• Cerchi un agenzia di booking ed ufficio stampa per la tua band ?

    9 Jun 2015, 13:59 by rossodalmata

    Promuovi la tua band, il tuo disco, i tuoi concerti con Blob Agency Booking & Promotion -

    Ascolta il nostro promo audio su Soundcloud!

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  • Maïak creates one of the best post-rock albums of 2015

    10 Apr 2015, 18:56 by Velvetleaf

    Maïak creates one of key post-rock releases of 2015. They created to something big, something to be heard! The album is called “A Very Pleasant Way to Die”.

    Filled with the symbolic weight of a catastrophe that arose as the punishment of man’s guilty arrogance in an outburst remained silent, Maïak delivers a dark and powerful instrumental rock that evolves between tenuous melancholy and chaotic blast. Released by Fluttery Records which usually release amazing post-rock, ambient and modern classical albums.

    This post-rock storm comes from Switzerland. If you haven't heard it yet, here they have “A Very Pleasant Way to Die” on Bandcamp.
  • Indie/Rock Playlist: February (2015)

    16 Feb 2015, 08:43 by Criznittle

    Torrent download: https://kickass.to/various-artists-indie-rock-playlist-february-2015-t10227858.html
    Alternate torrent download: http://www.btstorrent.so/various-artists-indie-rock-playlist-february-tf4520102.html
    Direct download: http://theindierockplaylist.com
    Stream: https://play.spotify.com/user/margjakob/playlist/0ltnLC9fwvlTG4kOXq7h0q

