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Jeff Parker ETA IVtet, The Way Out of Easy, (Limited Edition 'Harvest Maroon' Gatefold 2xLP Record/Vinyl, Classic Black Gatefold 2xLP, Digital Album), IARC0089, International Anthem, 2024
ETA 4tet is: Anna Butterss: amplified double bass Jay Bellerose: drums, cymbals and percussion Josh Johnson: amplified alto saxophone with electronics Jeff Parker: electric guitar with electronics and sampler
All compositions by the ETA IVtet except 'Freakadelic' by Jeff Parker (Umjabuglafeesh Music – BMI)
Live recording by Bryce Gonzales at ETA, Highland Park, Los Angeles, California on January 2nd, 2023
Album Design: Jeremiah Chiu Album Photography: David Haskell Liner Notes: composed by Bryce Gonzales Mastering: Dave Cooley at Elysian Masters
#graphic design#music#music album#photography#vinyl#cd#cover#jeff parker#eta ivtet#anna butterss#jay bellerose#josh johnson#bryce gonzales#jeremiah chiu#david haskell#dave cooley#elysian masters#international anthem#2020s
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INSIDE OUT 2015
Okay, caution, there is a dangerous smell, people. Hold on, what is that? That is not brightly coloured or shaped like a dinosaur; hold on. Guys... it's... broccoli!
#inside out#2015#amy poehler#phyllis smith#richard kind#bill hader#lewis black#mindy kaling#kaitlyn dias#diane lane#kyle maclachlan#paula poundstone#bobby moynihan#paula pell#dave goelz#frank oz#josh cooley#flea#john ratzenberger#peter segal
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Age of Adz - Vesuvius Edition
" music inspired by panic attack "
To celebrate the return of Adz to vinyl, we’ve pressed a special “Vesuvius” Edition in bold red, orange, and black translucent smoke. Engineer Dave Cooley mastered and cut lacquers for this new round of pressings.
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“When I created the music, I just did it from my heart and from my soul. I didn’t really think about, ‘Well, who’s gonna like this, who isn’t gonna like it?’ I just created the music.” ��� Betty Davis
This year marks the 50th anniversary of Betty Davis’ self-titled debut — an electrifying artistic statement that launched one of modern music’s most revolutionary figures. To celebrate the visionary singer, songwriter, producer, and fashion icon’s broadly influential career, acclaimed reissue label Light in the Attic is revisiting four essential titles from The Queen of Funk’s catalog: Betty Davis (1973), They Say I’m Different (1974), Is It Love Or Desire? (recorded in 1976, released in 2009), as well as the first-ever vinyl release of Crashin’ From Passion, which captures Davis’ final 1979 sessions. All four tiles were produced in close collaboration with Davis, who sadly passed away in 2022.
Betty Davis, They Say I’m Different, and Crashin’ From Passion were remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). For the aforementioned three titles, the accompanying booklets include a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Davis’ close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last-ever interviews. They Say I’m Different also includes a fold-out 24x36 poster. Is It Love Or Desire? was remastered by GRAMMY®-nominated engineer John Baldwin and pressed on vinyl at Record Technology, Inc. (RTI). The album includes liner notes from journalist, DJ, and professor Oliver Wang.
Each album will be available on CD, black wax, and in a variety of exclusive color variants. All titles will be released on August 25th. Read below for more information on Davis and the individual albums.
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Tokyo Shoegazer - Moonworld Playground
(Shoegaze, Dream Pop, Post-Rock)
Some of the most lush and deafening shoegaze in recent years, Tokyo Shoegazer’s second album melds slow post-rock builds and a noise rock sense of weightiness with soft dream pop guitars and Rie Funakoshi’s sweetly sung vocals. Contrast is Moonworld Playground’s defining feature, but feeling the band’s full energy rush past you is nothing short of exhilarating.
