#the atomic garden recording studio

[moochilatv]

Said Sara presents: Then There You Are

Then There You Are is a tribute to anyone we know who has passed and might be monitoring you. Are they listening in - showing themselves in nature or in the air? Then There You Are asks you to see the signs and admit their presence.

As with many other Said Sara songs, Then There You Are was conceived in part from a nagging, psychic melodic concept, somewhere between the tonic jangle of a guitar turnaround from John Cougar’s Hand To Hold On To, the resonant sound of a certain click track - a mix of cowbell and wood block, though played as a guitar chord, and the conclusion of the refrain from the 80s “Toys ‘R Us Kid” jingle. For months, these three sounds would flash into Benson’s mind throughout the day, but never sorting themselves out until a conscious decision to sit with them was made. Once that 3 second, 3 chord solution was written, the rest of the song marched in line. Then there’s the lyrics. Over the course of a month, the astral theme took shape as if guided by the milky way itself. In the case of Then There You Are, the stars and the shadows they create both must receive ghost writer credits. 

Benson is currently working on a new album - the follow-up to 2022’s Theothanatology - with crusty death metal troupers Acephalix, for which he has played drums for 16 years.

Benson resides with his family in his native San Francisco, where he works as a special ed teacher at a public high school.

Then There You Are

David Benson: voice, acoustic guitar, bodhran, piano, electronics

Then There You Are was recorded at The Guest Room and Yosemite Studios in San Francisco, and was again mastered by Jesse Nichols at Atomic Garden West in Oakland, CA.

Cover photo by Frédérique Blais-Pouliit.

View this post on Instagram

A post shared by David Benson (@_bensond_)

[greensparty]

Album Reviews: Neil Young and Crazy Horse / Thom Yorke

This week I got to review two albums: a live album and a soundtrack score, both from legends:

Neil Young & Crazy Horse Fu##in Up'

Here at Green's Party, I've been fortunate enough to cover Neil Young albums quite a bit! In addition to the studio albums Colorado with Crazy Horse, the 2020 release Homegrown that was recorded in 1974-75, Toast which was recorded with Crazy Horse in 2001 and officially released in 2022, and last year's release Chrome Dreams that was recorded from 1974-77, I also got to review the 2022 live release Noise & Flowers recorded in 2019 on his tour with Promise of the Real. I saw Old Neil live in 2008 at Madison Square Garden in NYC and capturing his live concert experience is challenging to capture that magic. Hats off to Jonathan Demme for doing possibly the best job anyone could do with his concert films  (Neil Young: Hear of Gold, Neil Young Trunk Show, and Neil Young Journeys). Being released today (after a Record Store Day edition) from Reprise is the live album Fu##in' Up.

album cover

The Crazy Horse lineup is Billy Talbot (bass, vocal), Ralph Molina (drums, vocal), Micah Nelson (guitar, vocal, piano), Nils Lofgren (guitar, vocal, piano) and of course Old Neil (guitar, vocal, harmonica). There are loads of hits here that's for sure. But there's no real smoking gun moment of "OMG - He's never done this live before" type deep cuts. But in the end, it's Old Neil showing he's still got it! Always great to hear these songs!

For info on Fu**in' Up

3.5 out of 5 stars

Thom Yorke Confidenza soundtrack

If Radiohead is singer Thom Yorke's day job then I can easily say he does more with his down time away from his day job than most musicians do at their actual day job! My goodness - he is prolific in ways the average person can only imagine: the supergroup Atoms for Peace he took part in with Flea and Nigel Godrich, his side project The Smile with Radiohead guitarist Jonny Greenwood (their album A Light for Attracting Attention was so good I named it my #1 Album of 2022! And I recently gave their new album Wall of Eyes a whopping 5 out of 5 stars), his solo albums (I included Anima in my Best Albums of 2019), and his soundtrack work. Now he is back with the soundtrack to Confidenza, an Italian film from director Daniele Luchetti. The soundtrack is being released by XL Recordings digitally today and will be released physical on July 12.

album cover

While Jonny Greenwood has become one of the great film composers of the now (You Were Never Really Here, There Will Be Blood and Spencer to name a few), Yorke has slowly begun to get into making highly effective music for films as well. In 2018, Yorke scored the remake to Suspiria. In my review of the soundtrack I noted "It’s more in line with an instrumental symphony orchestra soundtrack than an alt-rock album you’d put on and rock out to." Now, Yorke has scored Confidenza, an adaptation of the Italian drama based on Domenico Starnone’s novel of the same name. Much like when I reviewed Suspiria soundtrack, I haven't seen Confidenza prior to this album review, so I'm listening to this as it's own album without the context of how it fits into the film.

Having not seen the film yet, as its own autonomous album, it is moody, atmospheric and evoking visuals just in its sounds. Much like Suspiria, I was drawn in more by the songs with Yorke singing moreso, notably "Knife Edge" and "Four Ways in Time". As the world awaits a new Radiohead album and I await a Boston concert date from The Smile, it is quite an event to hear Yorke working with the London Contemporary Orchestra alongside a jazz ensemble which included Robert Stillman and his bandmate in The Smile Tom Skinner. Worth a deep listen!

For info on Confidenza

4 out of 5 stars

[chorusfm]

Paint it Black Announce New Album

Paint it Black have signed with Revelation Records and announced their new album, Famine, will be out on November 3rd. Today they’ve shared a video for the title track and pre-orders are now up. Twenty years after their first album, Philadelphia band Paint It Black today announce Famine, set for release November 3rd on the band’s new label home, the historic Revelation Records. Across three full-length albums and three seven-inch EPs, the four-piece of vocalist Dan Yemin, bassist Andy Nelson, guitarist Josh Agran, and drummer Jared Shavelson have been crafting concise, incisive statements that meld hardcore’s fury with a nuanced lyrical perspective. On Famine, Paint It Black shows all sides of itself, returning as inspired—and inspiring—since their latest release, 2013’s Invisible EP. The eight songs on the record are vibrant, vital, and full of unrest, as exemplified on title track “Famine” out now. The song is pummeling and melodic at the same time as Yemin’s vocals, as charged as ever, dissect the rose-colored tellings of American history with surgical precision. The video puts live footage against clips of propaganda and political unrest, and can be viewed HERE. Paint It Black has also announced a record release show in Philadelphia on November 4th with support from Pegboy, Radiator Hospital, and The HIRS Collective. Tickets can be purchased HERE at 10AM ET on Friday, September 8th. The band is also set to perform at this year’s edition of The Fest in Gainesville, FL on October 28th. As a band who only releases music when they have something to say, Paint It Black have packed a decade’s worth of frustration into Famine. While extremely volatile, there is also a steep richness in both the music and lyrics, projecting the honesty and authenticity Paint It Black is known for. Lyrical themes navigate the narrative between myth and the truth, rebuking against religious fundamentalism, constitutional originalism, and the very concept of policing. Entering the studio with Jack Shirley at The Atomic Garden in Oakland, CA (Deafheaven, Gouge Away), the band recorded live to tape, providing the ability to just play as they saw fit. The recording process also turned into a community experience, with Ink & Dagger’s Don DeVore brings his distinct guitar work to “Dominion,” Brian Stern (Planet On A Chain) providing guest vocals on “Serf City, U.S.A.” and Cold World’s Dan Mills lending his voice to “The Unreasonable Silence.” Expanding on why now felt like the right time to make a record, Yemin states: “It’s important to make things that are real, thoughtful, and not disposable. We don’t just put out a new record because it’s time to put out a new record. We put out a record when we’ve got something to say. We’re a hardcore punk band, and the most important thing, more than velocity or volume, is authenticity. I’m shooting for something real because I want to feel something real and I want to yell it in people’s faces. I want to stir something in people, and I want to make music that I had to stir something in myself to make.” Famine is available for vinyl preorder now through Revelation Records and digital on Bandcamp. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/paint-it-black-announce-new-album/

[brookston]

