Twee.net polls
Best Band:
1. Math and Physics Club (20)
2. Camera Obscura (19)
3. Belle And Sebastian (15)
4. Love is All (9)
Pants Yell! (9)
The Pipettes (9)
5. The Lucksmiths (8)
The Radio Dept. (8)
6. Voxtrot (7)
7. Irene (6)
Postal Blue (6)
8. The Besties (5)
Casper and the Cookies (5)
The Legends (5)
Pipas (5)
9. Baby Calendar (4)
The Blow (4)
The Faintest Ideas (4)
Mahogany (4)
The Specific Heats (4)
Best new band in 2006:
1. Baby Calender (8)
2. Cats on Fire (8)
Manhattan Love Suicides (8)
3. Lucky Soul (7)
4. Math and Physics Club (6)
Voxtrot (6)
5. Ideal Free Distrobution (5)
The Electric Pop Group (5)
Velcro Stars (5)
6. The Argonauts (4)
The Ballet (4)
The Besties (4)
Cause Co-Motion (4)
Celestial (4)
The Faintest Ideas (4)
Love Dance (4)
Patience Please (4)
Best band not from the UK or US:
1. Elekibass (5)
Love Is All (5)
2. Irene (4)
Postal Blue (4)
The Faintest Ideas (4)
The Legends (4)
The Radio Dept. (4)
3. Acid House Kings (3)
Annemarie (3)
The Lucksmiths (3)
Cats on Fire (3)
Moscow Olympics (3)
best pop songs:
1. Camera Obscura - Lloyd, I'm Ready to Be Heartbroken (13)
2. Belle And Sebastian - Another Sunny Day (10)
3. Belle and Sebastian - Funny Little Frog (8)
4. The Blow - Parentheses (6)
5. I'm From Barcelona - We're From Barcelona (5)
Math and Physics Club - Darling, Pease Come Home (5)
Peter Bjorn and John - Young Folks (5)
6. Camera Obscura - Let's Get Out Of This Country (4)
Lucky Soul - Lips Are Unhappy (4)
The Pipettes - Pull Shapes (4)
7. Casper and the Cookies - Sid From Central Park (3)
Cats on fire - Higher Grounds (3)
The Faintest ideas - Everything is black (3)
Harper Lee - He Holds A Flame (3)
Irene - Stardust (3)
Love Is All - Busy Doing Nothing (3)
Postal Blue - The World Doesn't Need You (3)
Postal Blue - Vou Deixar Pra Depois (3)
Rocket Punch - Michael, dont go to private school (3)
Sambassadeur - Kate (3)
best albums:
1. Camera Obscura - Let's get out of this Country (24)
2. Math And Physics Club - Math And Physics Club (22)
3. Belle And Sebastian - The Life Pursuit (17)
4. The Pipettes - We Are The Pipettes (12)
5. Pants Yell! - Recent Drama (10)
6. Love Is All - Nine Times That Same Song (8)
7. Irene - Apple Bay (7)
The Radio Dept. - Pet Grief (7)
Pipas - Sorry Love (7)
8. Casper and the Cookies - Optimists Club (5)
Mahogany - Connectivity (5)
The Manhattan Love Suicides - The Manhattan Love Suicides (5)
Rose Melberg - Cast Away The Clouds (5)
The Specific Heats - Aboard A Spaceship Of The Imagination (5)
The Television Personalities - My Dark Places (5)
The Besties - Singer (5)
most amazing live experiences:
1. Belle And Sebastian (15)
2. Camera Obscura (10)
3. Athens Popfest (9)
4. The Lucksmiths (8)
5. Acid House Kings / The Legends (7)
Love is All (7)
6. The Pipettes (6)
POPFEST! New England (6)
7. Language of Flowers (5)
8. The Clientele (4)
Jens Lekman (4)
The Poison Control Center (4)
best record labels:
1. Labrador (17)
2. Happy Happy Birthday To Me Records (15)
3. Matinee Recordings (14)
4. Asaurus Records (5)
Magic Marker Records (5)
Merge Records (5)
Music is my girlfriend (5)
5. Humblebee Recordings (3)
What's Your Rupture (3)
best indie-pop web sites:
1. www.indiepages.com (25)
2. www.twee.net (12)
3. www.indie-mp3.co.uk (6)
www.indiepop.it (6)
4. www.tangents.co.uk (4)
5. www.drownedinsound.com (3)
best paper fanzine or magazine:
1. Plan B (6)
2. Dagger (5)
3. Biff Bang Pop (3)
Venus (3)
Más vale tarde que nunca
Aunque las navidades ya se han acabado... Tomad nota de esta canción de Hello Saferide: "Ipod XChristmas"
Razzia Records (record label from heaven, also known as the label that signed yours truly) are putting together a compilation of Christmas songs called “Oh no… it’s Christmas!” Our contribution is called I-Pod X-mas.
