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Alien on Acid said in 12 Febbraio, 2010 at 18:11

Pitchfork Music Festival Three-Day Passes Sell Out!

You guys are quick! Tickets went on sale less than a week ago, and we haven’t even announced most of the lineup yet, but three-day passes for the 2010 Pitchfork Music Festival, which takes place July 16-18 in Chicago’s Union Park, have already sold out. Last year, it took two months for the same number of three-day passes to sell!

But don’t worry. Single-day passes for Friday, Saturday, and Sunday are still available, so you haven’t yet lost your chance to see Pavement, Modest Mouse, LCD Soundsystem, Raekwon, and all the rest of this year’s lineup. And if you’re picking which days you’d like to go, remember that Union Park will open at 3 p.m. on Friday, and the day will feature more music than it has in previous years.

Get single day passes, available for $40, here.

Here’s the festival lineup so far:

Friday, July 16:

— Modest Mouse

Saturday, July 17:

— LCD Soundsystem
— Raekwon

Sunday, July 18:

— Pavement
— St. Vincent
— Lightning Bolt
— Cass McCombs
— Sleigh Bells
— Here We Go Magic

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Alien on Acid said in 12 Febbraio, 2010 at 18:44

il nuovo Sade by Pitchfork

Sade: Soldier of Love [Sony; 2010]

7.0
Find it at: Insound | eMusic | Lala
“Inimitable” isn’t the first word that comes to mind when discussing Sade, but it’s next to impossible to name another millions-selling pop act that sounds anything like them. (And, yes, Sade are a band.) In the mid-1980s, before hip-hop and R&B became inexplicably twinned, the band helped to define the quiet storm era, when smooth grooves aimed at grown-ups were still a legitimate mainstream phenomenon. In 2010, Sade seems wholly unique.

Music this tasteful and even-keeled can be wearying in large doses, and when the radio was chock full of impossibly slick Vandross-alikes, it was easy to take Sade for granted. But the new Soldier of Love feels soothing after a few hours spent the company of Ke$ha and Lady Gaga. Soldier of Love offers listeners a rather narrow range of interest– songs that (at their best) suggest strong feeling restrained by a fierce dignity– but Sade remain the best at what they do.

And so Soldier of Love is unsurprisingly of a piece with the five previous Sade albums. Songwriting-wise, it could have been released at any point in the band’s career. The production only occasionally draws attention to itself– the dub-esque snare crashes on “Babyfather” are a bit of a surprise– and you can forget any gauche stabs at currently hip sonic tricks. The idea of singer Sade Adu robo-warbling through Auto-Tune would be laughable if it weren’t impossible even to conceive. Even the album’s curveball first single, title track “Soldier of Love”, with its strident marching band snare rolls, doesn’t so much deviate from Sade’s core sound as cast it in a new light: What better to emphasize Adu’s sense of control than a rhythm with the stiffly regimented forward momentum of a parade ground drill? And if “Soldier of Love” seems “hard,” it’s only because the surrounding tunes are once again delicate to the point where nuance is all.

The music often gets the short shrift when discussing Sade, because the band is so purposefully unobtrusive. Theirs isn’t the kind of minimalism designed to draw attention to itself, merely to capture a mood (usually longing or the gentlest of joy) in as few moves as possible. It’s a tricky thing to praise, the kind of competency that’s always just a few steps from blandness. Musically, Soldier of Love has plenty of deft touches, like the way “Morning Bird” suggests desolation with a piano motif paired back to as few notes as possible. The band knows its job is to provide as unfussy a backdrop for its singer as possible.

And Adu is one of the odder candidates for modern soul-singer canonization. While she’s got one of the warmest tones in modern pop, she’ll never, ever lose herself in the moment, let her voice run wild. She always seems to be pulling her emotional punches. So if your interest in modern R&B is limited to dance music– that lineage that runs from new jack swing through Timbaland and beyond– you may be surprised to learn that the heartbeat-steady “Skin” is what Sade calls ecstasy. But Adu’s voice has to be one of the most calming sounds on planet Earth. Not for everyone, or every mood, but perfect for working out the kinks caused by pop’s mile-a-minute barrage of capital-p Pleasure.

That unwavering sense of understatement has also left Sade strangely underrated, especially by listeners who get antsy when an act makes a virtue of restraint. For decades, pop fans have been mistaking reserve for repression, and composure for lack of soul. In 2010, though, things seem to be changing, at least a little. Describing something as “smooth” no longer sets off the same alarms for younger listeners, or younger critics. And Sade’s Soldier of Love is kind of a litmus test in that regard. Sade hasn’t changed, and Soldier of Love will likely be the year’s most relaxing album. But will listeners reared to expect the immediate gratification of rock or rap go for music that hovers tremulously on the edge of both pleasure and pain?

— Jess Harvell, Pitchfork February 12, 2010

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Alien on Acid said in 12 Febbraio, 2010 at 18:45

il nuovo Sade by Pitchfork

Sade: Soldier of Love[Sony; 2010]

7.0

“Inimitable” isn’t the first word that comes to mind when discussing Sade, but it’s next to impossible to name another millions-selling pop act that sounds anything like them. (And, yes, Sade are a band.) In the mid-1980s, before hip-hop and R&B became inexplicably twinned, the band helped to define the quiet storm era, when smooth grooves aimed at grown-ups were still a legitimate mainstream phenomenon. In 2010, Sade seems wholly unique.

