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Brendan Benson is a band. Sure, it?s also the man?s name. But as he wrote the songs that would become his dazzling new CD THE ALTERNATIVE TO LOVE, he never stopped imagining the two guitarists trading licks, the back-up singer adding harmonies, the bass drum booming through his spine -- never mind that he does all that stuff himself. Brendan Benson is a one-man band, but, he says, "band is the operative word." He's neither a singer-songwriter (though of course his music is impeccably constructed and observed) nor a simple pop musician (though every note he's ever played is catchy as all get-out), and even "cult artist" doesn't cut it anymore, given the way fans, critics and DJs in both the U.S. and U.K. embraced 2002's Lapalco. Three years later, you could even say THE ALTERNATIVE TO LOVE is long-awaited. And from the revved-up guitar chug of ?Spit It Out? to the Wall of Sound swoon of ?The Pledge? to the haunted piano tones of ?Biggest Fan,? it doesn't disappoint, offering up a dozen shimmering examples of dynamic rock'n'roll that's both joyous and bittersweet ?as you might expect from someone whose publishing company is called Glad Sad Music. Benson flies solo in the studio so he can work whenever inspiration hits, with "collaborators" who are always on the same creative wavelength. "It's childish," he admits. "It's hard for me to hand the sticks over, or sit there and listen to someone else and not just say, 'do it like this.'" But that's the way the Michigan/Louisiana native has always recorded, going back to his teenage years overdubbing one track at a time on a regular home stereo. Those bedroom sessions, and some recording in L.A. with producer Ethan Johns and Jellyfish's Jason Falkner, eventually evolved into Benson's mythological debut One Mississippi. But when that 1996 Virgin release (reissued by StarTime in 2003) left him as another critical success story on the verge of getting dropped, he retreated to Detroit's Belle Isle neighborhood, using what was left of his second-album advance to fill a big old house with vintage recording equipment and well-used instruments. It was there he made Lapalco, which the Times of London dubbed "an album of such radiant beauty and wrist-slashing introspection that it puts all other pretenders to the Beatles/Beach Boys mantle firmly in their place." Entertainment Weekly, NME, Details and Mojo ("some records are so perfect they make you worry") also fell in love with it. THE ALTERNATIVE TO LOVE feels like the precisely calibrated offspring of its predecessors ? brighter than Lapalco, not quite as big a sugar-rush as Mississippi. "It's a nice kind of blend of the two," Benson says. Despite his professed allergy to singer-songwriter syndrome, Benson has been doing more acoustic gigs the past few years, which played into the songwriting process. And while the songs are mostly about love, heartbreak, and connection, the context isn't always romance ? Bensons also draws on harder life experience, like being abandoned by his father, and the death of his grandfather who raised him. "A lot of times it might sound like I'm singing about a girl, but it just might be about someone or something entirely different," he says. If Lapalco brought to mind certain dark-night-of-the-soul records from the late '60s and early '70s, Benson has found himself listening to things like Calexico, the Cars and the Pretenders lately. But if you were to hit him with that old standby of a question, "what are your influences?" he could give a unique answer. "A lot of times I'll record or write a song because I've got a new amp, or someone?s left a guitar at my house, or I?ve acquired a new microphone. I just have a real fascination with the sound of things." He even traded in some of the stuff that figured on Lapalco -- THE ALTERNATIVE TO LOVE was recorded on relatively newer stuff, digital as well as analog. "I don?t have a lot of conceits when it comes to recording music like, 'no computers were used in the making of this record,'" he says. ?Computers make things easier. But drums and acoustic guitars, I believe, sound notably better on tape." The record's intricate sonic imprint also stems from Tchad Blake's mixes. The producer/engineer, best known for his work with Mitchell Froom (Los Lobos, Latin Playboys, Elvis Costello, Crowded House) is a longtime fave of Benson's. "Oh my god, my hero," he says. "We just talked a few times on the phone. I said, do whatever you do, make it sound good! And he did. Some tracks, he kind of produced retroactively. When I heard them with headphones on I was laughing uncontrollably. I was so pleased." THE ALTERNATIVE TO LOVE is a headphone record among other things, from the Spectoresque bombast of "The Pledge" to the mind-bending harmony and call/responses of the title track. Other highlights include the amiably wobbly "Cold Hands Warm Heart," which is already a live favorite, and the album-ender "Between Us," which lays the raw emotion of a woman's post break-up answering machine message over an almost-psychedelic anthem. Then there's the deceptively sing-song "What I'm Looking For," which offers up a worldview ? about art, life and love -- in just 18 words: Well I don't know what I'm looking for but I know that I just wanna look some more. "That's pretty much it," Benson says. "That's me." Which is not to say he lacks focus. If anything, he's too focused -- exclusively on rock'n'roll. When he's not doing his own stuff he's producing other bands (including V2 labelmates Blanche and the next record by Cincinnati garage-rockers the Greenhornes) and he and Motown compadre Jack White are working on a duo record." I could happily spend the rest of my days doing something with music," Benson says. "If I'm not working on music, anxiety sets in. Maybe it's not so healthy-to stay locked away in a studio?you've gotta live a life to write a song. But in Letters to a Young Poet, Rilke said if you were in jail, cut off from the world, with nothing but a view of the sky from a small window, you'd still have your memories to write about. I love that."
