the coathangers - stop stomp stomping

irresistíveis.

the coathangers - parcheezi

it´s so parcheezi...

In less than three years, The Coathangers, Julia Kugel (guitar/vocals), Stephanie Luke (drums/vocals), Candice Jones (keyboard/vocals), and Meredith Franco (bass/vocals) have grown from a band of girlfriends buying the cheapest instruments an Atlanta pawn shop could offer, to a group of formidable, adaptable performers...

Here is the group as a group, an unbreakable unit - the chemistry and magic of all component parts interacting - all the girls or none.

You could look at them and think they're this way or that, but they will not conform. These are four really different people who have bonded beyond the point of just being friends. You might think you can pin them down, but they don't care. Their fashion isn't contrived...their music feels like music for music's sake because that's exactly what it is...natural, voluntary, spontaneous, impulsive, intuitive...and entirely better for it.

"We write all the songs together, trying everything out within a day; we switch instruments, waste time, thrive on building pressure," says Julia Kugel, "every song is an art project, a starting over, a Scramble."

Songs like "Bury Me" and "Time Passing" use chanted vocals to approach a kind of personal sloganeering - like Huggy Bear, shot with syncopated voices, but minus the political fury. In "Pussywillow," the melodic chop of the guitar brings the chorus, "This means nothing to you... It means nothing to me, too. To me, me..." lifting the call-and-response action from bratty disgust to melancholy realization, then back again.

There's a definitive strength in the scrambled vernacular of the band's songwriting. Do they bring the party, as rumor has it? Absolutely. It's an exhausting time. But what these ladies' have to give, both performing live, and on record, leads to a beautiful exhaustion: a feeling both empty and full, like at the end of intense physical activity, when your body is burned, yet charged...

Strip away the music-biz pretense like that and it leaves you with only the things that are simple, stunning, and true. The Coathangers are one of those things. Start the party.

les savy fav - sleepless in silverlake

mais um video savy fav.

black eyes - speaking in tongues

de volta a 2003 com pessoal da dischord rec.

tyvek @ lounge lisboa

treasure hunt - car bed

com pouca informação acerca deste miles dunhill, ficamos só a conhecer a sua editora sediada no texas slyme records.
boa música para ver as nuvens a passar em jeito de trip de lsd.

josh t pearson - woman, when i've raised hell

dos extintos lift to experience, josh t pearson um barbudo agora numa versão baladeira e melancólica.

figura ligada a nomes como the paper chase, my bloody valentine e agora assinando pela mute records.

um dia de nevoeiro em lisboa.

e daqui a uns meses "last of the country gentlemen", mute.

http://www.myspace.com/joshtpearson

tyvek

tyvek - nothing fits

tyvek, é o nome de isolante qualquer inventado em 1959.

tyvek, são uns gajos de detroit (que vêm até ao lounge em lisboa e fevereiro) com um trad-punk apertadíssimo.

voz distorcida, dois, três acordes e adeus, são os maiores.

mais uma grande edição da in the red (cheap time, the oh! sees, blank dogs...).

o melhor de 2010 para 2011.

http://www.myspace.com/tyvekmusic

lazy mary - crazy hairy

duas chicas de long beach lançam este ep de 7", com edição de 300 uds, e depois é isto.

pop vinda da mountain man records e um disco todo movido a riffs e vozes outrora de kathleen hannah.

é gravar isto para um cd e levar para o escritório para ficar com o cabelo maluco.

http://www.myspace.com/524294931

vampirismos à parte...

A agressividade é uma coisa bonita.

O condão de levar a epicidade ao extremo do kitsch rasga sorrisos como uma faca ferrugenta em faces incrédulas. Pode levar algum tempo, mas após concluída a operação, de orelha a orelha, é mais permanente que se feito com edding.

fang island - daisy

blank dogs - leaving the light on

blank dogs é mike sniper.

um gajo de n.y. que gosta da cultura da cassete.

se calhar é aí que está o som de blank dogs.

perdido, reverberado, labiríntico.

assinou em 2009 pela in the red com under and under, um dos favoritos do ano passado.

agora para 2010, phrases pela captured tracks, que é dirigida pelo próprio sniper

http://www.myspace.com/blankdogtime
http://www.capturedtracks.com

gay beast - @ cake shop

e para os chinese stars não ficarem sózinhos, gay beast numa pastelaria de nova iorque.