☆☆☆☆½
Moonworld Playground was destroyed and recreated during the intense pandemic lockdowns in Japan, but it’s through the album's revitalization that Tokyo Shoegazer makes such an impact. An exciting name in the Japanese underground since their darling 2011 release Crystallize, the band’s mix of shoegaze fundamentals with the acidic edge of noise rock and post-rock’s gradual builds emphasized not only how varied their sound could be, but just how big they could be, too - few other shoegaze albums throughout the 2010s dared to be so ferocious and barbed in their use of distortion petals and endless reverb. In turn, Moonworld Playground keeps that biting edge at the core of its sound while extending their palette with moments of genuine elegance and softness, both their heaviest and loveliest set of songs yet that establish them as an essential name in this decade’s shoegaze scene. They know how to balance roaring tides with the sunshine that illuminates them, and that attention to detail brings Moonworld Playground’s every moment to success. Mixed by Yoshiaki Kondo of rock experimentalists Ground Zero fame and mastered by Dave Cooley, work whose credits range from Madvillainy’s swirling jazz rap to the hypnotic shoegaze of DIIV, Moonworld Playground hits that sweet spot between overbearing loudness and an intense yet approachable widescreen feel. Felicette and Silence kick things off pretty slow with the former’s six minutes of noisy ambiance and the latter’s minuscule opening half before erupting with ghastly guitars and Rie Funakoshi’s soaring vocals, but from there the album heads straight into fast-paced indie rock rowdiness: The Dreamer prickly guitar leads contrast against a dark bassline and blanketing distortion; Moondive assaults the senses with rumbling guitars and noisy percussion; album highlight Paradise reaches a stunning level of tropical lushness with its warm backing guitars and glowing melody. Loudness is an inherent feature of Moonworld Playground, but Tokyo Shoegazer along with Kondo and Cooley’s excellent handling of that loudness ensures Moonworld Playground is a thickly layered and richly detailed listen. When the baggy-influenced drumming sneaks its way into Constellations or Lucid leans into the ambient stylings of the opener with chiming bells and tender singing from Funakoshi, it’s not only a way for them to bring variation to Moonworld Playground but to give the album a sense of scope most shoegaze albums tend to ignore, Tokyo Shoegazer offering a handful of fantastic sounds rather than only a single one. The pandemic’s effects on the band also reveal themselves in how hearty and energetic an album Moonworld Playground is, Tokyo Shoegazer able to play with one another again and harnessing the power that in itself holds. Paradise and Constellations alone send the band on their liveliest expeditions yet, roaring guitars slammed against Hiroshi Sasbuchi’s drumming with a sense of urgency only ever brought on by the excitement of getting to make music with others again. Tokyo Shoegazer’s music relies on its power to bring the band’s ideas to life, but there’s a rejuvenation to their chemistry as a group you can tangibly hear in The Dreamer’s sunny guitar loops or the slow sunset of Tokyo Neon Lights accentuated with a buzzy bassline from Taizo Nakamura, the band sitting around the same table but putting incredible detail and lavishly treating each of Moonworld Playground’s nine songs - it’s shockingly stately for an album with this much noise holding it all together. There are few moments of softness within Moonworld Playground, but it’s seeing those vulnerable corners of the band fully exposed that allow Tokyo Shoegazer to build their wildest worlds from. All in all, Moonworld Playground is just a really good shoegaze album. The songs are huge, each song unique, and the inventiveness in its use of different indie rock styles along the way make Tokyo Shoegazer’s reintroduction to the world a near spotless one, reviving the energy that made their debut more than a decade ago so compelling while building upon it with new ideas and the spark of energy many artists felt when the opportunity to perform with others again opened itself up. The true power of Moonworld Playground, though, is simply the fact that it hits hard and never ceases to inspire with its creative and exuberant take on the bittersweet shoegaze sound they brought to life more than a decade ago.
This review is part of the ALL I MISSED: 2022, where I review all the albums I didn't get to from last year.
