Storm the Unpredictable: "Get Your Weight Up/In Case You Forgot" Video
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Tekzilla Daily: Listening to forgotten tracks on iTunes
Out of the thousands of songs on your iPod, there's gotta be a bunch you've been neglecting. Patrick will show you how to revisit those golden oldies you forgot you even owned.
The story of a young girl who has been possessed by the devil and a priest who is called in to perform an exorcism.
At the Drive-In: "One Armed Scissor"
Combining searing melodies and an heart-racing, unpredictable beats, At the Drive-In were the well-deserved kinds of the late '90s emo cross over. Formed in early 1994, they became known for their high-energy live shows, which are captured in this video for "One Armed Scissor".
Gaz Reynolds: "Some Forgive (Starlet DJs Radio Edit)"
Known for his controversial approach to the music industry Gaz Reynolds returns to the ever competative world of POP with his new single 'Some Forgive' on World Domination Records, which includes remixes by Matt Stedeford, Marc Barnes and Starlet DJs, who are currently riding high on the Radio One playlist with their single 'Can't Stop Dancin'. Gaz also has a storming video to match! The video shows Gaz at his best with the back drop of a beautiful city (St Petersburg, Russia) steeped in magical history. The female role in this video is played by Russian model OLYA who is rapidly building her own fan base off the back of this video and it was recently rumoured in the music press that the two are a HOT item both on screen and off. The combination of both Gaz and OLYA is quite explosive and at times very sensual and sexual. Gaz and OLYA will quite literately take your breath away! A recent web cast from Russia on his website Gaz World gave fans a better insight into what to expect from Gaz in the future - more action, more fun, locations, more special effects and more importantly - more GAZ! Gaz Reynolds has an incredible back catalogue of 'HITS' including; 'I Don't Care', 'In This House', 'Where Will You Go?', 'Plastic Girl','On Holy Ground' and the international smash 'Electric Kama Sutra'. 'Some Forgive' certainly has 'HIT' written all over it! This is backed up by Ben Smith of Pressure Radio who recently said; "Nice vocals quality breakdowns pumpin beat wikid!" Judging by the radio spins its already recieving around the world its already a big 'HIT'!! Whilst the track takes Gaz's music in a new direction there is no doubt his fans will be pleased with the end result! The new single includes remixes by Matt Stedeford and guest vocals by the legendary JT The Bone Crusher. Having recently signed several international licensing deals on several of his songs and having bagged major radio air play on an international scale and a stack of major television contracts including BPM TV (4.5 million viewers) in Canada, YMN TV (98 million viewers) in USA and worldwide, and MAV TV (3 million viewers) in USA, and the airing of the video on Video C in UK, it seems the world is in the palm of Gaz's hands. The recent launch of his branded P2P Software and the new video being licensed to Intent Media has certainly helped Gaz climb the ladder of fame. You could even say he really is dominating the world with his World Domination Records Label and his hard headed approach to the ever changing world of pop! A recent article about Gaz published in Boston based magazine SKOPE by Melinda Green, described Gaz as; "A rising music star unlike any other who is a methodic genius". A spokesman for WNOK FM in USA recently said; "Gaz is a very popular Artist on our station which is why we regularly spin his tracks. 'Some Forgive' is just as popular!" KG95 FM, USA have been spinning Gaz tracks since 2004 when he had a major HIT on radio with 'In This House'. A recent rise in requests for his songs has guaranteed air play for 'Some Forgive' Recent additions to My Space, VH1, Aol Radio, MTV, All Music Guide, Rolling Stone, & LAUNCH websites provides further evidence that the interest in Gaz's music is indeed global!
Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct." Last year, by way of the unrelenting schedule they kept behind I Am The Movie, the band was asked to join Blink-182 on a tour of Europe and, then, Japan. Somewhere backstage and in between, bassist Mark Hoppus modestly mentioned to the group that he was interested in pursuing production work once Blink took a necessary pause later in the year. Though he didn't know it at the time, Hoppus had just found his first client. "We thought of it almost as a joke,'" Cain recalls. "But on our last day of tour I asked him, point blank, 'Do you want to produce our record?' When he said, "Fuck yeah" I was like, 'Okay... can I get your phone number then?'" Stretching out in Los Angeles later that fall and occasionally propped up by some of their other famous friends, Commit This To Memory finds Motion City the sort of definitive record usually reserved for much later or---to really bring this full circle---slightly earlier in a band's career. "Everything Is Alright," the album's first single (with Fall Out Boy's Patrick Stumph and Limbeck's Rob MacLean and Patrick Carrie there in the background), isn't about writing off their past as much as it is putting a fine point to it. With Hoppus' encouragement, Pierre, alongside Cain, bassist Matthew Taylor, moogist Jesse Johnson and drummer Tony Thaxton have begun stepping back from---and outside of---their roles when necessary. "Any time we wanted to take a chance with Mark he would go for it," Cain recalls. "He was so supportive. He would always say, 'Your name is going to be a lot bigger on the front of the record than mine will be on the back.'" The relationship that they developed with Hoppus may have helped hone Motion City's uniquely and cinematic sound of sound but, more importantly, it encouraged them to open the windows and allow themselves room to breathe. The space inevitably allowed Pierre's charismatic personality the room it has long since needed. A former film school student who has always likened himself to a director first, a musician second, and now some fascinating form of the two, is projecting his own life here. Songs like the plaintive, near-ballad "Hold Me Down" and the incredibly candid "Resolution" are among the most personal that he has ever written. "I think I tried to be as honest as possible on this record," he stresses. "I was less inhibited on this one from hiding. In the last two years this was what was going on." While it's true that Commit This To Memory can trace itself incredibly close to Pierre's personal life, with repeated listens it's clearly more the work of five musicians, finding themselves and turning to one another. "We've learned the reality of what we were doing," Cain says humbly. "When we left [I Am The Movie producer] Ed Rose, we left with a record that was better than our band. So we went home and had to become that good." Which is otherwise what they've done. But really, it's also where all these rules about second records and inhuman expectations begin to reverse and turn in on themselves. Motion City should have been trying to outdo themselves this whole time with Commit This To Memory. They found themselves instead. "I really think we've achieved everything we can as human beings playing music," Pierre says with a slight hint of laughter. "Really, we just played in our own city, selling out a show at [First Avenue], which is where we saw all our favorite shows. And that was something that I've wanted to do since I was 14." In a way, Commit This To Memory recalls the lost indie heroes Cain and Pierre spent those formative years in Minneapolis poring over, but there's also a slight irony in the fact that this is the one record that seems destined to lead to their own version of this. "I would love to say that I don't care what people think," Pierre stresses. "But you know, I am like most people. I do hope people like it." Whatever you make of the second Motion City Soundtrack album is now left up to the songs you're currently holding onto. As for us? We couldn't possibly be any prouder.
Motion City Soundtrack: "Everything Is Alright"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
Motion City Soundtrack: "My Favorite Accident"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
This music video features kids choreographed to a remix of the Usher song "Yeah!", made by recording two eight-year-olds talking.
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.
