Un clásico del videoclip para celebrar Hallowen

Thriller,es famoso por muchas razones pero una de ellas por ser el primer video musical donde se relata una historia,una producción de 13 minutos ,dirigida por John Landis.Una producción que cuenta con impresionantes coreografías que se han convertido fuente de inspiración para numerosos artistas.Hoy dia de Hallowen desde EscuchayCalla ,rendimos homenaje al Rey del Pop,aqui os dejamos el video.

Federica Santini (ex FM di X Factor) vince il "Concorso Emergenti 2009" e vola a Sanremolab

Voglio fare un piccolo regalo ad un’amica e parlare di un suo piccolo grande successo. Il riferimento è alla spoletina Federica Santini, che per chi non se la ricorda, era la bionda del gruppo FM, i sei solisti messi insieme da Morgan nella prima edizione di X Factor.

Ha ripreso la sua carriera da solista e finalmente è arrivato il primo successo. Si è imposta a Milano nella manifestazione “Concorso canoro giovani emergenti 2009″. Si è imposta nella categoria Cantautori con il brano “Non sarò mai” di cui lei è autrice di parole e musica, con l’arrangiamento di Marco Rea.

In giuria c’erano Andrea Rodini, vocal coach ad X factor, Massimo Cotto, giornalista e direttore artistico di Sanremo Lab e Franco Zanetti, direttore di Rockol. Un bel successo per lei che così, oltre alla produzione del singolo in concorso, che vi faremo sentire presto, ha vinto l’iscrizione a SanremoLab e proverà dunque a giocarsi l’ingresso al Festival.

Sono veramente contento di darvene notizia perchè è bravissima (qui potete ascoltare alcune sue canzoni) e perchè X Factor, inserendola in quel gruppo, non le ha dato davvero giustizia. E chissà che per lei non si spalanchino le porte di Sanremo…

 

Nev - Sen Gibi

Suya yazı yazmak gibi seni sevmek
Yorgunum, üşüyorum
Yanındayım, ama yalnız ne çare
Suskunum huzursuzum

Gözlerinde uçurumlar korkup da yüzleşmeye
Bakışların kaçar gider gücüm yok yetişmeye
Düğüm düğüm oldu içim ne olur birşey söyle
Sen sustukça içimde isyanlar, çığlıklar
Gece avutmuyor gönlüm unutmuyor
Dokunduğum hiç bir ten senin gibi kokmuyor
Avuçlarımda eriyen buz gibisin
Damla damla akıp giden umutlarım gibisin
Çaresi derdinden daha zor
Yüreğimiz yetmiyor söylesene nerdesin
Gözlerinde uçurumlar korkup da yüzleşmeye
Bakışların kaçar gider gücüm yok yetişmeye
Düğüm düğüm oldu içim ne olur birşey söyle
Sen sustukça içimde isyanlar, çığlıklar
Gece avutmuyor gönlüm unutmuyor
Dokunduğum hiç bir ten senin gibi kokmuyor
Koyamadım kimseyi yerine sen gibi
Sevemedim kimseyi içimdeki sen gibi

MUSIC KORNER - Suonare dal vivo non è mai stato cosi facile!

Hai un gruppo rock? folk? jazz? pop? indie? Country? o di un genere che non ha ancora un nome? sei un solista? o un duo? o un trio? o una band senza un numero preciso? non hai mai suonato dal vivo ma vorresti provare a farlo? oppure lo hai già fatto e vorresti farlo ancora? ISCRIVENDOTI GRATUITAMENTE AL MUSIC KORNER!
Sabato 7 Novembre dalle 14:30 alle 19:30 potrai far ascoltare la tua musica!
Il Music Korner è uno spazio nel centro di Campi Bisenzio dove troverai un amplificazione per suonare dal vivo e dei fonici a tua disposizione per far ascoltare la tua musica al pubblico presente…devi solo portare il tuo strumento e la tua voglia di suonare… per farne parte devi iscriverti mandando una mail a m.arena@coopmacrame.it o telefonando al 3406201078….e sarai ricontattato!
il Music Korner è un attività all’interno del Progetto RE.GI.E. del Comune di Campi Bisenzio e Organizzato dalla Cooperativa Sociale Macramè in collaborazione con le Associazioni del territorio.