I won’t tell you anything else about it except that I’m rather pleased with the line: “They say there’s supposed to be three wise men. Well, I’ve been searching, and I haven’t found a single one.”
Fuente: hellosaferide.com
Nuevo single de Comet Gain
Un ep en formato de 12"
the most soulful and under-appreciated indie band of the 90s and 00s, comet gain return with a beautiful three track 12" in a poster sleeve. the recent 'city fallen' leaves album is an alientated urban soul classic and now new york cool label what's your rupture? have released this staggeringly good 12" single of new tracks. no-one makes misery such good company as david feck and 'beautiful despair' is one of his best, a mighty lo-fi rock'n'roll rhythm scaffolding words of deep melancholy. 'never die has neat melodies played with real soul and with the touch of the tyde about it. the b-side is given over to the seven-minute mainlighting 'mystery (finchley road)', like the velvets 'the gift' set in north london, narrated by jon slade and populated by characters sharing the names of the band. the clipped guitars and electronic rhythms become hypnotic as the forces of logic destroy the drifters heart.
Diez años de Tangents
El mejor ezine de la red cumple 10 años de existencia. Felicidades. Aquí os dejo con el artículo que lo inaguró. Eso si, a día de hoy Alistair Fitchett reconoce que “Reading it back now, I feel some words of apology are needed to people like Bob Stanley, Matt and Clair of Sarah records, Everett and Stephen Pastel. I guess I was just feeling exceptionally grumpy that day. Reading it back too I’m struck by how there was still the need to be a kind of apologist / evangelist for the Web back in those days. It’s inconceivable now of course.”
Do You Believe In Magic?
A colleague in school asked me a while back why I was still writing/making fanzines. Why I was still writing about Pop culture, if not simply Pop music, at age thirty, when perhaps I ought to be spending my money more wisely on learning to drive, getting a car and a bigger house. Having a family. That kind of thing. And I admit that I couldn't answer them straight out with anything but a sigh that said 'oh you'd never understand', or 'you sound like my mother when I was twenty'. And I admit that it's difficult to express it in any sort of considered manner here, which is why I slip back into teenaged rhetoric with the following 'explanation'... "Because I still believe in the power of words, of Art, to change the direction of people's lives. I still believe that it's the words and the artefacts which give the words life which instil people with a sense of the possible AND the improbable. I still believe that communicating your ideas, dreams, that whole EXCITEMENT AT BEING ALIVE is eternally ESSENTIAL and positive and ooooh... a load of fun too. I still believe that the perpetually extending jigsaw puzzles of our lives are enhanced by the involvement of expression, whatever the medium used. Put bluntly, I still believe in the Magic Of Pop." I remember back in the day when the Glasgow Virgin store was all grimy black and shocking pink peeling paint with a mass of vinyl in racks. You could walk up the staircase to the first floor, and beside all the racked up singles you'd be confronted by a mass of fanzines. I thought it was just so cool, I used to go there all the time on the way home from art school and pick up stuff like Juniper Beri Beri, Communication Blur, Legend! Attack on Bzag. Even a few years later, when the store was beginning to look shiny and the vinyl was going the way of the Dodo, you could still visit the shrinking fanzine section (a section that it shared with the 7" singles incidentally) tucked away behind computer games and pick up stuff like Simply Thrilled Honey, Are You Scared To Get Happy, Baby Honey, Caff etc. All those fanzines were just so exciting, they were what I'd always wanted from Pop, but hadn't realised until I found it. The best of these fanzines were infectious in every way. The words were excited and sharp, the whole visual experience one of movement and dynamism. A friend says similar things about the Postcard fanzines of his own youth, and that more than this, he can still quote chunks of the text from them. Important times. These days I walk into record stores, even the small independent ones and see... well not fanzines, or at least if I do it's of a minimal quantity. The nature of Pop culture has moved on, and those who would once have had to seek out a fanzine to find out about some marginally obscure band can now just pick up a copy of Select or one of the myriad of similar publications available on the shelves of WH Smiths the land over. Or, if you're hooked up to the internet and you want to know the low down on that obscure band or record, you post a message to a news group or a mailing list, and someone (hopefully) answers and solves your problem almost instantaneously. Which is great if you only want to read for information and not for inspiration. Which isn't really a gripe as such because most