    1. (00:00:22) Red Cabin – (IRP) Intro
    2. (00:02:00) Trevor Morris – A World Torn Asunder
    3. (00:02:22) Rabbit! – A Year In The Life
    4. (00:04:35) Incubus – Absolution Calling
    5. (00:03:19) We Are Z – Airbrush
    6. (00:02:43) Saint Rich – Am I Wrong
    7. (00:03:56) of Montreal – Apollyon Of Blue Room
    8. (00:02:47) Team Me – Are You Still In Love
    9. (00:03:25) Eaves – As Old As The Grave
    10. (00:04:23) The New Pornographers – Backstairs
    11. (00:02:58) St. Vincent – Bad Believer
    12. (00:02:57) Animal Noise – Bag of Bones
    13. (00:02:12) Rachel Goodrich – Bananas
    14. (00:03:27) Red Cabin – Barricade
    15. (00:05:09) Lady Lamb the Beekeeper – Billions Of Eyes
    16. (00:04:46) Death Cab For Cutie – Black Sun
    17. (00:02:05) King Creosote – Bluebell, Cockleshell, 123
    18. (00:02:24) Pretty Mery K – Boredom
    19. (00:03:26) Kishi Bashi – Brandenberg Stomp
    20. (00:03:08) Kero Kero Bonito – Build It Up
    21. (00:03:49) My Brightest Diamond – Ceci Est Ma Main
    22. (00:03:41) Adebisi Shank – Chaos Emeralds
    23. (00:02:57) The Yearning – Chasing Shadows
    24. (00:03:58) Ghastly Menace – Closing
    25. (00:03:47) Spirit Faces – Cloudplay
    26. (00:05:50) Frontier Ruckus – Crabapples In The Century’s Storm
    27. (00:02:03) Tacocat – Crimson Wave
    28. (00:03:20) Halcyon Drive – Crusoe
    29. (00:02:50) Trust Fund – Cut Me Out
    30. (00:04:01) Fort Lean – Cut To the Chase
    31. (00:02:57) Oscar – Daffodil Days
    32. (00:02:24) Sunbeam Sound Machine – Daibutsu
    33. (00:03:36) Agent Fresco – Dark Water
    34. (00:02:50) Bent Knee – Dead Horse
    35. (00:04:41) Siskiyou – Deserter
    36. (00:03:24) Diagrams – Dirty Broken Bliss
    37. (00:04:26) Absofacto – Dissolve
    38. (00:02:57) mewithoutYou – East Enders Wives
    39. (00:05:01) Fire-Works – Elephants
    40. (00:03:24) Pond – Elvis’ Flaming Star
    41. (00:04:18) The Wombats – Emoticons
    42. (00:03:30) Ropoporose – Empty-Headed
    43. (00:02:21) Wilhelm – Erin’s Song
    44. (00:03:55) Admiral Fallow – Evangeline
    45. (00:03:55) Her Magic Wand – Everything at Once
    46. (00:01:20) Tall Juan – Falling Down
    47. (00:03:50) Irontom – Feel Good Inc
    48. (00:04:50) Dan Deacon – Feel The Lightning
    49. (00:02:45) Wulf – Fire
    50. (00:04:48) Django Django – First Light
    51. (00:04:35) Mitski – First Love, Late Spring
    52. (00:03:50) C Duncan – For
    53. (00:03:43) Evil Arrows – For Love Instead
    54. (00:03:38) Rival Boys – Fortune
    55. (00:04:29) Mini Mansions – Freakout!
    56. (00:02:35) Hands and Knees – Freakshow
    57. (00:04:36) Xu Xu Fang – Friend To The Unknown
    58. (00:03:29) Edda Magnason – Game Of Gain
    59. (00:02:59) Panic is Perfect – Go Go Go
    60. (00:03:45) French For Rabbits – Goat
    61. (00:04:31) Broken Social Scene – Golden Facelift
    62. (00:02:10) The Vaccines – Handsome
    63. (00:04:06) The Miserable Rich – Hey Ma
    64. (00:03:37) Peter Kernel – High Fever
    65. (00:05:29) Hot Chip – Huarache Lights
    66. (00:02:25) Julian Cubillos – I Explode The Bully With My Mind
    67. (00:03:33) Saint Saviour – I Remember
    68. (00:02:13) Minx – I Want A War
    69. (00:03:51) Reptar – Ice Black Sand
    70. (00:03:55) My Double, My Brother – I’ll Die
    71. (00:03:17) The Belligerents – In My Way
    72. (00:04:08) Alberta Cross – Isolation
    73. (00:04:19) No Monster Club – I’ve Retired
    74. (00:03:14) Electric Six – I’ve Seen Rio In Flames
    75. (00:03:22) Cold Weather Company – Jasmine
    76. (00:03:24) Twin Hidden – Join Hands
    77. (00:04:13) Moulettes – Keep It As A Memory
    78. (00:03:06) Modest Mouse – Lampshades On Fire
    79. (00:03:52) Jose Gonzalez – Leaf Off, The Cave
    80. (00:02:55) Sidney York – Lily’s Kitchen
    81. (00:03:03) Mumm-ra – Lizzy Lu
    82. (00:03:50) Rusty Maples – Long Walk Home
