Saturday, May 23, 2009



Jackson Browne - The Criterion Demos 1971

Posted: 23 May 2009 11:39 AM PDT

Now for a real surprise and a real rarity folks. This album "The Criterion Demos" is an unreleased demo album recorded 6th April 1970 by US singer/songwriter "Jasckson Browne" at The Criterion Studios, Hollywood. This gem is a lovely acoustic set, that shows Jackson at his best and very relaxed. This is another from BBChrons' wishlist folks. And I dedicating this album for Tommy, a friend of

Nick Lowe And His Cowboy Outfit - Nick Lowe And His Cowboy Outfit 1984

Posted: 23 May 2009 11:20 AM PDT

Hey, I have been meaning to post this self-titled album by "Nick Lowe And His Cowboy Outfit" for a while now, seen as I have posted most of his other stuff. So why should this rare one be any different? Well this one is on request from Nate, Tommy C, Newman and a couple of others I'm sure, that I need to check my comments. Anyway enjoy this cool album from the "Jesus Of Cool" folks. And get it

Snob's Music

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Tom Williams and The Boat: "90MPH"

Posted: 23 May 2009 07:16 AM PDT

Doors Open Toronto starts today

Posted: 23 May 2009 06:02 AM PDT

Whatever happened to: Bloodhound Gang?

Posted: 22 May 2009 10:49 PM PDT

Cyclic Defrost Magazine

Cyclic Defrost Magazine

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Gravious – Futurist EP (Highpoint Lowlife)

Posted: 23 May 2009 02:57 PM PDT


Glasgow-based producer Gravious (real name Ali Jackson) has amassed a reputation as a name to watch in dubstep circles, particularly through the release of preceding 12"s such as his devastating ‘Wormsign.’ Inspired by the conceptual theme of modernity in science fiction and architecture, this latest 12" on the ever-eclectic Highpoint Lowlife label sees Gravious unleashing three new tracks that occupy distinctly divergent moods. Opening track ‘Jupiter Jazz’ certainly lives up to its title, sending skittering jazzy breakstep snares darting beneath a smooth, nu-jazz-kissed backdrop of bleepy synths, warm sub-bass ripples and soulful keys, the entire atmosphere evoking a similar vibe to one of LTJ Bukem’s classic Good Looking moments. By contrast, the stripped-back, dark and moody ‘Vultures’ couldn’t be more divergent, playing eerily delayed-out female tribal vocals against a writhing backdrop of oppressive, queasy bass drones and sparse, flickering rhythms to stunning effect – indeed, I must confess that it was easily my favourite moment here. Finally ‘World Of Tomorrow’ closes proceedings off with a return to the more smooth and soulful atmospheres explored earlier, taking things off on a gliding oceanic ride that trails sweeping Detroit-tinged synth pads and bleeping electronics against a crisp backbone of breakstep rhythms and subtle bass pressure. An excellent EP from Gravious that proves once again, as with the likes of Boxcutter, some of the most interesting sounds in dubstep are happening outside the capital.

Psuche - Psuche (Two Bright Lakes)

Posted: 23 May 2009 12:03 AM PDT

Psuche - Psuche

The various musical projects of the still-teenaged Oscar Slorach-Thorn have been floating frequently and rather visibly around Melbourne since 2005, when his previous band, The Indifferent, peddled Slorach-Thorn's wildly expressive, Jeff Buckley-esque voice all through town, at one point landing a show with The Drones. The subsequent demise of the group and current disdain expressed by its members to its music suggests the kind of artistic revisionism that typically cycles incessantly between the mid-teens and mid-twenties. However, when contextualised by the compilation of tiny moments of musical genius that litter this, the first album of Slorach-Thorn's band of 3 years, Psuche, the material produced by The Indifferent could quite easily be dismissed as juvenilia, musical playthings, a corridor.