Holidays 7.16

Holidays

Artificial Intelligence Appreciation Day

Assata Shakur Day

Atomic Bomb Day

Catcher in the Rye Day

Closet Space Appreciation Day

DC Day

Elderly Women Day (Kiribati)

Engineer’s Day (Honduras)

Festival of Convivial Tools

Fiesta de La Tirana (Tarapacá Region, Chile)

Guinea Pig Appreciation Day

Harela (Uttarakhand, India)

Holocaust Memorial Day (France)

International Disability Awareness Day

International Drag Day

International Juggling Day

Islamic Calendar Day

Lady of Carmen Day (Chile)

La Paz Day (Bolivia)

Manu’s Cession Day, Day 2 (American Samoa)

National Atomic Veterans Day

National Change Your Font Day

National D.R.E.S.S. Syndrome Day

National Emily Day

National Geordie Day (UK)

National Jerry Day

National Peace Day (Dia de la Paz; Bolivia)

National Stick Shift Day

National Wedding Invitation Day

No Kissing Day

Order of the Arrow Day (BSA)

Parking Meter Day

Parks Day (Canada)

Reading Together Day (UK)

Rural Transit Day

716 Day

Talk to a Telemarketer Day

Tare Day (French Republic)

Trinity Test Day

Urs Shah-I-Hamdan Sahib (Kashmir, India)

World PR Day

World Snake Day

World Wizkid Day (Nigeria)

Food & Drink Celebrations

Darwin Beer Can Regatta 2023 (Australia) [Date Varies]

Fresh Spinach Day

Hot Coal Chicken Day (Peru)

Hot Dog Night

Ice Cream Cone Day

National Cherry Day (UK)

National Corn Fritter Day

National Funnel Cake Day

National Personal Chef Day [also 2.26]

3rd Sunday in July

Anne Hutchinson Memorial Day (Rhode Island) [Sunday closest to 20th]

Bosphorus Cross-Continental Swim (Istanbul, Turkey) [3rd Sunday]

Children’s Day (Cuba) [3rd Sunday]

Galla Bayramy (Turkmenistan celebration of the wheat harvest) [3rd Sunday]

Ginibiimanaan (a.k.a. Lake Superior Day) [3rd Sunday]

Lake Superior Day [3rd Sunday]

Luxembourg Beer Festival [3rd Sunday]

Metallurgist’s Day (Russia) [3rd Sunday]

National Ice Cream & Beer Day (mix some vanilla ice cream with your favorite Porter or Stout) [3rd Sunday]

National Ice Cream Day [3rd Sunday]

National Ice Cream Soda Day [3rd Sunday]

Sundae Sunday [3rd Sunday]

Independence Days

Custosia (Declared; 2017) [unrecognized]

Feast Days

Andrea del Sarto (Artology)

Asalha Puja Day (Buddhist Lent begins)

Bobby Henderson Day (Pastafarian; Saint)

Charles Sheeler (Artology)

Dr. Doom Day (Church of the SubGenius; Saint)

Display of the Embarrassing Swimsuits (Church of the SubGenius)

Eustathius (Christian; Saint)

First Sermon of Lord Buddha (Bhutan)

Gondulphus of Tongeren (Christian; Saint)

Helier (a.k.a. Elier; Christian; Saint)

Our Lady of Mount Carmel (Christian; Saint)

Phoebe Cates Day (Humanism)

Reineldis (Christian; Saint)

Rotary Doozer (Muppetism)

Skip This Day Day (Pastafarian)

Solstitium XI (Pagan)

The Troubadours (Positivist; Saint)

Vardavar (Pagan Prank Day; Armenia) [14 Weeks after Easter]

Zoot (Muppetism)

Lucky & Unlucky Days

Prime Number Day: 197 [45 of 72]

Sakimake (先負 Japan) [Bad luck in the morning, good luck in the afternoon.]

Premieres

Ain’t No Mountain High Enough, by Diana Ross (Song; 1970)

Alice’s Restaurant Massacree, by Arlo Guthrie (Song; 1976)

Akira (Anime Film; 1988)

Ant-Man (Film; 2015)

The Blair Witch Project (Film; 1999)

The Catcher in the Rye, by J.D. Salenger (Novel; 1951)

Die Entführung aus dem Serail, by Wolfgang Amadeus Mozart (Opera; 1782)

Dragon Around (Disney Cartoon; 1954)

Drop Dead Gorgeous (Film; 1999)

Eyes Wide Shut (Film; 1999)

False Hare (WB LT Cartoon; 1964)

Free Willy (Film; 1993)

From Up on Poppy Hill (Studio Ghibli Animated Film; 2011)

George of the Jungle (Film; 1997)

The Half-Blood Prince, by J.K. Rowling (Novel; 2005) [Harry Potter #6]

Hocus Pocus (Film; 1993)

Inception (Film; 2010)

The Moonstone, by Wilkie Collins (Novel; 1868)

Mouse and Garden (WB LT Cartoon; 1960)

Once A Day, by Connie Smith (Song; 1964)

Poison Ivy, recorded by The Coasters (Song; 1959)

Pom Poko (Studio Ghibli Animated Film; 1994)

Schmigadoon! (TV Series; 2021)

Sex & Drugs & Rock & Roll (TV Series; 2015)

Space Jam: A New Legacy (Animated Film; 2021)

Space Race (Video Game; 1973)

Stargate: Atlantis (TV Series; 2004)

Topper (Film; 1937)

Today’s Name Days

Carmen, Irmgard, Maria (Austria)

Yulian, Yuliana, Yuliya (Bulgaria)

Elvira, Karmela (Croatia)

Luboš (Czech Republic)

Tychos (Denmark)

Rein, Reinhold, Reino, Reinu, Reinut, Rinaldo, Ronald (Estonia)

Reino, Rene (Finland)

Elvire (France)

Carmen, Irmgard (Germany)

Valter (Hungary)

Maria, Vitaliano (Italy)

Hermīne, Rasulite (Latvia)

Danguolė, Faustas, Vaigaudas (Lithuania)

Sanna, Susanne (Norway)

Andrzej, Benedykt, Dziersław, Dzierżysław, Eustachiusz, Eustachy, Faust, Maria Magdalena, Marika, Ostap, Ruta, Stefan (Poland)

Drahomíra (Slovakia)

Carmen (Spain)

Reine, Reinhold (Sweden)

Ruth, Valentina, Valia (Ukraine)

Carmel, Carmela, Carmelo, Carmen, Shelby, Sherman, Sherwood (USA)

Carma, Carmel, Carmela, Carmelita, Carmella, Camelo, Carmélo, Carmen, Carmencita, Carmi, Carmie, Carmina, Carmine, Karmen, Phoebe (Universal)

Today is Also…

Day of Year: Day 197 of 2024; 168 days remaining in the year

ISO: Day 7 of week 28 of 2023

Celtic Tree Calendar: Tinne (Holly) [Day 7 of 28]

Chinese: Month 5 (Wu-Wu), Day 29 (Yi-Hai)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 27 Tammuz 5783

Islamic: 27 Dhu al-Hijjah 1444

J Cal: 17 Lux; Theesday [17 of 30]

Julian: 3 July 2023

Moon: 1%: Waning Crescent

Positivist: 1 Dante (8th Month) [The Troubadours]

Runic Half Month: Ur (Primal Strength) [Day 3 of 15]

Season: Summer (Day 26 of 94)

Zodiac: Cancer (Day 26 of 31)

Calendar Changes

Dante (Modern Epic Poetry) [Month 8 of 13; Positivist]

[brookstonalmanac]

Holidays 7.16

Holidays

Artificial Intelligence Appreciation Day

Assata Shakur Day

Atomic Bomb Day

Catcher in the Rye Day

Closet Space Appreciation Day

DC Day

Elderly Women Day (Kiribati)

Engineer’s Day (Honduras)

Festival of Convivial Tools

Fiesta de La Tirana (Tarapacá Region, Chile)

Guinea Pig Appreciation Day

Harela (Uttarakhand, India)

Holocaust Memorial Day (France)