#tokyo shoegazer#moonworld playground#higher hell#dream pop#indie rock#noise rock#post-rock#rock#shoegaze#2022#9/10#album review#album reviews#music review#all i missed 2022#luuurien
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Innocence Meets Adulthood on Berliner Nadine Finsterbusch’s, “My Space”
Nadine Finsterbusch is not one to live in the past. She also shrugs-off the expectations that beset women her age. With her first solo album MY SPACE, the 44-year-old Berliner gives herself permission to voice the experiences that have shaped her recent life: decidedly adult themes like early menopause, breaches of trust, and failed friendships. That said, her songs are also spiked with the hopefulness of youth. Across the ten pensive but energized electropop anthems that comprise MY SPACE, Finsterbusch re-opens the door to aspects of the self that most grownups have buried somewhere between shopping lists and work-life-balance—namely: the freedom to be unabashedly emotional, without any bitterness or the feeling that one has to hide behind a wall of feigned indifference. STREAM THE SINGLES: “WHY SO SERIOUS” | “NAMES“ In a conscious nod to her earliest and most formative inspiration, Finsterbusch’s bold combination of vehemence and innocence evokes the buoyant spirit of early-’90s Björk. “I secretly watched MTV at night when I was 13,” Finsterbusch recalls. “When I saw Björk for the first time, I knew that this was what I wanted to do, too.” Having fulfilled her love for the avant-garde side of pop in the band Phinsterbush, Nadine arrived at the juncture where the next logical step was to set off on her own. “I wanted to talk about my life and express myself as directly and honestly as possible,” she explains. “That can be difficult in a ‘band’ setting, where you tend to push each other to be as artistically serious as possible.” “That has its place,” she continues, “but these songs are way poppier, way more playful, way more free. It was a lot more like my childhood choir days, when I wanted to bring a lot of harmonies into the arrangements and make the songs big. There were times I only understood the meaning of the songs in retrospect, but for where I am in life right now, it’s very important to be able to just tune-in to what I’m feeling and go with it.” At this stage, of course, women find themselves grappling with mood swings and the finality of childlessness. To convey this range of emotional hues, she found the perfect musical foil in producer and longtime collaborator Ramin Bijan (Die Türen, Robert Forster, Samba, The Burning Hell). “He was so perfect,” Nadine enthuses, “because he gave me the space to trust myself enough to just express—without thinking.” “And speaking of space,” she says, “the association with the long-antiquated social network was unintentional but something I decided to run with—because it fits-in with the overall mood of not living in the past, but still wanting to preserve certain aspects that served us well. Getting older doesn’t have to mean that we lose our innocence. We may not remember it so well now, but there was a marvelous musical dimension to MySpace. It was a great place to discover different sounds, not to mention for sharing your own. And I made friends there that are still in my life to this day.” “This music,” she adds, “is my feel good place. When you listen to the album, I’d hope that it feels that way for you too: a special place where listeners also feel they can let their guard down—and, of course, groove along to the way it sounds.” MY SPACE was mastered by Dave Cooley (Tame Impala, Animal Collective, Paramore, Blood Orange, Madvillain). Nadine Finsterbusch MY SPACE tracks - You Make Me Forget - Silence Certainty - Nothing Moves - You You You - Why So Serious - So many Feelings - Names - Make Some Time - The Way - What Other Memories NADINE FINSTERBUSCH ONLINE SPOTIFY | YOUTUBE | SOUNDCLOUD | IG | TIKTOK | FACEBOOK Read the full article
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Kingdom Hearts IV predictions
Riley’s Mind/Mindscape (Inside Out)
Takes place after Inside Out 2.
Is visited by Sora.
