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Alien on Acid said in Ottobre 28th, 2009 at 16:26

Foo Fighters – Greatest Hits

01. All My Life
02. Best Of You
03. Everlong
04. The Pretender
05. My Hero
06. Learn To Fly
07. Times Like These
08. Monkey Wrench
09. Big Me
10. Breakout
11. Long Road To Ruin
12. This Is A Call
13. Skin And Bones
14. Wheels
15. Word Forward
16. Everlong (Acoustic Version)


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buzzandmusic said in Ottobre 28th, 2009 at 18:13

azz i foos ,anche se e’ un’antologia non male dai…….grazie!:-)


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Alien on Acid said in Ottobre 28th, 2009 at 19:23

Phantogram: Eyelid Movies (BBE Records, 2009)

It would be lazy to dub New York state pair Sarah Barthel and Josh Carter ‘2009’s Chairlift’, but the similarities are there for all to hear. Both groups have a neat line in minimal beats, occasionally psychedelic electro-indie art strangeness, lush beds of synthesizer and enticing female vocals.

But Phantogram’s greater willingness to embrace the experimental and a few different influences mark the newer band out as being an odder but equally exciting proposition. Keyboardist Carter has said Serge Gainsbourg and hip hop inspire the duo’s sound and these can both be heard on this potent debut.

Single Running from the Cops trips along like Portishead and DJ Shadow sparring over dark static and Carter’s bizarre, mistreated mumble, and Let Me Go is a wanton blend of ardour and machinery which sounds like drunken robots walking arm in arm down the Champs-Élysées.

When musicians throw ideas and textures together in an innovative fashion quality will occasionally drop, as it does on Bloody Palms. Indecision over whether to make abstract hip hop or Battles-style avant-pop leaves the song not quite working as either.

Eyelid Movies’ finest moments are when Barthel is allowed to fully utilise her voice. As Far As I Can See, the album’s standout track, is an incredible electro-soul slacker anthem which expertly blends cut-up brassy samples, thudding loops and exquisite, honeyed singing. Final track 10,000 Claps is as good, if completely different, and brilliantly incongruous – maudlin piano and a timbre more at home on a Sparklehorse record combine effectively with Barthel now affecting an alt-folk lilt.

A refreshing, unusual and diverting first record from two new talents, then, and one to recommend for jaded electro and indie fans who felt the New York scene had gone as far as it could with art-skronk.


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Alien on Acid said in Ottobre 28th, 2009 at 19:24

Fever Ray: Live in Luleå – (Mute, 2009)

After an astonishing series of US live dates, Fever Ray (a.k.a. Karin Dreijer-Andersson) announces a deluxe edition of her critically acclaimed debut album (out November 24th, 2009).

“Fever Ray Deluxe” contains the CD album plus two new studio recordings, cover versions of Vashti Bunyan’s “Here Before” and Nick Cave and Anita Lane’s “Stranger Than Kindness,” which Fever Ray also performs during the live set. The second disc “Live in Luela” captures the full Fever Ray live show on CD. The third disc is a DVD featuring all previously released Fever Ray videos and an exclusive video for “Stranger Than Kindness,” directed by acclaimed multimedia artist Andreas Nilsson (who also designed Fever Ray and The Knife’s live shows)

“Fever Ray is uncut darkness, a combination of silty bass and high, brambly sounds. Andersson sings in an unfiltered voice that favors an avian, hard sound. She also digitally alters the pitch of her voice, making it sound like the voice of male mummy, perhaps singing to himself as he looks through an album of water-damaged photographs,” Sasha Frere-Jones, The New Yorker. August Brown of The Los Angeles Times writes of Fever Ray’s live show, “[Fever Ray works] at the absolute forefront of sound, stage and the ways the two inform each other…Fever Ray never shies from its more theatrical and modern impulses, the real emotions Andersson’s music brings out — enticement, disquiet and unknowable mystery — are much older than the stage. ”

This “unknowable mystery” is the very essence of Fever Ray. Fever Ray is the title of both the project and album. It is an evocation of the music’s sound, intense and anxious, yet luminous. It’s the culmination of work that began in 2007 when Karin and Olof, the brother-sister duo who are The Knife, decided to take time out following a handful of incredible live shows. Their first two albums did well in their Swedish homeland; their third, “Silent Shout,” went to Number One, won six Swedish Grammys, underlined their reputation as an act capable of the truly extraordinary and was pronounced the Best Record Of 2006 by Pitchfork.

