#this is your brain on proto-prog

[anamelessfool]

Don't mind me I'm having stupid sexy Nihil brain rot over here

Everybody carry on

[johnkatsmc5]

ORB "Womb" 2015 (Cassette) + "Birth" 2016 + "Naturality" 2017 + "The Space Between" 2018 + "Tailem Bend" 2024  Geelong,Australia Heavy Psych,Garage,Stoner Rock

full spotify

https://open.spotify.com/album/1Iv3Ekk4CxYkdUqpalXztm

https://open.spotify.com/album/7beouXGX1VHM0hBr5E6KtM

https://open.spotify.com/album/1sZyCvuZRJ0i03AYjr0w2X

https://open.spotify.com/album/7fllzZfYCMpwyRIIC28JVM

full bandcamp

https://orband.bandcamp.com/album/womb-2

ORB "Womb" 2015

Tracklist Birth of a New Moon 05:31 Iron Mountain 06:30 11th Commandment 06:48 O.R.B. (Childhood's End) 06:52 Rainbow's End 05:14 Cassette  Tracklist Birth Of A New Moon 5:31 Iron Mountain 6:30 11th Commandment 6:48 O.R.B. (Childhoods End) 6:52 Rainbows End 5:14 Birth Of A New Moon 5:31 Iron Mountain 6:30 11th Commandment 6:48 O.R.B. (Childhoods End) 6:52 Rainbows End

ORB "Birth" 2016

The skies have opened and dropped on us a trio of kids from Geelong, Australia packing some seriously futuristic sludge: ORB. A heaping helping of proto-metal chops meets paranoid sci fi fantastical ravings, replete with some tasty syntheisiser werk that breaks it up just so. Close mic’d to perfection by Total Control’s own Mikey Young, these epics swing with demonic swagger and crackle with the static of a menacing future, twisting and churning through loose-limbed riffery, all punctuated by a wail that sounds as if it’s coming from every hidden camera outside the Ministry of Love. A proggy but in the pocket head-trip hard rock record for the table to be sure, and hopefully these Aussies will be bringing their dystopian groove your way soon. It’s out on Castle Face in the USA and Canada and Flightless in Australia on July 1st....~ Tracklist Iron Mountain Reflection Birth Of A New Moon (instrumental) First And Last Men Electric Blanket

ORB "Naturality" 2017

Tracklist Hazelwart A Man In The Sand You Are Right O.R.B. Immortal Tortoise Mother Brain Flying Sorcerer Rainbow's End

ORB "The Space Between" 2018

Tracklist  Space Between The Planets I Want What I Want General Electric Silverfern Glitch In The Sky Matrix Lucifers Lament Stonefruit I. Dragon Fruit II. Rock Melon III. Jazz Apple

ORB "Tailem Bend" 2024

It wasn’t meant to be six years between albums for ORB. The Geelong-forged trio last graced us with a studio offering in the form of 2018’s characteristically heady ‘The Space Between’, before touring Europe and America back-to-back supporting King Gizzard & The Lizard Wizard in 2019. But time rarely passes as expected, whether slowed by pandemics, side pursuits or other vagaries of daily life. What’s important is that a fourth album is finally here, with enough byways and trapdoors to keep us well occupied indeed. Saturated in vintage warmth and depth, ‘Tailem Bend’ showcases ORB’s knack for achieving tuneful hypnosis amidst a dank roominess. It snakes through big, brash riffing as often as it does sun-dappled psych pop, with memorable rhythmic runs and funky wah licks along the way. As signalled by the cover artwork from Parsnip’s Paris Richens – which depicts either a swan or a fish, depending on how you look at it – ORB have returned with an album that rewards taking it in from multiple angles. There’s plenty of the band we know and love, but there’s also enough of the new to prompt a healthy succession of double takes. There are still the inevitable avalanches of fuzz, but also present now are mellower passages and a renewed focus on rhythm and space. It’s not a wholesale departure, but it’s distinctive enough to be reflected in the album title itself. The source? Tailem Bend is a quiet town in South Australia whose name was evocative enough to catch the band’s collective eye on tour. Conjuring images for them of some lost prog act, the name reportedly derives from the Ngarrindjeri word “thelim”, referring to a sharp bend in the nearby Murray River. That made it especially suited to a record that packs many dramatic turns of its own – all without breaking its natural flow......~ Credits Zak Olsen - Guitar / Bass / Vocals David Gravelin - Guitar / Bass Callum Shortel - Guitar Jamie Harmer - Drums Additional vocals by Emma Bailey and Ashley Goodall Piano and Electric Piano by Jesse Williams Congas by Nick van Bakel Tracklist A1 Tailem Bend A2 Karma Comes A3 Can't Do That A4 Golden Arch B1 Skyclock B2 You Do B3 Morph B4 Commandment

