Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
valley_parade:
What in the FUCK is that Jazzmaster doubleneck thing?
Daft pun:
Something old,
Bauhaus - 1979-1983, Volume Two
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--- Quote from: AllMusic ---Understandably complementing the first volume, 1979-1983: Vol. 1 is as similarly bereft of any sort of packaging notes as its predecessor, but is also as successful at pulling together many of Bauhaus' best moments from its later career into one knock-your-socks-off release. More Mask numbers crop up here -- two funk-heavy groovers ("In Fear of Fear" and "Kick in the Eye"), counterpointed by the slow, haunting "Hollow Hills." The Sky's Gone Out is cherry-picked for some of its best moments, including "Swing the Heartache" and "All We Ever Wanted Was Everything," though the version of "Spirit" is the less effective single re-recording rather than the dramatic album take. Rather tellingly, only three songs from Burning From the Inside are included -- "She's in Parties," the David J-sung "Who Killed Mr. Moonlight?," and the Daniel Ash number "Slice of Life." Added to all of this are the peerless covers of "Ziggy Stardust" and "Third Uncle," a couple of ringers from earlier in the band's career ("Satori" and "Crowds"), stand-alone singles "Lagartija Nick" and "The Sanity Assassin," and one honest-to-goodness rarity, "Paranoia Paranoia," a radical dub reworking of "Silent Hedges" that's just as good as the original in its own unique way. In all, a great overview of the latter years of a great band, at least in its original career.
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and something new.
Pallers - The Sea Of Memories
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Swedish balearic synth-pop, recommended if you like Air France, Radio Dept. or JJ.
Mr Fantasy:
Thomas Feiner & Anywhen - The Opiates
--- Quote ---The Opiates opens like a journey on [ The Siren Songs ] an anxious orchestra buoys the captivating baritone of singer Thomas Feiner. But Feiner takes a powerful turn at the chorus when, instead of fighting, he succumbs to the sirens, letting himself drown. This sets the tone for an album that’s stunning in its beauty – and that once lay on the brink of disaster.
2001’s ” The Opiates ” was the band’s third full-length, and its last. With support from their label, Clearspot (run by Andreas Schaffer), the band constructed its own simple studio in two basement rooms in Gothenburg. But while the album began as a group effort, the band dissolved in the two years it took to complete – leaving Feiner to finish the project alone.
As the project progressed, it became apparent that we all had very different ambitions. I was the person most committed to making this record, and as it became obvious that the band members had grown apart – without conflicts or harsh words – I remained alone on the project most of the time, occasionally assisted by drummer Kalle and bass player Mikael.
The band’s new studio lay empty having played out its role, and eventually Feiner moved the recording to his own graphic studio – A stately heavily ornamented place, perfect to go crazy in. As he recalls, “I worked and slept during the days, and made music at night, when the building was empty.
I think I suffered some kind of burn-out during this period. Being around people had always caused me some tension and discomfort, but this time the problems took on new dimensions. When I went to Warsaw for the symphonic session, I was a nervous wreck… On the other hand, musically this was one of the greatest moments for me.
The final album is intoxicating yet unsettled, a wanderer’s record that loses itself on the way. On the Scott Walker-like ballad Dinah & the Beautiful Blue, Feiner tests his lowest register over the brooding strings of the Warsaw Radio Symphony Orchestra.
Atmospheric ballads blend seamlessly with more traditional rock songs such as ” Mesmerene “, and the album’s romantic impulses temper its intricate arrangements – like the swirling woodwinds and delusional guitar of “Postcard,” or the gentle woodwinds on “Toy,” which echo Mark Hollis’ self-titled album. And while the lyrics of closing track “All That Numbs You” ridicule a quiet suburban life spent hiding behind fences, Feiner’s narcotic delivery sounds curiously sympathetic.
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Here are the 2001 original and 2008 re-release. They're very similar but each has songs the other doesn't.
2001
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2008
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spoon_of_grimbo:
Dan Andriano in the Emergency Room - "Hurricane Season"
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Following up a brief solo venture in the form of an earlier split EP with ex-Alkaline Trio/Smoking Popes drummer Mike Felumlee, Alkaline Trio bassist/co-vocalist/co-songwriter/generally all round totally underrated and awesome chap Dan Andriano has finally gotten around to releasing a full solo album. Beautiful acoustic-based numbers, and the odd Elvis Costello-esque banger show off all sides of the dude's inimitable voice. Alkaline Trio fans will obviously love this, but it's far enough removed from that style that those who aren't Trio fans should still give this a go, as the guy's songwriting skill and way with a mournful melody are second to none.
Coupla youtube links: "From This Oil Can" and "Let Me In."
geodescent:
--- Quote from: valley_parade on 22 Aug 2011, 14:06 ---What in the FUCK is that Jazzmaster doubleneck thing?
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From
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:
Dengue Fever Explains Their Custom Instrument, the Mastadong
The LA-based band Dengue Fever is itself a hybrid of psychedelic indie rock and vintage Cambodian surf tunes, so what better to create their music with than a custom, hybrid instrument? Half electric guitar, half chaipai dong veng (a traditional, long-necked Cambodian guitar), the Mastadong’s equally unusual name was suggested by one of the band’s fans. Guitarist Zac Holtzman is constantly asked about it at Dengue Fever’s live shows, so he made a short video to explain the instrument.
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