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Herbert: "Moving Like A Train"
Restless innovator, sampling wizard, classically trained pianist and superstar collaborator, MATTHEW HERBERT is one of electronic music's most versatile and prolific figureheads. Recording under his own name as well as Doctor Rockit, Wishmountain, Radio Boy and others, Herbert has also produced and remixed artists as diverse as Bjork, REM, John Cale, Roisin Murphy, Yoko Ono and Serge Gainsbourg. An alchemist of avant-garde sound in the tradition stretching from Stockhausen to the Aphex Twin, Herbert combines playful pop sensibility with a strictly imposed experimental agenda. In his increasingly conceptual and political albums he has emerged as a unique figure in modern music: a kind of one-man Radiohead, or a Brian Eno for the 21st century. It was in January 1995 that Herbert gave his first large public performance. His instruments: a sampler and a bag of crisps. But long before he discovered the revolutionary possibilities of sampling, he began playing violin and piano at the age of four. When he was seven he sang in the school choir and played with orchestras. At school, he had the good fortune to have a music teacher who considered Reich, Xenakis and Jazz standards to be the equal of Beethoven. During his time as a theatre student at Exeter University, Herbert, the son of a BBC sound technician, continued to invest in his own home studio. Herbert's studies helped to germinate his interest in "musique concrete". Rummaging around his bag of crisps was only the beginning. His 1998 masterwork 'Around the House' (re-released on !K7 in 2002) collected sounds from the house and home: washing machines, toasters and toothbrushes were sampled and processed into swinging grooves and absorbing sound scapes. All the project needed was the silken voice of Dani Siciliano, Herbert's long-term collaborator, to humanise the album into a left-field classic. In 2000, Herbert wrote a manifesto, the "Personal Contract for the Composition Of Music (PCCOM) (Incorporating the Manifesto of Mistakes)", rules which have defined the compositional methods ever since. The manifesto, not unlike Dogme 95's filmic principles, prohibits the use of any pre-recorded musical sources, as well as any synthetic sounds that imitate acoustic instruments. Furthermore, accidental sounds or errors should influence the process of his production. Herbert considers mistakes in programming or recording as the welcome intervention of random humanity in a sterile world. This is a man, after all, who runs a record label called Accidental. Deriving much of its musical content from human skin, hair, bones and the random contents of Dani Siciliano's handbag, Herbert's 2001 album 'Bodily Functions' was the audible result of putting this theory to practice. But far from being limited by these self-imposed rules, the record unlocked rich new vaults of unique sound and fascinating rhythm from the most unlikely everyday objects. In 2003 Herbert redefined his musical agenda yet again with his big-band album 'Goodbye Swingtime', which was recorded at Abbey Road studios with 16 jazz and session musicians. Despite its self-consciously traditional elements, the album was composed under strict PCCOM rules, and again featured Siciliano on vocals. The subsequent live shows, including Sonar in Barcelona, the Montreux jazz festival, and Roskilde festival in Denmark, were rapturously received by large crowds. From bedroom samplers to concert halls, Herbert continues to expand the horizons of electro-organic music. The political content of Herbert's music has become increasingly overt in recent years. His 2004 album 'Plat Du Jour' was his most rigorously experimental to date, featuring sounds entirely derived from food and its packaging. Unified in concept and content, it used witty culinary metaphors to attack not just giant food companies but also the death penalty, body fascism and war in Iraq. In Britain, 'The Guardian' called the consequent live shows, complete with a chef making live smells "a wild stimulation of senses, feet and intellect". In 2005, Herbert produced 'Ruby Blue', the debut solo album by Moloko singer Roisin Murphy. A fertile garden of flamboyant dance-pop and artfully textured jazz-funk. Herbert's latest album, 'Scale', is probably his most pleasingly pop-friendly mellifluous so far. But beneath its deceptively glossy surface sheen of jazz, disco and sensual house rhythms lie quietly anguished meditations on mortality, global suffering and the end of the oil age. Among the 723 objects sampled on these lush tracks are coffins, petrol pumps, meteorites, an RAF Tornado bomber, and somebody being sick outside a banquet for a notorious London arms fair. More than any previous Herbert album, 'Scale' combines immaculately groomed dance music with subversive subject matter. Herbert is as solid as a rock in these times of "borderless digital arbitrariness," as the German newspaper 'Die Zeit' once described his work. Between programming mistakes and the conceptual stringency of his PCCOM manifest, between divine accident and strict intent, whether he scores films or theatre shows or paints the musical backdrop for fashion shows - Herbert's endless innovation and transgression of genres is never just art for its own sake. His music is always engaged in lively dialogue with the wider world, with the past and future of experimental music, with its own political and economic origins.
"Drummer Needed," written and directed by John Dole, follows the plight of an alien who plays drums in a rock and roll band.