The Literalism Humour

The final of the four humours of music. The literalism humour like, the impressionism humour, defines what a piece of music says and how it says it. Unlike the impressionism humour, the meaning of music with a high level of the literalism humour comes directly from the creator rather than the listener. The most obvious way a creator provides this meaning to a piece of music is with lyrics which guide the listeners mind in a certain direction. More so than an instrumental piece where more is left to the imagination of the listener. However, even providing a title pushes the creator’s thinking into the mind of the listener. For example calling an instrumental piece “The Forest” will have the listener thinking about a forest and trying to attach the mental images the have of a forest to the music, if the piece was untitled who knows where the listener’s mind would go. Even classical titles such as “Study in …”, “Prelude”, “Variations on a theme of …” tell the listener what the piece is about, what to expect and what to take from the music.

Of course an imaginative listener may throw the creators instructions away and come up with some completely different interpretation whereby the levels of the literalism humour and impressionism humour in the music would shift in favour of the impressionism humour.

The level of the literalism humour in a piece of music determines how much of the meaning of the music comes from the creator.
The level of the impressionism humour in a piece of music determines how much of the meaning of the music is generated by the listener.

Even in music with lyrics, written in a language in which you are fluent, whose meaning may at first look obvious, there is always room for interpretation.

The levels of these humours in a piece of music therefore depend on both the creator and listener and are not fixed, varying with mood and each listen/performance.

elleadore.com

Nous vous présentons un de nos partenaires  pour notre journée d’exposition éphémère du jeudi 5 novembre 2009.

Magazine féminin en ligne, elleadore.com, c’est 20% de frivolité, 30% de curiosité et… 50% de passion, à consommer sans modération !

elleadore…se détendre sur le site et feuilleter chaque jour de nouveaux articles chics, drôles et pétillants…consulter les tarots et l’horoscope, jouer au solitaire, au mahjong…

elleadore…échanger ses aventures de shopping sur le forum

elleadore… partager ses gourmandises avec la communauté, ses trucs et astuces de cuisine, ses fiches créatives…

elleadore… être à la pointe de l’actualité culturelle : musique, ciné, télé, livres, expo, photo, art, tendances…

elleadore… découvrir des interviews de ses artistes préférés :  Shakira, Scarlett Johansson, Ayo, Lenny Kravitz, Sia, Moby…

 Retrouvez elleadore.com sur le site : elleadore.com

Standard Time ~~ "You've Got a Friend"

Carole King’s “You’ve Got a Friend” may not be the most covered pop song of the second half of the 20th century, (that title is often said to belong to McCartney’s “Yesterday”), but it may be the most successfully covered. I say this because despite Carole King having written and initially recorded it, the most famous version remains James Taylor’s. In addition, countless other versions exist from artists who have since made it staples of their own. The wide array of interpretations help show that besides being a superbly written song, it is remarkably flexible. Taylor’s version is, true to form, very low-key, with little more than guitar, percussion, and beautifully sung backup-vocals (courtesy of Joni Mitchell); quite different than the original. But, as we will see, the song has the ability to convey all types of emotions and styles.

Carole King

Despite it being composed and often performed by Carole King, many have not heard her original version. In comparison to where it would eventually go, this is a rather tame take. Take note of the short introductory tag, which is only otherwise utilized by James Taylor. The form is unusually long, and we can either see it as a an ABABCB form or AABBAABBCBB, because the verses and choruses turn around on themselves without really reaching a cadence. The style and tempo falls somewhere between a ballad and a medium soul tune, both of which we will see fully realized later. In addition to the heavy soul inflections provided by King, there is a strongly implied backbeat that never manifests itself. It can be assumed that King certainly approached this song as a ballad, but others, such as Donny Hathaway, took it into a more driving, soulful direction.

Donny Hathaway

There were many soul artists of the 70’s who covered “You’ve Got a Friend,” including Al Green and Aretha Franklin. It was even included on an expanded reissue of Dusty Springfield’s Dusty in Memphis. But of all of them, the Donny Hathaway and Roberta Flack duet version was probably the most well known. While this recording of Donny Hathaway performing the song live does not include Flack, it is based on the same arrangement and features an incredible performance by Hathaway. Hearing this song live shows how powerful Hathaway was able to make the song, this time including a heavy backbeat and lots of soulful melismas and crowd-participation. It is in this version that we see the song as more of a crowd pleasing soul standard as opposed to a ballad, and the effect is significant. It’s hard to believe that this song wasn’t written specifically for Hathway; it fits his voice and style perfectly, and this still stands as one of his best recorded performances.