International Disability Awareness Day

International Drag Day

International Juggling Day

Islamic Calendar Day

Lady of Carmen Day (Chile)

La Paz Day (Bolivia)

Manu’s Cession Day, Day 2 (American Samoa)

National Atomic Veterans Day

National Change Your Font Day

National D.R.E.S.S. Syndrome Day

National Emily Day

National Geordie Day (UK)

National Jerry Day

National Peace Day (Dia de la Paz; Bolivia)

National Stick Shift Day

National Wedding Invitation Day

No Kissing Day

Order of the Arrow Day (BSA)

Parking Meter Day

Parks Day (Canada)

Reading Together Day (UK)

Rural Transit Day

716 Day

Talk to a Telemarketer Day

Tare Day (French Republic)

Trinity Test Day

Urs Shah-I-Hamdan Sahib (Kashmir, India)

World PR Day

World Snake Day

World Wizkid Day (Nigeria)

Food & Drink Celebrations

Darwin Beer Can Regatta 2023 (Australia) [Date Varies]

Fresh Spinach Day

Hot Coal Chicken Day (Peru)

Hot Dog Night

Ice Cream Cone Day

National Cherry Day (UK)

National Corn Fritter Day

National Funnel Cake Day

National Personal Chef Day [also 2.26]

3rd Sunday in July

Anne Hutchinson Memorial Day (Rhode Island) [Sunday closest to 20th]

Bosphorus Cross-Continental Swim (Istanbul, Turkey) [3rd Sunday]

Children’s Day (Cuba) [3rd Sunday]

Galla Bayramy (Turkmenistan celebration of the wheat harvest) [3rd Sunday]

Ginibiimanaan (a.k.a. Lake Superior Day) [3rd Sunday]

Lake Superior Day [3rd Sunday]

Luxembourg Beer Festival [3rd Sunday]

Metallurgist’s Day (Russia) [3rd Sunday]

National Ice Cream & Beer Day (mix some vanilla ice cream with your favorite Porter or Stout) [3rd Sunday]

National Ice Cream Day [3rd Sunday]

National Ice Cream Soda Day [3rd Sunday]

Sundae Sunday [3rd Sunday]

Independence Days

Custosia (Declared; 2017) [unrecognized]

Feast Days

Andrea del Sarto (Artology)

Asalha Puja Day (Buddhist Lent begins)

Bobby Henderson Day (Pastafarian; Saint)

Charles Sheeler (Artology)

Dr. Doom Day (Church of the SubGenius; Saint)

Display of the Embarrassing Swimsuits (Church of the SubGenius)

Eustathius (Christian; Saint)

First Sermon of Lord Buddha (Bhutan)

Gondulphus of Tongeren (Christian; Saint)

Helier (a.k.a. Elier; Christian; Saint)

Our Lady of Mount Carmel (Christian; Saint)

Phoebe Cates Day (Humanism)

Reineldis (Christian; Saint)

Rotary Doozer (Muppetism)

Skip This Day Day (Pastafarian)

Solstitium XI (Pagan)

The Troubadours (Positivist; Saint)

Vardavar (Pagan Prank Day; Armenia) [14 Weeks after Easter]

Zoot (Muppetism)

Lucky & Unlucky Days

Prime Number Day: 197 [45 of 72]

Sakimake (先負 Japan) [Bad luck in the morning, good luck in the afternoon.]

Premieres

Ain’t No Mountain High Enough, by Diana Ross (Song; 1970)

Alice’s Restaurant Massacree, by Arlo Guthrie (Song; 1976)

Akira (Anime Film; 1988)

Ant-Man (Film; 2015)

The Blair Witch Project (Film; 1999)

The Catcher in the Rye, by J.D. Salenger (Novel; 1951)

Die Entführung aus dem Serail, by Wolfgang Amadeus Mozart (Opera; 1782)

Dragon Around (Disney Cartoon; 1954)

Drop Dead Gorgeous (Film; 1999)

Eyes Wide Shut (Film; 1999)

False Hare (WB LT Cartoon; 1964)

Free Willy (Film; 1993)

From Up on Poppy Hill (Studio Ghibli Animated Film; 2011)

George of the Jungle (Film; 1997)

The Half-Blood Prince, by J.K. Rowling (Novel; 2005) [Harry Potter #6]

Hocus Pocus (Film; 1993)

Inception (Film; 2010)

The Moonstone, by Wilkie Collins (Novel; 1868)

Mouse and Garden (WB LT Cartoon; 1960)

Once A Day, by Connie Smith (Song; 1964)

Poison Ivy, recorded by The Coasters (Song; 1959)

Pom Poko (Studio Ghibli Animated Film; 1994)

Schmigadoon! (TV Series; 2021)

Sex & Drugs & Rock & Roll (TV Series; 2015)

Space Jam: A New Legacy (Animated Film; 2021)

Space Race (Video Game; 1973)

Stargate: Atlantis (TV Series; 2004)

Topper (Film; 1937)

Today’s Name Days

Carmen, Irmgard, Maria (Austria)

Yulian, Yuliana, Yuliya (Bulgaria)

Elvira, Karmela (Croatia)

Luboš (Czech Republic)

Tychos (Denmark)

Rein, Reinhold, Reino, Reinu, Reinut, Rinaldo, Ronald (Estonia)

Reino, Rene (Finland)

Elvire (France)

Carmen, Irmgard (Germany)

Valter (Hungary)

Maria, Vitaliano (Italy)

Hermīne, Rasulite (Latvia)

Danguolė, Faustas, Vaigaudas (Lithuania)

Sanna, Susanne (Norway)

Andrzej, Benedykt, Dziersław, Dzierżysław, Eustachiusz, Eustachy, Faust, Maria Magdalena, Marika, Ostap, Ruta, Stefan (Poland)

Drahomíra (Slovakia)

Carmen (Spain)

Reine, Reinhold (Sweden)

Ruth, Valentina, Valia (Ukraine)

Carmel, Carmela, Carmelo, Carmen, Shelby, Sherman, Sherwood (USA)

Carma, Carmel, Carmela, Carmelita, Carmella, Camelo, Carmélo, Carmen, Carmencita, Carmi, Carmie, Carmina, Carmine, Karmen, Phoebe (Universal)

Today is Also…

Day of Year: Day 197 of 2024; 168 days remaining in the year

ISO: Day 7 of week 28 of 2023

Celtic Tree Calendar: Tinne (Holly) [Day 7 of 28]

Chinese: Month 5 (Wu-Wu), Day 29 (Yi-Hai)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 27 Tammuz 5783

Islamic: 27 Dhu al-Hijjah 1444

J Cal: 17 Lux; Theesday [17 of 30]

Julian: 3 July 2023

Moon: 1%: Waning Crescent

Positivist: 1 Dante (8th Month) [The Troubadours]

Runic Half Month: Ur (Primal Strength) [Day 3 of 15]

Season: Summer (Day 26 of 94)

Zodiac: Cancer (Day 26 of 31)

Calendar Changes

Dante (Modern Epic Poetry) [Month 8 of 13; Positivist]

[christopheralanfox]

Recorded at Pus Cavern Recording Studio by Joe Johnston (Deftones, Cake) and mastered by Jack Shirley (Jeff Rosenstock, Deafheaven) at Atomic Garden Recording Studios, Bouts With Bummers, is 16 full-throttled tracks featuring the band at their best. Loneliness through technology (“Never Alone”), climate change (“Extinction”), personal growth (“Singing About Drinking”/”Departure”), life on the road (“Away”), good times with friends (“Theme From Maximum Party Time”) and–of course–working through those bummers (“Okay”/”Four Seasons And A Movie”) are all set to a poppy, punk rock score. The world might be shitty, but Boss’ Daughter wants to remind you it doesn’t have to suck. So grab a friend, crack open a beer and the next time you have a bout with a bummer, take Boss’ Daughter’s advice, “We learn to let it go and say, “I’ll be okay.”" - @talesoftheweird “Bouts With Bummers” is out Febrewary 10 on vinyl/cd/cassette/digital! 📸: @showtographybywaynelawton (at 924 Gilman) https://www.instagram.com/p/CoGOBuiPrWK/?igshid=NGJjMDIxMWI=

[mysteriis-moon666]

TOADEATER – Bexadde

Combinant des composants dissonants, émotifs et mélodiques dans une musique qui coule comme une entité malveillante sinueuse, les titres de Toadeater croissent et déclinent avec la menace vibrante d’un blackgaze dépressif entre Der Weg Einer Freiheit, Lamp of Murmuur, Harakiri for the Sky, Ultha, Mgla, Unru et Mayhem.

