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New Young Pony Club: "Ice Cream"
Hot on the heals of previous limited 7" single "The Get Go" New Young Pony Club (NYPC) return with Ice Cream, a sparsely minimal punk funk jerkout that sounds like a distaff version excursion on disco-era Rolling Stones fronted by the Slits' Ari Up and produced by David Byrne and Brian Eno. Partly inspired by LCD Soundsystem and a chance meeting of like-minded band members intent on establishing something potent, Andy and Tahita formed NYPC in 2005. A five-piece comprising of Tahita (vocals), Andy (guitar), Igor (bass) Lou (keyboards) and Sarah (drums), they provide the kind of tight and bass-heavy future discoid noise currently setting hairs on end up and down the country. Ice Cream, their first single on Modular, is already causing a stir online with fans creating myspace pages with lyrics taken from the provocative song. ?A lot of [the lyrics are] about the perceived idea of how women are supposed to be, and putting my twist on it.? Says Tahita. NYPC have quietly set their world alight with a swell blend of disco, pop and punk which they are currently distilling into a debut album for Modular. Undoubtedly, one of THE bands to watch for 2007.
Formed in their entirety in 2000 five piece Latino dance funk band KINKY have emerged from relative obscurity in the desert city of Monterrey, Mexico to a phenomenal worldwide success. With two triumphant albums under their belt and many more tours, soundtracks and award nominations (including not one, not two, but three Grammys) to date, the boys begin 2005 on a very high note indeed. The original KINKY line-up comprised of Gilberto Cerezo, Ulises Lozano and Carlos Chairez who experimented with alternative genres. Three became five when Omar Gongora and Cesar Pliego joined in early 2000 and everything clicked into place. With such diverse influences as traditional Samba beats to techno and rock 'n' roll, KINKY tapped their resources of rich talent and varied musical styles, to create their distinctive new sound. By mid 2000 they were gaining a reputation for their unique blend of Latin rock and when Chris Allison, British record producer of Coldplay and the Beta Band, heard them, he decided to sign them to the his Sonic360 group of labels. The deal lead to a licensing agreement for the U.S. and Canada through Nettwerk America and BMG Mexico for Latin America. The rest, as they say, is history. Aided by the production skills of Chris Allison, by 2002 KINKY had recorded and released a fine self-titled debut album, received by critical and public acclaim. Following the band?s effervescent SXSW appearance, critics from highly respected International press described KINKY?s music as ?feverishly danceable,? ?groovy electro-pop? and even going so far as to proclaim their unique blend as the ?future of music.? As an album, ?Kinky? combined the stylishness of discerning American and European dance grooves and straight-ahead rock ?n? roll, with traditional rhythms from throughout South America. Their fresh new sound and extensive touring attracted fans and supporters all over the U.S., Latin America and U.K. With live performances so well received, KINKY played over 180 shows in the year, travelling the world while working on their next album ?Atlas?. KINKY changed location for the recording of ?Atlas?, heading to a secluded ranch in Quintana Roo, Mexico. In the serenity of the isolated jungle, they found both creativity and productivity, composing seven of the album?s eleven songs. ?It was vacation and hard work at the same time,? remembers Gil, ?and when we were in the jungle we were surrounded everywhere by insects and animals. One time as I was recording vocals, a bug came directly in to my mouth .... It was fun to have that kind of interaction!? For the remainder of the album, KINKY travelled to Los Angeles to work with venerable engineer Thom Russo (System of a Down, Audioslave). Russo helped the band bring out a more raw and rock-driven sound in comparison with their electro-pop dominated debut; ?The approach for this album was different from the first in that on this one we wanted to focus on a live, organic band sound,? says Ulises. ?In the first album we recorded ourselves and made loops. On this record we didn?t use as many loops or samples. It was more like a live session where we?d record the whole track on tape [too], rather than just digital. You can hear all the organic sounds like guitar, drum, bass and vocals all sounding live.? ?Atlas? has enjoyed huge success and confirmed KINKY?s status as the Mexican demi-Gods of the music world. With singles ?Presidente? and ?Headphonist? A and B listed on radio playlists worldwide and many high profile performances, including the MTV Latin Music Awards, and supporting the almighty Vasco Rossi on his Italian arena tour, KINKY are in an amazingly good place right now. To keep up to date with all the exciting KINKY news as and when it happens, keep your eyes and ears open and alert on the Sonic360 web site.