Released in 2009 Fever Ray’s self-titled debut has already collected extraordinary praise, with an 8.1 review ranking and best new music distinction from Pitchfork. Nylon calls the album “dark, surreal and majestic” and Filter calls it “sublime and magically creepy” with an 87% review ranking. In addition to Andersson’s Fever Ray project, she continues to collaborate with brother Olof as The Knife. Their most recent work, an opera based on the life of Charles Darwin called “Tomorrow In A Year” premiered in Copenhagen September 2009 (additional info here: The studio album “Tomorrow, In A Year” by The Knife in collaboration with Mt. Sims and Planningtorock is set for release in 2010.


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Alien on Acid said in Ottobre 28th, 2009 at 19:25

(oggi sono elettronico) 😉


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Alien on Acid said in Ottobre 28th, 2009 at 19:28

Atlas Sound (aka Bradford Cox of Deerhunter) is set to release his second LP, entitled Logos (onethirtybpm review), on October 19; 20 in the US through 4AD and Kranky.

Those who order through Rough Trade will receive this limited edition bonus disc with their order.

Rough Trade EP tracklist
1. ‘Ruben’ (Traditional)
2. ‘Criminals’ (Electronic Version)
3. ‘Kid Klimax’ (Acoustic Version)
4. ‘Reminder’ (Previously Unreleased)
5. ‘I Know I Will Escape’ (Previously Unreleased)
6. ‘Nightwork’ (Previously Unreleased)


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Alien on Acid said in Ottobre 28th, 2009 at 19:31

Ronin: L’ Ultimo Re – (Ghost, 2009)

sono italiani, lavoro interamente strumentale con composizioni (in)quiete e malinconiche con Ennio Morricone ben impresso nella mente.


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Alien on Acid said in Ottobre 28th, 2009 at 20:44

Oh, a proposito di meid in Italy: Port-Royal, sempre più internazionali, sempre più grandi! Nessuno di voi ha ascoltato il loro nuovo ciddì?


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buzzandmusic said in Ottobre 28th, 2009 at 20:49

madonna alien che c’hai il fuoco de s antonio……..port royal no,manco teatro degli orrori e consoli ……..che facciamo ora?


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Alien on Acid said in Ottobre 29th, 2009 at 00:24

from Denmark‘s, The Elephants: Take It! – (Tapete Records, 2009) – (Indie,Pop,Alternative)

Denmark‘s The Elephants are great fun. Their music is so infused with an uplifting, sunny vibe that it instantly puts a smile on your face. This is Brian Wilson-esque power pop awash in gorgeous melodies, harmonies, backing vocals and quirky instruments.
The Elephants‘ debut album had come out in 2007 to ecstatic reviews all over Europe, in Japan and even in the Philippines. Followed by a string of impossibly great live shows. I fondly remember them blowing away the crowd at a tapete party here at our office in Hamburg just after we had signed the band. The smiles on the faces of the people there was a sight to behold indeed!

2009 sees the band, based around vocalist and guitarist Bjarke Bendtsen, returning with a strong second album, once again full of great tunes, albeit more thoughtful and reflective this time around. Tragedy had struck in 2008 when the bass player of the first record, Rasmus Nybo, suddenly passed away. Deciding to carry on without their longtime friend must have been tough, making the band take stock of what they had, what they had lost and where they stood now.

Written and arranged in a house deep in the Danish forest, ”Take it!” is thus a testament to the beauty of life, the deep sadness that surrounds us and the unyielding power of friendship and love. This is pop music as it was meant to be. Strong, timeless and uplifting. ”Take it!” was produced by the band, engineering and co-producing by Mads Andersen. Fridolin Nordsoe mixed and mastered.

Coming out in times when especially pop music is usually shallow and banal, “Take it” is a testament to the grandeur of the 3.30 sec pop song. Alive and well … even in Denmark!
Dirk Darmstaedter (Tapete Records)


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B16 said in Ottobre 29th, 2009 at 09:23

Ciao Buzz,
questa mattina devo andare al mercato del pesce, sai mica se trovero’ anche pezzi di Sampdoria in tranci?


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buzzandmusic said in Ottobre 29th, 2009 at 10:04



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