ORB "Womb" 2015 (Cassette) + "Birth" 2016 + "Naturality" 2017 + "The Space Between" 2018 + "Tailem Bend" 2024  Geelong,Australia Heavy Psych,Garage,Stoner Rock

https://johnkatsmc5.blogspot.com/2024/12/orb-womb-2015-cassette-birth-2016.html?view=magazine

https://johnkatsmc5.tumblr.com/post/769288013759053824/orb-womb-2015-cassette-birth-2016

[krispyweiss]

Rewind: Supertramp - Breakfast in America (1979)

Editor’s note: On the occasion of Dougie Thomson’s 70th birthday, Sound Bites takes a look - and listen - back to Supertramp’s Breakfast in America, released in 1979.

Though it wasn’t the first lesson in my musical education, Supertramp’s Breakfast in America was an early audio textbook that came into my possession courtesy of Daddy Sound Bites, a longtime fan who musta purchased two vinyl copies.

Dated June 10, 1979, and inscribed “for your ears,” the LP was presented to the then 11-year-old on one of his regular weekend visits with Pops.

Being the pre-blog-bescent that he was, young Sound Bites was more interested in the boobies on the cover of Indelibly Stamped than the waitress on Breakfast. But, then as now, he found the latter more aurally pleasing.

But, still - boobies.

Landing as it did in ’79, Breakfast in America is heavy on keyboards, but is not too synthy, despite video-game sound effects, electric piano and - indeed - synthesizers.

It’s the sound of Supertramp in transition as the progressive rock and folksy acoustic numbers of previous LPs are mostly jettisoned for the slick art-pop of its many hits including the title track, “The Logical Song,” “Goodbye Stranger” and “Take the Long Way Home.”

While singers and songwriters Roger Hodgson and Rick Davies are the unique falsetto-reaching voices and brains behind the Supertramp sound, John Helliwell is the secret sauce, coloring songs with all manner of saxophones and clarinets and adding a third voice to the set-closing “Child of Vision.”

Clocking in at seven-minutes-plus - and featuring a snaky Halliwell sax solo on the outro - this track, along with the lead-off number, “Gone Hollywood,” would be Supertramp’s final pieces of proto-prog until the band dived back in headlong after Hodgson’s departure on 1985’s Brother Where You Bound.

Though it doesn’t hold up quite as well as, say, Crisis? What Crisis?, Breakfast in America in many ways should be the first - and thus most important - meal for someone sidling up to the Supertramp table for the first time. This is on account of its abundance of hits, its accessibility and its hints of the band’s more-adventurous output.

Crisis? for lunch.

Crime of the Century for dinner.

Paris for dessert.

Grade card: Supertramp - Breakfast in America - B+

3/24/21

[totalvibration]

55 Albums Released in 2019 That Splash Oat Milk In My Earl Grey

This year felt like slo-mo, a holding pattern and a fast-forward button stumbling towards unknown ends. I spent the early months in paternal bliss and sleep deprivation, caring for my newborn daughter, then spent the rest of the year running to slow down… to make the most of small moments with my family, to juggle that thing every lifestyle magazine calls the work-life balance, to know when I need help and being willing to ask for it, to making priorities with loved ones. 

Also, after years of oolongs and a staunch no-milk-in-tea-except-milk-teas policy, I started putting honey and oat milk in my Earl Grey, an old tea standby that's felt warmly familiar in colder months. Similarly, I dug my heels into familiar-to-me gnarly metal, deep drone and abrasive punk this year, uninterested in poptimist takes on indie-rock. In an effort to maximize more time with new family and less with bulls***, I leaned hard into my Viking's Choice column at NPR Music (which went weekly!) to shout out underground debauchery and beauty to anyone who would listen. 

Below are 55 albums (and a few reissues and archival releases) that hit me in different ways over 2019. No ranking, just links out to Bandcamp where available. They come paired with emoji because that's a thing I do on Twitter. 

See also:

Viking's Choice: The Year In The Loud And The Weird (my annual year-end episode of All Songs Considered)

20 Punk Albums Released In 2019 That Flip Eggs, Pick Up Chains

20 Metal Albums Released In 2019 That Bluurgh Over Sick Riffs

A nine-hour playlist of 2019 jamz 

But first, some stray thoughts:

Ta-Nehisi Coates' still-ongoing Captain America run has been extremely rewarding. A beloved superhero comes to terms with the line between patriotism and nationalism as Coates underlines that American progress often comes from reluctance. 