Kinky: "A Donde Van Los Muertos"
Formed in their entirety in 2000 five piece Latino dance funk band KINKY have emerged from relative obscurity in the desert city of Monterrey, Mexico to a phenomenal worldwide success. With two triumphant albums under their belt and many more tours, soundtracks and award nominations (including not one, not two, but three Grammys) to date, the boys begin 2005 on a very high note indeed. The original KINKY line-up comprised of Gilberto Cerezo, Ulises Lozano and Carlos Chairez who experimented with alternative genres. Three became five when Omar Gongora and Cesar Pliego joined in early 2000 and everything clicked into place. With such diverse influences as traditional Samba beats to techno and rock 'n' roll, KINKY tapped their resources of rich talent and varied musical styles, to create their distinctive new sound. By mid 2000 they were gaining a reputation for their unique blend of Latin rock and when Chris Allison, British record producer of Coldplay and the Beta Band, heard them, he decided to sign them to the his Sonic360 group of labels. The deal lead to a licensing agreement for the U.S. and Canada through Nettwerk America and BMG Mexico for Latin America. The rest, as they say, is history. Aided by the production skills of Chris Allison, by 2002 KINKY had recorded and released a fine self-titled debut album, received by critical and public acclaim. Following the band?s effervescent SXSW appearance, critics from highly respected International press described KINKY?s music as ?feverishly danceable,? ?groovy electro-pop? and even going so far as to proclaim their unique blend as the ?future of music.? As an album, ?Kinky? combined the stylishness of discerning American and European dance grooves and straight-ahead rock ?n? roll, with traditional rhythms from throughout South America. Their fresh new sound and extensive touring attracted fans and supporters all over the U.S., Latin America and U.K. With live performances so well received, KINKY played over 180 shows in the year, travelling the world while working on their next album ?Atlas?. KINKY changed location for the recording of ?Atlas?, heading to a secluded ranch in Quintana Roo, Mexico. In the serenity of the isolated jungle, they found both creativity and productivity, composing seven of the album?s eleven songs. ?It was vacation and hard work at the same time,? remembers Gil, ?and when we were in the jungle we were surrounded everywhere by insects and animals. One time as I was recording vocals, a bug came directly in to my mouth .... It was fun to have that kind of interaction!? For the remainder of the album, KINKY travelled to Los Angeles to work with venerable engineer Thom Russo (System of a Down, Audioslave). Russo helped the band bring out a more raw and rock-driven sound in comparison with their electro-pop dominated debut; ?The approach for this album was different from the first in that on this one we wanted to focus on a live, organic band sound,? says Ulises. ?In the first album we recorded ourselves and made loops. On this record we didn?t use as many loops or samples. It was more like a live session where we?d record the whole track on tape [too], rather than just digital. You can hear all the organic sounds like guitar, drum, bass and vocals all sounding live.? ?Atlas? has enjoyed huge success and confirmed KINKY?s status as the Mexican demi-Gods of the music world. With singles ?Presidente? and ?Headphonist? A and B listed on radio playlists worldwide and many high profile performances, including the MTV Latin Music Awards, and supporting the almighty Vasco Rossi on his Italian arena tour, KINKY are in an amazingly good place right now. To keep up to date with all the exciting KINKY news as and when it happens, keep your eyes and ears open and alert on the Sonic360 web site.
Absentee's new single is out soon in the UK and is currently available from American iTunes. This is the video to accompany the brew of fuzz guitars, pounding drums and deep, deep vocal delivery. Absentee are currently building a reputation in the UK for producing slightly melancholy and at times twisted pop music with a distinctive edge. In lead singer Dan Michaelson they have the natural succesor to Nick Cave, Leonard Cohen and Stuart Staples. Wonderful and bizarre the band love a good twisted yarn of love gone wrong and bad sex. visit their world at www.absenteemusic.co.uk or www.myspace.com/donkeystock/ The video was made by up and coming production company 'WICKEDO'.
Now eight albums deep, the archetypal nu-metal band Korn are no longer new, however they're still relevant. With industrial synth and bone-crushing guitars, NIN producers help twist chaos into pop on "Untitled." How Jonathan Davis hasn't blown out his vocal chords by now remains a mystery.
?The intensity. The drama. The emotion. The colors. The darkness. The melodies. The anger. The honesty. The drive. The new. All of the above and more.? According to Stone Sour frontman Corey Taylor, those are the things that define Stone Sour?s passionately pulsing second album, Come What(ever) May (Roadrunner). Stone Sour?s first album in four years finds the band firing on all cylinders, and primed to capture the attention and the hearts of the rock ?n roll masses.Stone Sour?s self-titled debut was twice Grammy-nominated and RIAA Certified Gold. It was an eclectic album, propelled by the band?s busy tour schedule, the contemplative smash single ?Bother,? and a series of groovy, melodic metal numbers. In 2002 and 2003, Stone Sour established itself as a multi-faceted hard rock force of nature.While Taylor is one of the most recognized figures in rock music, thanks to his role as the frontman for Slipknot, a Grammy winning, multi-platinum act, Stone Sour is anything but a side project. It?s a full-time band that all members are fiercely dedicated to. Taylor spent much of 2004 and 2005 supporting his other band, but will spend 2006 and 2007 focusing on Stone Sour and Come What(ever) May. Also comprised by guitarist James Root, who does double duty in Slipknot, bassist Shawn Economaki, guitarist Josh Rand and new drummer Roy Mayorga, Stone Sour is armed with an album that expands beyond the palette of its predecessor. The band was afforded more time to craft