Sleater-Kinney: "Entertain" Video
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Sleater-Kinney is a three-piece rock and roll combo from the wilds of Portland, Oregon. They have paid their dues and left their mark, not only in their native Pacific Northwest, but the world over. The dual and dueling guitars and voices of Corin Tucker and Carrie Brownstein have produced 6 albums in the last 10 years. 4 albums and 7 years ago they were joined by the fantastically insistent and inventive drumming of Janet Weiss and Sleater-Kinney as we know it today was complete. But, enough with the background already... The Woods is the title of the new Sleater-Kinney album and it's their seventh full-length release. It was produced by Dave Fridmann (Flaming Lips, Mercury Rev, Low) and reveals a very different side to the band. Like many things with sevens on it, it features an itch, a need to try new things. Sometimes people get scared by new things, which is one of the reasons people are disappointing. This is to say that, like Sleater-Kinney, you should not be afraid of new things: honest-to-god guitar heroics/solos; new depth and heaviness to the songs; fuzzed out lows cropping up in places formerly reserved for staccato highs. All of this surrounding and infiltrating the constant in the Sleater-Kinney program: three, breathing, playing as one with unfettered passion and emotion. They want history, they want time, they want art, they want to deal with culture, they have demands, they have needs, they have vision, they have aspirations. And now they have The Woods. Luckily, so do we.
Formed in 1993, Low is a trio from Duluth, Minnesota comprised of guitarist/vocalist Alan Sparhawk, percussionist/vocalist Mimi Parker and bassist Zak Sally. Throughout Low's history, the band has accumulated acclaim from critics ("Low build big magic from so little" - Rolling Stone) and musicians (Radiohead hand-picked Low to open a string of dates in 2003). Initially garnering attention as leaders of the '90s slowcore movement, Low went on to develop a sonic repertoire that incorporated pop, R&B and dissonant rock n' roll. With this kind of storied history, most people thought they had Low pegged. But then they turned in their Sub Pop debut, The Great Destroyer. The band's seventh full-length album, The Great Destroyer is fascinating in that it blends the band's austere melodies ("On the Edge Of," "Silver Rider") with an aggressive guitar onslaught ("Monkey," "Everybody?s Song") and even melds Low's varied styles together into a single song ("When I Go Deaf"). Co-produced by Low and David Fridmann (Flaming Lips, Mercury Rev), The Great Destroyer is a welcome surprise and, in the end, a rock n' roll revelation.
Formed in 1993, Low is a trio from Duluth, Minnesota comprised of guitarist/vocalist Alan Sparhawk, percussionist/vocalist Mimi Parker and bassist Zak Sally. Throughout Low's history, the band has accumulated acclaim from critics ("Low build big magic from so little" - Rolling Stone) and musicians (Radiohead hand-picked Low to open a string of dates in 2003). Initially garnering attention as leaders of the '90s slowcore movement, Low went on to develop a sonic repertoire that incorporated pop, R&B and dissonant rock n' roll. With this kind of storied history, most people thought they had Low pegged. But then they turned in their Sub Pop debut, The Great Destroyer. The band's seventh full-length album, The Great Destroyer is fascinating in that it blends the band's austere melodies ("On the Edge Of," "Silver Rider") with an aggressive guitar onslaught ("Monkey," "Everybody?s Song") and even melds Low's varied styles together into a single song ("When I Go Deaf"). Co-produced by Low and David Fridmann (Flaming Lips, Mercury Rev), The Great Destroyer is a welcome surprise and, in the end, a rock n' roll revelation.
Emma Pollock was a founder member of The Delgados, one of the most interesting and influential bands to emerge from the mid-90s Glasgow music scene. Not only did they make a string of questing, ambitious albums, often working with Flaming Lips / Mercury Rev producer Dave Fridmann, but The Delgados also founded the pioneering - and still highly active - Chemikal Underground record label, launching the careers of Mogwai, Arab Strap, Bis and many more.
Goldfrapp have released their new video for "A&E", the first single from their upcoming album SEVENTH TREE. The video's produced and directed by Andrew Duffus and features Alison Goldfrapp and Will Gregory relaxing in a dense, leafy forest.
Iron and Wine: "Naked as We Came"
Miami's Sam Beam makes music under the name Iron and Wine and September, 2002 saw the release of his debut album, The Creek Drank the Cradle. That record was/is hushed, literate, intimate, melodic: a quiet treasure which, with its unaffected candor and depth, found fans all over. (Entertainment Weekly: "Based in Miami, of all places, [Beam] invests these songs with hypnotic beauty and sparkling melody, making them as accessible as they are affecting.") Our Endless Numbered Days is the second full-length album from Iron and Wine and it was recorded both at Sam's Miami home and in Chicago's Engine Studios with Brian Deck (Red Red Meat, Modest Mouse, Ugly Casanova, etc.) On it, Sam is aided and abetted by regular touring and recording conspirators: his sister Sarah Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, and Jonathon Bradley. Listening to Our Endless Numbered Days makes plain Sam's deft touch with words and melody; one that allows him to turn out stories about love, loss, faith, or the lack of it that are at once personal and universal, set to music that is sweetly haunting and timeless.