    83. (00:04:16) Pompeii – Loom
    84. (00:03:09) To Kill A King – Love Is Not Control
    85. (00:02:27) Sea Parade – Meant For This
    86. (00:03:37) September Girls – Melatonin
    87. (00:03:01) Dorsal Fins – Mind Renovation
    88. (00:04:28) The Do – Miracles (Back In Time)
    89. (00:04:08) Hannah & The Heartbreak – Moon Dune
    90. (00:03:11) H. Hawkline – Moons In My Mirror
    91. (00:03:38) Felicity Groom – Move Your Muscles
    92. (00:04:09) Unknown Mortal Orchestra – Multi-Love
    93. (00:03:47) Rubblebucket – My Life
    94. (00:03:58) Logan Hyde – My Only Friend
    95. (00:02:39) Broncho – NC-17
    96. (00:05:06) Belle and Sebastian – Nobody’s Empire
    97. (00:04:23) Musee Mecanique – O, Astoria!
    98. (00:04:08) Carnival Youth – Octopus
    99. (00:04:24) Faded Paper Figures – On The Line
    100. (00:03:44) Vita Bergen – On The Run
    101. (00:02:37) Sigmatropic – Onion Rock
    102. (00:04:07) San Fermin – Parasites
    103. (00:03:51) Courtney Barnett – Pedestrian At Best
    104. (00:02:29) The Primitives – Petals
    105. (00:03:02) The Decemberists – Philomena
    106. (00:01:16) Quarterbacks – Pool
    107. (00:06:06) Old Wave – Riddles
    108. (00:03:22) The Mispers – Rio
    109. (00:03:56) Mr. Gnome – Rise And Shine
    110. (00:03:24) Work Drugs – Runaways
    111. (00:05:25) The Soil & The Sun – Samyaza
    112. (00:06:04) Mew – Satellites
    113. (00:04:06) Kids – Second Star On The Right
    114. (00:03:50) Ha The Unclear – Secret Lives of Furniture
    115. (00:01:43) Elizaveta – Sera Was Never
    116. (00:03:44) Moses Gunn Collective – Shalala
    117. (00:03:01) Mother Mother – Shout If You Know
    118. (00:03:41) Tiny Hazard – Silhouette
    119. (00:03:42) Radical Face – Sisters
    120. (00:03:05) The Elwins – So Down Low
    121. (00:03:26) Stereoshores – Somewhere Warm
    122. (00:03:26) Boss Moxi – Song of Joan
    123. (00:02:52) Hollerado – Sorry You’re Alright
    124. (00:03:14) Murder By Death – Strange Eyes
    125. (00:02:05) Quantum Keys – Strong People
    126. (00:03:37) Springtime Carnivore – Sun Went Black
    127. (00:03:04) Sleater-Kinney – Surface Envy
    128. (00:04:01) Cosmo Sheldrake – Tardigrade Song
    129. (00:03:13) Purple – Target
    130. (00:03:05) Royal Tongues – The Balance
    131. (00:04:25) The Prodigy – The Day Is My Enemy
    132. (00:02:58) The Mountain Goats – The Legend of Chavo Guerrero
    133. (00:02:14) Velociraptor – The Right To Call You
    134. (00:03:15) Stornoway – The Road You Didn’t Take
    135. (00:03:48) The Go! Team – The Scene Between
    136. (00:03:24) Born Gold – The Song Condemns Itself
    137. (00:03:46) Stars in Coma – The Value of Young Andre
    138. (00:03:59) Hollow Coves – The Woods
    139. (00:01:59) The Garden – This Could Build Us a Home
    140. (00:02:52) Mesita – Together
    141. (00:02:48) San Cisco – Too Much Time Together
    142. (00:03:53) Manchester Orchestra – Top Notch
    143. (00:02:47) The Meligrove Band – Tortaruga
    144. (00:04:14) Day Wave – Total Zombie
    145. (00:03:42) Trey Frey – Tres Frais
    146. (00:04:32) Deers – Trippy Gum
    147. (00:05:00) Syvia – Two Homes
    148. (00:04:59) Black Rivers – Voyager 1
    149. (00:02:20) Lunatics On Pogosticks – Waiting For You In Room 202
    150. (00:03:50) Them Bruins – Walk a Line
    151. (00:02:49) Imagine Dragons – Warriors
    152. (00:03:00) Tom Rosenthal – Watermelon
    153. (00:02:22) Ex Cops – Weird With You
    154. (00:03:35) Florence & The Machine – What Kind Of Man
    155. (00:03:20) The Raveonettes – When Night Is Almost Done
    156. (00:03:02) Soko – Who Wears The Pants
    157. (00:03:51) Firewoodisland – Winter is coming
    158. (00:03:10) Johanna Glaza – Winter Song
    159. (00:02:39) Rich Aucoin – Yelling In Sleep
    160. (00:03:15) OK Go – You’re a Fucking Nerd And No One Likes You