Music this tasteful and even-keeled can be wearying in large doses, and when the radio was chock full of impossibly slick Vandross-alikes, it was easy to take Sade for granted. But the new Soldier of Love feels soothing after a few hours spent the company of Ke$ha and Lady Gaga. Soldier of Love offers listeners a rather narrow range of interest– songs that (at their best) suggest strong feeling restrained by a fierce dignity– but Sade remain the best at what they do.

And so Soldier of Love is unsurprisingly of a piece with the five previous Sade albums. Songwriting-wise, it could have been released at any point in the band’s career. The production only occasionally draws attention to itself– the dub-esque snare crashes on “Babyfather” are a bit of a surprise– and you can forget any gauche stabs at currently hip sonic tricks. The idea of singer Sade Adu robo-warbling through Auto-Tune would be laughable if it weren’t impossible even to conceive. Even the album’s curveball first single, title track “Soldier of Love”, with its strident marching band snare rolls, doesn’t so much deviate from Sade’s core sound as cast it in a new light: What better to emphasize Adu’s sense of control than a rhythm with the stiffly regimented forward momentum of a parade ground drill? And if “Soldier of Love” seems “hard,” it’s only because the surrounding tunes are once again delicate to the point where nuance is all.

The music often gets the short shrift when discussing Sade, because the band is so purposefully unobtrusive. Theirs isn’t the kind of minimalism designed to draw attention to itself, merely to capture a mood (usually longing or the gentlest of joy) in as few moves as possible. It’s a tricky thing to praise, the kind of competency that’s always just a few steps from blandness. Musically, Soldier of Love has plenty of deft touches, like the way “Morning Bird” suggests desolation with a piano motif paired back to as few notes as possible. The band knows its job is to provide as unfussy a backdrop for its singer as possible.

And Adu is one of the odder candidates for modern soul-singer canonization. While she’s got one of the warmest tones in modern pop, she’ll never, ever lose herself in the moment, let her voice run wild. She always seems to be pulling her emotional punches. So if your interest in modern R&B is limited to dance music– that lineage that runs from new jack swing through Timbaland and beyond– you may be surprised to learn that the heartbeat-steady “Skin” is what Sade calls ecstasy. But Adu’s voice has to be one of the most calming sounds on planet Earth. Not for everyone, or every mood, but perfect for working out the kinks caused by pop’s mile-a-minute barrage of capital-p Pleasure.

That unwavering sense of understatement has also left Sade strangely underrated, especially by listeners who get antsy when an act makes a virtue of restraint. For decades, pop fans have been mistaking reserve for repression, and composure for lack of soul. In 2010, though, things seem to be changing, at least a little. Describing something as “smooth” no longer sets off the same alarms for younger listeners, or younger critics. And Sade’s Soldier of Love is kind of a litmus test in that regard. Sade hasn’t changed, and Soldier of Love will likely be the year’s most relaxing album. But will listeners reared to expect the immediate gratification of rock or rap go for music that hovers tremulously on the edge of both pleasure and pain?

— Jess Harvell, February 12, 2010

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Alien on Acid said in 12 Febbraio, 2010 at 19:03

e qui a buzz je pijia un coccolone:

On March 16, the White Stripes return (kinda) with an incredible-sounding box set that orbits around their live film Under Great White Northern Lights.

Along with the Under Great White Northern Lights documentary on DVD, a live album, and a 208-page book, the box includes a DVD of the duo’s 10th anniversary show, dubbed The White Stripes Under Nova Scotian Lights. (pitchfork)

qui c’è un video:
http://pitchfork.com/news/37893-video-watch-a-live-performance-from-the-white-stripes-box-set/

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Alien on Acid said in 12 Febbraio, 2010 at 19:04

In the summer of 2007, the White Stripes embarked on a great adventure … in Canada. Following a path that was, in some ways, similar to the legendary Festival Express tour which chugged and lugged across that country in 1970, Jack and Meg White took their show across the Canadian countryside, hitting every province and territory. It’s something that few American acts have ever attempted but, then again, the White Stripes aren’t your typical American rock band.

On March 16, the White Stripes will release a limited-edition box set that celebrates and commemorates that tour with a smorgasbord of treats. In the set, fans will find a live compilation of tour highlights presented on both CD and vinyl, a DVD of their 10th Anniversary Show (‘The White Stripes Under Nova Scotian Lights’), and, of course, a documentary of the tour at large (‘The White Stripes Under Great White Northern Lights’). But reach your hand all the way in the box — there’s more, including a hardcover book, some silk-screened prints and even more vinyl. It all sounds kind of, well, grand, kind of like the Canadian countryside at large.

We’ll let you take a look for yourself and draw your own conclusions — check out this exclusive premiere video clip of the White Stripes performing ‘Dead Leaves and the Dirty Ground’ taken from the 10th Anniversary Show. Blow out the candles first — if we are to believe the DVD title, this is best viewed “under Nova Scotian lights.” (Spinner)

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buzzandmusic said in 13 Febbraio, 2010 at 11:31

grazie per il tuo contributo Alien,ma sui White Stripes e Sade avevo letto,grazie per avere riportato tutto qua……:-)

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