Daniel Warren Johnson's Murder Falcon spoke to me not only as a metalhead who loves cartoonishly kick-ass violence, but also as a dude with a tender heart… that final issue still gets me in the feels. 

Krzysztof Kieślowski's Three Colours is secretly a trilogy of movies about the loving, painstaking process of creation, specifically music. I'd never seen any of them until paternity leave (and a sleeping baby) gave me hours to binge long-neglected to-watch lists. In 1993's Blue, in particular, a composition mirrors the grief of Juliette Binoche in an exquisite performance. 

Tiny Desk concerts I produced for NPR Music in 2019: American Football (with a children’s choir!), Thou, Erin Rae, Carly Rae Jepsen (sort of), Jimmy Eat World and Mount Eerie (videos coming in 2020). 

There’s a gallery at Glenstone, a truly stunning museum experience, that’s literally just a room full of books, a sculpted wooden bench and a large window that looks out on the rolling hills of Maryland. I could spend hours there. 

The second season of KCRW's Lost Notes, hosted by Jessica Hopper, built episodes like albums, sequenced with eureka moments throughout. See: the story of a teenage Farsi New Wave sibling duo and a difficult and necessary reassessment of John Fahey through the women in his life.  

High Spirits (May 7, Atlas Brew Works) is such a force for good. Heavy metal singalongs about love, friendship and positivity. I feel like this band needs to tour with Sheer Mag to be fully appreciated by an unknowing audience. 

Has your baseball team ever won the pennant with the sleeping baby on your chest? So many silent screams of joy in our household as the Nats not only won the National League, but the whole dang World Series. I haven't lived in a city/state with a baseball team that's gone to the World Series since 1995. 

Circuit Des Yeux's Haley Fohr (Dec. 5, Hirshhorn) tuned her voice to feedback hum and the rest that followed felt like a wordless eulogy for 2019. I felt renewed by it. 

I can't think of a prettier song released in 2019 than "This Time Around" by Jessica Pratt. It is saudade whispered into the wind.

This was my Linda Ronstadt year. Heart Like a Wheel, Canciones de mi Padre, her records with the Stone Poneys — the Queen of LA, with a voice that both bursts out of and melts into dusk, softened the edges of long days with an equally adventurous and easygoing spirit.

🚙 Petrol Girls, Cut & Stitch: In 2019, it was crucial — life-affirming and -saving, even — to make your own noise. "This is the sound / It moves in our bodies / It passes through time / Brings what came before us," Petrol Girls' Ren Aldridge screamed at the top of a turbulent punk record filled with compassion. That boundless philosophy resonated with me this year — to listen and absorb more deeply, to excavate the traces of memory in music.

👽 Blood Incantation, Hidden History of the Human Race: Simultaneously exists in the gaping maw of death-metal tradition and the galaxy brain of its future. 

💾 Kali Malone, The Sacrificial Code: Seeks the solemnity of the drone in the pipe organ, but leans into the vulnerability pushed through the air.

🕹️ billy woods & Kenny Segal, Hiding Places:  An album-length self-excavation that crawls through moldy memories in a brutal poetry that is at times darkly funny but mostly wrestles with personal and societal truths that'll leave you touched, shook. 

📟 Holly Herndon, PROTO: One of our deepest thinkers went to the past to make music from the future. 

🚨 Rakta, Falha Comum: Creepazoid emanations from a subterranean plane.

🐣 Sunwatchers, Illegal Moves: Ecstatic protest music summoning the beauty and rage of Alice Coltrane, Sonny Sharrock, Rhys Chatham and Hawkwind. 

🏞 Bill Orcutt, Odds Against Tomorrow: The most engaging, radical, but surprisingly accessible solo guitar album of the year. Bill Orcutt's ragged-yet-tender guitar skronk gives shaggy texture to rapturous melodies.

🍕 Control Top, Covert Contracts: This hits some dance-punky Erase Errata sweet spots for me, but with the technical finesse of a power trio. 

🚟 Real Life Rock & Roll Band, Hollerin' the Spirit: Applies minimalist techniques to rumbling, dueling guitar histrionics with a reckless, but locked-in energy. Never woulda thunk American Football and Henry Flynt could hoedown together. 

🐠 Caroline Shaw & Attacca Quartet, Orange: Balances austere beauty with rumbling earth. Riveting music for string quartet. 