"Gay Beast are from Minneapolis and claim a 'neo-wave' sound which is about a decade and a few hundred miles removed from Chicago's now wave 'explosion', and they use that time and distance to their advantage. At times I am reminded of Karate Party, Devo, Brianiac, Lovely Little Girls, and Lake of Dracula, but that recall comes in tiny pieces, small chunks in a bigger platter. And all that is good, and better that Gay Beast studiously avoids aural polish. There is a nice film of filth on this recording. If this is how they sound live: Wow!" -SS (Z-Gun http://z-gun.org)

"There are too many bands out there futzing around with progressive rock, with 'no wave'/'now wave' tropes, with neon-colored wackiness; bands that aren't putting the music out front; bands that have slid down the slope of 'being off' (a slope which descends into Mike Patton's open mouth). Gay Beast, a guitar/synth/drums trio from Minneapolis, is not one of these bands, yet they play with all those parts in full swing, a real platespinning act of dynamics, abrasion, and genuine melodic innovation. All mistakes are studiously avoided and pratfalls are timed for maximum effect. All comedic qualities of the band are insular and intrinsic. Their attack is vicious and weird, processing their robotic fortunes under sheets of electronic duress, but their balance is impeccable. Bands like Gay Beast used to get me excited, but none have had such a gloriously bent and creative batch of songs to match up with the innovation. If handled correctly, Gay Beast should tap into, then later usurp, the whacking off of outfits like Hella or Lightning Bolt or Deerhoof, or at least play in the same league. Very, very exciting stuff here, which hides its hand with masterful skill, and which plays down that which could easily wreck a less-capable band. Vinyl edition of 500 numbered copies in a silkscreened sleeve." - Doug Mosurak (Dusted)

chinese stars - body off

iiiiuuuuuuu chinese stars!!!!

body off é de partir corações e a espinha de saltar no meio do pessoal.

da skingraft com amor.

"heaven on speed dial" o novo 12" já cá canta.


"I believe I found your hand in between My girlfriends legs,And I believe I saw your eyes rolling down the sidewalk You've been leaving pieces of yourself all over the city You've been looking like a jigsaw puzzle Its kind of scary, Your body, I believe I saw your feet in my glove compartment, I believe I saw your teeth floating down the gutter You've been leaving pieces of yourself all over the city. You be looking like a Venus de Milo and it aint pretty Your body Your body
Youve been leaving pieces of yourself all over the city Youve been leaving pieces of yourself all over the city"

gonjasufi - dednd

video sacado do disco "a sufi and a killer", que sai a 9 de março.

sumach ecks um gajo que gosta da sua rasta porque deve ficar bem com a roupa que usa.

o resto do disco não acrescenta grande coisa mas este video e esta música chegam para a dose psicodélico de hoje.

nerve city - s/t

nerve city, outra coisa qualquer de richmond.

one-man-band. cá está. era isto que estávamos à espera há já tanto tempo.

jason boyer canta como se pelo telefone. e um dos bem baratos.

grande disco a fazer lembrar também os blank dogs.

low-fi, garage, reverb, noise, blá blá blá.

sem dúvida a melhor banda da semana.

http://www.myspace.com/nervecity

snack truck - blake jones in space

do 7'' spacial findings 1-7 de 2009.

os snack truck são de richmond e de lá mandam estas melodias musculares.

dois bateristas, um baixo e algures uma guitarra nas últimas.

para quem gosta de ruins, battles e assim.


http://www.myspace.com/therealsnacktruck

eddy current supression ring - wich way to go

do disco de 2008 primary colours.

a não lista 2009

cá está, e porque por aqui só poderia ser assim:

tcham tcham tcahm tcham.

número 5 . blank dogs - under and under (in the red)

número 4 . jay reatard - watch me fall (matador)

número 3 . animal collective - merriweather post pavillion (domino)

número 2 . times new viking - born again revisited (matador)

número 1 . tyvek - tyvek (siltbreeze)

ficando assim grandes nomes de fora como... que se f****

rowland s howard foi.se embora

A recent photo of Rowland Howard.Photo: Simon Schluter

ROWLAND S HOWARD HANGS UP HIS GUITAR FOR KEEPS

MELBOURNE musician Rowland S. Howard - the guitarist in Nick Cave's cult punk-era bands The Boys Next Door and The Birthday Party - died yesterday at the Austin Hospital from liver cancer. He was 50.

