Cool Under Pressure - The Clash - Cut The Crap (Cassette, Album)
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To which I say, "Sorry, nerd, I stopped listening an hour ago," or maybe just "Shut up, putz! And they're from Brooklyn, I think! As if the album wasn't totally dope, we also got the EP, which includes "You've Got me Wonderin' Now," one of my favorite songs of the year. Bleached - Ride Your Heart. I know they're a band, but Bleached is really about the not Cliff Clavin sisters and their awesomely catchy-but-also-scuzzy pop songs.
Sort of like teenage love jams in beer-soaked denim, or a slower Ramones. I don't know, I love it, though. I was on board from their first couple of singles, so it was especially satisfying to see they had the goods over an entire album. OMD - English Electric. I thought maybe my love for this album was largely the result of OMD's super-fun set at Coachella, but it still sounds all bleepy and bloopy in the best possible way all these months later.
Their return from the ash heap of an acid-washed bygone era a couple of years ago was no fluke. My Bloody Valentine - m b v. It's not as good as Lovelessthough I suppose it doesn't really have to be. That I'm still listening to most of it months later and still loving it means it was more than just the thrill of new My Bloody Valentine.
Half of it is classic, and none of is is inessential. What more could I ask for than that? Savages - Silence Yourself.
Unlike Kanye's celebrated shitshow, here's a hyped album I can actually get with. I don't know what I could add that I haven't seen elsewhere, except this makes me want to jump around and maybe overthrow the government or something. I messed up and missed their set at Coachella because I saw their name and figured they were some dumb band I wouldn't like. I was wrong. This is post-punk glory. This band should be massive, but they're still just bubbling under the surface, ready to explode. Their sophomore album has the goods to make up the difference.
Epic in the best sense, the songs are anthemic and breathtaking, the musicians right on fucking point. Like the best bits of the Verve with the best bits of U2. And while the debut was also brilliant, they've condensed their sound, un-muddied the way the drums were recorded, and absolutely killed it here. They need to pack a suitcase and come play NYC already, because I've been to England three times in the past two years and they haven't been playing shows during any of those visits.
Daft Punk - Random Access Memories. I'm totally fine with admitting that part of the reason I love this album so much is that it was such a disappointment to people who expected more of the same. Heavy Chic, and I can dig that. Disclosure - Settle. I have very little use for genres, especially when it comes to electronic music. I only know that under that particularly massive umbrella, I either love it or hate it, and there's very little falling into the vast chasm between the extremes.
The Lawrence brothers look like a couple of kewpie dolls, but the sound they make is absolutely irresistible to me. My pal Nick did sound for them at Central Park, and Well, I'll leave that alone. Love the album, though. Toy - Join the Dots. The easiest comparison would be the Horrors, though they're less imposing, perhaps.
Then again, their sophomore effort does begin with a seven-minute instrumental Cool Under Pressure - The Clash - Cut The Crap (Cassette likely to skip past every time I hear it come on from now until the end of time. Hoping the hirsute quintet gets their Visa issues sorted in King Krule - 6 Feet Beneath the Moon.
Like Billy Bragg, minus the smirk. I was definitely late to the King Krule party, though I'd read about him well before the album actually came out.
But as the weather started nosediving here in NYC, this wonderfully stark album with the haunting voice found its way into my limited radar, and I'm in love. I enjoy Bugg, but I think King Krule is going to stick with me for a lot longer. Torres - Torres. Torres, a. Mackenzie Scott, is not dissimilar to King Krule in that the music clearly comes from a deeply personal, often uncomfortable place.
I'd only casually listened a bit before my friends Chris and Angela were staying with us after our wedding and we all went to see Torres at Glasslands. When she plays, Scott looks like she's tearing through some painful shit, and it is mesmerizing. The album took on a whole new meaning for me after that. Toro Y Moi - Anything in Return. Anything in Return is even heavier on the discount synths, and it's all the better for it. Like King Krule and Torres, Toro Y Moi is largely the work of a single musician plying his trade under a goofy moniker.