Even from the first versions I heard of ‘I Sea A Wolf’ and ‘Child In Rambling’ two years ago – Slorach-Thorn, as Oscar's Psuche, playing with guitar and keys through a loop pedal, recorded onto tape, these songs have possessed the ability to arrest and engage, even from a small number of materials. The original, live, 9 minute demo of ‘I Sea A Wolf’ was a work to behold, proportionate enough to render its length irrelevant, a perfect example of how to harness the loop pedal as a tool for constructing songs. The rather magical combination of Slorach-Thorn's understated and detailed understanding of the textural interlocking of instrumental layers in music, as well as the ever-important distinctions of his voice has been a constant through the life of Psuche.

In their current versions, fleshed out by a five-piece band (adding drums, bits and pieces, sax and clarinet), these songs have taken on a new character, with a textural depth that is difficult to crystallise. The production on this album, recorded in Two Bright Lakes founder Nick Huggins' lair, is perfect for the way these songs have been written – every element is alive and in character, and, importantly, is perpetually moving. At no point in this album does any moment in its arrangement feel like it overstays its welcome; there is an almost obsessive attention to detail, constant reconstructions, rearrangements of material, a . While the early demo versions of these tunes held their own appeal, it is refreshing to hear the looped guitar originally typical of ‘I Sea A Wolf’ being usurped initially by toy piano, horn figures, typewriter and eventually the ecstatic, climactic addition of the full Psuche ensemble tracked four times over, singing, repeatedly, the central line in the piece.

Psuche occupies the ideal space in the colossal Venn diagram between the experimental or esoteric, the popular and accessible, drawing on the most favourable aspects of each. More importantly though, every textural construction, every song arc simply makes musical sense, and the huge range of colours that these arrangements bring to Slorach-Thorn's songs only enhances and extends their identity. This album is ecstatic through all its breath, from the permutations and elaborations of its current form to the beautiful materials at their core.

Marcus Whale



Paul Wall - Fast Life

Posted: 23 May 2009 09:40 AM PDT

Paul Wall - Fast Life
Free Download: Paul Wall - Fast Life
MC and DJ Paul Wall (born Paul Slayton) grew up as a hardcore disciple of fellow Houstonian DJ Screw and became so familiar with the pioneering DJ's woozy, slowed-down style of remixing that he had to adjust to hearing hip-hop at any other tempo. Prior to making a nationwide breakout in 2005 with a guest spot on Mike Jones' "Still Tippin'" and his major-label debut, The Peoples Champ, Wall was involved with promotional street teams, DJed parties, put together underground mixtapes, and was half of the Color Changing Click with Chamillionaire. He recorded 2002's Get Ya Mind Correct with his partner, and then followed that with 2004's solo Chick Magnet. Controversy Sells, another disc billed to Wall and Chamillionaire, hit the streets in early 2005, just months before Wall kicked off support for the chart-topping Peoples Champ LP with "Sittin' Sideways." Two years later, Get Money, Stay True was introduced by the single "Break Em' Off" with Lil' Keke. Fast Life followed in 2009. Affiliated throughout the years with Paid in Full and Swisha House, Wall has also held down a lucrative business as a maker of diamond-laced grilles. His clientele includes Lil Jon and T.I. ~ Andy Kellman, All Music Guide

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Blake Miller - Burn Tape

Posted: 23 May 2009 01:31 PM PDT

Burn Tape, a stripped down, lo-fi lullaby, is Blake Miller's follow-up to 2006's Together With Cats and his second blake-millerrelease for Exit Stencil Recordings. Offered exclusively as a digital download and in classic cassette format, Burn Tape speaks to the grumpy old art school pedagogy that an artist's choice of materials and presentation should be a reflection of and have a direct relationship to the intention of the work itself. I am reminded of this when I listen to Miller.

While the music feels unscripted, as if Miller accidentally recorded noises in his apartment for a few weeks, collecting the data of his life—the fuzz of an old black and white television, the shake of salt, the tinker of rain on the awning outside his window, the cackle and clapping of good times, and the self-soothing purr of a wounded gent traversing the landscape of his heartbreak, Miller's music is actually less impulsive than one might think. With plush, multi-layered vocal harmonies and ambient sounds that create complex and haunting arrangements, the music is anything but accidental.

Some may question Miller's choice to release the album in alternative format only, but it's no coincidence that he made an album that feels both immediate and current and yet completely archaic and then puts it out in digital format and cassette only. Think about who's listening to this album, better yet, think about who's reading this and it makes sense. Burn Tape is a highly articulated album and the ultimate in form meets content and it caters to a geek, er…niche audience in just the way it was intended to.