Brendan Benson is a band. Sure, it?s also the man?s name. But as he wrote the songs that would become his dazzling new CD THE ALTERNATIVE TO LOVE, he never stopped imagining the two guitarists trading licks, the back-up singer adding harmonies, the bass drum booming through his spine -- never mind that he does all that stuff himself. Brendan Benson is a one-man band, but, he says, "band is the operative word." He's neither a singer-songwriter (though of course his music is impeccably constructed and observed) nor a simple pop musician (though every note he's ever played is catchy as all get-out), and even "cult artist" doesn't cut it anymore, given the way fans, critics and DJs in both the U.S. and U.K. embraced 2002's Lapalco. Three years later, you could even say THE ALTERNATIVE TO LOVE is long-awaited. And from the revved-up guitar chug of ?Spit It Out? to the Wall of Sound swoon of ?The Pledge? to the haunted piano tones of ?Biggest Fan,? it doesn't disappoint, offering up a dozen shimmering examples of dynamic rock'n'roll that's both joyous and bittersweet ?as you might expect from someone whose publishing company is called Glad Sad Music. Benson flies solo in the studio so he can work whenever inspiration hits, with "collaborators" who are always on the same creative wavelength. "It's childish," he admits. "It's hard for me to hand the sticks over, or sit there and listen to someone else and not just say, 'do it like this.'" But that's the way the Michigan/Louisiana native has always recorded, going back to his teenage years overdubbing one track at a time on a regular home stereo. Those bedroom sessions, and some recording in L.A. with producer Ethan Johns and Jellyfish's Jason Falkner, eventually evolved into Benson's mythological debut One Mississippi. But when that 1996 Virgin release (reissued by StarTime in 2003) left him as another critical success story on the verge of getting dropped, he retreated to Detroit's Belle Isle neighborhood, using what was left of his second-album advance to fill a big old house with vintage recording equipment and well-used instruments. It was there he made Lapalco, which the Times of London dubbed "an album of such radiant beauty and wrist-slashing introspection that it puts all other pretenders to the Beatles/Beach Boys mantle firmly in their place." Entertainment Weekly, NME, Details and Mojo ("some records are so perfect they make you worry") also fell in love with it. THE ALTERNATIVE TO LOVE feels like the precisely calibrated offspring of its predecessors ? brighter than Lapalco, not quite as big a sugar-rush as Mississippi. "It's a nice kind of blend of the two," Benson says. Despite his professed allergy to singer-songwriter syndrome, Benson has been doing more acoustic gigs the past few years, which played into the songwriting process. And while the songs are mostly about love, heartbreak, and connection, the context isn't always romance ? Bensons also draws on harder life experience, like being abandoned by his father, and the death of his grandfather who raised him. "A lot of times it might sound like I'm singing about a girl, but it just might be about someone or something entirely different," he says. If Lapalco brought to mind certain dark-night-of-the-soul records from the late '60s and early '70s, Benson has found himself listening to things like Calexico, the Cars and the Pretenders lately. But if you were to hit him with that old standby of a question, "what are your influences?" he could give a unique answer. "A lot of times I'll record or write a song because I've got a new amp, or someone?s left a guitar at my house, or I?ve acquired a new microphone. I just have a real fascination with the sound of things." He even traded in some of the stuff that figured on Lapalco -- THE ALTERNATIVE TO LOVE was recorded on relatively newer stuff, digital as well as analog. "I don?t have a lot of conceits when it comes to recording music like, 'no computers were used in the making of this record,'" he says. ?Computers make things easier. But drums and acoustic guitars, I believe, sound notably better on tape." The record's intricate sonic imprint also stems from Tchad Blake's mixes. The producer/engineer, best known for his work with Mitchell Froom (Los Lobos, Latin Playboys, Elvis Costello, Crowded House) is a longtime fave of