songs, and it shows. The album, produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver), is tight, crisp, and full of rowdy rockers and melodic numbers.?With Stone Sour, I loosen up and show more of myself,? Taylor reveals. ?As soon as the fans hear this new record, they?ll see it?s different than anything that we have ever done. It gives me a chance to do the singing that I love to do, the type of singing that I do when I?m walking around my house.? Taylor, a self-described extrovert, may be the mouthpiece for Stone Sour, but he insists the band is a truly collaborative effort, and that?s something he thoroughly enjoys. ?I?ve been able to blend into the background if needed, you know? You grow up thinking being recognized all the time will be sweet, but sometimes you just want to be one of the guys. I think I balance it fairly well, without killing people.?Guitarist Josh Rand, who ran 3-5 miles a day during the recording process to clear his mind for each day?s highly creative atmosphere, believes that the diversity of Come What(ever) May, which features guest appearances from The Wallflowers? Rami Jaffee and Godsmack drummer Shannon Larkin, will be what hooks fans, and what keeps them. ?This album?s content will fit any mood you may be in,? the guitarist says. ?If you?ve had a shitty day at work, you could crank ?Hell And Consequences.? If you need a little optimism, you could listen to ?Through Glass.? If you are feeling depressed, you could listen to ?Zzyzx Road.??Obviously, Come What(ever) May is a sensory experience, encompassing a wide spectrum of emotions. ?30/30-150? and ?Reborn? are bruisers that?ll get the blood coursing through listeners? veins, while the first single, ?Through Glass,? takes up real estate in your brain for days at a time, thanks its unforgettable melodic twists and chorus. Try and purge your brain of Come What(ever) May?s melodies, and you?ll fail miserably. Taylor concurs, ?So many bands are so genre-specific these days. No bands cover the middle ground. If they try, it?s lifeless and limp. Our album has such a pulse. The cool thing is that when we write stuff, it turns out catchy whether we want it to or not. It?s just something that we do.? He?s right. Crafting melody and mixing it with metallic maelstrom is definitely something that Stone Sour does better than most.Jim Root, who contends that ?life? itself influenced this album and who claims he consumed nerve-shattering, tooth-staining amounts of coffee during the recording process, sees Come What(ever) May as a necessary evolution in the band?s sound. ?We?re taking every aspect to the next level. As an artist, no matter what you do, you must evolve. That?s very important to me. Some people fear change. I embrace it. This record is a testament to where I am at, musically and spiritually. Life is a learning experience and so is song writing. As with everything I try to improve. I can sit back and listen to these songs and know that I have.?Taylor understands that as his career goes on, he will be less and less understood and he likes it that way. ?I?ve lost a little sleep over the fact that people don?t get what I do and how I do it. I do everything I can to entertain, educate and infuriate the status quo. If I give the mainstream a headache once in a while, that works for me.? It?s that attitude that attracts the disaffected youth, the kids, the anti-conservative thinker, as well as the casual rock fan to Stone Sour. ?I have a conscience,? Taylor says about his songwriting style. ?I have a respect for the music and I have an agenda. I have an individualistic mind to botch the ?product? mentality, and I am not out to further myself in a spotlight that knows no favorites. This could all be gone tomorrow. If all you?re doing is trying to build your Q points, what are you going to do when no one wants to see you anymore? At least I?ll be happy about the music I left behind.?The songs and music on Come What(ever) May ensure that Stone Sour?s legacy will endure for a long time to come.
This rocking video is the latest single from power pop band Digby.
Midnight Juggernauts: "Road to Recovery"
Lead single “Road To Recovery" is a dizzying array of stomping disco beats, spiralling synths and effervescent guitars,a sonic mission through laser-soaked corridors and rainbow-lit roller derbies. It’s the perfect intro to Midnight Juggernauts’ debut album, a trekking montage that occupies the dark spaces between M83, Moroder, Air, ELO and John Carpenter– shooting stars, black holes, thumping disco beats, glimpses of the edge of the universe.
On January 1, 2008, TBD Records/ATO Records Group will release in North America the physical version of Radiohead's In Rainbows. Released in download format earlier this year, In Rainbows has already received tremendous acclaim in the press. British music magazine Q wrote "In Rainbows is a brilliant work" while Rolling Stone said the album delivers an emotional punch that proves all other rock stars owe us an apology.New York magazine raved, &Radiohead has made their best music in years, maybe ever. TBD/ATO are currently focusing on both "Bodysnatchers" and "Jigsaw Falling Into Place" as the North American radio singles. Produced by Nigel Godrich, In Rainbows is the band's seventh studio album and the follow-up to 2003's RIAA certified Platinum Hail to the Thief. More information about the album release and the band's touring plans to follow.
On January 1, 2008, TBD Records/ATO Records Group will release in North America the physical version of Radiohead's In Rainbows. Released in download format earlier this year, In Rainbows has already received tremendous acclaim in the press. British music magazine Q wrote "In Rainbows is a brilliant work" while Rolling Stone said the album "delivers an emotional punch that proves all other rock stars owe us an apology." New York magazine raved, "Radiohead has made their best music in years, maybe ever." TBD/ATO are currently focusing on both "Bodysnatchers" and "Jigsaw Falling Into Place" as the North American radio singles. Produced by Nigel Godrich, In Rainbows is the band's seventh studio album and the follow-up to 2003's RIAA certified Platinum Hail to the Thief. More information about the album release and the band's touring plans to follow.