💥 Mdou Moctor, Ilana (The Creator): Where ZZ Top bombast, Black Sabbath riffs and Tuareg trance rhythms swirl into an acid-rock stomp. 

👑 Vagabon, Vagabon: Goes so many places, yet always returns home. 

🎭 JPEGMAFIA, All My Heroes Are Cornballs: A neon-freaked feast blasted in slow mo and fast forward all at once.

🌆 Denzel Curry, ZUU: Dude's a metal rapper without a metal band, but if he ever started one, I'm down 100 percent. 

💨 Whistling Arrow, Whistling Arrow: An avant UK supergroup of prepared guitar, violin, electronics and hypnotic percussion drinks deep of dark lagers and mossy earth.

🐸 101 Notes on Jazz: Things are getting hard around the boloney hole...

🐳 M. Sage, Catch a Blessing: Warm, fuzzy world-building from blocks of sound stretched and warped into a new nostalgia.

🚇 Mizmor, Cairn: Deliberate and patient in its annihilating pace; lumbering, yet regally melodic riffs echo into a chasm of feedback.

🌅 Takafumi Matsubara, Strange, Beautiful And Fast: Next-level grind from the Gridlink mastermind and friends. While No One Knows What the Dead Think picked up where Discordance Axis left off, Takafumi Matsubara shreds into the future.

🐎 American Football, LP3: A reunion that keeps on giving and growing. Impressionistic in its quietly bursting arrangements and attuned to the individual talents of its vocal guests, especially that stunning duet with Hayley Williams. 

🔋 v/a, Seitō: In the Beginning, Woman Was the Sun: This compilation does for modern Japanese women in experimental music what P.S.F.’s Tokyo Flashback comps did for the Japanese psychedelic scenes of yore. 

👗 Carly Rae Jepsen, Dedicated: Didn't hold together as much as I wanted, or play like E•MO•TION's late-night mixtape, but every time one of its singles popped up on a friend's playlist -- "Julien," "Want You in My Room," "The Sound" and especially the slow-burn synth-pop exhaustion of "Too Much" -- I'd think, "Carly Rae Jepsen is the Queen of the Song I Needed Right Now."

🌕 Rong, wormhat: Just bonkers. Boston's Rong channels the joyous chaos of Japanese punks Melt-Banana and the aggro skronk of Brainiac with a tad of Deerhoof's weirdo-pop hooks.

✊🏿 Sounds of Liberation, Sounds of Liberation / Unreleased Columbia University 1973: Free jazz and funk band deep in spiritual grooves. Killer performances all around, but such a trip to hear more from young vibraphonist Khan Jamal during his Drum Dance to the Motherland era. 

🐬 Great Grandpa, Four of Arrows: If Sixpence None the Richer made an emo record, but only had Return of the Frog Queen on the mood board. 

📳 Sarah Louise, Nighttime Birds and Morning Stars: One of my favorite guitarists right now. Digitally processes melodies and single notes in an electronic elation landing somewhere between Robert Fripp, Alice Coltrane and Terry Riley.

📮 Sarah Hennies, Reservoir 1: An immersive sound cycle in constant motion, a quiet rumble that slowly transforms in and out of a glorious clatter. 

👣 Psychedelic Speed Freaks, Psychedelic Speed Freaks: Munehiro Narita essentially picks up where High Rise left off, still plays the guitar like it's about to blow up. 

🍩 Town Portal, Of Violence: Most instrumental post/prog-rock puts me to sleep, but this Danish trio illustrates just how dynamic and sound-rich this music can be. 

🛀 Jim O'Rourke, steamroom 45: An electronic excavation from the deep abyss. The 37-minute "Sigaretstraat" is a master class in patience, dynamics and sublime dissonance.

🎀 Cristina Quesada, I Think I Heard a Rumor: Multi-lingual, ultra-chic dance-pop with super-smart synth arrangements. Think: Tiki drinks and mod dresses. 

⏹ John Luther Adams, Become Desert: Truly time-less music; as in, music without time. 

⏏ Julia Reidy, brace, brace: Late night, longform excursions that offer an alternate Blade Runner soundtrack with frenzied 12-string, fuzzy synth glossolalia and an Auto-Tuned bummer haze.

🚞 A Million Dollars, I Love Your Voice and I Love You: Weird and warped twee-pop that woulda headlined Silent Barn. 

📠 Priests, The Seduction of Kansas: Truth-telling and truth-seeking through a mangled disco haze and bleak New Wave romanticism. 