Howard wrote the 1979 cult hitShivers for The Boys Next Door. He then played with Cave in The Birthday Party until the influential band split in 1983 amid turmoil and drug abuse.

Long-time friend and Birthday Party bandmate Mick Harvey, who played drums on Howard's newest, critically acclaimed solo album Pop Crimes, said Howard did not want to die.

''Sometimes people are ready to go because they have been sick for a long time, but Rowland really wanted to live.

''Things were going well for him outside of his health and he wanted to take advantage of that and he was very disappointed that he wasn't well enough to do so.''

Pop Crimes has been on many Australian music critics' best-of-2009 lists, and the swansong album is considered a favourite in the upcoming Australian Music Prize.

Howard was due to play at Festival Hall on Tuesday - the night before he died - with American band the Yeah Yeah Yeahs, who had requested him, but he cancelled. Earlier this month, he had to cancel his show at the Northcote Social Club after being admitted to hospital.

Howard's last public performance was at St Kilda's Prince Bandroom in October. He struggled through the gig, coughing and spitting up blood, but a full house of older fans and young enthusiasts had come to pay their respects and celebrate his unique canon of work.

As his health deteriorated, he was forced to cancel subsequent performances.

Howard's slashing, reverb-drenched guitar style with The Birthday Party and Boys Next Door, and then offshoot outfits including Crime and the City Solution and These Immortal Souls, influenced by jazz, blues and avant-garde music, inspired new generations of Melbourne guitarists.

But the gaunt and stick-thin musician recently told The Age that he would prefer it if young bands were inspired by his attitude, not his sound.

''Usually when people say to me that a new band sounds just like me, I feel that they have missed the point entirely,'' he said.

''It's not just about being noisy and aggressive, it's a whole aesthetic, trying to meld genres into something new. So doing something that is based on that 30 years later is fairly redundant.

''They [young bands] should be looking for something that is of their own.''

Howard played a pivotal role in the Australian punk movement, which was captured in Richard Lowenstein's punk documentary released this year, We're Living on Dog Food.

Pop Crimes was Howard's second solo album, released this year almost a decade after the first.

It described his feelings for his predicament - and it also described the world he saw around him, which he considered decaying.

On the album's title track he prophetically sang: ''I guess that I won't see you tomorrow/On this, our planet of perpetual sorrows''.

Music critics consider his legacy to be one of honesty and integrity.

''I think that the most important thing about music should be that it expresses some kind of humanity and it should express the personality of the person who is playing it,'' he told The Agerecently.

''And if you're good enough, then people will be able to tell it's you, not just anyone.''

Howard's father, brother and sister all live in Melbourne. Funeral plans are yet to be announced.

por:www.theage.com.au

cheer-accident - according to the spiral

cheer-accident é uma das mais antigas bandas ainda a gravar.
liderada por thymme jones desde 81 do século passado, produzidos por albini em 90 e aterrando na skin graft em 2000 com o épico salad days.
o acidente ocorre em chicago, envolto de referências e elogios pelo rock progressivo alienado.

recordando aqui ...spiral ainda do início de 09, fear draws misfortune.

purling hiss - run from the city

Listen to Purling Hiss’ “Run From The City”

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é só carregar para ouvir.

times new viking - born again revisited

a continuação da mais que perfeita noção de melodia pop.
até agora..

the scrotum poles - f**k me, it´s the scrotum poles

e como uma banda de garage punk nunca vem só, the scrotum poles.
redescobertos pela dulci-i-tone / yakamashi! e reeditados em 7".
estes escoceses de finais de 70 perdidos no tempo, tinham 100 cassetes há venda em 1979.
nas cassetes tinham auchmithie calling.
em 1980 editam o single revelation, recebido em palminhas na capital inglesa, menos bem em edimburgo.
ficou este video para nosso contentamento.