Jacky Terrasson

Like its utilization in the soul community, there are many jazz musicians who have interpreted “You’ve Got a Friend.” Some were recorded as early as its release, including a version by Ella Fitzgerald with the Count Basie Orchestra. It has actually become more increasingly popular in recent years, especially with pianists. Kevin Hays, for one, recorded it for his album of the same name, which featured other newly interpreted modern standards.

Jacky Terrasson’s recent solo version is especially interesting. Going more in the ballad direction, the french pianist mixes classical flourishes with beautiful harmonies to create a genuinely emotional version of this classic. The length of the form is certainly felt in his slower take, but without much cost. The verses and choruses are performed with such tasteful refrain that when the bridge finally does arrive (over 4 minutes into the song) it is all the more powerful. Terrasson’s interpretation is of particular interest because, surely as a testament to the song’s quality and longevity, for the most part very few have taken it very far from its initial harmonic form. Still, much of the form remains the same, but Terrasson adds new and vibrant harmonic colors to the climax of the chorus as well as the intro and outro.

These three versions of “You’ve Got a Friend”, with the addition of the probably too-often heard James Taylor version, clearly illustrate a song that has rightfully earned a place in the library of “modern standards.” It has still been under 50 years since its initial recording, but the obvious power and distinction this song holds show it will continue to be covered for a long time.

Pumpkin Cake Pops

Inspired by Bakerella Cake Pops I tried my hand at making these tasty treats. I was hoping to get some cute little pumpkins on a stick, but mine turned out to be more like, ‘Great Pumpkins impaled by a stick.’ The directions seemed easy enough. Make some cake, mix in some frosting, roll cake into little balls, stick with a lollipop stick, dip in chocolate – ENJOY! In reality, it took me several times to actually get something I was happy with.

First off I went to the store to buy a box of red velvet cake mix (/gasp – something I pretty much never do) and some cream cheese frosting (/gasp a CAN). I wanted to be sure before I started making things my way, I try it the already tested way.

Once the batter was complete I poured it into a 13×9 baking dish and baked it per the directions. After a toothpick came out clean, I let it cool overnight. The next day, I cut the cake into large squares and emptied it into a large glass bowl. I nuked the cream cheese frosting in the microwave for about 8 seconds so it would be easier to pour and incorporate into the cake. At this point I put on some plastic gloves because the red velvet was staining everything. I added about 2/3 of the tub of frosting to the cake, but for whatever reason the mixture seemed very very VERY moist. I grabbed my medium sized cookie scoop (1 1/2Tbs) and started serving up balls of cakey goodness. I thought it would make things easier if I froze the balls just a little bit in the freezer before sticking them.

Chocolate Dipping Attempt #1
While the cake balls chilled in the freezer, I started a pot of water to make a double boiler for the chocolate. I placed my glass bowl over the boiling water and started to melt the chocolate. Now the day before I was working on some truffles using the Wilton Candy Melts and was frustrated I couldn’t get the chocolate to a thin consistency. I was pretty sure it wasn’t me, because I’ve melted chocolate before but never used the Candy Melts before.

Again, the chocolate was too thick, but seemed to work fine for the lollipop stick insertion step. I put sticks in all of the cake balls and was ready to start dipping. After yet another short trip in the freezer, the first one I dipped fell into the chocolate. Now granted these may have been a bit too large I couldn’t figure out what was wrong. I read online to add some vegetable oil to thin it – no work and the chocolate didn’t look right at this point. I put all the cake balls back into the freezer to try again the next day when I could buy some more orange colored melts. At least we had 2 cake pops for dessert!

Chocolate Dipping Attempt #2
Determined to get these cake pops right I went to the grocery store to scour the aisles for more chocolate. I knew they sold white chocolate in small containers I could use for dipping, but I had no way to color it (only had liquid and gel coloring). I figured if the orange melts didn’t work again, I could turn these pops into ghosts instead! I bought some of the white chocolate, and then headed off to the craft store to buy a few bags of orange melts.

Later that afternoon, I decided to follow the directions on the back of the candy melts that suggests using the microwave to melt the chocolate. Are you MAD? Tempering chocolate….in a MICROWAVE? I’ve done it successfully in the past, but I was afraid to burn the melts and be out again. I gave it a shot, and was shocked by how much better the consistency was. (I did add small dabs of Crisco to smooth it a bit more, but I’m guessing it would have been fine with out it.) I happily began dipping the cake balls into the chocolate, tapping the excess off and sticking them in the styrofoam blocks I bought.