    Playing Time………: 09:20:41
    Total Size………..: 1007.78 MB
  • Il nuovo video de iValium - " 15 anni"

    16 Dec 2013, 13:32 by rossodalmata


    Gli alfieri del New Beat ritornano con un nuovo singolo e videoclip che rilancia il loro secondo album ‘Revolution’ (edito da CPSR Produzioni). Energia, sarcasmo e sfacciataggine in un singolo che si tuffa nel passato navigando tra sonorità a metà tra gli anni 70 e i mitici 90’s che stanno ritornando in auge.Realizzato da Marco Sabino, cantante della band, il videoclip di 15 anni è un 'omaggio agli american cult movies erotici anni 70. Spaziando in atmosfere tra il frenetico e lo psichedelico, il videoclip ricostruisce l'immaginario romantico del mito del sesso adolescenziale con rimandi alle differenze generazionali. La band, di contro, suona in un parcogiochi dismesso esaltando la propria vena sarcastica ed ironica. I Valium si lasciano travolgere da scie luminose, bruciature vintage ed effetti strobo che ricreano un prodotto estremamente warholiano e piacevolmente scomposto.

    salerno, rock, indie, new beat, power pop, emergenti,
  • Il nuovo video de iValium - " 15 anni"

    16 Dec 2013, 13:32 by rossodalmata


    Gli alfieri del New Beat ritornano con un nuovo singolo e videoclip che rilancia il loro secondo album ‘Revolution’ (edito da CPSR Produzioni). Energia, sarcasmo e sfacciataggine in un singolo che si tuffa nel passato navigando tra sonorità a metà tra gli anni 70 e i mitici 90’s che stanno ritornando in auge.Realizzato da Marco Sabino, cantante della band, il videoclip di 15 anni è un 'omaggio agli american cult movies erotici anni 70. Spaziando in atmosfere tra il frenetico e lo psichedelico, il videoclip ricostruisce l'immaginario romantico del mito del sesso adolescenziale con rimandi alle differenze generazionali. La band, di contro, suona in un parcogiochi dismesso esaltando la propria vena sarcastica ed ironica. I Valium si lasciano travolgere da scie luminose, bruciature vintage ed effetti strobo che ricreano un prodotto estremamente warholiano e piacevolmente scomposto.

    salerno, rock, indie, new beat, power pop, emergenti,
  • Collaboration of Gargle (post-rock) and Bosques de mi Mente (modern classical)

    5 Nov 2013, 23:21 by Velvetleaf

    Gargle and Bosques de mi Mente's Absence is a perfect album travels in the rivers of classical music, ambient and post-rock. The album is released by Fluttery Records.

    You can listen to it here.

    Bosques de mi Mente is a Spanish contemporary classical composer, that has been creating minimalist piano pieces over the years.

    Gargle is a duo from Japan that plays beautiful post-rock, ambient with modern classical influences. Absence is their first collaboration from these two artists, a delightful and pleasant record.

    From the beginning, the goal was to create a completely collaborative album. The process started by sharing small ideas and song pieces, and soon everything started to gall into place, leading to the three of them working together as a true three-piece band in a gradual and natural way. The result is pure harmony, beauty and a wing for atmosphere, space and time.

    Trailer Video

    Bosques De Mi Mente's pianos are like little paper ships floating over the water. String players from Tokyo College of Music, conducted by Jun gives the album a great symphonic dimension.

    Fluttery Records invites all the modern classical, ambient and post-rock fans to listen to this album on their website.
  • Show recap: Diarrhea Planet with the So So Glos at the Tiny Tavern in Eugene, OR…

    21 Sep 2013, 03:36 by Quartertonality

    Sun 15 Sep – Diarrhea Planet, So So Glos

    Please visit Quartertonality.com for more news and reviews.

    Diarrhea Planet at The Tiny Tavern in Eugene.
    Picture by Todd Cooper

    Showing up to the Tiny Tavern just before 8pm, because I know the place is small and I always get nervous that shows are going to be too full or something, seems now like it was a bit excessive. I sat at the end of the bar for about an hour listening to the members of So So Glos and Diarrhea Planet talking and making fun of the horrible musical selections coming in through the speakers of the bar (Counting Crows, Bush, The Wallflowers, Sheryl Crow. I think it must have been from the compilation "NOW That's what I Call Overplayed Watered Down Corporate Shit Rock from the Late 90s that Attempts to Fill in the Enormous Void Left by Kurt Cobain's Death Vol. 3") and eating, though I don't think that any of them really enjoyed the food as when they all got up and wandered outside there were about 8 bowls of weird looking beef stroganoff lining the bar.

