New York – Non si ferma la corsa inarrestabile dei Muse verso la consacrazione come rock band del millennio: dagli Stati Uniti arrivano notizie di un record incredibile. La band inglese è infatti la prima della storia del rock ad avere due singoli nelle prime due posizioni nella Modern Rock Radio Charts americana, una sorta di music control delle stazioni rock americane che appare su Billboard, la Bibbia della musica. Al primo posto c’è The Resistance, l’ultimo singolo uscito, mentre al secondo posto si trova Uprising, il singolo precedente.
Vendite da record È di questi giorni anche la notizia che le vendite dell’album The Resistance hanno superato i 2.3 milioni di copie. La band è ora in tour negli Stati Uniti dove ha fatto registrare un fantastico sold out al Madison Square Garden. La tournèe americana finirà il 17 aprile con la loro esibizione al Coachella, uno dei festival più importanti al mondo, dove saranno headliner con Jay Z e i Gorillaz. In Italia, invece, cresce sempre più l’attesa per la data di martedì 8 giugno a San Siro, l’unica occasione per poter assistere dal vivo allo show di Matt Bellamy e compagni. Con oltre 50mila biglietti venduti, rimangono disponibili solo i biglietti per il terzo anello rosso.
Related Articles
9 users responded in this post
Da nu-folk (?) Al pop, folk e dritto fino alla vecchia scuola del folk acustico con voce unica e chitarre; grande musica, che altro dire?
The Vespers: Tell Your Mama(Black Suit Records, Marzo 2010)
http://www.myspace.com/thevespersofficial
Rispondi
Robyn Hitchcock & The Venus 3: Propellor Time (Sartorial, 2010)
“One of the UK’s most endearing and enduring psychedelic treasures, Robyn Hitchcock has long balanced consistency with a prolific creative nature that shows no sign of abating. Propellor Time is the third album Hitchcock has recorded since 2006 with his Venus 3, a trio with impressive CVs, numbering Young Fresh Fellow Scott McCaughey on bass, ex-Ministry sticksman Bill Rieflin on drums, and REM’s Peter Buck on 12-string and acoustic guitars. Further celebrity cameos include Led Zeppelin’s John Paul Jones, kindred spirit Nick Lowe and ex-Smith/current-Crib Johnny Marr, underscoring the high esteem in which Hitchcock is held by his peers, but never overshadowing his most idiosyncratic talents with their contributions.
Hitchcock’s self-confessed key influences include Revolver-era Beatles, Dylan at his peak and Syd Barrett’s Pink Floyd, artists who’ve inspired a deluge of overly-reverent copycats in the decades since. No retro-poseur, Hitchcock has instead been refracting their music through a most inimitable and idiosyncratic filter since his Soft Boys first surfaced in the late 70s, and while echoes of his heroes are present within Propellor Time’s effervescent melodies and charming tunefulness, the voice is always unmistakeably his own.
That voice is one informed by a most contagious optimism, delivered with a word-lover’s wit which never cloys. The sweetly folky idle of Luckiness finds Hitchcock celebrating good fortune with a Steve Harley-esque twang, a zephyr of a song as uplifting as finding a tenner on the bus. The romantic swoon of opener Star of Venus is soft-hearted and starry-eyed enough to charm any Flaming Lips fan, while aching closer Evolove debates the existential questions with a warmth and wisdom that’ll stop you in your tracks. It’s this normally-sanguine lyrical tenor that makes the album’s darker turns all the more poignant: the melancholic Ordinary Millionaire, penned with Johnny Marr, sounds haunted with an enigmatic regret; the dreamy stream-of-consciousness of John in the Air, meanwhile, is underpinned by a sense of psychedelic unease, an eerie tension.
Propellor Time is, in short, another fine Robyn Hitchcock album, proving that, almost 35 years into his recording career, his gift for crafting such perfectly-imperfect, winningly-askew pop as strong as ever. To his loyal followers, this is great news; to the uninitiated, this is where to begin your journey into the Hitchcockverse.”
Propellor Time is recorded with Peter Buck of R.E.M., Scott McCaughey of Young Fresh Fellows and Bill Rieflin of Ministry, who are billed collectively as The Venus 3.