of the printed fanzines were only information bores anyway, it was just the occasional few which showed the flicker of inspiration and fight. However, even some of those who were inspirational in what was an underground stance of passion and fashion against the soulless style obsessive eighties mainstream became thoroughly subsumed into mainstream culture. From and through them grew a marketable version of post-punk indie, turning rebellion into money. Again. Look at what became of the independent post-punk fanzine writers that I mentioned earlier: Communication Blur: One Alan McGee was responsible for this one. Wonder what happened to him? Legend!: In those days he went by the moniker The Legend!, was sometimes called Jerry Thackery, later called himself Everett True and took over as lord god almighty of, uh is it NME or MM? I can never remember. Attack on bzag though spawned the chief of the other one in James Brown. As for Juniper Beri Beri well that was Stephen MacRobbie, aka Stephen Pastel and Aggi, both of whom are now lauded as the progenitors of indiepop, from the USA to Japan. Didn't they do well.The later fanzine folks didn't do quite so well for themselves, but still... Rockin Bob Stanley moved off from Caff and wrote for Melody Maker for a while before Pop infamy beckoned with Saint Etienne. Matt Haynes gave up on AYSTGH and teamed up with Clair KVATCH Wadd to become an indiepop mogul with the loved or loathed Sarah records, and now alone with Shinkansen. They all did all right for themselves out of it, which is just fine I guess, inventing and reinventing genres and sub-themes from which to keep themselves and their media in jobs and cash. Fair enough, that's Pop (mass production and inherently industry money was always vital to Pop), except that for some people there's still a nagging feeling that in terms of what they actually achieved artistically post-fanzine was a bit of a let down. A feeling that there was too much compromise, not enough of that 'keeping the faith' which seemed important to them all back in the day. As Kevin might say, they didn't keep it 'Pure'. They lost 'IT'. Maybe all they lost was a sense of adventure, and maybe that's being too harsh. Whatever... times move on and some of us are still plugging away with the same spirit if not entirely the same soundtrack. Maybe we're truly the losers for still believing that content and intent are more important than profit and fame. Someone else can decide that one."The essence of time is to find a new way to do things."So if fanzines have disappeared from record store shelves, where have they gone to? Well the above argument about the relevance and market for fanzines stands, although it's also true to say that fanzines have moved even deeper underground and are much more specialist than they ever were. People use them for much more personal causes, which is just great. My personal favourites are those stuck together by school kids who feel that need to communicate, and those are the ones that come across best as emotive yelps and giggles. Cool. But it's also true to say that fanzine writers are starting to use new mediums for their expression, and the internet is one place where they are going. The big question though is, if it came to a contest between fanzine and ezine, which would come out on top? Obviously the crossover between the 60s/70s hippie counterculture and the computer industry has made for a preponderance of new-ageist fractal loving evangelists. This is something you have to live with on the internet, but that's okay, because things move fast enough for there to be enough spirit of eclecticism creeping into ezines to keep things exciting and inspirational. It's also a quickly growing medium, so just like in the real world of ink and paper, there's always going to be more piles of crap to sift through before you find the somethings that you really dig. Such problems of quality and personal taste will exist whatever the medium.As for actually producing these somethings, well DIY publishing on the internet (or to be more precise on the world wide web) is as easy or as difficult as it is to produce a photocopied paper fanzine. Easy in that assuming you have access (you never had/have to own the stuff) to the resources required (computer/net access = typewriter/photocopier. HTML/graphics software = scissors and glue), ANYone can do it. Hard in that, if you've got nothing much to say or have no idea about visual presentation then what you produce will suck whatever the medium.That said, it is more difficult to produce an ezine which packs the same emotional punch that the best ink'n'paper fanzines can manage. Things are getting better but until we get some way of html authoring that supports/allows fanzine design staples like text running at angles and around pictures of irregular outline (without having to cheat and do it as a graphic), then we're stuck with rigid columns, just like the 'real' press (and aping the real press was never the goal of any right minded fanzine writer). I look at my