Toaderter est un quatuor Allemand, leur discographie égrène une démo en 2018, un premier album “Codex” en 2019,  l’E.P “Hestia” 2020, l’opus « Bit to ewigen daogen » 2020, et « Bexadde » 2022 via le label FDA Records, enregistré et mixé par  Andy Rosczyk (Goblin Sound Studio / Cologne), masterisé à Oakland par Jack Shirley à The Atomic Garden, l’artwork a été créé par Rafael Pascuale Zamora d’après son œuvre ‘’Beholding the complexity of death’’.

Troisième album « Bexadde », c’est 4 titres pour 44 minutes de post-Black Metal atmosphérique qui apporte une résonnance mature, mélancolique et accrocheuse tout à la fois. L’opus aborde le concept de l'acceptation inconditionnelle des vérités douloureuses, vous entraînant dans les profondeurs du traitement des incertitudes, du désespoir et de l'aporie. BEXADDE est l'aboutissement de contradictions internes insolubles et d'anxiété incessante. Lieu de tourment enténébré et de souffrance existentielle aliénante, de cri purificateur et de tensions barbelés, les titres imposent une atmosphère d’agressivité avec une furie viscérale, des émotions primaires et une intensité sinistre qui refuse de se subordonner.

« Bexadde » est brut et dur, toujours ancré dans un aspect terreux grouillant de ver, pris dans un océan vague de noirceur. Il y a une poigne qui vous enserre la glotte, pour que vos seuls maux s’enfouissent hurlant en démon tourmenté dans le fond de paysages sonores sombres, vivace d'une émotion noircie et touchante.

[elindae-writes]

megatron calls in to QVC

Karen claps her hands. "Hello, lovelies! We just finished up Friday Night Beauty and now I will walk us through some lovely decorations you can craft and touch up your home with." She walks out into a fake outdoors garden, sniffs a plastic rose, and then cheerfully stands behind a white picnic table with craft supplies scattered all over it.

The phone rings.

"Ooh! Our first caller. Let's see who wants to make a lovely calligraphy chalkboard name sign with us first!"

The phone line clicks. Heavy staticky breathing rasps over. The caller coughs. "it is your lord calling."

Karen blinks. "Oh? Heh, this caller has a sense of humor!"

A technician out of view of the recording camera rolls up a wheeled stand with a small TV on it. It has Megatron's 24/7 Facebook livestream on it. Lord Megatron, caller of QVC, is sat before a rusty metal table with an identical set of craft supplies laid out on it.

"i saw the ad for this craft-time on your facebook page," he wheezes. "let us craft together, karen."

Karen gulps. "Okay. O-okay. Let's get started."

Happy music begins playing.

"you always were my favorite qvc host," Megatron grunts.

Karen's smile becomes very fake. "O-oh, thank you--"

"you are nothing like that other bitchy host. monica. god."

Monica is standing off to the side of the set. She gasps.

"the last time she tried a crafting activity she just fucked it all up. she can't make a wholesome chalkboard home sign. shame upon her." Megatron slams his fist down onto his desk to accentuate his point. QVC is now airing both their broadcast and Megatron's side-by-side.

Karen shakily gestures at the craft supplies upon her table. "And, uh, what would you like your sign to say, my Lord?"

He hums in thought. "mhmm. live, love, laugh, lord."

Karen claps her hands and nods vigorously. "Excellent choice, my Lord."

She sets to work constructing it and explaining how to do so.

"fuck," Megatron mutters.

"My Lord?"

"i accidentally stabbed my sign with the tip of my talon." It is now embedded on his talon. He waves it around and it doesn't dislodge itself. "what is the protocol for when your tasteful home decor gets stabbed onto your claw?"

Karen gulps. "You, uh, ask a friend to take it off."

Megatron nods. "indeed. SOUNDWAVE. assist your lord with his diy."

Soundwave hovers on the edge of the camera's view.

"soundwave. cometh. why are you so hesitant? perhaps starscream is more willing. STARSCREAM. diy or die."

Starscream shakily steps into view, slides the chalkboard sign off of Megatron's talon, and then runs out of view. He sobs.

Karen clears her throat. "Y-you know, I created signs just like these for my twin son's shared room. We made them together."

"oh? i have my own twins."

"Really?"

"yes. one is an f-16-C fighting falcon heat-seeking missile equipped fighter jet and the other is a general atomics MQ-9 spy drone reaper."

"...Oh."

"indeed," Megatron rumbles. "i used to have a brother but then he became a backstabbing bitch eighteen-wheeler."

"..."

"so i am brotherless," Megatron finishes. He seems satisfied with himself.

Karen's mouth is suddenly dry. "I see."

"do you? must i lift the blindness from your eyes, oh karen? do you have any siblings, karen?"

Karen reviews her options. She could lie and say no. But... she can't help but get the sense that Lord Megatron would likely find out that she lied about the existence of Karl.

"Karl. His name is, um, Karl."

"kaarrllll," he huffs. "has he ever betrayed you?"

"Ah, no?"

"has he now? or has he just not yet?" A growl vibrates through the phone line. The chalkboard in Megatron's grasp snaps in half. He quickly tosses it aside and grabs a new one. The new one is heart-shaped.

"He wouldn't betray me--"

"THAT IS WHAT THEY ALL SAY, BLOOD BROTHERS AND ADOPTED ONES ALIKE," Megatron's voice booms. "trust me, karen, when i say that soon this 'karl' character will konspire against you."

"Um."

"soon you will be there before the senate, ohhhh, the eyes of the elites allllll upooonnnn you--"

"Um?"

"--and you will be ready to take your place as lord over all of them! and then? and then?"

More heavy breathing rasps over the phone.

"And then?" Karen asks.

"karl will strike! he will use his dastardly skills to claim the Matrix of Leadership and embed it into his own being so that only he can be privy to the whisperings of the gods," Megatron hisses. "prepare, karen, prepare. life outside your astroturfed fake garden studio is a cruel one. what are karl's skills?"

"Um. H-he works at McDonald's."

Megatron sharply inhales. A sudden silence buzzes over the phone line.

"M-my Lord? My Lord?"

"mcdonald's, you say?"

The phone rings.

"Oh! A new caller."

She accepts the call.

"MEGATRON," Optimus says.

"oh!" Megatron growls. "look who decided to make his grand debut! and during my craft time, no less."

"Friday Night Craftpalooza is the right of every sentient being. It is not meant for just you."

"you took the matrix away from me! you took cybertron away from me! and most horribly, you took yourself away from me, orion! and now?! you have taken away my craft time."

"You took all of those things, including craft time, away from yourself, Megatron," Optimus says. "You must deal with the consequences of this war and of this craft time."

Karen's jaw drops. Soundwave lunges in and rips the phone out of Megatron's grasp. He runs off with it.

Megatron glares. He then reaches under the desk and--oh no--

He grabs a new phone.

He calls in to QVC. Karen hesitantly picks it up.

"karen," Megatron says suddenly. "i want to talk to the manager."

part 2 is here

[pinkfloydbt]

Pink Floyd and Led Zeppelin - two of the most successful, innovative and influencential bands and my two favourite bands. Here's a bit of trivia linking the two.

They both played the Bath Festival in June 1970, although Floyd played the 27th and Zeppelin the next day. Nick Mason recalled the that the complex studio instrumentation of Atom Heart Mother was to be recreated onstage, in "an attempt to keep up with the John Paul Jones." John Bonham said in 1975 "we don't do festivals because of the equipment we have. Imagine the changeover between us and the Floyd? It would take hours !"