    I was sitting there just awkwardly observing and catching bits of conversations between the bartender and the bands. "Hey guys, and don't forget," the bartender leaned in to whisper to one of Diarrhea Planet's guitarists, "that there's a radical discount on the food for the bands and roadies and anyone that is traveling with the band." I remember trying to figure out after he said "radical" whether he was using it as a synonym for "significant" or if he was one "hang-loose" hand gesture away from trying to be "cool like the kids." I came to the decision that, based upon his inflection that it was the latter. Another uncomfortable interaction came a few minutes later when the drummer sat next to me at the bar in order to get some food. After ordering, the super-hip bartender with the black pageboy hat (though strangely lacking in the soul-patch department) said "how 'bout we call that....4 bucks?" and right as the drummer was saying "Ok" the bartender gave him a sideways glance and with a half winking eye said "you can talk me down to $3," to which the drummer replied through an uncomfortable laugh "...whatever man." I knew he and I were on the same page in regard to our thoughts on the bartender.

    At about this time I was watching a dude that came in with some mic stands set up the monitor. The monitor was pretty much next to the stage in front some overturned tables and surge protectors that were dangling delicately from the ceiling, a perfect compliment to the partially working blinking icicle lights (check the date). As he set up the monitor the mics blared feedback for a good 10 minutes at 5 second intervals. A delightful array of ear piercing ultra-high frequencies assaulted our ears, yet nobody seemed fazed. As the monitor guy walked back toward the bar to excitedly talk about the app that he uses to single out the frequencies that are feeding back he said "Ok, I've gotta run." It was at that point I realized that there was going to be no sound guy, he came in, set up the mics, made them squeal a bit, turned a few dials counter-clockwise a bit, drank a beer and left. All in a days work.

    It was quarter to 9 and I was still the only person there not in the band. Well, that's not completely true, there were some unsuspecting regulars that had no idea there was going to be a show and the possibly domestically challenged man in one of the booths that had drank a pitcher of PBR and fallen asleep. One of the guys in So So Glos wondered aloud "So where is everyone?" This was followed moments later by "...so it's just gonna be that guy at the end of the bar?" Despite that being said in a bit of a hushed tone as he headed for the door it was audible from my position at the end of the bar.

    Thankfully, about 20 minutes later the audience showed up. I think that they must have coordinated it earlier, like a punk rock flash mob. It seemed as if the entire audience literally walked in at once. The first opener (didn't catch their name because the sound was terrible for some reason) tore through twenty or so minutes of noisy originals and a few covers (was that the theme to Full House?) to an appreciative crowd.

    So So Glos took the stage next (and by stage I mean area of the floor in front of the fireplace, next to the aforementioned tables and surge protectors and underneath the Coors Light neon dry erase board with "Don't forget to try the special!" scrawled onto it in that generic font that must be taught to all owners of bars everywhere) and immediately invited the audience to get up, move closer, no... closer, no... closer. They then proceeded to bring out their intense energy song after song. Lead singer/bassist Alex Levine could not be contained, and didn't resist the urge to jump into the audience and climb atop the bar. Despite mistakenly stating, "it's so great to be back here in California," to sarcastic boos (someone yelled back "Yeah! Eugene, California!" we're nice here, we don't care and we forgive quickly) he apologized profusely and carried on. The crowd was amped up after their set, and not wanting them to leave after their "last song" began chanting "USA! USA! USA!" together with "ROCK AND ROLL! ROCK AND ROLL!" until they gave us one more tune. Off to a great start.