favourite fanzines and dream of being able to use the same visual excitement in an ezine that isn't so graphic heavy that it takes forever to download, in which time the viewer has buggered off someplace else. Things are progressing for sure, but it's still not enough, not yet at least. Oh yeah, and by exciting and effective page design I don't mean overloading with full colour images and multimedia Java and Shockwave gimmicks, I mean not much more than considered use of colour, text and space.The physicality of the fanzine, or lack of it in the case of the ezine, also raises another issue. We are borne of a western culture which promotes the product, and the accumulation of product as a symbol of our progress. The fanzine fits into this scheme nicely, which is why it is so Pop. But the fanzines which inspired me were ones which bemoaned the effects of mass-consumption and which attacked the very nature of wealth accumulation and measured progress as a continual personal movement forward. Surely then the movement of the fanzine to the ezine solves this problem at least in part? We can no longer collect and flaunt our collections of product in visible, physical form but instead allow it to gather in memory. Either our own personal vaults of the mind or stored in hardware somewhere out of view. Of course then the hardware we use to store those memories becomes the measure by which we display our wealth, which is arguably the same thing, but at least it's not as visible and doesn't clog up the cupboards, or fill boxes under the bed. And as a creator it's a lot easier to ignore the fact that people may be ignoring your artefact on the internet than it is with boxes of unsold printed matter clogging up aforementioned spaces. Ezine sneaks it. What about other areas? A friend criticised the use of the ezine over the fanzine on the grounds of it's lack of accessibility to potential readers. He thinks that the sort of person who would get something from a fanzine is the sort of person who probably won't have internet access. But I think that his question of accessibility to ezines is something that isn't really an issue. Remember that in the heyday of the fanzine it was hard to get access to any of them unless you lived in the big cities. With ezines this isn't a problem for anyone who lives in the sticks, because with an internet connection that barrier no longer exists. For someone living in the cities it's probably even easier to find an ezine with the stuff they want than to find a printed fanzine, simply because in the city there's less of a requirement for the internet access to be from home. So in the UK at least it's the wealthier male who has private internet access, but there's free access from universities and colleges, more cyber cafes, more access from schools creeping in, and eventually there will hopefully be public library access. In that respect the ezine wins easily. And getting a fanzine from another country? Difficult and expensive. Ezines? Easy and cheap. Want to be able to quickly publish your opinions? Hand write or type it and photocopy it, hand it out to your friends and to strangers in the street for sure, but what about getting it further? Distribution, paying for postage, the hassles of making flyers... Or upload your file to your server and it's there for the world to look at instantly. Announce in the directories and news groups. So only a few people will probably bother to look anyway, but is that so different from fanzines which have print runs of a couple of hundred, half of which sit in your bedroom for ever? We've had more visitors to our ezine in three months than we've sold copies of fanzines in three years. There's doubtless many other arguments for and against both mediums, but I do think that in so many respects, the ezine is potentially a great successor to the ink'n'paper fanzine. I strongly suspect that as future generations grow up taking the screen interface more for granted (something like 90% of students aged 11-16 that I teach have a computer at home) and internet access becomes cheaper and easier then there'll be more people actually producing the electronic equivalents of Hungry Beat and Are You Scared To Get Happy? and more people who will be able to view and get excited about discovering them. It's going to happen. I just don't really see how it won't. It's a modern and exciting medium, and we've just got to trust that there's always going to be people with great things to say through it. We can make the start by ensuring we do something positive and brilliant with it ourselves. Alistair Fitchett, October 1996
Single CD Navideño de Saint Etienne
Las dos canciones están realmente bien
Saint Etienne had a special Christmas party/dj/concert event at the Turntable Cafe at the Queen Elizabeth Hall on London's South Bank Centre on the 21st of December where they handed out, to the lucky ones in attendance, a 2 track CDEP containing the new tracks 21st Century Christmas (an awesome cover of the Cliff Richard Christmas hit!) and Through the Winter.