Mutual friend Roy Harper sang on 'Have a Cigar'. John Paul Jones played a free concert at London's Hyde Park in 1974 with Roy Harper and David Gilmour, they both played together on Harper's album HQ in 1975.

David Gilmour played along with John Bonham and John Paul Jones in Paul McCartney's Rockestra shows of 1979 and they also guested on Paul McCartney's 1979 album 'Back To The Egg'

Both Floyd and Zeppelin were disparaged as dinosaur acts by punk rockers in the late 70s. It was ironic that that the huge popular demand for In Through The Out Door and The Wall were credited for saving a moribund record industry.

They both helped finance the films - Monty Python and the Holy Grail and Life of Brian, along with George Harrison.

David Gilmour was a guest at the Zep O2 reunion concert.

Jimmy Page was a big admirer of Pink Floyd's album covers and used Hipgnosis for the covers of Houses Of The Holy, Presence and In Through The Outdoor plus the Swan Song logo.

Robert Plant rented Roger Waters's house for his summer break on the Greek island of Rhodes in 1975.

And finally, Robert Plant said in 2007 - 'Learn From Pink Floyd' - "I liked what Floyd did at Live 8 - a quick one-off and lets leave it that. David (Gilmour) wanted his kids to see what it was like, and it was a beautiful thing. They did it for a for a good cause! It was like the same when Zeppelin did the charity show for Ahmet (Ertegun, Atlantic boss in 2007). We had a prolonged and continuing affinity to Ahmet, so if there ever was a reason for it to happen, that was it. But the idea of doing it again next summer and the summer after that and so on is enough to make me break out in hives" .

Two iconic pictures from 1969 Zeppelin from May 69 by Ron Rafaelli | Pink Floyd in 69 Kew Gardens, London by Storm Thorgerson

[dustedmagazine]

Peter Kris — No Language For The Feeling (Garden Portal)

No Language For The Feeling is a double album comprising two cassettes bound in twine, released in an edition of 125, each accompanied by a small booklet of photos. While the manufacture of such items may seem like an act of defiance against digital culture, you can bet that Peter Kris, who is also a member of German Army, would like you to keep a web browser open while listening. He’s probably more concerned with the legacy of colonialism than he is with the outcome of the format wars, and if you’re the sort of listener who tries to grasp a title’s significance, this modest selection of electric guitar instrumentals is a lesson in politics. “Lolita Lebrón And Empire.” “Navassa Riots.” “Atoll And Atomics.” “Abramoff in Saipan.” “Voth’s Account Of The Hopi.” Go ahead, look them up, but be prepared to go down wormholes populated by sad stories of geographic appropriation, cultural extermination, lethal exploitation, and subverted justice. 

No Language For The Feeling by Peter Kris

Or maybe you’ll just listen, since Kris’ compositions betray scant relationship with the events they reference. Despite the grim histories referenced, they’re generally easy on the ears, encompassing twangy strolls, hazy reveries and tidal washes of feedback. If that all sounds familiar, it should. Working with what sounds like one electric guitar, some digital delay, and a few spare tracks on a basic home studio set-up, Kris achieves a sound so close to the one Roy Montgomery perfected on the albums Scenes From The South Island and Temple IV, one suspects he applied his research skills to sorting out the exact signal chain used on those records. But while Montgomery’s albums evoke expansive landscapes, aspiring to a Popol Vuh-like grandeur, Kris’ tunes are more modest. One suspects that he has less use for the epic, since American epics are usually used to motivate people to move other people off of big plots of land. 

Bill Meyer

[kpopdancings]

FROM UP ON POPPY HILL - THE STRUGGLE OF YOUNG GENERATION

New Post has been published on http://www.whatsupkpop.com/from-up-on-poppy-hill-the-struggle-of-young-generation/

FROM UP ON POPPY HILL - THE STRUGGLE OF YOUNG GENERATION

FROM UP ON POPPY HILL – THE STRUGGLE OF YOUNG GENERATION

Link Video:

  As a film from the famous Ghibli production studio, “From Up on Poppy Hill” must be the best choice for those who are looking for a beautiful movie with both photo and content.

The love of school age is always a topic that makes them flutter when turning on the screen. “From Up on Poppy Hill” a rare Ghibli work on the subject. Directed by Miyazaki Gorō, son of legendary filmmaker Miyazaki Hayao. The main theme of the film is the love between Umi and Shun, a love that is both beautiful and complex.

The journey to light up “From up on Poppy hill”

From the  beginning, this was a huge challenge for Miyazaki Goro, the wounded son who suffered an invisible pressure from his father, Miyazaki Hayao, who brought his life to the works. associated with our childhoods such as: Spirited Away, Howl’s moving castle,  My neighbor Totoro, … Everyone expected that he was “the second Hayao”, and that expectation overcame on his shoulder a huge burden. Until his debut Tales from Earthsea was released to the public, despite being well-received and successful in terms of sales, it was a failure when the work received a lot of words. Disparaging comes from critics. And when he decided to do his second animation, but this time he was making the movie with his father, Miyazaki Hayao. This unique father-son combination led to the birth of one of the Ghibli works that I consider to be worthy of viewing, From up on the poppy hill.

This is the highest-grossing Japanese film of 2011 with the proceeds of 4.46 billions yen.If you haven’t seen From Up on Poppy Hill, enjoy the movie now. If you have seen this movie or don’t care about the spoiler, Let’s start now.

Main content

Set in 1963, in the port city of Yokohama, near Tokyo. The drama revolves around 2 main characters Umi and Shun. Umi is a 16 years  old girl, energetic and courageous. She lives with her grandmother and two children in the family building, an old hospital that has been renovated to become a hostel for several girls. Umi’s daily jobs are cooking, cleaning, looking after the children and running the building while her mother is in America. The building is located on Kokuriko Hill. Every day, to commemorate her late father, who was a captain who died in the Korean War, Every morning she pulls colored flags that carry the message of asking for a safe journey for each ship.

Kazama Shun – a male student at the same school as Umi, is seen as the hero by a stunt performance to attract interest in the school newspaper – the club he joined after school. Wanting to get Shun’s signature, Sora – Umi’s sister asked her sister to come to the Quartier Latin. It is a very old building and is also the site of historical events and full of club memories. Here, Umi watched Shun and his friends devote themselves to keeping the building in danger of being dismantled. Realizing the sagging, old building of the building, Umi came up with an initiative to call the girls to come clean and renew it together. 

They gradually became close to helping each other in everything. Then one day in a meeting at the house on the top of the hill, they accidentally discovered they have the same bloodline. When Shun avoided Umi, after demanding, Umi also discovered that the two were siblings.

They  decided to hide their feelings and continue to be friends, and then one day, when the sun was still shining in the green bushes, Umi’s mother returned. It was also when Ryoko revealed that Shun’s biological father was Tachibana Hiroshi – the second man in the photo. In 1945, Tachibana died in a shipwreck accident. Shun’s mother passed away after giving birth to him, and relatives all died during the US atomic bombing on Nagasaki. Ryoko was unable to adopt Shun because she was pregnant with Umi, and was currently a medical student. Yūichirō issued a birth certificate for Shun in his name so that he would not have to become an orphan in the tumultuous post-war years that followed. Shun was eventually adopted by the Kazama couple. After being verified by Captain Yoshio, they rejoiced … not only because from now on being together and not worrying anymore … 

The film’s success is not only based on the content, but also on the profound meaning that is meticulously incorporated in the movie

  Image of  dynamic and enthusiastic young people

  The fact that the Quartier Latin was about to be dismantled at the behest of the district president was a challenge for the students living in the clubs in this building. Young students who are still day and night diligently devote their youth to research projects, they learn and cultivate everything outside of school, they do not hesitate to choose the difficult path of resisting directives to pursuing what they think is right.