I keep coming back to the opening track, "This Morning", where Miller overlaps, loops, and chants, “Maybe this is what life is all about/I try to be meaningful and complex/why should I try to be meaningful and complex/complex/meaningful/complex/meaningful.” It's a trance-like little opener that sets the tone of the album, which transcribes moments, captures sounds, and collects evidence. Burn Tape is nostalgic in this way without being overly sentimental. It's adorned without being lavish. It's catchy without being poppy. It's folk without the trend. It's emo without the loathing. And it's completely aware of all of this in just the way my art school mentors thought great work should be.

Blake Miller’s Burn Tape is available now.

01. This Morning
02. In the Danger
03. Pigeons Like Windowsills
04. Long Hair
05. When the Sky Turns to Black (The Rain Is All Around)
06. Tomorrow Sorrow
07. The Ghost of My Soul (My Hands Are Shaking)
08. We Drove Through Winter
09. A Golden Bird, a Wooden Floor, a Box of Skulls
10. Vghff (Air Flex)

Blake Miller: myspace

Burn Tape
1 used & new available from USD 8.99

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The Offspring @ City Market/Buzz Under the Stars, KCMO

Posted: 23 May 2009 07:21 AM PDT

Local Kansas City radio station, 96.5 the Buzz’s annual Buzz Under the Stars concert series promised to be bigger and better than ever for its kickoff performance. In the past, an average of three bands graced the outdoor stage, but this year started off with five bands: The Offspring, Taking Back Sunday, The Used, Alkaline Trio and .


City Market is an outdoor venue that can hold nearly 10,000 people. Get there early enough before a show and one can catch it in its true state: not a concert venue, but an actual market complete with vegetables and a steamboat. Okay, so maybe a steamboat isn’t typical of an actual market, but in Kansas City that is one of the highlights of the City Market. It was inside the Steamboat Arabia’s museum that the day really began. In a tiny hallway covered in Buzz banners, a small gathering of radio station winners eagerly awaited two very special acoustic performances.

Three members of Anberlin joined the winners and played through three of their songs. Plugged in the guys are moving around so much, I think they sometimes get a little winded. Here, there was a clarity and a crispness brought to hits like “Feel Good Drag.” I would almost dare to say that they were better acoustic than plugged and hopefully they’ll release an acoustic album in the future.


is comprised of some really chill guys and before they left the group, singer Stephen Christian gave the crowd a tip, “Make sure when Taking Back Sunday gets here, you ask Adam [Lazzara] if you can see his bad ass Harry Potter tattoo on his leg,” which of course prompted a chuckle. With that, rushed off and Taking Back Sunday replaced them on the stools. TBS obliged a request with MakeDamnSure. While deciding the next song and getting sidetracked by some Vitamin Water, the truth of Lazzara’s tattoo came out. Before lifting his pant leg, Lazzara asked a crowd member to turn off their camera…apparently his love of Harry Potter isn’t quite up to a pride level where he can allow photographic evidence. His bandmates were just as shocked as the crowd. A rather large tattoo of Harry Potter facing some dementors canvassed his leg. After geeking out for a moment and citing the chapter that the tattoo was from, Lazzara quickly redirected the attention back to the music and the band played current single “Sink into Me” acoustic. The song sounded especially fantastic when they reached the latter half with the breathy and rapid “ah” bit. This was also my first and I assume many others’ first experience hearing new guitarist and backing vocalist Matt Fazzi and he sounded incredibly solid on both the old and new song.


From here, it was out to join the masses. Usually it seems like a lot of people wait to show up at a show in time for the headliners, but City Market already had a decent sized crowd in the thousands when started the show. Given a short set time, the band ran through several of their songs and took just a few breaks to thank the crowd. Though the sun was still out and many were listening from beer lines, the band was visually entertaining even without the security blanket of a live show. Every member jumped and ran around the stage giving 110% both musically and energy-wise.