Chaz Bundick is from South Carolina, and has been tagged as one of the forebears of chillwave. I don't know or care what any of that means, I only know I quite like Toro Y Moi, nearly enough to see him alongside all the jerky kids at the House of Vans when we still lived over in Greenpoint.
Anything in Return is catchy as fuck in the best possible way. Cate Le Bon - Mug Museum. Cate Le Bon is Welsh, which I only mention because I still crack up when I think of riding the city tram in Manchester a couple of months ago and hearing heavily-accented Cool Under Pressure - The Clash - Cut The Crap (Cassette being spoken by two drunks: It sounded like a half-melted cassette tape being played in reverse.
Cate Le Bon doesn't sound like that, though. She's been described as a modern-day Nico, and I can see the comparison, as there's a stark Velvet Underground sound to much of her music, and her voice is disarmingly sweet and haunting.
Cyrk and Cyrk II were among my favorites ofand Mug Museum is right up there in quality and weirdness. Le Bon lives in Los Angeles now, though the sunshine has yet to worm its way too far into her music. It's there, but it only serves to accent the shadows. Suede - Bloodsports. That Suede released an album at all in was cause for celebration. They'd been touring again for a couple of years, and they likely could have carried on that way playing their deep, lush back catalogue.
Instead they dropped their first full-length in 11 years, a collection abundant in their dramatic Brit-Pop sounds, epic choruses and chiming guitars. The album sags a bit here and there, but is a triumph as a whole. And having seen them at the Garage in London this past October, I can confirm that the new stuff blends in seamlessly with the old stuff.
Vampire Weekend - Modern Vampires of the City. I get the impression that Cool Under Pressure - The Clash - Cut The Crap (Cassette longer Vampire Weekend sticks around, the less cool it is to like them. Lucky for me I don't give a shit about that, because "Diane Young" is silly and ridiculous and irresistible. One of the things I enjoy most about them is that they seem totally shocked by how successful they've become, and they're making the most of it all.
It helps that their music still explores the fringes of sounds from other parts of the world and filters them through a decidedly Ivy League perspective. Something about that just works for me. Foals - Holy Fire. Foals grow more confident with each new album, and Holy Fire may yet be their best work, complicated indie anthems without sounding complicated.
Holy Fire is probably the most natural approximation of their math-rock roots with a strong songwriting focus, and as a result it all sounds like they're having a good time. I can definitely get on board with that. Charles Bradley - Victim of Love. Charles Bradley's success is undoubtedly heartwarming, but it wouldn't mean nearly as much if he and his Extraordinaires weren't so fucking good.
On stage, Bradley is dynamic and emotional, and that all comes through beautifully on his second full-length, Victim of Love. Matt Berry - Kill the Wolf. By now I'm past the shock of "This is Matt Berry?
That Matt Berry?!?!? No fucking way! Kill the Wolf is another stunning album of weird pastoral pop tunes and psych-folk. I'd have put this on my much shorter list of albums which surprised me this year, but I love it too much for that. It's possible I enjoy this as much as I do because I went into it really wanting to.
That the pairing seemed so odd to some people doesn't hurt, either. I think it works, and I do like quite a bit of it. It's also a bit duller than it should be every now and again, but as with the Suede album, when it's good it's so good the shortcomings are forgivable.
Ordinarily that sort of thing makes it tough to integrate music into my regular rotation, so I consider it significant that I love this album as much as I do. Nick is also an actor, and while I already knew he did voice work for Pokemon "some guy off the street" is how he was described by some Pokemon devotee on a forum I just read, though moments later he's given mad props, so hooray!
Still not enough to get me to watch 30 Rock, but good for you, Nick. The album is great, and maybe we'll make good on our threats to jam together one day. Everything Everything - Arc. The music of Everything Everything is twitchy and jerky and lovely, and it's sometimes difficult to get comfortable when listening to it, and then suddenly it's not uncomfortable at all, as on "Armourland," when Jonathan Higgs croons about wanting to take you home. The Pastels - Slow Summit.
There's a hopelessly twee part of me, and thank goodness the legendary Pastels returned in to scratch that itch. Jagwar Ma - Howlin'. Effectively blends the future and past in an irresistible, psychedelic dance-friendly package.
