other Norma Jean album. Emotional, spiritual, visceral, physicalthis isnt just the third album Norma Jean wanted to make; its the career-defining statement they had to.
Pop Levi has led what one might describe as a melodic life. From childhood his life has been steeped in music. He took up piano at age 3, joined a gospel choir at 7, and started record collecting at 9 just prior to writing his first song. It was a precocious start for an artist who has proved to be a prodigious talent. This English born, LA based multi-instrumentalist was a founder member of avant-garde rock collective Super Numeri before embarking on a global roller coaster ride as bassist with electro pioneers Ladytron. All the while he?s been perfecting his modern spin on rock and soul, releasing two singles on the ?Trons Invicta Hi-Fi label', and carefully crafting his debut solo album. August 2006 sees the release of his first EP on Counter Records. Drawing inspiration from such luminaries as Van Dyke Parks, Jimi Hendrix, Marvin Gaye and Syd Barrett, Levi creates his own brand of gloriously funky alt-rock, meticulously piecing together his kaleidoscopic sound from recordings he?s compiled over a ten-year period. The roar of a motorcycle and the Bolan-esque swagger of title track Blue Honey, kicks off this five track EP. Track 2 (A Style Called) Crying Chic sees Levi pay tribute to the sun drenched sounds of 60's west coast America before he struts his stuff on the Zeppelin-heavy guitar riffs of Mournin Light. Penultimate song Baby Again (Midnight Version) has a looser, more experimental feel, prior to more close-vocal harmonising and finger clicking beats from Levi on an alternate recording of album track Skip Ghetto (Echo Park version). The album, The Return To Form Black Magick Party, described by Levi as a truly bizarre whirlwind of classic sounds has been mixed by Thom Monahan, Devendra Banhart's producer, and produced by Pop Levi himself. It is due for release in the New Year. Meanwhile Levi and his band have been astounding audiences with their soulful vocals and guitar pyrotechnics both at home and here in the UK and plan a return trip to the UK in August for a clutch of dates to be announced shortly.
As Kelly Willis planned to go into the studio last fall, she really didn't know what to expect. She had spent the four years since co-producing her 2002 album, the lovely, laid-back Easy, on family matters: her oldest son Deral, born in 2001, got three siblings -- twins Abby and Ben born in 2004 and baby Joseph, whose birth followed in early 2006. "This time around, I had absolutely no time or energy to be involved in the producer role at all," Willis recalls. So she called a guy "who lives and breathes music," whose instincts she loved and who she felt "really comfortable around": Chuck Prophet, the edgy singer-songwriter who contributed guitar to both Easy and 1999's acclaimed What I Deserve. Together, they would create the most sonically adventurous album of Kelly Willis' seventeen-plus-year recording career, "Translated From Love."
Project Vector: "Out of the Closet"
Rock/techno artist Project Vector debuts in the realm of video with "Out of the Closet," a self-shot and self-edited video. With neither the time for extensive on-location shooting or the budget to hire a professional video production company, Project Vector's Dave Gastambide dived in with almost no experience in video and produced what many are calling a surprisingly good clip for a first try. "I basically just shot most of the footage in front of a green screen and used a lot of compositing and digital effects to try and create some interesting visuals," Dave elaborates. "I didn't really know what the heck I was doing, but it was fun." "Out of the Closet" is the opening track on REALITY SHOW, Project Vector's debut CD released earlier in 2005. The album has gradually been winning PV an enthusiastic following who dig the unusual stylistic hybrids and the willingness to intelligently explore controversial subjects.