The first few pops came out quite well, but then I noticed something odd happening. I think the pops were too cold and the chocolate started to run a bit. It was more like the chocolate closest to the cake cooled, but the outside was still warm and ran.

I was hoping to keep the cake pops looking like pumpkins on a stick, but because the balls were too big and kept falling off I ended up just inverting them onto wax paper. My daughter called it, ‘the pumpkin patch!’ Using some green buttercream from a previous project, I fitted a bag with a #2 tip for some vines, and a #67 leaf tip to add some leaves. I had some markers ready to go to make some faces on the pumpkins, but the color wouldn’t stick.

The Pumpkin Patch

Bag n Tagged – Perfect for a few friends’ birthdays

Lessons Learned:

• Small size cookie scoop vs. Medium size cookie scoop: The cake balls were a tad too big for their stick, but perfect if you wanted to invert them on a tray.
• Substitutions: I replaced half the oil in the recipe with strawberry yogurt, but while I was writing this I realized I should have substituted it with applesauce instead. I think this is why my cake was a too moist. The cake did have a hint of strawberry taste and I just like tweaking stuff out of the box!
• Candy Melts: Play well in the microwave

Separate Lives, una canción triste

Separate Lives tiene la siguiente información técnica: es de 1985, llegó al #1 en Billboard y perteneció al OST de Wild Nights, Phil Collins cantó la original con Marilyn Martin pero otras muchas grandes artistas (como Laura Pausini) le acompañaron en versiones en vivo, nominada a mejor canción de película en los Oscares 1986.

Y dice parte de la letra:

“No tienes derecho, de preguntarme como estoy…
No tienes derecho a hablarme tan amablemente
No podemos continuar asi todo el tiempo
Ahora que estamos viviendo vidas separadas…”

Sin duda una canción triste que la encontré ayer en un karaoke y la canté de maaaal bueno, al menos me hizo sentir puntitas de aguja en mi corazón

It's Diva week: Big Names, Big Singles

Rihanna returns to the music scene for her first solo effort since her scandal with a tragic outlook and Lady GaGa unveils her newest  hit off of the re-release of the critically acclaimed album, The Fame. Both tracks’ morbid and cynical themes are perfectly fit for an October release.

Russian Roulette – Rihanna

- The lead single off of Rihanna’s new album, Rated R is not what I was expecting. It is a bold move to release a midtempo track as a comeback solo when she is known mostly for gargantuan club hits. Penned by Ne-Yo, the song’s lyrics – much like its production – are effective because of its harsh minimalism. Rihanna bellows the chorus with vocal forte not present in her earlier attempts of a heartfelt ballad. The subject matter is especially striking considering the very public abuse scandal she endured earlier this year. The metaphor of playing russian roulette as her relationship with a man is interesting. It implies the grave chances one takes when trusting someone in love. Most striking is the track’s abrupt finish, with a sharp inhale by the diva and the resounding crack of a gunshot. Who shot who? Well, that’s up to the listener. Brava.

“Russian Roulette” is bound to divide fans. And while the song might have been pulled off better by someone vocally superior (like Beyonce) the emotion emanating from Rihanna’s vocals will drive the song to be a hit.

Bad Romance – Lady GaGa

- Lady GaGa is in full form on “Bad Romance” the lead single from her upcoming re-release of The Fame subtitled Monster. The track is most definitely a retread on the similar singles that made her a massive hit, and will most certainly hit the top of the charts – if not the top 10. With hooks thrown at you from all angles(starting with the raragagaohlalala opening, to the chorus, to the “love love love” bit in the verses and even that bridge with the french) the song seems pretty safe, but what makes it enjoyable was the incredibly raw performance in the top layer of vocals for the track. The raspy nature of GaGa’s lower register is front and center – harkening back to her famous piano and GaGa performances, which are thoroughly enjoyable. It also helps that RedOne is a bloody brilliant track maker: killer synths and 808s are cued perfectly – especially at the end of the Vogue-era Madonna style spoken bridge where he builds the track through the “love and revenge” breakdown all to be muted for GaGa’s powerful yell that leads us into the final chorus. Pop brilliance.

The subject matter conjures images of the twisted romances found in Hitchock films, and I am pretty certain that the upcoming music video will reflect that – but set in France.  [Radio Edit]

What do you think of the singles from these megastars? Are they good or just overrated? Let me know. Leave a comment.