I dithered around and missed a chance to see them at Glasslands, but I still have the album to keep me happy. My favorite project in by the ridiculously prolific Ty Segall was the aptly-named Fuzz, a sludgy, grungy, glorious throwback on which Segall plays drums. When I listen to Fuzz and the "Sunderberry Dream" single, I want to play it loudly enough that I sustain permanent hearing damage.
Clearly the disputes earlier which saw several members of the P-Funk family leave had taken it's toll unexpectedly perhaps the vibe had been distorted. To Clinton's credit, though, his latter-day Funkadelic albums, including The Electric Spanking of War Babies remained worthwhile, and subsequent albums, namely Computer Games and Urban Dancefloor Guerillaswere especially exciting.
Posted by Rho at Friday, January 27, 9 comments:. Jan 26, RhoDeo Goldy Rhox Hello, today the 56th post of GoldyRhox, classic pop rock, but first something to consider. Why was MegaUpload really shut down? In December ofjust weeks before the takedown, Digital Music News reported on something new that the creators of Megaupload were about to unroll. Something that would rock the music industry to its core. MegaBox was going to be an alternative music store that was entirely cloud-based and offered artists a better money-making opportunity than they would get with any record label.
The Megakey business model has Cool Under Pressure - The Clash - Cut The Crap (Cassette tested with over a million users and it works. In the darklight an English heavy metal band, formed in Aston, Birmingham inthe band has since experienced multiple line-up changes.
A total of 22 musicians have at one time been members with the guitarist as the only constant presence in the band through the years. The band has released 18 albums and dissolved sort of after their lead singer became an icon thanks to an MTV reality show.
The band are one of the most influential heavy metal bands of all time. They helped to create the genre with ground breaking releases. On 11 Novemberthe original band members announced that they were reuniting and recording a new album. The band are scheduled to perform a headlining slot at the Download Festival on 10 Junefollowed by a world tour.
Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.
Posted by Rho at Thursday, January 26, No comments:. Jan 25, RhoDeo Aetix. Hello, as the Oscar nominations today show, nostalgia rules in Hollywood ah yes they must be longing for those good old days before the internet, before blockbuster accounting.
Those days when they released movies for the general public and not like today for limited attention span youths. Let's face it there's not much left of the status and regard Hollywood once held.
Their demise is imminent expect Google or Apple to buy them out The Clash released a total of 19 singles in their 6 years of existence, to make some more money of that these were neatly packaged in a box and sold at a premium too the fans that couldn't let go of their past or to those who wished to make it their past.
Most of us don't have the money for so much selfindulgence and that's why sharing the past is so much better. I've split the 1. Posted by Rho at Wednesday, January 25, 2 comments:.
Jan 24, RhoDeo Roots. We've seen plenty of lee Perry these past months but there was another and probably even more prolific producer of dub music. In the s, King Tubby's musical career began with the sound systems, set up on the streets of Kingston and playing dance music for the people. As a radio repairman, Tubby soon became quite helpful at most of the sound systems around.
Tubby began working with Arthur "Duke" Reid in At Treasure Isle, a studio, Tubby began making remixes of hit songs, usually by simply removing the vocals. In time, Tubby and others began shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes.
ByTubby's soundsystem was one of the most popular in Kingston and he decided to open a studio of his own. King Tubby took remixing to a whole new level. He started stripping out not only the vocals, but cutting up instrumental parts, dropping them in and out of the tracks, adding new effects and sounds, while also making use of phasing, shifts, and echoes.
Many of these experiments were pressed onto acetate dubplates and spun at his sound system. His remixes soon proved enormously popular, and he became one of the biggest celebrities in Jamaica.
During the s, Tubby's work in the studio gave rise to modern dub music. Inhe began recording vocals to put along the instrumentals. By the later part of the decade though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the s, he focused on production for Anthony Red Rose, Sugar Minott and other popular musicians. He upgraded his studio again and also launched his own record labels -- Firehouse, Waterhouse, Kingston II, and Taurus.