http://www.myspace.com/scrotumpoles

electric bunnies - sailing all alone tonight

estamos de volta.

sem qualquer tipo de justificação pelo hiato, passemos de seguida para o novo video dos electric bunnies.
com base em miami, terra de predadores brancos (dexter).
os electric bunnies aparentam uma pose mais nuggets, garage punk.
enquanto a alfandega ainda não trouxer a este porto o vinil, navegaremos sozinhos à noite.

public enemy - hazy shade of criminal

power to the people & the beats

robert pollard - subspace biographies

aqui está o nosso senhor da pop com uma preciosidade saída de waved out de 98.

man man - rabbit habits

desde que vi o concerto destes quatro zappas em brooklyn, nunca mais vi nada igual.

les savy fav - what would wolves do?

se fossem lobos do rock, faziam música assim.

We huffed the sky into our mouths.
We saw the ocean and drank it down
because we were giants or maybe birds,
we slept with lions, tucked into their fur.

The world may seem cruel.
The worldly may hate us.
In time we will show the world why the world made us.

(The good we must savor.
The bad we must slough.
Sooner or later the focus gets soft.)

Slip into epiphany.
Oversee oversight.
A good stumble's a symphony.
A good drift takes drive.

Quartz doesn't burn.
Rust doesn't hum.
Maybe we should blame it on the structures of the sun.

Every machine
we've made must bow
to what the wolf and cub have found.

cheap time - people talk

as pessoas ainda não falam dos cheap time?

kap bambino - dead lazers

pessoal francês mexe com a discoteca toda.
singles poderosos de metal electrónico e oh sei lá.
deverão passar por paredes de coura mas é muita longe.

the verlaines - death and the maiden

You'll only end up like Rimbaud
Get shot by Verlaine, Verlaine, Verlaine, Verlaine....

the clean - anything could happen

para aproveitar bem este dia, mais uma da flying nun.

os grandes senhores da editora com um objecto dylanesco.

the phoenix foundation - 40 years

não, não é o macgyver, é uma edição da flying nun.

40 years do happy ending de 2007.

blur - there's no other way

e em pleno madchester, shoegazing e com o melhor sotaque de damon, sai uns dos melhores singles pop de 90.

sem alternativa possível, número uno.

blur - girls and boys

always should be someone you really like.

aqui está o número 2.

blur - on your own

de volta à última década do século passado e de volta aos blur.

este é primeiro clip seleccionado para uma treta de um top 3.

death to los campesinos

mais pop.
mais cervejas.

nobunny - chuck berry holiday

NOBUNNY- Chuck Berry Holiday (mess-around) from rob downs on Vimeo.

cá está ele outra vez de cuecas só para nós.
nobunny numa das melhores de love visions.

olhos bem abertos

senti uma pequena corrente de ar nas costas,
e como não estava agasalhado, espirrei.
estava a ver joe strummer the future is unwritten e não queria perder pitada.
lembrei.me de tentar espirrar de olhos abertos.

nodzzz - i don't wanna (smoke marijuana)

e agora só para confirmar a aposta, segunda dose de nodzzz.
será uma bela semana cheia de peripécias e assim.
é sempre.
os empurranços dos colegas do trabalho a ver quem chega primeiro à cantina.
o gajo do carro da frente que fala ao telefone e não faz pisca.
o ventil que já não há no café do seu zé.
o telemóvel que cai e fica estragado até amanhã.
o puto que fala na televisão sobre o 9º ano e tem uma t.shirt a dizer i don't wanna (smoke marijuana).

nodzzz - in the city

ora aqui está uma grande ideia para a semana inteira.
nodzzz da editora dos comet gain e love is all (whats your rupture?).
com um 7 polegadas novinho.
san francisco blokes.
praticantes de um rock,n,roll assim infantil, quase a descambar.
fazendo prever uma futura legião de fãs e tal.
até parece fácil.


http://www.myspace.com/nodzzz

micachu and the shapes - golden phone

micachu têm uma segunda observação aqui no blogue.
continuo sem os achar merecedores de uma caixa de húngaros, mas gosto dos vídeos.
é parvoíce.