🏭 Werner Durand with Amelia Cuni and Victor Meertens, processions: Majestic drones capture an undulating wonder with enveloping somnolence.

🎳 Sheer Mag, A Distant Call: The denim-and-leather-jacket-wearing standard bearers of truly independent rock and roll double-downed on their sound, but opened their hearts a bit more. 

📒 Susan Alcorn / Joe McPhee / Ken Vandermark, Invitation to a Dream: Illuminates the flickering motions of exploration. 

😱 Serpent Column, Mirror in Darkness: Pitch-black metal chaos with forceful melodies twisted into the tableau. Honestly? Deathspell Omega but skramz.

🏅 Pernice Brothers, Spread the Feeling: Joe Pernice digs into his '80s record collection to return with some of his most delicately written, winsome guitar-pop in years and tons of one-liners: "Love is a shoeless charlatan, a silver-tongued huckster with a sadist’s lipless grin."

🍓 Kalie Schorr, Open Book: Whip-smart, hook-twanged country-pop raised on MTV2 pop-punk and Sheryl Crow. 

📀 Angel Olsen, All Mirrors: In a year where we lost Scott Walker, this felt like a torch passed from 1969. 

😪 Mount Eerie, Lost Wisdom pt. 2: Phil Elverum draws us in evermore, revisiting a beloved album, mode and collaborator (the remarkable Julie Doiron), and molding them into his ever-changing songwriting and circumstance. Contains the most tender couplet of the year, which I'll carry with me always: "If ever the bonfire that I carry around could warm you again / I will be out here in the weather for you glowing."

🙉 75 Dollar Bill, I Was Real: Serious hypno-grooves from these drone excavators. 

👢 Karen Marks, Cold Cafe: The early '80s artist behind the Sky Girl comp's broodiest track gets a few more songs of existential synth-pop and jangly post-punk. Just wanna put them on mixtapes for friends. 

🍻 Haunt, If Icarus Could Fly: Synthesizes an earnest, studied love for '80s heavy metal with tons of guitar harmonies and can-crushing anthems, yes, but also a ton of heart.

🍖 Bob Dylan, The Rolling Thunder Revue: The strangest, most mystical and wild Dylan persona in all of its face-painted glory. 

🌹 A Pregnant Light, Broken Play: Damian Master's endless creativity and shameless bravado coalesce into a rugged beauty. As always, riffs for days. 

🦄 Fire-Toolz, Field Whispers (Into the Crystal Palace): Clashes New Age synthscapes, clubby raves, jazz fusion and metal shrieks into an idiosyncratic master's pure creation.

🌇 Maria W Horn, Epistasis: Quiet, yet forceful acoustic elements are wrapped in the sinews of technology to blur composition. A stirring mix of icy string drones and minimalist piano. 

🐲 Soul Glo, The N**** in Me Is Me: Distills the rage and terror of living in America while being black with blunt force.

🍢 Mára, Here Behold Your Own: Snapshots of a time before parenthood rendered in garbled organ, ambient guitar loops and echoing lullabies. Felt this one deeply. 

🚙 The Go-Betweens, G Stands for Go-Betweens: The Go-Betweens Anthology - Volume 2: There's a live KCRW version of "Quiet Heart" that just absolutely destroys me. Deeply thankful for the presentation and preservation that's gone into these box sets. 

😈 Bat for Lashes, Lost Girls: A coming-of-age concept album about a teenage vampire gang that was somehow severely overlooked. Some of Natasha's most tender songwriting and a rich synth-pop world that'd make M83 jealous.

[karatedinosaurpolice]

The Great Hawkwind Listen: Hawkwind Hawkwind

Hawkwind!

<

Hurry on Sundown. I’m always shocked by what a pop song it is. How it sounds like the Byrds, or the Beatles. If you were one of those awful buskers who consider themselves a bit Rule Britannia and do Hey Jude and Paul Weller songs you could do this, and no-one would be like “woah, is this a sonic attack on my neighbourhood?”.

It’s good though. It has an earnest, sixth form spirituality to it, the kind that is born in an onrush of simple adolescent possibilities, the feeling that now you are allowed out late, you were bound to have adventures. I suspect if that mouth organ was a synth, it’d just be the Hawkwindiest rather than the proto-Hawkwind it is. It’s the first track on their first album though, so you know, that’s ok. It may be war, or many things. Indeed it may.

The Reason Is/Be Yourself. Yeah that’s it. I love it. It’s so dumb. Hawkwind are the Black Eyed Peas of 1970.