Set List:
The Resistance
A Whisper and a Clamor
Paperthin Hymn
Feel Good Drag


I hadn’t heard anything from this band in awhile, but the seasoned musicians in Alkaline Trio were the next act and the last time I saw them, they killed it. Considering this was a radio show and they have had plenty of radio hits on the Buzz, I kind of expected them to play something that, oh, I don’t know, had been on the radio? Now don’t get me wrong, I understand that there are bands that shy away from the hits for a reason, but they couldn’t have thrown in at least one? Time to Waste was huge on KC radio. Nonetheless, they sounded fine, but they didn’t offer much in terms of visual entertainment. The live show did little to better what a CD could offer and this sadly ended up being the least memorable set of the evening.

Set List:
Calling All Skeletons
If We Never Go Inside
I Found Away
2 Lips
The Poison
All on Black
This Could Be Love


I am not going to be able to do The Used justice, since I was off interviewing during part of their set, so I didn’t get to see much, but I could hear them. They pleased the crowd with many of their singles: “Take It Away,” “Taste of Ink,” “All That I’ve Got,” “Bird and the Worm,” and a few new songs like “Blood on My Hands.” The crowd started moshing and crowd surfing and all of this must have pleased the band because they decided to play an extra song after what they had announced to be their last song. Not pleased though were the people up front who suggested that a questionable substance was on lead singer Bert McCracken’s shirt.


Following the Used was the band I was most curious to see: Taking Back Sunday. Their new album, New Again, drops in two weeks and I was eager to hear the newest member, Fazzi, in a full band setting. Fazzi did not disappoint and Taking Back Sunday played very cohesively together. My only qualm with this band is that singer, Lazzara, can sometimes get a bit of a raspiness in his voice. Maybe he needs to drink more tea?

The older songs like “Cute Without the ‘E’” of course were crowd favorites and the band even dropped out to let the audience sing. With a toss of his mic high into the rafters and an impressive catch from behind his back, Lazzara jumped back into the song with more vivacity than before. The new songs stood up just as well to the old songs and “Sink into Me” sounded just as good plugged in as it did earlier that day. The climax of this set though was during “A Decade Under the Influence.” Toward the end of the song, Lazzara started to work in the lyrics, “Cause if you liked it then you should have put a ring on it,” and almost as a collective being the audience’s dumbstruck expressions went into a gasp of comprehension before some people started busting out some moves as Beyonce’s popular dance floor hit “Single Ladies” became a part of this Taking Back Sunday classic.

Set List:
Error Operator
Set Phasers to Stun
You’re So Last Summer
New Again
Cute Without the ‘E’
Sink into Me
Decade Under the Influence
What It Feels Like to Be a Ghost


After Taking Back Sunday, the crowd was well-geared up for headliners The Offspring. While waiting on the band, a weird house mix played over the speakers and the antsy crowd burst into a sing-a-long of “Hey Yeah,” by Outkast. This vocal warm-up proved necessary for the audience because I think even the casual music fan quickly realized that the entire crowd knew far more Offspring songs than they realized. In fact, I don’t think the Offspring played a single song (well, unless you count “Chopsticks”) that hadn’t been played on KC radio at some point or other.

The Offspring’s set was a big dance party. If you couldn’t realize that by watching the audience, it was just as easy to see on stage where the band was joined by several of their friends on the stage. At one point during a sort of intermission, the band’s friends formed a conga line and danced around a juggler and a person on a pogo stick before the band returned for more songs.

Fun is probably the best adjective to describe their set. It was hard not to dance or sing an “uh huh uh huh” during “Pretty Fly for a White Guy.” The band had fun, too, and messed around with the crowd for a bit. “Yes, I am a serious musician,” said lead singer Dexter Holland after a piano was brought out on stage. “I am playing piano on this song. So, fuck you. I am playing piano goddammit,” and after all this convincing the crowd that he was a serious pianist and meant business, Holland began a rousing rendition of…”Chopsticks.” He soon chuckled and the band began the real song, “Gone Away,” a real highlight for the set.


Before the show, I had been questioning the choice of the Offspring as headliners, but now I can see that they deserved the headlining spot and they owned it. In general, this line up was a killer way for a summer concert series to get its start.

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