    I think that part of the reason that we were all so ready to forgive the "California" faux pas is because of their tour schedule. So So Glos and Diarrhea Planet are doing things Japandroids style and touring non-stop up and down the coast and across the country, adding dates as they go. Speaking with lead singer and 1/4 of the shredding department of Diarrhea Planet, Hodan, he said they had been on tour since about the beginning of July and would be going almost straight through until the end of December. So, given that, fine. Call us California, call us Idaho, it doesn't matter.

    Diarrhea Planet swiftly began setting up (tooling with the monitor, as if there was a point by now. I think that every member of each band had been tweaking it all night), did a quick check and were off and running. The crowd moshed wildly, resulting in a cascade of beer flying through the air and pooling around our feet. Shirtless dudes gesticulated wildly at the closest guitarist mimicking the hand motions of Jimi Hendrix as he incited flames from his guitar. The band tore through song after song with little effort; these guys could really play well, truly well. And despite there barely being enough room for the 6 of them on the "stage" there was enough room for some true rock showmanship in the form of hair-whipping headbanging, and thrashing about on the floor while flying through a guitar solo sometimes with Hodan on his knees arching such that the back of his head rested on the floor as he continued to wail. There were a few covers as well, one as (I think) a comment to the garbage that was on the radio while they were (not) eating at the bar. That song was another from the wasteland of late 90's corporate shit rock: Lit's "My Own Worst Enemy" which was started on a whim by one of the guitarists and the rest of the band just picked up on it. They managed to get through an entire verse and chorus, with the crowd dutifully singing along and thrashing about before the band said "Ok, we can't do that shit anymore."

    It was a great show. All the way through from the opener to So So Glos to Diarrhea Planet. It was such a great show that as everyone began to realize that it would soon come to a close we all kept yelling "ONE MORE!" until Levine came back to the stage sans bass to lead in an amazing 4 guitar version of Beastie Boys "(You Gotta) Fight for Your Right (To Party!)." The crowd went insane, yelling along, hoisting people in the air while watching the leader of So So Glos climb onto the bar again. Things got a little crazy as the crowd sort of invaded Diarrhea Planet's space, but they all had giant smiles on their face. Everyone in there was having a great time.

    Speaking with guitarist Emmett after the show, while buying some merch, he kept saying how great the tour was going. I mentioned that it must be awesome to have been getting attention from NPR and the New York Times (the review was published only two days prior) and a tour that will not stop. He was genuinely excited and said the entire band was still amazed and incredibly grateful for all the press. He swore that they would be back, as they loved the crowd and our city. When they do, I'll be right there at the front again screaming along with everyone else.
  • When Good Bands Go Bad: Maps & Atlases

    20 Sep 2013, 20:36 by Quartertonality

    Please visit Quartertonality.com for more news and reviews.

    When I first heard the EP "Trees, Swallows, Houses" by Chicago's Maps & Atlases, I couldn't get enough. All of the tapping (pre-Marnie Stern era...and yes, I know she wasn't the first to do it, or the most well known, but it will be a cold day in hell when I start talking about Van Halen on this blog) the melodies and breakdowns. Everything about that EP is brilliant. I mean, I still can't listen to it enough.

    I remember around that time (2006), on Myspace, repeatedly checking their page. I was waiting for a follow up, or at the very least hoping that I would see them on one of my many trips to Chicago. The EP's frenetic nature really hooked me. I would drive around all summer with it blaring from the speakers. My friends probably started to get sick of me playing "Songs for Ghosts to Haunt to" over and over while doing the typical "wait...hear that?...I mean this!?..this" with my words effectively preventing them from hearing (and consequently caring) about what I was even talking about.

    The perfectly synchronized guitar parts, the prog/math-rock nature of the whole affair, the punch of the drums and the deft bass playing. Everything on that song wraps up the entire EP solidly. The only thing I could think to compare it to in order to try and sell it to my classic-era British-prog of the 70's loving friends (and yes I was not too long before that in their shoes) was to say that the song kind of sounded like Yes. The virtuosic guitar, the busy bass work, the singer with the weird voice, tricky meters. I at least got some of them to listen.