Paranoia (Part 1). Is a vamping segue out of Be Yourself and I love how it transposes the vocal into an instrumental, breaking it down, stripping it of readable meaning ready for its further change into a minor key in the next track. That I suspect no-one in Hawkwind thought of it like that is a testament to the wonderfully agile, cunning musicality of the band. It has no artifice, it is, and they are, to invoke the fall of the Manic Street Preachers, no surface all feeling.

Paranoia (Part 2). Is more of the same.  It puts me in mind of discussions about how the album was the dominant format in the early days of charts and record stores, and the even earlier struggle to capture the experience of seeing a band live in a way that felt like a product a consumer could buy.

Seeing It As You Really Are. Continues the space warping Dr.Who background music, a tribal pulsing frittering thing for 10  minutes, I read the Wikipedia entry for the album, and yes, it appears a lot of people regard it fondly because it feels most like Hawkwind as a live band. It also appears I was correct to invoke busking way back there on Hurry on Sundown, since the last track …

Mirror Of Illusion. Is another one that Brock would perform while busking. Musically, it reminds me of the first few movements in Sonic Youth’s Experimental Jet Set Trash and No Star. It begins with percussive, dissonant guitars and then explodes into a folksy buskwave summer evening in Tintagel jam. Like an inverted version of Winner’s Blues into Bull in the Heather into Starfield Road.

And that’s that for the original album. The CD version from 96 has a few extra tracks, including a blues classic Brock recorded pre-Hawkwind, a slightly nicer version of Hurry on Sundown and a Pink Floyd cover. Apparently, John Peel was instrumental in getting Hawkwind this record, a deal that included a two-for-one with Hawkwind and a blues rock band called Cochise. Cochise are mainly notable in that their primary songwriter was in a band with Elton John and several musicians from Cochise went on to play session for a million similar acts in the 70s and also formed Procol Harom, a band your dad likes.

<

The Cochise album of 1970, also self-titled (on Youtube here) is very much in the place from which Hurry on Sundown diverges. This point where blues had a sort of dangerous energy being subverted into these 70s bucolic prog-hybrid shapes by white British people. There’s some lovely instrumentation on here (Trafalgar Day is especially nice, as is the closing spacey jam of Watch this Space) but it very much lacks that feeling of scratchy, raucous newness that Hawkwind Hawkwind has, the feeling of people bashing instruments and music into a new shape they can hear inside their collective brains. This is very much some musicians seducing instruments they are very acquainted with into being a little bit adventurous. They’re good at it, but it doesn’t feel energetic or dirty in the way Hawkwind do, even when at its most buskwave, which is a term I’m holding on to with sinewy claws. There’s something here though, a kind of Doors-y drowsy desert between Texan villages majesty, and a rock/blues interplay that reminds me of later albums like Elton John’s Captain Fantastic… or some of the tracks from Bowie’s Pin-Ups

[savetopnow]

2018-03-22 07 MUSIC now

MUSIC

Brooklyn Vegan

Live Nation-booked "Pier 17 Rooftop Concert Series" coming to Seaport District

March For Our Lives on Saturday; listen to Hiss Golden Messenger charity single

Bjork remixed by Kelly Lee Owens, Jlin, and Lanark Artefax (listen)

Canadian proto-grunge band Slow are back, planning new music, playing shows

Moby played 1st of 2 Rough Trade shows & 'Colbert' (pics, setlist, video)

Consquence of Sound

Margot Robbie is “mad as a hatter” in the first trailer for Terminal: Watch

Red Hot Chili Peppers’ Josh Klinghoffer covers Jeff Buckley’s “Lover, You Should’ve Come Over”: Watch

Devo’s storied career chronicled in new “two-in-one” memoir

Speedy Ortiz share new single “Lean In When I Suffer” and video: Watch

10 Years with David Duchovny: On Loving Garry Shandling, Missing Bonnie Hunt, and Fighting for the Future

Fact Magazine

Paper Dollhouse spin hallucinatory dream pop into sublime ambient abstraction

Björk releases remix EP featuring Jlin, Kelly Lee Owens and Lanark Artefax

Django Django – Against The Clock

Boxed releases free five year anniversary compilation

Singles Club: Burial and The Bug start a dirty dub fire as Flame 1

Fluxblog

I Loved And I Lost

Very Nice Very Nice

To Be Lucky Once

The Sun In Your Cold World

Took Me For A Ride

Idolator

Lost Hit: Demi Lovato’s “Wildfire” Should Have Been A Single

Dua Lipa Performs “IDGAF” & “New Rules” On ‘Jimmy Kimmel Live!’