This video is my first music video. I chose this song because the subject matter was easy for me to interpret. I wrote the song while recording our unreleased album for BMG Records. Things were not going well; we had made the mistake of agreeing to have the same manager as the record producer who had liked our demo and had got us the record deal. The manager was so concerned about looking after his major client that he didn't look after ours.
The song is from Tunstall's upcoming 2007 album "Drastic Fantastic."
Normally it's a great honour if a big pop band like Franz Ferdinand asks an underground producer to remix a song. If then also Royskopp, Yello, Annie, Mylo and even Roxy Music call the guy and ask for a mix you can be quite sure that the producer must be more than just one of the many new one hit club wonders. And if next this artists starts to record his solo album and people like Soulwax, The Rapture and Radio 4 want to sing on it, it's not unlikely that there is something special going on. All this is happening to Swiss born, but Berlin-based disco producer, DJ and painter Robi Insinna aka Headman. You can easily call Robi one of the leading figures of the new disco movement. His first HEADMAN album "It Rough" was released back in 2003 on the small German label Gomma and set new standards in club circles. It was immediately nominated album of the month" in Jockey Slut Magazine/ UK and called one of the most important and innovative albums of the year by DJ?s such as Trevor Jackson, Ivan Smagghe or even Hell. The title track (with a Chicken Lips re-work on the 12") caused a huge fuss in clubs around the world. Since then he has been building up a worldwide underground reputation as remixer, producer and DJ regularly playing hot clubs like Bugged out or Optimo in the UK as well as Tribeca in New York and FUN in Berlin. This year he even has been invited to play at occasions like the MTV music awards aftershow party in Lissabon or the famous Colette Shop Parties in Paris. He also is currently travelling with SOULWAX as Tour DJ all over Europe. Besides the records on his main label Gomma, Headman has also recently been asked to publish a single on London's Output records. He also started an own little inprint (Relish records) and from time to time he puts out records under his moniker Manhead. But his main project is the HEADMAN music: The Headman style is a very special version of (balearic) Disco, combining the organic sound of 70ies Leftfield Disco and Rock with the energy of 90ies house. The new album includes songs Robi recorded with Stephen Dewaele from Soulwax/2many DJs (he performed on the first single ROH), Matt Safer from The Rapture, Anthony from Radio 4 and Erol Alkan from London?s TRASH Club. The remix for the first single ROH was done by Trevor Jackson aka Playgroup. The second single MOISTURE includes two club mixes by Robi himself and the kicking MUSTAPHA 3000 remix. Robi`s projects are especially notable for their artwork. He studied painting at the famous Brera Art academy in Milan/ Italy and starts to get known also for his big Head paintings. (The ON album will include a 16 page booklet showing paintings made for every song on this CD) For more information for Insinna?s paintings please check out www.relishrecords.com/art (www.headman.org)
YES!!! People unite for the Wolfies have returned from the canyons of L.A with a fusion of freaked out jamming, delicate melodies and gallant rock riffage that shall be known collectively as ?Wolfmother?. Myles Heskett, Chris Ross and Andrew Stockdale are the key holders to the future of all things Wolf ? together they write all their songs while contributing drums, bass/keyboards and guitar/vocals respectively. In their lives before Wolfmother, Myles worked in graphics, Chris in things digital and Andrew was a photographer so they all shared a passion for creative expression. After years of jamming in anonymity they finally stepped out in public during early 2004, playing shows and signing to Modular Recordings. Later that year the trio released an independent EP that caused ink to be spilled and fans to be won. Then after 6 months of nonstop Australian and overseas touring it was time to start creating a vast album with a deceptively simple title. Their partner in this conception was producer D. Sardy; catalyst for the likes of Dandy Warhols, Oasis, Autolux, Jet and Helmet. Chris, Andrew and Myles decamped to L.A. in May, 2005 and rented an abandoned Hollywood recording studio called Cherokee for their rehearsal space. In its heyday Cherokee hosted sessions like Pink Floyd?s ?The Wall? but most of its equipment has since been sold or stolen. Even so, from this barren place came lush things as freeform jams evolved into fully formed songs. The themes of the album also took shape in the City Of Angels; a city that thrives on chaos presenting many lyrical possibilities to Andrew Stockdale. The complexities of living in the metropolis also helped shape the escapist imagery of ?Wolfmother? ... simple philosophies for complex times.