Starring the voices of:
Lori Alan as Mom’s Sadness
Carlos Alazraqui as Dad’s Fear & Helicopter Pilot
Anaiya Asomugha as Sofia
Lewis Black as Anger
Sarayu Blue as Margie
Yvette Nicole Brown as Coach Roberts
Josh Cooley as Dad’s Sadness & Jangles
Andrea Datzman as Female TripleDent Gum Singer
Ronnie del Carmen as Male Abstract Thought Worker
Emerson Cunningham as Ally
Pete Docter as Dad’s Anger
Ayo Edeberi as Envy
Adèle Exarchopoulos as Ennui
Flea as Mind Cop Jake
Ron Funches as Bloofy
Dave Goelz as Mind Cop Frank
Randy Hahn as Hockey Announcer in Dad’s Memory
Tony Hale as Fear
Paul Walter Hauser as Embarrassment
Maya Hawke as Anxiety
Kate Higgins as Joy
Melanie Injeyan as Dani
James Austin Johnston as Pouchy
J.P. Karliak as Dad’s Disgust
Elissa Knight as Female Abstract Thought Worker
Diane Lane as Jill Andersen (Mom)
Liza Lapira as Disgust
Lilimar as Valentina Ortiz
Grace Lu as Grace Hsieh
Sherry Lynn as Mom’s Joy
Kyle MacLachlan as Bill Andersen (Dad)
Mona Marshall as Mom’s Disgust & Mom’s Anxiety
Bobby Moynihan as Forgetter Bobby
Laraine Newman as Mom’s Fear
Deya Nurani as Nour (Hijab Fire Hawk)
Sumayyah Nuriddin-Green as Bree Young
Frank Oz as Mind Cop Dave
Paula Pell as Mom’s Anger & Dream Director
Nick Pitera as Male TripleDent Gum Singer
Paula Poundstone as Forgetter Paula
Steve Purcell as Deep Dark Secret
John Ratzenberger as Fritz
Kendall Coyne Schofield as Foghorn Hockey Announcer
Patrick Seitz as Dad’s Joy & Train of Thought Conductor
Phyllis Smith as Sadness
Roger Craig Smith as Dad’s Anxiety
June Squibb as Nostalgia
Kensington Tallman as Riley Andersen
Kirk Thatcher as Foreman
Paris Van Dyke as Meg
Yong Yea as Lance Slashblade
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#kingdom hearts iv#inside out#headquarters#inside out joy#inside out sadness#inside out anger#inside out fear#inside out disgust#inside out anxiety#inside out envy#inside out ennui#inside out embarrassment#riley andersen#jill andersen#bill andersen#grace hsieh#bree young#valentina ortiz#val ortiz#the firehawks#coach roberts
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Song Premiere: Brooke Moriber "More Love"
Song Premiere: Brooke Moriber "More Love" @brookemoriber @americanahighways #morelove #countrymusic
Brooke Moriber – “More Love” Americana Highways is hosting this premiere of Brooke Moriber’s song “More Love,” from her forthcoming album due later this year. “More Love” was produced by Dave Pittenger; mixed by Jim Cooley and Dave Pittenger; engineered by Chris Utley, Matt Anthony and Dave Pittenger; and mastered by Greg Calbi. “More Love” is Brooke on vocals; Carl Miner on acoustic…
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Shouts out to CBJRadio.com for including my new song 'Robotic Humaliens' along with other great talent around the globe 🌍🤘 Repost: Mondays are a lot better with 3 hours of the best mix of NEW music starting at 3 pm PT, 6 pm ET only on CBJRadio.com. Today hear Anyverse, Shane Cooley Music, Longstay, Autonym, Anita Spring, Hootenanny Freaks, Limberlost Music, Carrjam21, Arron GC Dave Haynes Music, David McCredie, Rose Noir, 3 Little Wolves, Eric Walker Music, Gene Bradley Fisk Music, Mary Gantley Music, Had Brakes, Liam Merrigan, Maki Supa, Faith Marie, Klubber Lang, Koitos, The Cranberry Merchants, MATT SPRINGFIELD, Axminster, Frenchy and the Punk, Mybeatingheartmusic, Patti Dixon Music, PRYMA, Bent Self, LINDA LAMON MUSIC, Sharon Rose Gibson Music, Ross Harding Music, Robbie Harte, The Days on Earth, Shape Of Water, MunroMusic, Inner Outlines, & MORE! Listen for FREE. https://www.instagram.com/p/CkrRzhnpzpI/?igshid=NGJjMDIxMWI=