They are willing to devote all their energies to renovating the building, which is not an individual’s work but a collective work of a team with so many enthusiastic people working. They try to the last minute, with only a little hope, the students here still make efforts to create opportunities, not easily surrendered. The trio of  Umi, Shun, and Mizunuma together went to Tokyo to meet the chairman, waited patiently and bravely asked the president to visit the building before executing his dismantling instructions.

Young people working together to save the club can be a metaphor for the country’s rebirth. Together With other students, they are the embodiment of the future Japan, enthusiasm and determination, enthusiasm and optimism, passionate love and foolish youthful aspirations. touched and inspired those of the same generation. The film recreates the spirit of a time that helped that generation to rise up to revive the country, heal the wounds of war in the past, protect and preserve traditional values.

 “From Up on Poppy Hill” can be said to be one of the most “Japanese” films of the Ghibli studio.Not only because the port area’s street space is faithfully reproduced in every small detail/, but also because of the strong and resilient spirit hidden in the characters’ personalities. They embody the country with determination, youthful enthusiasm and optimism for the future.

History lessons are appreciated without being cliché

Every effort comes from the thought: “… There will be no future for those who always talk about the future but forget the past …” that Shun raised in an argument between students. One detail I really like in the movie is the image of everyone singing solemnly and singing the national anthem of Japan. Never before has the atmosphere of national pride exploded so deeply, it crept into the consciousness of each student. Everything they are fighting for seems to be for the noble purpose of preserving and promoting historical and cultural values.

  “Eliminating the old means erasing the memory of the past”

Actually, this statement by Shun is very correct. Always remember that history is the connection between the future and the past, there is the past, the present, and the present, the future. Thanks to the cultural identities, customs, monuments, and historical records, we can look back on our own country’s past and take it as a lesson to rise later. 

Even the girls who do not join the club in the building, still spend time, effort and enthusiasm to renovate it, to give the Quartier Latin a new interface, with the desire for prices. Historical values ​​are preserved.

The story of a group of young people fighting together to protect the old clubhouse building /with sacred memories of generations of seniors is a metaphor for Japan in its renovation towards development. /Still fighting to preserve precious traditional values. /Through these activities, they met and gradually a love between them began to arise …

The pure love of the young couple

Actually, Shun still notices and responds to the signals that Umi sends to her father every day, but because her garden is out of view, Umi has not noticed it for a long time. The author of the poem about the girl pulling the flag on the top of the hill is also written by Shun for Umi. We can feel the sincerity and very cute before the subtle vibrations integrated. The scene of Umi holding his hand during the show, the scene of Shun passing Umi down the hill to buy some evening preparations, the scene where the two of them go home together and discuss the upcoming exam, or simply keep quiet and intently together. After completing the school newspaper, all the videos are lovely and gentle.

“I like you, Shun, even though we are bloodline, even if you are my brother, my feelings won’t change”  Umi’s words in the movie.

Love is like a Rose, sometimes sleep quietly, like Umi once buried in her heart … there is also a compromise between the pain, so go on or stop … /maybe expect peace , when the waves are quiet, the sea is together …/ and sometimes simple, reunited after days away. /Far away from war, distant because of obstacles, distant because of painful feelings … /but in the end, it will be as sweet as a child’s sleep, still meeting.

Family affection is always warm

Umi’s memories of her father are still standing, as evidenced by the flags she sends every day to inform her father at sea about the way back home. She still loves her father even though she is doubting Shun is his son. Or Shun’s adoptive father, who insists he always loves him like his own son, is willing to find ways to let Shun know the identity of his deceased father.

Both Shun and Umi are poor children who lost great fathers because of the war, but still cherish and are happy with their current family.

General conclusions

From Up on Poppy Hill, a work from Ghibli never disappoints from image to sound. The poetic and artistic scenes have always been the specialties for each of us, the films to feel the life, the daily activities from the  beginning of the film, combined with the melodies from the composer Takebe Satoshi, has created an extreme … peaceful atmosphere. 

See and feel the daily beauties of life, love and cherish our values, and constantly strive to dedicate living in accordance with the youth we currently have.

  Although building a love story between two high school students in the most pure, sweet and vague way, From Up on Poppy Hill still makes us wonder, is it the ideal type of love, when two  people have opposite personalities but a common desire?

[m3t4ln3rd]

WRVTH announce new record No Rising Sun, stream new track "Eventide"

Official press release:

Atmospheric, progressive post metal act WRVTH have released a lyric video for their new song “Eventide”. The track is off of the band’s forthcoming final album No Rising Sun which will see a digital release on August 23rd through Unique Leader Records. Listen to the track below and pre-order the album via Bandcamp.

The expansive, melodic, and heart wrenchingly…

[kalluun-patangaroa]

Now you see them: It's been a long time since there was a pop phenomenon like this - frenzied fans, rhapsodising reviews . . . Suede, it seems, might be the future of rock and roll. Then again, they might not.

The Independent

Sunday, 21 March 1993 

Written by William Leith

A THURSDAY in March 1993, 7.20pm. The Top of The Pops presenter, Mark Franklin, introduces the latest video from Suede; the studio audience gives a youthful cheer. Brett Anderson, Suede's lead singer, appears on the walkway of a nasty tower block. He wears: no shirt, a tight black leather jacket, so short it reveals his midriff, black trousers low on the hips, so you can see his angular hip-bones, a cheap-looking necklace. He looks pale, almost ill, a figure from an early 1970s nightmare. His lank fringe covers his whole face.

The camera rushes down the scummy walkway into a dark room, where a coloured light flashes sickeningly; over the fuzzy guitar noise Anderson sings - or rather, he wails: 'Like his dad, you know that he's had / Animal nitrate in mind / Oh in your council home, he jumped on your bones / Now you're taking it time after time.'

This is 'Animal Nitrate', Suede's third single, a song about - what? Domestic violence, drugs, child abuse? It's thick with filthy undertones - and people are wild about it, just like they were wild about Suede's first two singles, 'The Drowners' and 'Metal Mickey', so wild that a concert-goer told me: 'It's not just girls who pack themselves at the front of the stage and try to rip Brett's clothes off - it's boys, and it's nothing to do with homosexuality . . . it's everybody, it's a mania.'

In his careless, Mick Jagger twang, which he has to a tee, Anderson tells me: 'Yeah, there's been a lot of hysteria at our gigs. But we're quite bored with playing live already. Once you have captivated a couple of thousand people, got them in the palm of your hand, and had them salivating . . . you don't really know where to go from there.'

They're still in their infancy, but Suede have snared the imagination of a certain type of rock fan - the sort of people who latch on to thin, angst-ridden white boys, the caste who worshipped the Smiths in the Eighties and David Bowie in the Seventies. Most important, Suede have become the darlings of the rock press. Melody Maker, the New Musical Express, Select, Q, Vox are wild about Suede, too; Suede have had more hype than anybody since the Smiths, or possibly even the Sex Pistols. The reviews are florid, poetic, half-crazed; they express the almost lascivious delight of journalists hungry for something to pin their hopes on. Suede, says the New Musical Express, are: 'The triumph of decadent aristo-foppery over prole pop.' They are 'Out there, so alone, brilliantly vulnerable' (Melody Maker). Or, as Select magazine put it: 'Never mind the bollocks. Here's Suede.' Needless to say, Suede's publicists, Phill Savidge and John Best, won the Music Week award for the best publicity campaign of 1992. The judges said they 'took Suede from obscurity to accolades to being hailed as the best band of the year'.

In the past year, Suede have been pictured on 19 magazine covers (including six Melody Maker covers, four New Musical Express covers, and, unprecedented for a band who have yet to release an album, the cover of Q magazine, which appeals to older fans). The Christmas edition of the NME, on which Brett Anderson posed as Sid Vicious, was the biggest-selling NME for a decade.

But Suede haven't yet released an album; their first three singles reached, respectively, 49, 17, and 7 in the chart. This is not the big-time yet; it's not U2 or Simply Red or the Cure. In an important sense, Suede haven't happened yet; they are in an interesting limbo. They might not happen. Lots of bands have got this far - or nearly this far - and no further; what happened to the Stone Roses, to Sigue Sigue Sputnik? They seemed like great ideas at the time.