(Fuente: saintetiennedisco.com)
download mp3's:
21st Century Christmas
Through the Winter
Vuelven The High Llamas
Atención a la primera, es un hit.
NEW FULL-LENGTH ALBUM: CAN CLADDERS
From Sean:
- The new LP will be released on Drag City worldwide in February 2007. It's called Can Cladders. It's a pop record with a load of singing and happy happy tunes. It took a while but it's here. Strings, drums, harp, organs and pianos. All you need.
From Drag City:
- It's a sweet, string-laden collection of tunes covering a diverse array of topics in the world of The High Llamas backed this time with an acoustic assembly including backup singers and a few drumbeats for that good pop album feeling.
- Fuente (highllamas.com)
Reseña de El Levante-El Mercantil Valenciano
Sección "Living La Vida Loca" de Eduardo Guillot en La Cartelera
"El club londinense How Does It Feel To be Loved" (37 Cavendish Square) acogerá una noche de indie, pop y soul de la mano de dos programas de la radio valenciana. El Sábado 20 de Enero, su cabina (por la que han pasado David Gedge, Stuart Murdoch o Dan Tracey) será ocupada por Toxiscosmos y YaNoPuedoMás, dos de los pinchadiscos más activos de la ciudad"
The Bridal Shop
Esto suena mucho a The Boat Club. Parece que en Suecia los nostálgicos de Sarah se han armado de guitarras y sintetizadores. http://www.myspace.com/thebridalshop
The Bridal Shop is a new Swedish band. I don't know how many they are or anything. I just found out about them through Think Small and listened to them on MySpace. But they're very kind, that much I know! They let me put up this fantastic song, that will be on a forthcoming ep. If you like New Order and Sarah Records, this will most likely be your cup of tea. Enjoy (no extra sugar needed)!
MP3
The Bridal Shop - From Seas Fuente: The rain fell down blog
69 Love Songs en Continuum 33 1/3
"Reno Dakota, I´m not Nino Rota" Reno Dakota--Stephin Merritt
La serie de libros que Continuum publica acerca de lps significativos en la historia del pop (Continuum 33 1/3 series; más info en este ¡blog! http://33third.blogspot.com/) aborda el 69 Love Songs de The Magnetic Fields. El Libro está escrito por LD Beghtol, si, el hombre de LD & The New Criticism y colaborador de The Magnetic Fields.
Más info en http://www.69lsbook.com/
69LS—A FIELD GUIDE is a fully illustrated history of the Magnetic Fields' 1999 triple-disc, 69 LOVE SONGS — an album that was afforded "classic" status by many upon its release. LD Beghtol's book is chatty, incestuous, funny, dark, digressive, sexy, maddening, and delightful in equal measures. It documents a vital and influential scene from the inside, involving ukuleles and tears, citations and footnotes, analogue drum machines, floods of cognac —oh, a crossword puzzle, too! The centre of the book is the secret history of these tuneful, acerbic, and sometimes heartbreaking songs of old love, new love, lost love, punk rock love, gay love, straight love, experimental music love, true love, blue love, and the utter lack of love that fill the album — as told by the album's creators, fans and critics, family and friends, imitators and naysayers, and heaps of others. This lavish little book (designed by the author) includes an extensive lexicon in the style of Ambrose Bierce’s “Devil's Dictionary," fascinating studio anecdotes and recording minutae, performance notes about the original-cast, full-album shows in New York and London, rare and unpublished images by offical TMF photgraphress Gail O'Hara and others, memorabilia, an introduction by noted music historian Ken Emerson, and much much more.
Air
Nuevo LP, Pocket Symphony, el cual será lanzado en marzo de 2007. El álbum, compuesto de 12 temas producidos por Nigel Godrich en 18 meses, contiene voces de Dunkel y Godin, además de Jarvis Cocker y Neil Hannon (Divine Comedy). Mientras que los instrumentos convencionales siguen jugando un papel muy importante en su música, se integran instrumentos como el koto y el shamisen que Godin aprendió a tocar de un maestro con residencia en Okinawa. El arte del disco es de Xavier Veilhan, quien comparte con los Air su pasión por el avance de la tecnología y por la vieja escuela del arte clásico.