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make a poet Black by McKinley Dixon from the album For my Mama and Anyone who Look Like Her - Director: Jordan Rodericks
#music#mckinley dixon#spacebomb#onirologia#dave cooley#adrian olsen#trey pollard#costantino toth#ali thibodeau#patrick confortola#calvin brown#anthony cavanaugh#stephanie barrett#hyojoo uh#anna bishop#treesa gold#alfred.#music video#jordan rodericks#david muessig#video
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Citizen King - “Better Days (And The Bottom Drops Out)” [x]
#Citizen King#Citizen King band#Better Days (And The Bottom Drops Out)#Mount Sims#Matthew Sims#Matt Sims#Dave Cooley#Kristian Riley#Malcolm Michiles#DJ Brooks#alternative rock#rock#alternative#rap rock#90's#90's music#my gifs
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Gallery: Drab Majesty at Soup Kitchen in Manchester 19 September 2019
Gallery: Drab Majesty at Soup Kitchen in Manchester 19 September 2019
(Photo Credit: Callum Barks-Moores)
(Photo Credit: Callum Barks-Moores)
(Photo Credit: Callum Barks-Moores)
(Photo Credit: Callum Barks-Moores)
(Photo Credit: Callum Barks-Moores)
(Photo Credit: Callum Barks-Moores)
(Photo Credit: Callum Barks-Moores)
Like what you see? Why not stick around and check out the other articles and interviews! Don’t forget to follow Birthday Cake For Breakfast on Faceb…
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#19 September 2019#Birthday cake for breakfast#Dais Records#Dave Cooley#Dolls In The Dark#Drab Majesty#Josh Eustis#Long Division#Manchester#Modern Mirror#Out of Sequence#Soup Kitchen#The Other Side
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craziest part about rewatching dtng 1-6 is that i like jt CONSIDERABLY less than i did on a first watch (and thats saying something bc he used to be my favorite from his era) and i now much prefer jtanny and toberty over jiberty
#degrassi#jt yorke#i saw this twt thread that was like 'rank the degrassi character archetypes'#and they put jt dave and winston together under the class clown archetype#and i sat there looking at it like.#i . like dave and winston more than i like jt ????!???#and like. dave i get ive always had a soft spot for dave but WINSTON??????#who am i.#idk i think how asshole-ish he was to toby in s3-4 and liberty in s1-3 just . turned me off of him#along w how (no offence to ryan cooley) he lost every ounce of charm he had by s5#dont get me wrong i still lub jiberty#but like. a lot less than i did#theyre extremely tragic and the slowburn is immaculate#but also i cant get past how shitty jt treated liberty ):#im just sayin toby would neva do her like that !#which is why im a lot softer on the weird toberty kiss in the bitterest pill than everyone else is
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Peggy Lee - Fever (1958) Eddie Cooley / Otis Blackwell (AKA John Davenport) / Peggy Lee from: "Fever" / "You Don't Know"
Jazz | Jazz Vocal
JukehostUK (left click = play) (320kbps)
Personnel: Peggy Lee: Vocals Joe Mondragon: Bass Shelly Manne: Drums
Arranged by Peggy Lee Produced by Dave Cavanaugh
Recorded: @ The Capitol Records Studios in Hollywood, California USA on May 19, 1958
Peggy Lee's version of the song featured significantly rewritten lyrics from those of the original, composed by Ms Lee herself.