What will Suede's fate be? Nobody knows; the world of rock music is too fickle to predict. When I met Brett Anderson, he said: 'I do want to have a place in history. I really do.'

'And what does it take for a band to have a place in history?'

'I think . . . three great records. Three great albums. But then again . . . the Sex Pistols did it with one, didn't they? I don't know. I don't know.'

BY THE end of 1992, when the height of Suede's chart success was still only a No 17 single, journalists were drooling over Brett Anderson. They practically had him on the couch. They loved his angst, his preoccupa-tion with himself, his ability to verbalise. He was perfect - he was everything they could possibly want.

In a typical exchange, he told Melody Maker: 'When it comes to writing, there's something to be said about being unhappy. I know I've been at my most creative when I've been sexually unsatisfied. When I'm sexually satisfied I write a load of old rubbish.'

Melody Maker: 'Are you sexually satisfied now?'

Anderson: 'Yeah.'

Melody Maker: 'So you're writing a load of old rubbish.'

Anderson: 'Yes, and it's a problem, because we're supposed to be doing our debut album . . .' He even had an exact position on sex, which was: 'I see myself as a bisexual man who's never had a homosexual experience.'

Perfect. As soon as they spotted Suede, the rock press knew they were on to something. The journalist who first wrote about Suede was John Mulvey of the NME. Suede were nobodies, playing third on the bill at the University of London Union. Mulvey says: 'They had charm, aggression, and . . . if not exactly eroticism, then something a little bit dangerous and exciting. Brett was a brilliant frontman. He has a certain edge to him which most people don't have, like Ned's Atomic Dustbin or Kingmaker, who are woefully bereft of that spice.'

'That spice' is something the rock journalist needs to find, if he is to make a living. Week in week out, you trudge to seedy bars and clubs, desperate to find something exciting. When I was a rock journalist in the Eighties, people would come into meetings every week, excited, with their discoveries. This is it! One week it was Stump, another week it was the Soup Dragons. We had the Shrubs, the June Brides, Sigue Sigue Sputnik, Half Man Half Biscuit; they were all the talk of the NME office for days, or weeks; sometimes they held out for longer, as long as there was still a chance of starting a cult, of getting people excited enough to rush out and buy the magazine. The strike-rate is very low; mostly, these discoveries fizzle out. So when the music press is faced with something that might go the whole way . . . it explodes.

'Here was a British band it was possible to get excited about,' says Danny Kelly, editor of Q magazine. 'The kids have to wait for the Smashing Pumpkins, or Hole, or Come, to come over from America. Whereas Suede is a very real, very immediate thing - they are around and playing.'

Kelly continues: 'In the last 10 years bands have been very apologetic; they've thrived on the attitude that 'we're the same as the audience'. Suede's attitude is 'we're brilliant; we're the stars, and you're the admirers'.'

Steve Sutherland, editor of the NME, says: 'When I first saw Suede, it was one of the few times I can honestly say I saw a band and I was utterly convinced they were brilliant. Often, you get a band with attitude, or a gimmick, or good songs, but seldom everything together.'

Kelly says: 'Also, Suede allude so knowingly to things that rock journalists are comfortable with - Seventies glam, Cockney Rebel, the Smiths, sexuality, asexuality, male violence. If there is a game to be played, they're playing it very well . . . they are skinny white boys speaking to other skinny white boys about their inadequacies.'

This week's NME cover story is the transcription of a meeting between Brett Anderson and David Bowie, who listened to a tape of Suede's first album sent to him by Steve Sutherland. Bowie told Sutherland: 'Of all the tapes you've ever sent me, this is the only one that I knew instantly was great.' The two singers, the 'Thin White Duke' and the star-in- waiting, chat about sex, drugs, Nazism and the ins and outs of being a pop star. Talking about Bowie's recent, relatively anonymous, period, Anderson says: 'It's funny that, when David started Tin Machine, it was the start of the cult of non-personality . . . maybe you were just feeling the times.' The article is headlined: 'One day, son, all this could be yours.

HE COULD, conceivably, be the next David Bowie, the next Mick Jagger. Or it could all come to nothing. Who knows? Brett Anderson sits with his feet up on the table, talking quietly about his chances. He wears: black corduroy trousers, cut low, a thin jumper with nothing underneath, shoes with holes in the soles, a reaction against his recent, more stylised image, which included an appearence in the NME with an elaborate shirt painted on his body.

'Are you conscious of the way you dress?'

'Yes . . . I'm feeling pressure on how to dress in that I don't like being made into a cartoon. There's a certain element of the music press that deals in comedy and turn you into a two-dimensional thing. The whole foppish thing is getting quite boring really.'

Sitting, as he is, in stardom's waiting-room, Anderson is hyper-aware of the traps he might fall into. Recently, for instance, a tabloid scoured his earlier interviews and found them to be larded with references to drugs. 'They said there was a backlash against Suede because parents were worried for their kids,' he says. 'The whole media's a huge dangerous web.'

'Do you ever think that all this might just be hype? That you might never go the whole way?'

Anderson, his knees drawn up to his chest, his head in his hands, says: 'The British music press are notorious for getting it wrong, for leading people up the garden path, because they just . . . they're too obsessed with the idea of things. But we never really felt it wouldn't happen. We knew we had a bit of substance over the style.'

Anderson believes he's going to be a star. He's happy with Suede's first album, Suede, on the cover of which is depicted a couple kissing - an ambiguous picture, which could be a man kissing a man, a man kissing a woman, or a woman kissing a woman. 'I chose it because of the ambiguity of it, but mostly because of the beauty of it,' he says.

He also says: 'There's an elegance and a beauty to our music that people haven't heard yet, and I want that to come across - the flow of it, the swoon, to a certain extent.'

Anderson comes from Haywards Heath, where he met Mat Osman, Suede's guitarist, at school. 'He's always known he was going to be a pop star. He was very arrogant,' says his childhood friend Alan Fisher.

'I'm quite glad that Haywards Heath was such an ugly place,' says Anderson. 'Being born on the outskirts of London, being able to just peer in but not quite see what's going on, is a really tantalising thing - it makes you hungry and gives you a certain amount of ambition.' He lived in a council house with his father, a taxi-driver, his mother, an artist, and his sister, who 'escaped' at the age of 15. 'I didn't go to any gigs,' he says. 'I didn't like all the bands that were around - Echo and the Bunnymen and all that stuff.' Anderson's taste was more obscure - he liked hard, punky bands - Crass, the Exploited.

After attending Manchester University for two weeks, Anderson moved to London with Osman. 'Before we met Bernard,' he says, 'it was just me and Mat in my bedroom with this rubbish drum machine, writing awful songs.' Then they auditioned for a guitarist, and chose Bernard Butler, who worried Anderson because he was 'too good'. They also auditioned for a drummer, and picked Simon Gilbert, who tells me over the telephone: 'I heard a tape of their early stuff. I said, this sounds really good, but they need a drummer.'

'And then it just . . . took off?'

'Oh, no. We played all the shitty gigs for a year and a half. We played the Amersham Arms in New Cross to one person.'

'Do you remember the moment when the rock press discovered you?'

'Yes. I remember the first few reviews. I'll get it out of my scrapbook if you like.'

BRETT Anderson, sitting precariously on the window-ledge, with his feet balanced on the radiator, talks about Suede's first album. His favourite song is 'So Young', a full-tilt anthem of slashing guitars and pained howling, a great song - which, like so much of Suede's material, recalls the prancing confidence of Marc Bolan, of early Bowie. 'It deals with the knife- edge of being young,' says Anderson, who is 25. 'There's the desperation and all the pitfalls, but then actually turning them into something hopeful and beautiful that looks forward and that isn't negative.

'It's a rejection of the traditional English character,' he goes on. 'A desire to push all the claustrophobia and tat and bits and pieces away, and stride into the future, which isn't the most original thought in the world, but maybe one of the most important.'

'So will success spoil you as a musician then? What if you get comfortable?'