Benson's. "Oh my god, my hero," he says. "We just talked a few times on the phone. I said, do whatever you do, make it sound good! And he did. Some tracks, he kind of produced retroactively. When I heard them with headphones on I was laughing uncontrollably. I was so pleased." THE ALTERNATIVE TO LOVE is a headphone record among other things, from the Spectoresque bombast of "The Pledge" to the mind-bending harmony and call/responses of the title track. Other highlights include the amiably wobbly "Cold Hands Warm Heart," which is already a live favorite, and the album-ender "Between Us," which lays the raw emotion of a woman's post break-up answering machine message over an almost-psychedelic anthem. Then there's the deceptively sing-song "What I'm Looking For," which offers up a worldview ? about art, life and love -- in just 18 words: Well I don't know what I'm looking for but I know that I just wanna look some more. "That's pretty much it," Benson says. "That's me." Which is not to say he lacks focus. If anything, he's too focused -- exclusively on rock'n'roll. When he's not doing his own stuff he's producing other bands (including V2 labelmates Blanche and the next record by Cincinnati garage-rockers the Greenhornes) and he and Motown compadre Jack White are working on a duo record." I could happily spend the rest of my days doing something with music," Benson says. "If I'm not working on music, anxiety sets in. Maybe it's not so healthy-to stay locked away in a studio?you've gotta live a life to write a song. But in Letters to a Young Poet, Rilke said if you were in jail, cut off from the world, with nothing but a view of the sky from a small window, you'd still have your memories to write about. I love that."
Natalie Walker. Urban Angel. Biography. Born and raised in Indiana, vocalist Natalie Walker is an artist whose lilting, melodic voice and lyrical reveries reflect a life journey of determination and self-discovery. With musical influences ranging from Alison Krauss to Portishead, Jewel to Lauryn Hill, Beth Orton to Bjork, the former lead singer of downtempo electronic group Daughter Darling now delivers her own unique, haunting sonic landscape that is at once organic, ethereal, elegant and entrancing. ?Creating music is my outlet,? says Natalie. ?I was born to sing. When I don?t, I feel empty. When I do, I feel fulfilled. It?s that simple.? Urban Angel, her solo album debut, was co-written by Natalie and two-man production team Stuhr. ?I worked with two really great producers out of Brooklyn, Dan Chen and Nate Greenberg. They?d send me the rough copy of a song and the music would just evoke emotion,? she explains. ?Its like fitting pieces of a puzzle together. When you?re in the studio recording its all very raw and real. I try to make a song new each time I sing it. I want it to be unforgettable. My producers are amazing. They forced me to develop my real voice. I?ve improved my vibrato and my tone. Stuhr delivered exactly what I asked of them. It couldn?t have happened more perfectly.?
The Roots, known for their innovative album concepts, return after a two year break to release their new album, ?Game Theory?.?Game Theory? is The Roots? most thought-provoking, incitive album since their 1999 breakthrough ?Things Fall Apart? and will be the group?s debut for Def Jam Recordings, home to the world?s premiere Hip-Hop artists. The band addresses everything from their uneasiness about society on, ?It Don?t Feel Right,? to troops at war on ?False Media? and government monitoring on ?New World.? The band also honors their fallen friend and producer James Yancey a/k/a J-Dilla whose death from kidney failure in February devastated the Hip-Hop world. All tracks are wrapped around hard hitting beats and murky grooves deploying samples from Sly Stone, the Ohio Players and the Jackson 5 among others. It?s been nearly 20 years since Ahmir ??uestlove? Thompson and Tarik ?Black Thought? Trotter met on a fateful date in 1987 at the Philadelphia High School for the Creative and Performing Arts. Since then, The Roots have become popularly regarded as among today's most innovative, adventurous and influential bands. The Roots are: ?uestlove (drums), Black Thought (emcee), Leonard ?Hub? Hubbard (bass), Kamal Gray (keyboards), Kirk ?Captain Kirk? Douglas (guitar) and Frank Knuckles (percussion).