Domino anuncia nuevas reediciones de The Triffids
A finales de Enero verán la luz “In The Pines” y “Calenture”. Este es el tracklist de “Calenture”
Disc 1
1. Bury Me Deep In Love2. Kelly's Blues3. A Trick Of The Light4. Hometown Farewell Kiss5. Unmade Love6. Open For You7. Holy Water8. Blinder By The Hour9. Vagabond Holes10. Jerdacuttup Man11. Calenture12. Save What You Can 13. BONUS TRACKS - Baby Can I Walk You Home14. Region Unknown15. Love The Fever16. Bad News Always Reminds Me Of You17. Everything You Touch Turns To Time
Disc 2
1. Bury Me Deep In Love (rehearsal demo)2. Kelly's Blues (rehearsal demo)3. A Trick Of The Light (rehearsal demo)4. Hometown Farewell Kiss (rehearsal demo)5. There Must Be A Curse On Me (rehearsal demo)6. Open For You (rehearsal demo)7. Burned (rehearsal demo)8. Blinder By The Hour (rehearsal demo)9. Vagabond Holes (rehearsal demo)10. Jerdacuttup Man (rehearsal demo)11. Save What You Can (rehearsal demo)12. Calentura
EP de Versiones de Dean & Britta
La versión de Adam Green está algo más que bien. Es una preciosidad. La original era buena, pero la versión la supera en belleza.
New Dean & Britta EP, collecting four covers and a track from the forthcoming full length, due January 30.
The Words You Used to Say EP features the title track-- an original Wareham/Phillips composition set to appear on the new record-- and a quartet of covers: Donovan's "Colours", Bobby Darin's "Distractions, Pt. 1", folkie Michael Holland's "Since I Lay My Burden Down", and yes, Adam Green's "We're Not Supposed to Be Lovers".
We're not supposed to be lovers,
Or friends like theyd have us believe.We're not supposed to know eachother;Accept my apology
El Gurú habla
Extractos de la entrevista a Bob Stanley para Pitchforkmedia.com
ECLIPSE RECORDS Some ideas that we've come up with are a 10cc box set and a Billy Fury box set.I think with every batch that we put out there's going to be a Complete A and B Sides. There should be a Billy Fury one. We've got the Impressions, the Shangri-Las, Scott Walker, Richie Havens...
PROYECTOS We're writing a soundtrack for that that's going to include probably half a dozen songs-- so the soundtrack will effectively be a new album. We're working on that at the moment. We haven't got a name for the film yet but it will have, like, six regular pop songs in it as well as an instrumental score.
THE CD86 COMPILATION It's just from being a collector really. The C86 thing, it just seemed like the [20th] anniversary was going to come and go without anyone doing anything. It's funny because now [my involvement] with it makes it seem like it's my favorite genre of music that ever happened, which it isn't.
I've just got so many friends that I'm very close with now who I met at that time and through that scene. I think it really was a coming together of a generation of people of a certain bend-- although whether the actual music or the fanzines or anything that came out was of immense worth is doubtful. I think, certainly, a whole generation of music writers came out of it. A lot of friendships were made. I was upset about it, but it was a very political movement-- but with a small "p." There was a lot of fight against it. It felt like the future of pop music was at stake at the time, it really did.
BOB STANLEY PERIODISTA Mostly I write for The Times, which is good because The Times' music section is probably the least read music section of any paper in Britain [laughs]. They came after me first. They let me do stuff on books and architecture and other things that lets me spread out instead of writing just about music. That's who I've been writing for mainly. And occasionally for Mojo and a bit or two for The Guardian.
Occasionally I'll also do sleeve notes. I'm doing sleeve notes for an Anne Briggs reissue now. Sony asked me to do it for The Time Has Come, which is coming out again, with no bonus tracks or anything. It's been deleted for a while, which I didn't even know. It's a weird thing where the CD is going for 50 or 60 quid on eBay!