Fashionable Queen: Britney Spears Announces New Brand Deal With Kenzo

Kelly Clarkson Overcomes Her Past In Her “I Don’t Think About You” Video

Coming Soon: Shawn Mendes Teams Up With Spotify To Tease New Music

Listen to This

girl in red - i wanna be your girlfriend [indie pop] (2018)

Andi Arroganti - Benzin In Berlin [New Wave] (1981)

Blac Rabbit -- All Good [Psychedelic Rock/Trance] (2017)

Doggo - Coffee [Prog rock, Math rock] [2017]

Tommy 86 feat Sally Shapiro - Why Did I Say Goodbye [retro, electronic] (2014)

Popjustice

Paloma Faith’s branded content is better than your branded content

Saluting the artwork for PRETTYMUCH’s Healthy

Louisa Johnson interview: “We went, ‘oh, fuck it, let’s just get drunk’”

Popjustice’s Spring Statement: Key Points

New Music Friday: Vera Blue’s Lady Powers are still strong

Reddit Music

Shit Ghost - Melt Your Brain [Synth Pop]

Panic! At The Disco - Say Amen (Saturday Night) [Pop]

I am tired of Ticketmaster and Livenation's "Service Fees."

Walk the Moon - Anna Sun [indie] 2010

Cage The Elephant - Cigarette Daydreams [Alternative Rock]

Rolling Stone

Panic! at the Disco Prep New LP, Release Two New Songs

Juicy J Talks 'Slob on My Knob,' the Most Influential Rap Song of 2018

G-Eazy, Lil Uzi Vert, Ty Dolla $ign Unite for Summer Tour

Sebastian Robertson on 'Survivors Guide to Prison' Score, Writing With His Famous Dad

Watch Speedy Ortiz Fail Happiness Class in 'Lean In When I Suffer' Video

Slipped Disc

Two principal clarinets are confirmed by the Met

Classical harpist is named as Russian spy

Under-18s go free and get cake

Harmonia Mundi has become a shlocky horror show

Now the Catholics start cutting music

Spotify Blog

Spotify Launches Integration with New and Existing Cadillac Models

Spotify Launches ‘Louder Together’ with First Multi-Artist Spotify Single Collaboration from Independent Stars Sasha Sloan, Nina Nesbitt and Charlotte Lawrence

Spotify Launches Self-Serve Advertising Platform in the UK and Canada

Spotify Announces Launch of Line-In

John Hancock and Spotify Give Runners Everywhere Access to Custom Playlists and Tips from Some of the World’s Fastest Marathoners

We Are the Music Makers

X-post

Where to find good Vocal cuts/oohs and ahs

IAMA full-time freelance music producer in LA, AMA

Bass Patch Help for These Two Tracks

Addict Sells Vintage Collection of Methamphetamine to Pay for Synth Habit

[biofunmy]

Neil Peart, drummer for influential rockers Rush, dead at 67

SANTA MONICA, Calif. — Neil Peart, the renowned drummer and lyricist from the influential Canadian band Rush, has died. He was 67.

His representative, Elliot Mintz, said in a statement Friday that Peart died at his home Tuesday in Santa Monica, California. The band posted a message on Twitter also confirming the news.

“It is with broken hearts and the deepest sadness that we must share the terrible news that on Tuesday our friend, soul brother and band mate over 45 years, Neil, has lost his incredibly brave three and a half year battle with brain cancer,” the band wrote. “Rest in peace brother.”

Peart placed fourth on Rolling Stone’s list of 100 Greatest Drummers of All Time, just behind Ginger Baker, Keith Moon and John Bonham. Peart’s jaw-dropping percussion skills, though, were matched by his wondrous skill with lyrics as Rush composed song after thought-provoking song that deftly explored the human condition or conjured up mysterious realms beyond the humdrum life of the band’s heyday in the 1970s, ‘80s and ’90s. Peart was precise, deliberate and skilled behind his sprawling drum kit, but his innovative lyrics helped set Rush apart from other prog rock bands.

Rush was a power trio that rock had never quite seen before, with the searing guitar work of Alex Lifeson, the bass, keyboards and vocals of Geddy Lee and the fantastical drumming of Peart, who was no mere backing member of the rhythm section but rather an indispensable leg of the unusual tripod. The band still finds airplay today with anthems like “The Spirit of Radio” and “Tom Sawyer” — perhaps its best-known song — and “Subdivisions,” with its searing assessment of early ’80s life in cookie-cutter housing tracts: “Be cool or be cast out.”