Tracks
1. Star of Venus
2. The Afterlight
3. Luckiness
4. Ordinary Millionaire
5. John in the Air
6. Propellor Time
7. Primitive
8. Sickie Boy
9. Born on the Wind
10. Evolove
Rispondi
un gran bel disco
Red Sparowes: The Fear is Excruciating, But Therein Lies the Answer (Sargent House, 2010)
There has never been as pronounced of a leap in style and scope as with Red Sparowes’ latest offering. The Fear is Excruciating, But Therein Lies the Answer maintains their layered arrangements and swirling amplified crescendos, Americana noir soundscapes (punctuated by the extended pedal steel on “In Every Mind”), and gloriously triumphant melodies (“Giving Birth to Imagined Saviors”). Earlier records focused on the larger scope of the album, but the new album is song-centered, with the individual tracks harboring stronger independent identities. And where previous endeavors found the band propelled by enormous walls of sound, they now temper their monolithic progressions with distinct passages of separated and soft-spoken instrumentation. Red Sparowes were suspiciously absent from the playing field over the last three years, and now it’s apparent that they were busy drafting the grandest statement and finest achievement of their existence.
Thunderheads storming across the prairie, outraged students taking to the streets, migratory herds stampeding along the tundra–any number of images could describe the grandiose scope of Red Sparowes’ lush vignettes. Wielding both a master’s sense of nuance and an outsider artist’s unhindered expressionist zeal, the Los Angeles quintet created a catalog of haunting and hallucinatory guitar orchestrations over the course of the millennium’s opening decade. With two albums, a string of split releases, multiple U.S. and European tours, and a number of line-up changes under their belt, Red Sparowes are currently poised to release their third album and most impressive creation to date, The Fear is Excruciating, But Therein Lies the Answer.
Though Red Sparowes’ music thrives unbound by narrative, the band provides a roadmap to their muse. Their 2005 debut album, At The Soundless Dawn, cast the scientific inevitability of the Sixth Extinction into a grand funeral oration, revealing the message within the individual track titles. Their second full-length, Every Red Heart Shines Toward the Red Sun (2006) provided a synopsis of the Great Sparrow campaign of the Great Leap Forward, laying bare its conceptual role. The Aphorisms EP (2008 digital, 2009 12? vinyl) served a thematic precursor to the next album.
Red Sparowes’ latest offering, The Fear is Excruciating, But Therein Lies the Answer, began with the larger existential pondering of truth, faith, order, causality, and the innate demand for an understanding of the larger world around us. While Red Sparowes’ majesty is hardly in need of story, the provision of the larger metaphor yields a heightened depth and gravity to their work.
Red Sparowes consists of guitarist/keyboardist Bryant Clifford Meyer (also of Isis), bassist/pedal steel player Gregory Burns (ex-Halifax Pier), drummer David Clifford (ex-Pleasure Forever), guitarist/keyboardist Andy Arahood (ex-Angel Hair) and guitarist Emma Ruth Rundle (also of The Nocturnes). The Fear is Excruciating, But Therein Lies the Answer was recorded August – September 2009 at Infrasonic Sound by Toshi Kasai (Melvins, Big Business, Tool). Album photography and design by Greg Burns and layout by Sonny Kay.
Artist: Red Sparowes
Album: The Fear is Excruciating, But Therein Lies the Answer
Label: Sargent House
Release Date: April 6, 2010
01. Truths Arise
02. In Illusions of Order
03. A Hail of Bombs
04. Giving Birth to Imagined Saviors
05. A Swarm
06. In Every Mind
07. A Mutiny
08. As Each End Looms and Subsides
Rispondi
Red Sparowes link http://www.myspace.com/redsparowes
Rispondi
un salto in UK a trovare e per ascoltare
Low Low Low La La La Love Love Love: Feels, Feathers, Bog and Bees – (Other Electricities, 2010)
Very few bands can stay this true to their core sound and still actually sound good after three albums. But the warm, remarkably harmonized vocals and the all-around complementary arrangements of this UK outfit have proven effective once more. Feels, Feathers, Bog and Bees revisits many of the original Low Low Low La La La Love Love Love constructs, while they also try and add a new overall feel to their music.