José Mayer se arruma para gravar e foi flagrado com a calça aberta

Nesta quarta-feira, 21, toda a equipe de “Viver a Vida” está nas ruas do Rio gravando cenas externas para a novela. Depois de Giovanna Antonelli ser clicado no set, foi a vez de José Mayer chegar para gravar. Ele se preparou para cenas no heliponto da Lagoa, no Rio de Janeiro, e foi flagrado em um momento indiscreto: com a calça aberta, enquanto colocava o microfone.

José Mayer com a calça aberta José Mayer agora só anda de helicóptero

Chris Berry's CMC hits the road this weekend

Popular acoustic act CMC, Chris Berry’s lighter melodic sound than when he is playing with top covers/functions band FOG, is back under way for the Autumn.

Chris & Mick back on the road with CMC this weekend

This weekend sees Chris and his good friend/brilliant singer/guitarist Mick Clarke back together for the first time since June. ‘With Mick now living in Spain our performances tend to be resticted to short tours,’ says Chris. ‘This time we have 4 lined up, starting with this Friday’s gig at East Cowick, near Goole. It’s a village ‘do’ and we are headlining so we’re looking forward to it very much. On Sunday afternoon we are playing at a new venue for us – The George & Dragon in Wetherby. We used to play in the Black Bull just close by but when Sue & Geoff at the Black Bull couldn’t put us on anymore, due to finances, Sue mentioned that the George & Dragon would be a good venue for us. It’s an afternoon one too, so that dispels any of this bit about Sunday gigs being a little too late for people who have to go to work the next day as we’re on from 4 til 7pm. We’re also playing the following Sunday 1 November at another new venue for us – The Fox & Hounds in Boroughbridge, a lovely pub, starting at 7.15pm – so again finishing in good time 9.15pm for those who need to be up and off to work the following morning.’ The last of the 4 dates is Friday 20 November when another huge Thorner Invasion is anticipated in Scholes, when Chris & Mick will once again be playing @ The Legendary Buffers from 9.30pm. ‘We also have a possibility of a couple more venues which we hope to confirm soon,’ says Chris. ‘Watch this space! And our new album is also planned for early next year. It will incorporate all of those songs that have become the real crowd pleasers in the past two years.’ There are still some rumours that Chris could be opening for Joe Longthorne at venues throughout the UK next year, either as solo or with Mick.

Chris Berry in full flow in concert with CMC

 If you would like further information about Chris & Mick, CMC or FOG, or Joe Longthorne please make a note of the following sites and email addresses. CMC and FOG already have a healthy forward bookings list but also take additional booking all the time. Chris can be contacted by fans, agents and booking agencies, venues on 07855 992834 any time.     www.chrisberrysingerandwriter.wordpress.com  www.myspace.com/chrisberrysinger  www.myspace.com/cmcacoustic  www.the-fog.talktalk.net   www.joelongthorne.com  Email: chris@chrisberry.tv  Chris is also on both FACEBOOK & TWITTER.

Sound is an interesting SUBSTANCE. AND SO IS WATER....

COLORS AS SOUNDS?

SOUND CAN BE VISUAL according to this TED.com lecture I saw on illusions:

BEAU LOTTO LECTURE ON OPTICAL ILLUSIONS

HIS LECTURE IS CONFUSING but I’ve been reading about GESTALT THEORY and Brown’s LAW:

That the velocity of moving objects is dependent on other factors, notably the size of the objects, the field and their illumination. MAYBE THIS EXPLAINS WHY SHAUN WHITE SHORTED THAT LAST JUMP DURING THAT X GAMES VIDEO I POSTED (THE POST: “HACKY SACK IS NOT AS FUN ALONE”….LISTEN TO THE COMMENTATORS!)

BROWN STATES: INCREASING IN ILLUMINATION DECREASES THE APPARENT VELOCITY OF MOVING OBJECTS

(so driving at night one often seems to be traveling more quickly than at a corresponding speed during the day, SO YOU MAY GO SLOWER AS A FORM OF BEHAVIORAL COMPENSATION)

SO IS APPARENT VELOCITY RELATIVE TO THE PERCEPTION OF THE FALL OR RISE OF AN OBJECT?

AN OPTICAL ILLUSION SPINNING LEFT OR RIGHT IF YOU WILL…..YOU WOULD UNDERSTAND IF YOU WATCHED THE LOTTO LECTURE.