Released June of 1958
Peggy Lee performing at a Miami Nightclub. (c.1960's) Photograph by Bunny Yeager
#Capitol Records#1950's#Fever#Peggy Lee#Otis Blackwell#Dave Cavanaugh#Eddie Cooley#Bunny Yeager#Joe Mondragon#Shelly Manne
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Harter said of Cooley, who sued him, “She’s not the innocent little old lady she would portray herself to be.”
no, she's a warrior queen fighting for her life, taken advantage of by half-assed workers, an unscrupulous contractor, Bold- and a flipper, Harter, you can bet was clued in by Bold that the house was on the market- bet they are in on it together
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Alix Page Teases Her Debut EP With the Heart-Rending “25”
Photo: Dillon Matthew
Following the praise she received for her previous singles "Stripes" and "Frank," indie singer-songwriter Alix Page is back with another heart-string pulling, autobiographical track, "25." The reflective, alt-pop song was written over the course of six months, following the dissolution of a long-illed relationship, and was produced by Half Alive's Brett Kramer, mixed by Yianni AP, and mastered by Dave Cooley.
"25" begins with Page describing how she was running errands for her mom, missed her exit, and ended up having to drive through the neighborhood of her ex's old house. "I remember being super caught off guard and pretty much writing the whole first verse at stoplights for the rest of that drive," confesses Page. She then begins to daydream about re-encountering her former lover someday, wondering where and when it would occur and coming to the conclusion it would probably be at a show when they're around twenty-five. The song then explores the concept of letting go, coinciding with growing up and looking ahead at the future.
Page's lyricism is full of intricate storytelling, grief, and growth. This is especially evident in lines like, "Your name's getting sour, it wasn't supposed to / Always such a sweetheart till someone adores you." According to the California native, before she wrote "25," she never thought she would be able to be mad at the guy at the heart of the single. "He was always everyone's favorite person in every room, and I had a huge soft spot for him," she shares. "It hurts that much more when someone like that shows you a new side of them that totally breaks that perception."
The sentimental and existential air that fuels the track seeps into the accompanying music video and explores her newfound perspective further. Viewers are met with scenes of nostalgic imagery similar to a coming-of-age movie. The bursts of guitar riffs act as a green light for a flashing montage of romantic and tender memories. "I'd been bouncing this idea around in my head for a while where there's one thing happening in linear time while flashing back and forth to other moments, all leading up to a reveal that ties the whole thing together and opens it up." says Page. "In the video, that linear thing ended up being one long drive to meet this guy, played by Tyler Gebo, and the flashback moments you see are memories from the relationship that I'm reliving on that drive."
It's evident in the video for "25," which was shot in three days, that the working relationship between Page and director Tanner Deutsch was full of shared creative control and collaboration. "In the early brainstorming stages, we just talked a lot about our own relationships and our favorite memories from them and tried to incorporate a lot of those into the video," shares Page. "There was a lot of overlap with our experiences in addition to our style influences and favorite creatives, so that was really fun to talk through and plan out. In preparation, I made him watch Beginners, and he made me watch Donnie Darko. Those two movies were some of the key inspiration for the whole video."
Page went on to add that the most challenging part of the shoot was either trying to keep an illegal campfire under wraps at the beach or all the takes of her running up a hill in a party dress and loafers. "The fun surprise of it all was the dance scene in the living room. I did ballet pretty seriously till I was 12, and Tyler danced for a really long time too, so we started messing around with a few steps, and Tanner thought it was sweet, and it ended up making the video."
"25" will be included in Page's upcoming EP Old News, which is about falling back and getting stuck into old habits. All the songs on the EP except one were written during the 2020 lockdown. Instead of leaving for college as she had planned, she found herself still living at home and out of that frustration came her upcoming record. "Every song also deals with some kind of confession, whether it's actually saying something to a person or just admitting something to myself," reveals Page. "I think a lot of that was just coming out of the most confusing year and needing to break a lot of silences to get clarity and make sense of my life."
Watch the "25" video below:
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