'I don't really feel as though I could ever be comfortable.'

And now, a week before the release of Suede's first album, Anderson must go to a studio to meet Bernard Butler and write songs for the second album, tentatively scheduled for release early in the new year. He has also been thinking about the video for the next single. 'Up to now,' he says, 'we've been playing on the grittiness of it all. But I wanna take it all to a different level; I wanna use nature more. I've got this image in my head of these horses galloping, and then I'd have it superimposed, and make it a lot more beautiful, a lot more floating, a lot more . . . implied.'

Anderson gets down off the window-ledge. By the time the stuff he will write this afternoon is in the shops, he might be just a vague memory. Then again, meeting him is something I might boast about to my grandchildren. Who knows? Nobody, yet.

[vietusmortuus-blog]

Vietus Mortuus

Formed Oct 2003, put on hold May 2010. Reactivated July 2016 by Michael “Daimonion” Falconer, Dave Wu, Trevor Ireland. This is the official VM page until further notice (all other sites such at Encyclopaedia Metallum contain inaccurate or outdated info).VM perform Black Death Chaos fueled by Misanthropic Fury inspired by hatred and rejection of modern “culture”.  War, Genocide, Ancient Pagan Cults, Magick, Serial Murderers, and Vampirism are a few recent subjects looming in the shadowlands of the VM world as captured on the latest recordings: a 6 track EP running 20 min. made with Jesse Nichols at Atomic Garden Studio in Oakland Ca. between 10/18 & 1/19. No release date is scheduled, as record labels must be considered for vinyl and CD distro.  Stay tuned, Maniacs.....

[handeaux]

Cincinnati Accepts Rock ‘n’ Roll Very Slowly, And Despite Much Tut-tutting

You can make a strong argument that Rock ‘n’ Roll was born right here in Cincinnati, Ohio. In fact, Jon Hartley Fox, author of “King of the Queen City: The Story of King Records,” insists there is no argument:

“Did Wynonie Harris record the first rock and roll record in 1948 with ‘Good Rockin’ Tonight’? That is, of course, a highly subjective question and impossible to answer, but, yes, he did.”

Harris recorded his version of Roy Brown’s song on 27 December 1947 at the King Records studio in Cincinnati. As might be expected, Cincinnati paid no attention to this monumental event, even when Harris’ platter soared to the top of the rhythm and blues charts and stayed there for most of 1948.

It appears no one really thought rock ‘n’ roll was a thing in 1948. Cincinnati newspapers reported with some regularity on King Records, but every article identified only two types of records sold by Sid Nathan’s hometown label – hillbilly and “sepia”. The latter term referred to rhythm and blues or, less politely, “race” music.

Likewise, Cincinnati media largely ignored Elvis Presley’s 1954 cover of “Good Rockin’ Tonight”. It wasn’t until the early part of 1955 that rock ‘n’ roll began seeping into the consciousness of the Queen City. As you can imagine, the Queen was not amused. A columnist in the Cincinnati Enquirer [20 March 1955] summed the quandary:

“Sad but true: Recent blasts at the leering lyrics in the rock-n’-roll discs have boosted their sales.”

The Cincinnati newspapers repeatedly announced the death of the rock ‘n’ roll fad. Here is the Cincinnati Post [31 May 1955]:

“Well, it was fun while it lasted, but rhythm and blues – or call it rock ‘n’ roll – has gone from a national mania down to a cult. The rock ‘n’ roll craze – involving blues music with a heavy beat and words that didn’t necessarily make sense – sold millions of records and put struggling independent companies into the black. But it also gave the industry a black eye, temporarily at least.”

A year later, the Enquirer editorialized [18 July 1956] that rock ‘n’ roll was an “Audible Drug”:

“The effect of ‘rock ‘n’ roll’ is to whip its addicts into a frenzy of mob violence, police have found. The results of its mass hysteria, noted on police blotters, include bottle-throwing, beatings and stabbings, besides the wanton smashing of dance halls.”

Magee Adams, the Enquirer’s radio critic, followed up a few days later [22 July 1956] with a grateful eulogy on the death of rock ‘n’ roll:

“Teen-ager riots have demonstrated that, when administered en masse, ‘rock ‘n’ roll’ acts like a drug, as potent in its way as chemical compounds. This is the effect that was ignored when the craze started. To their credit, many stations, including some of the locals, long had banned the more objectionable forms of the craze.”

To be more accurate, Cincinnati’s radio stations seem not to have actually banned rock ‘n’ roll, but they tried to ignore it. Cincinnati teenagers must have found their rock ‘n’ roll music via word of mouth, record stores, or juke boxes at the neighborhood malt shop, because it wasn’t until the spring of 1956 that WKRC scheduled one lonely hour of rock ‘n’ roll at 9:00 p.m. on Saturday night. Competing stations added a “Teen-agers” show on WCPO and “Juke Box” on WSAI, making a grand total of four hours of rock ‘n’ roll amid the standard programming of classical music, show tunes, farm reports and baseball.

Rock ‘n’ roll finally landed like an atom bomb in Cincinnati on 9 May 1956. The epicenter of the explosion was Cincinnati Gardens and the detonators included most of the big names of rock ‘n’ roll: Bill Haley and His Comets, Bo Diddley, The Platters, Clyde McPhatter, The Drifters, Frankie Lymon and The Teenagers and The Flamingos. Cincinnati Post reviewer Jim Johnson [10 May 1956] expressed shock at the behavior of the audience:

“By the third quarter of the show, they were in the aisles, all over the floor and unaware of anything but the music. Even performers were dancing back behind the band stand. Those who have gone through a rock ‘n’ roll frenzy say it’s something they can’t help. It’s caused by over-exposure to the beat.”

The Enquirer sent a serious music critic, E.B. Radcliffe, to a repeat show that autumn, apparently under the impression that rock ‘n’ roll was a new direction in jazz. Radcliffe [25 October 1956] opined:

“The program also proved that Rock ‘N Roll is opening up new avenues for jazz. Some of them do not have to be followed very much farther to lead right back to the tall trees where the cats move about on all fours and hang by their tails, and swing is always a means of locomotion rather than a musical term. Wherever it is heading (and the monotonous quality of some of it indicates oblivion is a close and likely terminal point) Rock ‘N Roll gives plenty of exhilarating pleasure to its fans.”

Notably, photos from the Cincinnati Gardens shows reveal that they were fully integrated. And it is apparent that the audience was composed almost entirely of high school students. When the Enquirer surveyed readers [27 October 1956] about rock ‘n’ roll, all of the respondents were high school students, typified by a young lady named Ivadean Gadberry of St. Bernard High School:

“Rock ‘n’ roll has a good beat to it for dancing and is terrific for jitterbugging and I just love to do that. Waltzing, etc., is just too slow for me, although slow dances are good for older people.”

Speaking of “older people,” rock ‘n’ roll did not dent the college crowd until the 1960s were well underway. Jazz concerts and folk hootenannies provided a level of sophistication at area universities, where rock ‘n’ roll was definitely considered “kid’s stuff.” A crack in the intellectual façade opened at the University of Cincinnati when The Grill at the Student Union began offering rock ‘n’ roll sessions on Friday. A reporter for UC’s student newspaper [2 November 1961] described the scene as if she was an anthropologist:

“Inhibitions are cast aside as the true beat of the music is reproduced in weird and amazing bodily contortions. The stomp, the continental, and especially the twist – done as you’ve probably never seen before . . . and perhaps never hope to see again.”

We’ll allow Cincinnati icon Al Schottelkotte to have the final word. Not yet a TV anchor, Schottelkotte was a Cincinnati Post columnist on 5 July 1956, when some exotic sounds assaulted his ear:

“Something for the town to talk about: The rock ‘n’ roll recording blasting forth from a speaker in front of the Albee Theater to split the late evening calm around Fountain Square. Ugh!”

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Two tracks from the new Sloppy Folk! We had loads of fun recording these! Sloppy Folk - Live At Atomic Garden Studios [Pre-Release Sampler]