    It took 4 long years to get a follow up to that EP. "Perch Patchwork" was released, with lead single "Solid Ground." That song was immediately underwhelming. It wasn't even that the song seemed like it would be a grower. "Solid Ground" never, well, leaves the ground and the album is full of mid-tempo dirges that sort of lie flat. "Will" starts the album off on a note that distances itself severely from anything that appeared on "Trees, Swallows, Houses." With it's finger picked acoustic guitar and the generally more spacious aesthetic, it's surely a huge leap in the direction of developing a different sound, and it certainly comes as a surprise. This is not the album that I think anyone was expecting. Certainly not I.

    To be fair, the album does show the band thinking in much larger terms. They seemed more interested in creating a narrative arc, or at least an aesthetic arc, that connected each song across the album in a much different way than previously attempted. That the songs are considerably more straight-ahead and poppy, even repetitive, is somewhat disappointing. It seems as though the bottom fell out, energy-wise. "Perch Patchwork" just hobbles along. Granted these songs are well crafted for what they are, but it left me wondering about what could have possibly led to this drastic shift in sound? Had they run out of ideas for their previous writing style? Did they want to avoid being pigeon-holed and therefore decided to ditch one of the things that truly made them stand out? I mean, what happened in those 4 years between EP and LP? Where there was once not a wasted second there were now filler instrumental tracks like "Will," "Is," and "Was." "Carrying Wet Wood" and "Pigeon" start off promising, but only come close to capturing the band's former glory before backing off. Both tracks turn into these strange, neutered, watered down Rusted Root sounding fake folk.

    2012's "Beware and Be Grateful" is really no better. The album focuses more and more on Davison's vocals and spaciousness. Again, the energy just isn't there anymore. The sound of "Perch Patchwork" is developed now to include sterile production and even less instrumental work. "Silver Self" seems to go on for an eternity, bringing in terrible sounding synthetic drum loops and layers of vocals. The Talking Heads did this type of thing so much better 30 years ago. Not even a flashy guitar solo (that goes on far too long, wandering well into masturbation territory) can help the track. In fact I would say that in that case it does more harm than good. "Remote and Dark Years" takes its cues from the bombast of 80's production values, rendering it simultaneously introspective and overblown. One saving grace may be "Winter," which is actually a good song as far as verse-chorus-verse things go. Good changes, nice arrangement and interplay amongst the entire band. Though, unfortunately, "Winter" is the anomaly. When they return to something energetic like "Be Three Years Old" it does away with the rawness and urgency that the band used to be so good at capturing.

    The point, if there is a point, is this: when the energy left and the band stopped highlighting their strengths and what set them apart, that is when they gave in to mediocrity. It's hard for me to understand why any band would seemingly make an effort to start over almost from the beginning. They went from standing apart, perfecting their fresh and exciting sound, to instead hurling themselves headlong into a vast ocean of bland rock music.
  • Benefit Comp featuring unreleased tracks by Thee Oh Sees, Cave Singers, Elf Power…

    20 Sep 2013, 20:27 by Quartertonality

    Please visit Quartertonality.com for more news and reviews.

    We all love music, that much is obvious. It's why you are reading this, it's why I'm writing this. Sometimes music has the opportunity to really make a difference. Those differences can come in the form of small things - helping to make mundane chores bearable, perhaps giving us some new perspective on the world, showing us beauty in new things, new sounds and on and on. And sometimes music is able to do so much more, something that is bigger than all of us.

    This compilation gives us all a chance to let music make a huge difference in the lives of so many. One such person is Ryan Benton, diagnosed with Duchenne Muscular Dystrophy at the age of 3, who is the curator of this compilation that puts together a ton of unreleased tracks from more great bands than you could even conceive of. In Ryan's own words:

    I was given a life expectancy of late teens to early twenties. I am currently twenty seven. In the fall of 2008 I traveled to Costa Rica to be treated for the first time with adult stem cells. I had to travel out of country because the all natural treatment was then and currently now not available in the states. After receiving my first treatment I began gaining back strength and have since gone back on seven separate trips for continued treatment.