The record sets off with “Document 19”, a truly epic opener that showcases the band’s go-to resources: layered vocals and simple arrangements that gradually build on top of each other for a powerful climax. Although it definitely works on its own, the track, much more akin to those grand closers we find at the end of most albums, marks an intense pace that isn’t exactly matched by the songs that follow.
The more mellow “Blackbird 1” is the first in a series of “Blackbirds”. The real standout of the three is “Blackbird 2”, which curiously comes well after “Blackbird 3”. “Blackbird 2” benefits from being the most stripped-down song on Feels, Feathers, Bog and Bees. It’s nothing more than naked vocals and simple instrumentation, yet the result is truly moving.
Kelly Dyson, Ellis Dyson, Chris Robinson, and Hugo Edwardes create music that is seldom heard coming from British bands, something close to progressive pop and upbeat folk that is very much their own. The quartet conjures up an unlikely mix of instruments and textures throughout the album, using guitars, banjos, and a wide range of wind instruments and percussion. All in all, it makes the trip much more interesting, especially on tracks like “Air” and “Clear the Throat” that would otherwise go unnoticed.
Low La Love’s strong suit continues to be the mysticism achieved by the vocal arrangements. Singer and lyricist Kelly Dyson leads the band through gems like “Where’re You Goin” and the very uplifting “Bored of the Stood Life”. The vocals stand out both melodically and harmonically, and the result is truly emotional tracks. “Flower in the Mind” is another keeper. Thanks to songs like this one, we realize that this album is best experienced through a good set of earphones. The production is worth taking a closer listen to, and there are an infinite number of details in the sound that reflect the musicians’ potential.
Feels, Feathers, Bog and Bees is a very coherent effort. The biggest downside is that somewhere past the middle of the album, it all starts sounding a little too familiar. The consequence? The beautiful details amidst the routine construction risk becoming background music on more than one occasion.
If Feels, Feathers, Bog and Bees were Low La Love’s first album, we would probably be buzzing about their sound. In context, Low La Love doesn’t reach, or clearly aspire to, new heights, or basically anything greater than what the band had already achieved the first two times around. – PopMatters –
http://www.myspace.com/lowlalove
Rispondi
consigliatissimo a chi ama Antony: new album from this New York singer-songwriter and former Coney Island sideshow performer.
Baby Dee: A Book of Songs for Anne Marie (Drag City, April 2010)
http://www.myspace.com/theonlybabydee
Rispondi
ammè me piace, il singolo Odessa spacca il culo ai passeri!
Caribou: Swim (Merge Records, 2010)
2007’s Andorra, the last album from Dan Snaith’s ever-mutating psych-pop project Caribou, appeared on our year-end list and won Canada’s Polaris Music Prize, so hopes are high for the follow-up. That follow-up will arrive April 20, when Merge (in North America) and City Slang (in the UK and Europe) releases his new album, Swim. The 4/20 release date feels oddly appropriate.
Snaith recorded the album in Wales and in Junior Boy Jeremy Greenspan’s Hamilton, Ontario studio. Guest stars include a quartet of Toronto free-jazz horn players and Born Ruffians’ Luke Lalonde, who sings closer “Jamelia”. At this site, anyone who gives an email address can download opener “Odessa”.
In a statement, Snaith described the album’s sound thusly: “I got excited by the idea of making dance music that’s liquid in the way it flows back and forth, the sounds slosh around in pitch, timbre, pan… Dance music that sounds like it’s made out of water, rather than made out of metallic stuff like most dance music does.”
Swim:
01 Odessa
02 Sun
03 Kaili
04 Found Out
05 Bowls
06 Leave House
07 Hannibal
08 Lalibela
09 Jamelia
http://www.myspace.com/cariboumanitoba
Rispondi
qualcuno ha altro da aggiungere?Grazie Alien dei Miracoli:-)
Rispondi
mi scuso se viaggio di copia/incolla, tempo per scrivere cose mie ne devo trovare. scusate.
Rispondi
Leave A Reply