The band was inducted into the Rock & Roll Hall of Fame in 2013, and honored for combining “the signature traits of progressive rock with a proto typical heavy-metal sound.”

“We’ve always said it’s not something that meant a lot to us, but we knew our fans cared so much to be validated like that — that their favorite band like their favorite sports team should be celebrated as champions,” Peart told The Associated Press at the time. “We always knew that was the case and certainly to see it blossom after this is a testament to the truth of that.”

Peart was born on Sept. 12, 1952 in Ontario. Music became an outlet for the self-described introvert who remained a quiet, under-the-radar star his entire career.

“I was very academic until I discovered drums,” he explained in a 2017 interview with Classic Rock. “Then I was a monomaniac about drumming. I was physically awkward. My ankles were weak, so I couldn’t play any sports. I couldn’t skate and I couldn’t play hockey, which in Canada is like football is in the U.K. And that makes you a pariah as a boy.”

When Rush formed in 1968, its original lineup included Lifeson, bassist Jeff Jones and drummer John Rutsey. After a few weeks, Lee replaced Jones, and in 1974, Peart replaced Rutsey weeks before Rush’s first U.S. tour. Rush’s first album with Peart — by then the band’s principal songwriter — was 1975’s platinum-seller “Fly by Night.” They released another album that same year, “Caress of Steel,” which reached gold status.

In 1976 the band marked a major breakthrough with the album “2112,” which sold three million units in the U.S. The first side of the album tells the tale of a dystopian world where creativity, individualism and music itself are outlawed — Peart was a reader of Ayn Rand — only to have things unravel when someone discovers an abandoned guitar. It was an extraordinary effort and fans responded in droves.

Lee described working with Peart’s lyrics during a 2018 interview with The Guardian: “Being an interpreter for Neil has been a singular pleasure of mine and a really difficult job at the same time, because I’m not always on the same page as him. As we grew as a band, I became trusted by him to be his sounding board and his editor, and if I couldn’t get into a thing, he would leave it alone. That’s the beauty of a relationship that lasts.”

Rush’s most successful album was 1981’s “Moving Pictures,” which sold four million copies. The album featured “Tom Sawyer” and “YYZ” — a track that served as a showcase for Peart during live shows and secured Rush its first-ever Grammy nomination; the band would earn seven nominations over time. 1990’s “Chronicles” was a double platinum success; 11 of the band’s albums were certified platinum and 10 albums reached gold status.

Peart was also an author and published six books. At one point in the 1990s, he took jazz drumming instruction, explaining to Classic Rock: “After 40, 45 years of playing, I wanted to push myself and open up this whole new frontier. I’ve been able to do that as a lyricist and as a prose writer, and now as a drummer. You have to challenge your own limitations and your own expectations of yourself.”

In 2015, Peart announced he was retiring from touring, saying he was struggling with ailments and concerned he would not be able to play in top form.

High-profile musicians were among the fans of Peart and Rush who paid tribute on social media.

“Today the world lost a true giant in the history of rock and roll. An inspiration to millions with an unmistakable sound who spawned generations of musicians (like myself) to pick up two sticks and chase a dream. A kind, thoughtful, brilliant man who ruled our radios and turntables not only with his drumming, but also his beautiful words,” Dave Grohl, who inducted Rush into the Rock Hall, said in a statement Friday. “I still vividly remember my first listen of ‘2112’ when I was young. It was the first time I really listened to a drummer. And since that day, music has never been the same. His power, precision, and composition was incomparable. He was called ‘The Professor’ for a reason: we all learned from him.”

Jack Black tweeted, “The master will be missed — Neil Peart RIP #RushForever.” Gene Simmons called Peart “a kind soul,” while Chuck D of Public Enemy recalled being inducted into the Rock Hall on the same night as Rush, saying backstage he and Peart shared “a unique moment without much word. Rest in Beats my man.”

Slash, Bryan Adams, Paul Stanley and Questlove of The Roots also paid tribute to Peart.

“Thank you for inspiring me and for all your help and advice along the way, especially in the early days when you took the time to talk to a young green Danish drummer about recording, gear and the possibilities that lay ahead,” Metallica’s Lars Ulrich wrote on Twitter. “Thank you for what you did for drummers all over the world with your passion, your approach, your principles and your unwavering commitment to the instrument! Rest In Peace.”

Peart is survived by his wife, Carrie, and their daughter, Olivia Louise Peart.

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Associated Press writer Dave Zelio contributed to this report.

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