    With the help of Air House Records, I have put together a benefit compilation featuring fifteen amazing tracks from national artists such as Thee Oh Sees, Cave Singers, Elf Power, Shine Brothers and The Wonder Revolution. Proceeds will go entirely towards helping fund adult stem cell therapy and research.

    So in buying this album you will be helping Ryan as well as countless others that find themselves in the same situation. We all know that stem cell research will provide us with answers to medical problems that many Americans face every single day, yet it is currently outlawed in the United States. So why not take a stand against the ridiculous state of affairs that is the American Health Care System Inc. and buy this compilation for a great cause. Ryan continues:

    Stem Cell Therapy is the first form of medicine that has ever truly helped with the digression of this disease. Stem Cell Therapy is one of the most promising and revolutionary forms of medicine to date. I can attest to this first hand after seeing the positive effects it has had on my debilitating health. Along with my disease it has shown great promise and potential in treating other fatal diseases. We need to embrace this remarkable form of medicine here in the U.S. and outlaw its ban. I am almost certain that without these treatments I would not be alive today.

    The comp will be officially released on October 29th via Air House Records. You can listen to a sample of "The Factory Reacts," a track previously unreleased by Thee Oh Sees, below.

    The Factory Reacts

    The compilation features unreleased tracks from not only Thee Oh Sees, but also Elf Power, Springs, Miracle Days, Cave Singers and a whole bunch more. I whole heartedly encourage everyone to buy this album to help support a cause and also to maybe discover some music that you may have not heard before. I'm listening to it right now and it's a really solid collection of songs.

    If you would like to know more about Ryan, watch the short documentary below. You can also listen to and purchase the first installment of this compilation at comingtogetherforacure.bandcamp.com.

    Remember: October 29th is the official release and all proceeds will go to the Aiden Foundation to help fund adult stem cell research and therapy. I'll remind you through Facebook and Tumblr

    Air House Records//Bandcamp//Youtube//Learn more about Duchenne Muscular Dystrophy

  • New Release: MGMT s/t LP3

    20 Sep 2013, 20:12 by Quartertonality

    Please visit Quartertonality.com for more news and reviews.

    MGMT is finally releasing a follow up to 2010's superb "Congratulations." The new eponymous album is set for release on September 17 and is available for pre-order on iTunes, where it is referred to as the "optimizer deluxe edition." The pre-order comes with an instant download of the song "Your Life Is a Lie," which can also be heard/seen below.

    Since we don't have much of the album to play, I can relay to you how caught off guard I was when first seeing the album cover. When I went to school in Western New York (Fredonia, to be exact) I lived in the neighboring city. The album cover was taken across the street from what was my bank when I lived there. I remember riding past "Stylez Unlimited" on my bike all the time. It more often than not looked like a garage sale exploded on the front lawn. My apartment was maybe a half-mile away.

    Google Map

    The reason that they were in that shithole of a town is that Dave Fridmann's Tarbox Road Studios is not very far away in the other direction, in neighboring Cassadaga. This is also the reason why I accidentally walked into an MGMT show in 2006 at BJ's, a bar in Fredonia. A few months later their song "Kids" become hugely successful, and because of that success MGMT opened for of Montreal when I saw them a few months later in Buffalo.

    The Flaming Lips also record at Tarbox Road, which is why often times while standing in line at the Starbucks on Fredonia's campus one will find themselves standing behind Wayne Coyne. But I digress.

    Pre-order the album. Check out the songs. "Your Life Is a Lie" is instantly catchy, and much more upbeat than the title would suggest. And so far the album has 5-stars on iTunes, apparently based off of this song alone. So there's that. Oh, and check out the link below to Tarbox Road Studios, where Fridmann keeps a daily log of the goings on at the studio.

    Web//iTunes//Tarbox Road Studios//Twitter//Facebook