Tim Allen transforms from family dad to family dog and back again in this fresh update of the Disney comedy classic, "The Shaggy Dog." It all begins when a workaholic Deputy D.A. Dave Douglas (Tim Allen) takes on a case involving an animal laboratory - one that will take him away yet again from his wife (Kristin Davis) and kids (Zena Grey and Spencer Breslin), who already yearn for his all-too-distracted attention. But when Dave is accidentally infected with a top-secret, genetic mutation serum, everything he thought he knew about being himself and his family changes. Yet with his newly perked-up ears, and his front-row seat on the household carpet, Dave is able to gain a whole new perspective into his family's secrets and dreams. Now, he wants nothing more than to stop fetching and return to fathering - only first he'll have to stop the evil forces behind the serum...in an adventure that will bring the whole family together. The film also stars Robert Downey, Jr., Danny Glover, and Philip Baker Hall.
"BatBox" is similarly enhanced with a second artistic collaboration involving the originator of the Emily the Strange cartoon, Rob Reger. Both long-time admirers of each other's work, a Halloween party in Paris last year saw the beginning of a mutual collaboration. Check out the video for "Kittin is High" written and produced by Caroline Herve/Miss Kittin and Pascal Gabriel/This Much Talent. Directed by Sven Steinmeyer, (c) schonereWelt,
With this video it seems like the core solution involves lots of heavy metal head banging. There is no doubt that the second full-length album from Norway's ZYKLON is a platter highly anticipated. Fans and critics alike have followed the album's progress as various news and music gossip pages have meticulously tracked the band's trips and sightings during the making of this all-important recording. And now, with worldwide release set for early September, "Aeon" - as it is titled - will come to represent more than just a stronger and more potent ZYKLON; it will righteously disclose for all a band in possession of steadfast determination, focus and poised to wave their personal banner of musical independence for years to come. Escalating the extremity factor, Aeon gives witness to equal measure death and black metal. But as those who know ZYKLON's sound can attest - so much more can and will be found within. Guitarist Samoth and drummer Trym together with guitarist Destructhor and new vocalist/bassist Secthdamon bestow an incredulously cold and calculated metal, a sound that is light years apart from the duo's later Emperial days. And as monumental as 2001's "World ov Worms" was ("a mighty, snarling beast," said Malcome Dome/Metal-Is), Aeon's musical palette needs but a solitary sitting in which to bare its raging power. Recorded at Akkerhaugen Lydstudioin in Norway and mixed at famed Studio Fredman in Sweden under the watchful eye of Fredrik Nordstr?m, "Aeon" sees B?rd "Faust" Eithun returning to handle lyrical duties while Secthdamon takes his first steps on record behind the mike and on bass. Earning his vocal stripes while touring (the band supporting Morbid Angel and Deicide for their maiden US adventure), the drummer turned bassist/vocalist settles perfectly into the position left vacant in late 2001 by Daemon. Destructhor will continue to impress the guitar aficionados with his lightning-fast solos and technique. Add to it the long-respected play of Samoth and the inspiring skins of Trym, "Aeon" is a record that builds upon an already revered sonic recipe. Founded in 1998, it was evident from the start that ZYKLON was to be more than just a "side project" for the then-Emperor guitarist and drummer. Teaming with Destructhor (also of Myrkskog), the trio's rehearsals ignited a spark that would put them on the fast track. Enter England's Candlelight Records. Already home to Emperor, Candlelight was the best and obvious first choice for the band and their recording future. Enlisting Daemon from Limbonic Art for vocals and featuring a guest appearance from Kristoffer Rygg (Ulver, Arcturus), "World ov Worms" was recorded and released February 2001 in Europe and followed in April for the United States. The band would tour worldwide with Morbid Angel and by year's end the album would find itself upon many magazine and critic "Best of Year" lists. Work began on Aeon in early 2002 with the band's writing and rehearsing seeing out the end of the year. Recording commenced in February 2003 with final work completed in May. The album's cover art was created by long-time friend and accomplished designer Stephen O'Malley. Whereas previous work catered around the studio, ZYKLON is equally dedicated to the live arena. With festival appearances already confirmed and tours looming on a horizon that will see the band living for the stage till the early months of 2004, "Aeon" will ultimately earn its merit where it ought to - in front of the band's dedicated and growing fan base.