feira laica

Já anda a próxima Feira Laica na Bedeteca de Lisboa... estão confirmadas presenças de elementos dos colectivos Boing Being (da Finlândia com ligações ao jornal Kuti e à antologia Glömp), Stripcore (da revista eslovena Stripburger) e de Portugal: a revista Acto, Arga Warga, Chili Com Carne, discos F.Leote, Os Gajos da Mula, Grain of Sound, zine O Hábito Faz O Monstro, Hülülülü, Imprensa Canalha, Lemur, Massa Folhada, Mike Goes West, MMMNNNRRRG, Opuntia Books, Skinpin Records, e zine Znok.
.
novidades editoriais:
Crack On (Chili Com Carne + Forte Pressa), antologia de bd
T-shirt CCC #3 (O Hábito Faz O Monstro), de João Chambel
Old Age (Skinpin), CD dos The Pope
Znok #2, zine bd de Filipe Duarte
.
O cartaz deste ano é feito por Tommi Musturi - o autor estará presente durante na Laica, antes disso inaugura dia 9 de Maio, na sala de exposições da Bedeteca de Lisboa, a excelente exposição GlömpX que mostra bd feita de "outra forma" (instalações, costura, escultura, animação, etc...).

Há coisas que são indeléveis. E marcam mais com o tempo. Isto é uma dessas coisas. Vê-se nos óculos.

bad dudes - eat drugs

hoje vemos este pessoal mauzinho a maltratar os instrumentos.
e ainda por cima vão comer drogas a seguir.

http://www.myspace.com/baddudes

crash normal - finger shower (skinpin records 004)

franceses do rock.
duo parisiense franco.excêntrico.
duas guitarras, uma drum.machine, muito fuzz e reverb.
vincent e jerome uns franceses globe trotters muito americanos com discos editados desde 96.
s-s records, byteburguer, rococo records.
agora com dupla edição em vinil na rijapov (itália) 10'' e compost modern art (noruega) 7''.
chega agora o cd (100 unid.) editado cá na casa, a mesma da rijapov mas em cd pela skinpin records (lisboa).
estará à venda nos sítios do costume, flur (sta apolónia) e na chill (rua dos fanqueiros).
encomendas no myspace.

et voilá.
crash normal - finger shower - skinpin records

http://www.myspace.com/crashnormal
http://pt.myspace.com/skinpinrecords

the forest city rockers

The Forest City Rockers - Episode 3 from Eighty Four Films on Vimeo.

.Episode III - Pizza, Tits and Korea

This new episode not only features pizza, Rocky Tits, music by Crash Normal, Barack Obama action figures and a Korean War Vet down on this luck but it’s a guarantee that you’ll explode your face upon first viewing. Why would you want to miss that? Watch the new episode now!

cheveu - dog

deve alguém ir a frança e não conhecer os cheveu.
se me fizessem a mim a pergunta diria, cheveau é cabelo.
não, cheveu é rock francês.

http://www.myspace.com/cheveu

the rise and fall of the boombox

http://www.npr.org/templates/story/story.php?storyId=103363836

Before there were iPods, or even CDs, and around the time cassettes let break dancers move the party to a cardboard dance floor on the sidewalk, there were boomboxes. It's been 20 years since the devices disappeared from the streets. It's high time to press rewind on this aspect of America's musical history. Back in the day, you could take your music with you and play it loud, even if people didn't want to hear it. 150 decibels of power-packed bass blasted out on street corners from New York City to Topeka. Starting in the mid-'70s, boomboxes were available everywhere, and they weren't too expensive. Young inner-city kids lugged them around, and kids in the suburbs kept them in their cars. They weren't just portable tape players with the speakers built in. You could record off the radio, and most had double cassette decks, so if you were walking down the street and you heard something you liked, you could go up to the kid and ask to dub a copy. They were called boomboxes, or ghetto blasters. But to most of the young kids in New York City, they were just a box. And the manufacturers noticed, says Fred Brathwaite, better known as Fab 5 Freddy. "People that were big fans of music at the time were into higher-fidelity, better-quality sound — bass, midrange and treble," Freddy says. "So [the manufacturers] listened to what the consumer, what the young hip kid on the streets of New York, wanted. We wanted bass."