His best work was now in the production field, working with young DJs and veteran vocalists. King Tubbys Presents Soundclash Dubplate Style arrived inbundling up dubs of his dancehall hits. As the decade drew to a close, King Tubby seemed destined to continue stamping his imprint on Jamaica's scene, still in demand, and still a powerful musical force.
Then, on February 6,his career came to a sudden end when he was shot and killed outside his home in Waterhouse. His murder remains unsolved, his death believed to have been the result of a street robbery. In the years since, King Tubby's renown has only grown. Bunny Lee kept him busy with a constant stream of singles to remix and a batch were bundled up in as the seminal Dub From the Roots album, and more were featured on the follow-up, King Tubby Meets the Aggrovators at Dub Station.
Posted by Rho at Tuesday, January 24, 12 comments:. Hello, hope you'll had a good weekend but likely you've come across a lot of anger and frustration over the taking out of Megaupload without any legal notice or verdict, and if I were a New Zea-lander i would be deeply ashamed of my groveling government. Earlier i came across Filesonic shutting down pre-emptivly, cowardly perhaps, but it seems the rule of law no longer applies for US government corporate fascists and being threatened with ruin and decades of jail sentences for running a filehoster in the western New World Order world makes the owners fearful.
Meanwhile i still am unable to upload to multi upload you'll have to make do with Mediafire today. The story behind one of the most famous films of the last century A Space Odyssey how a sci-fi writer and a filmdirector knocked out this great story- check Clarks diary entries, the man himself reads the final book chapters for you to enjoy.
Clarke and Arthur C. But it is perhaps as author of the novel A Space Odyssey and co-author with Stanley Kubrick of the screenplay of that memorable film that he is best known. The film " A Space Odyssey" is by considered judgement one of the three or four most memorable films that this era has produced. It owes as much to the flaming Clarke imagination and mystique as it does to the Kubrick passion for poetry and perfection in detailed design.
It was an author and director truly well met. So how did it come about? Suggested to Stanley that "they" might be machines who regard organic life as a hideous disease. Stanley thinks this is cute and feels we've got something.
June Finished the opening chapter, "View from the Year ," and started on the robot sequence. July Averaging one or two thousand words a day. Stanley reads first five chapters and says "We've got a best seller here. Spent much of afternoon teaching Stanley how to use the slide rule - he's fascinated.
Joined Stanley to discuss plot development, but spent almost all the time arguing about Cantor's Theory of Transfinite Groups.
Stanley tries to refute the "part equals the whole" paradox by arguing that a perfect square is not necessarily identical with the integer of the same value. I decide that he is a latent mathematical genius. Now have everything - except the plot. Got to work again on the novel and made good progress despite the distraction of the Republican Convention. Stanley's birthday. Went to the Village and found a card showing the earth coming apart at the seams and bearing the inscription: "How can you have a Happy Birthday when the whole world may blow up any minute?
Stanley: "What we want is a smashing theme of mythic grandeur. Stanley suggests that we make the computer female and call her Athena. August We've also got the name of our hero at last - Alex Bowman. Writing all day. Two thousand words exploring Jupiter's satellites. Dull work.
September 8. Upset stomach last night. Dreamed I was a robot being rebuilt. In a great burst of energy managed to redo two chapters. Took them to Stanley, who was very pleased and cooked me a fine steak, remarking: "Joe Levine doesn't do this for his writers.
Dreamed that shooting had started. Lots of actors standing around, but I still didn't know the story line. December Stanley calls after screening H. Wells' Things to Come, and says he'll never see another movie I recommend.
Stanley delighted with the last chapters, and convinced that we've extended the range of science fiction. February 9, Reported this to Stanley, who replied: "Don't worry - we've already reserved a window for you. Fighting hard to stop Stan from bringing Dr. Poole back from the dead. I'm afraid his obsession with immortality has overcome his artistic instincts.
April Much excitement when Stanley phones to say that the Russians claim to have detected radio signals from space. Went up to the office with about three thousand words Stanley hasn't read.
The place is really humming now - about ten people working there, including two production staff from England. The walls are getting covered Cool Under Pressure - The Clash - Cut The Crap (Cassette impressive pictures and I already feel quite a minor cog in the works.
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