(Aquí se puede consultar la entrevista al completo http://www.pitchforkmedia.com/article/news/40166/Saint_Etiennes_Stanley_Talks_Label_Films_Music )
Novedades Camera Obscura
Short Film About Camera Obscura
VER http://www.youtube.com/watch?v=R19yZEAOmAo&mode=related&search=
Y http://www.youtube.com/watch?v=KdzKJMYuVNI&mode=related&search=
(Fuente: Blog de Karpov)
NUEVO SINGLE
"If looks could kill" es la tercera canción escogida como single del tercer elepé de CAMERA OBSCURA.
Junto a la canción titular, en la edición en vinilo de tirada limitada, se incluye una cara B exclusiva y previamente inédita: una versión del clásico de Phil Spector y las PARIS SISTERS, "I love how you love me".
en el formato CD-single se incluyen dos nuevos temas previamente inéditos: "Hands up baby" (un dueto compuesto y cantado por Kenny con el contrapunto vocal de Tracyanne, grabado durante las mismas sesiones del álbum en Suecia, y que los presenta a ambos como trasuntos escoceses de Lee Hazlewood y Nancy Sinatra en un día nublado) y el recentísimo "Alaska", tema nuevo de envolvente sonido atmosférico y ambiente inspirado en FLEETWOOD MAC, grabado el último fin de semana de Octubre por Paul Savage (THE DELGADOS) en los estudios Chem 19 de Glasgow (donde han grabado entre otros
Vashti Bunyan, TRASH CAN SINATRAS, Scout Niblett o TEENAGE FANCLUB).
Fuente: Elefant Records
Momus visita y fotografía Madrid
http://imomus.livejournal.com/
"Oh, the radio interviewer (JULIO RUIZ-DISCO GRANDE), having read my Friday blog entry, asked whether I'd characterize Spanish culture live on air in a couple of words. I picked "vehement" (based mostly on the taxi in from the airport) and "digital-Islamic" (based on the beautiful poster, influenced by Moorish tile design, for the achitecture show)."
Dean & Britta
The Zoe Records website is taking pre-orders for the forthcoming Dean and Britta album Back Numbers. The album is not released until 27th February and why anyone would want to order a copy three months in advance is a bit of a mystery...but if you do you can.
The Zoe records site also has short previews of all the tracks on the album and you can hear the complete track (and recent single) Words You Used to Say on Dean and Britta's MySpace page
Back Numbers, also produced by Visconti, picks up where L'Avventura left off, with the spotlight on Dean & Britta's laconic, dreamy vocal interplay on originals like "Words You Used to Say" and "Wait for Me," along with covers of '60s gems such as The Troggs' "Our Love Will Still Be There" and Lee Hazlewood's "You Turned My Head Around."
Fuente: A Head Full of Wishes
The School
Agradable y bonito. Textos extraidos de indie-mp3 y myspace. Las 2 canciones se pueden bajar de indie-mp3.co.uk ".
The School is the side project of Liz who is also a member of The Loves. Her music sounds like twee mixed in a blender with the One Kiss Can Lead to Another compilation with the results sounding like bliss to my ears.
Lazy pointers would be the likes of Lucky Soul or Saint Etienne. This is pretty impressive music to say the least considering she is all on her own at present. How wonderful will it be when she gets a full band together we can only guess. http://www.indie-mp3.co.uk/
My stuff sounds like bits of: Belle & Sebastian, Saturday Looks Good to Me, Camera Obscura, Jim Noir, Little My, The Beach Boys, The Beatles and 60's girl groups.
http://www.myspace.com/theschoolband.
West End Girls: Las Pet Shop Boys de Suecia
Un par de teenagers han montado un grupo tributo a los Pet Shop Boys. El resultado es divertido y lógicamente intrascendente, y tienen gracia cuando abordan los temás más disco pero no los medios tiempos y las baladas, donde la cosa chirría soberanamente (especialmente en Being Boring). El Disco se llama "Goes Petshopping" y la imagen y el artwork está bastante conseguido
"The most beautiful and perfect song you could possibly imagine"
Alasdair: I wish that I had written ‘My Girl’ by Smokey Robinson and The Miracles because that’s the platonic ideal of a perfect song.
It’s just the most beautiful and perfect song you could possibly imagine.
(Alasdair de The Clientele a flomotions.com)