A passenger with a deadly secret. Six rebels on the run. An assassin in pursuit. When the renegade crew of Serenity agrees to hide a fugitive on their ship, they find themselves in an action-packed battle between the relentless military might of a totalitarian regime who will destroy anything - or anyone - to get the girl back and the bloodthirsty creatures who roam the uncharted areas of space. But, the greatest danger of all may be on their ship. From the mind of Joss Whedon (Buffy the Vampire Slayer, Angel) comes a new edge-of-your-seat adventure loaded with explosive battles, gripping special effects and fantastic new worlds! Bonus Features on the DVD include: an introduction by Joss Whedon, over 20 minutes of deleted scenes and outtakes, Re-Lighting The Firefly (the story of how a television show gained enough of a cult following to become a major feature film), Feature Commentary with Writer/Director Joss Whedon, and much more!
Dub Trio: "Casting Out the Nines [Live]"
TThree distinct personalities functioning as one unit, Dub Trio seems capable of making all manner of sounds. The three gentlemen collectively known as Dub Trio bring noises into this world that are unique, decidedly new and fresh. Drawing on music at large, rather than forcing a marriage of two things that were never quite divorced, they bring an eclectic and attractive take on the term "new music." Primarily just drums, bass, and guitar, but the "job description" for each member varies from track to track. Staying away from overtly clich?d genre restrictions, Dub Trio is free to bring you to the dance floor, to tears or at least give you a peek at the three minds at work. The drums function as a section, rather than as one instrument in the hands of Joe Tomino. You will hear this section transform over the course of a record or live show, the pulse never wavering yet morphing into drum machine-esque sounds, then suddenly, to big rock drums assault. The inspired moment to moment decisions acting as a foil to the three way cat and mouse game that the band brings nightly to the stage. The bass is the foundation. Stu Brooks delivers low end like it is a weapon. One moment like a telephone pole swinging towards your gut and the next moment a playful rump shaking pulse locked in with Joe as they let it roll. The bass also changes faces many times in a performance, but never loses the pocket. Amazing that "feel" is measured in milliseconds when Stu is at the controls of a big oceanic sound. The guitar in Dub Trio, played by DP Holmes, always seems to be the device for cueing a response in the listener. Dave makes shapes, colors and devices for emotional control one moment, then is careening down the highway at 120 mph in a rusty Chevy Nova the next. The medium becomes the message when the distortion kicks in. Aggressive, dreamy, liquid and solid. There is a command of the elements in the guitar section. With this second record, New Heavy, Dub Trio shows us a more aggressive side of life. Special guest vocalist Mike Patton (Mr. Bungle, Faith No More, Ipecac Recordings) lends his voice to "Not Alone," the album?s standout hit. Heavy, moody, melancholy music at its best. This is a record to be enjoyed LOUD!
Three distinct personalities functioning as one unit, Dub Trio seems capable of making all manner of sounds. The three gentlemen collectively known as Dub Trio bring noises into this world that are unique, decidedly new and fresh. Drawing on music at large, rather than forcing a marriage of two things that were never quite divorced, they bring an eclectic and attractive take on the term "new music." Primarily just drums, bass, and guitar, but the "job description" for each member varies from track to track. Staying away from overtly clich?d genre restrictions, Dub Trio is free to bring you to the dance floor, to tears or at least give you a peek at the three minds at work. The drums function as a section, rather than as one instrument in the hands of Joe Tomino. You will hear this section transform over the course of a record or live show, the pulse never wavering yet morphing into drum machine-esque sounds, then suddenly, to big rock drums assault. The inspired moment to moment decisions acting as a foil to the three way cat and mouse game that the band brings nightly to the stage. The bass is the foundation. Stu Brooks delivers low end like it is a weapon. One moment like a telephone pole swinging towards your gut and the next moment a playful rump shaking pulse locked in with Joe as they let it roll. The bass also changes faces many times in a performance, but never loses the pocket. Amazing that "feel" is measured in milliseconds when Stu is at the controls of a big oceanic sound. The guitar in Dub Trio, played by DP Holmes, always seems to be the device for cueing a response in the listener. Dave makes shapes, colors and devices for emotional control one moment, then is careening down the highway at 120 mph in a rusty Chevy Nova the next. The medium becomes the message when the distortion kicks in. Aggressive, dreamy, liquid and solid. There is a command of the elements in the guitar section. With this second record, New Heavy, Dub Trio shows us a more aggressive side of life. Special guest vocalist Mike Patton (Mr. Bungle, Faith No More, Ipecac Recordings) lends his voice to "Not Alone," the album?s standout hit. Heavy, moody, melancholy music at its best. This is a record to be enjoyed LOUD!
Visiter by San Francisco band The Dodos is their second full length and first for Frenchkiss. Originally formed in 2006 under the moniker Dodobird as a one man acoustic act, Meric Long would gig around SF playing folky guitar w/ a combination of loops and ambient keyboards. Having already studied West African Ewe drumming, Meric got turned onto country blues fingerpicking and sought to create a band where the drumming could be a center role and help bring out the syncopated rhythms coming out of the acoustic guitar. Through a chance introduction by a roommate, Meric met Santa Cruz transplant Logan Kroeber, who had also been experimenting with drumming, but in the area of progressive metal. Eventually the band changed their name to the Dodos, through constant harrowing from first tourmates Peter and the Wolf, and got a rehearsal studio where they'd spend long hours improvising the music that would become their first record Beware of the Maniacs. The band quit their day jobs as a line cook and a printer and hit the road in Oct. 2006.
Tom Waits: "God's Away on Business"
"Real Gone" is the unpredictable follow-up to the atmospheric and conceptual "Alice "and "Blood Money," two albums that TOM WAITS released simultaneously in the spring of 2002.
In an exciting departure from the critically acclaimed Alice and Blood Money, Waits? fevered imagination has spawned a new musical hybrid, grafting together worlds both sonic and ethnic from musical traditions both old and new. The 15 track CD features: primal blues, Jamaican rock-steady grooves, rhythms and melodies both African and Latin, what Waits calls ?cubist funk.?
In that sonic cubism, Waits ingeniously finds common ground with hip hop?s cut and paste aesthetic and incorporates some of its elements into his approach. Many of the tracks on Real Gone were built on Waits? ?human beatboxing? on a cassette recorder in his bathroom and bringing those tapes into the studio to have the band play over them. As a result, there are no drums on many of the most driving tracks as his voice provides all of the necessary propulsions. And for the first time, there is no piano.
Non Finire Mai: "Keep Away From Children"
Three years after releasing debut album "Pilotinstaller," Slovenian extraordinary Ales Uratnik a.k.a. NON FINIRe mai, produced a new masterpiece entitled "Katzenjammer". It's inspired in part by the Rudolf Dirks comic The Katzenjammer Kids. The Katzenjammer Kids from 1897 featured Hans and Fritz, twins in the battle against any form of authority. The extended meaning of this word today is unhappiness, depression, the more general sense of what one might call a case of the willies. Alternate songs present computerized and complex compositions without musical barriers and genre fixations. With electro acoustic compounds, NON FINIRe mai is a true trail blazer of free form sonic art. The album features experimental drummer and percussionist Adam Kriney (ex. The National Blue) from New York City as well as mastermind Camden Chamberlain (Deliccato) and his lovely wife Vanessa (Geisha Glory) from Salt Lake City. This CD presents a cocktail of avant rock, electronic, jazz, industrial, folk and experimental music. It's beautiful, darkly seductive and absolutely brain busting.
Apple Corps Ltd have announced the eagerly anticipated DVD release of The Beatles' second feature film Help! on November 6th (November 5th ROW) marketed and distributed by EMI Music.
Directed by Richard Lester, who also directed the band's debut feature film 'A Hard Days Night', 'Help!' made its theatrical debut in 1965. The story follows The Beatles as they become passive recipients of an outside plot that revolves around Ringo's possession of a sacrificial ring, which he cannot remove from his finger. As a result, he and his bandmates John, Paul and George are chased from London to the Austrian Alps and the Bahamas by religious cult members, a mad scientist and the London police.
In addition to starring the Beatles, 'Help!' has a witty script, a great cast of British character actors and features 7 classic Beatles tracks, including:
' 'Help!'
' 'You're Going To Lose That Girl'
' 'You've Got To Hide Your Love Away'
' 'Ticket To Ride'
' 'I Need You'
' 'The Night Before'
' 'Another Girl'
The DVD is a 2-disc set. Disc 1 features the original film digitally restored with a newly created 5.1 soundtrack, while Disc 2 contains an hour of extra features, including:
'The Beatles in Help! ' 30 minute documentary about the making of the film with Richard Lester, the cast and crew. Includes exclusive behind the scenes footage of The Beatles on set.
'A Missing Scene ' Featuring Wendy Richard
'The Restoration of Help! ' An in depth look at the restoration process.
'Memories of Help! ' The cast and crew reminisce
'Theatrical Trailers ' 2 US trailers and 1 Spanish trailer.
'1965 US Radio Spots - Hidden in disc menus.
There are 2 editions of the DVD - a standard digipack and a deluxe boxed set that will contain a reproduction of Richard Lester's original annotated script, 8 lobby cards and a poster, plus a 60-page book with rarely seen photographs and production notes from the movie. Both the deluxe book and the standard booklet feature an introduction by Richard Lester and an appreciation by Martin Scorsese.
Squeezeman pops out of a plasticine egg, toothpick in hand, ready to deal with any eventuality in his tiny, shiny plasticine world... except something that no small, squeezy man could ever have expected. 'Squeezemen' is a fun piece, made by Annie and Stephen Gard, who are not a husband and wife team, but cousins. The soundtrack was created from sampled sounds of Annie playing her violin; Annie also made the characters and moved them about the set; Stephen shot each still with a digital camera, and edited the sound and video. Annie also did some editing - the whole project was an experimental, 'holiday' project. Annie Gard is a student at the Sydney Conservatorium of Music High School; Stephen Gard is a composer and video artist.