I QUITE LIKE THIS MUSIC VIDEO:

AND CEREAL….YUM YUM!

CLICK THE LINK TO PONDER!:

WHY DO RICE KRISPIES GO SNAP, KRACKLE, POP!

H2O is my new FASCINATION…..

MARIE FLORE – More than thirty seconds if you please

Chanteuse parisienne / Rock rétro – Pop minimaliste / Autoproduit

Rock en Seine 2009, je m’ennuie comme un rat mort devant des prestations scéniques toutes plus affligeantes les unes que les autres. Lorsque sans prévenir je croise quelqu’un qui a le bon goût de me glisser le mini-album de Marie-Flore entre les mains…

A la première écoute, on pense à une chanteuse venue du froid, une petite suédoise à l’orchestration minimaliste, épurée et mélancolique.  Cette voix légèrement fêlée rappelle étrangement  Cat Power (Trapdoor) mais l’on sent immédiatement que Marie-Flore ne copie pas, elle a simplement le même timbre, sa voix sort telle quelle, ainsi soit-il. Et contrairement à Chan Marshall, les titres de Marie-Flore s’ils sont parfois mélancoliques, ne sont jamais dépressifs ou déprimants, jamais de pathos. La créature est fragile d’apparence, d’apparence seulement. Les lignes de batterie ont l’efficacité et la simplicité des meilleurs Janis Joplin,  c’est entêtant comme les meilleures pop des seventies… Marie-Flore et son prénom désuet semblent tout droit sortis d’une autre époque. Les duos avec des voix masculines (dont je n’ai pas trouvé les interprètes) sont d’autant plus touchants qu’ils sont d’une sobriété déconcertante. Notamment Empty Walls qui ne comporte que trois accords de guitare et synthé pour magnifier les deux voix  qui viennent vous chatouiller le bas de l’épine dorsale. Vous avez le titre dans le crâne pendant trois jours, vous pourriez regarder la pluie tomber derrière les carreaux pendant des heures.

Et c’est avec délectation qu’on a la confirmation que cette jeune-fille frêle est bien française. Presque l’intégralité du disque est chantée en anglais mais l’on trouve quelques passages dans sa langue natale qui tombent justes, pas de fioritures, pas d’emphase… Simplement sa voix et quelques orchestrations qui habillent l’ensemble. Le dernier titre est probablement le plus complexe, Gregg Foreman ayant monté un groupe à Philadelphie autour de Marie-Flore : les Rare Birds. C’est sur ce titre splendide aux mélodies pop-rock dignes des plus grands que Marie-Flore consent à chanter timidement en français.

Alors oui, définitivement oui, on lui accorde bien plus que trente secondes d’attention. Nul doute que cette artiste va aller loin, on lui souhaite de gravir les échelons avec autant de modestie et d’assurance qu’elle en a aujourd’hui. Petit à petit l’oiseau fait son nid, Gregg Foreman a vu juste, Marie-Flore est un oiseau rare, qui n’a pas besoin de cage (ou de label) pour démontrer qu’elle est talentueuse et prochainement, on viendra la chercher pour participer à de belles et grandes épopées musicales.

Note : 8,5/10

N.B. 1 : Vous pouvez vous procurer son album via son Myspace, vous ne serez pas déçus !

N.B. 2 : Vous pouvez retrouver d’autres chroniques qui partagent mon avis chez Arbobo

N.B. 3 : Marie-Flore sur scène ? Mini-reportage là !

Mint Chicks - She's a Mod

This rehash was peformed at this years NZ music awards, from Ray Columbus and The Invaders its the Sixties classic Shes a Mod.
Shes a Mod is a song that transcends the generations and is loved by young and old.
Ray Columbus and The Invaders were honoured with the New Zealand Herald Legacy Award at the Vodafone New Zealand Music Awards and inducted by RIANZ and APRA into the NZ Music Hall of Fame.

All profits from the sale of the single go to the Raukatauri Music Therapy Centre, a charitable organisation that helps special needs children communicate through music.

http://www.themintchicks.com/

Shes a Mod

Listen To This #3: Saint Etienne and Foxbase Beta

In this episode we discuss Saint Etienne’s new album: Foxbase Beta.  You read right.  Beta, not Alpha.  It’s like a sequel, but better.

Listen To This #3: “Stars Above Us (DJ Jeff Barringer Radio Mix)”, album: Dance Remixes, Vol. 1:  Stars Above Us

“Only Love Can Break Your Heart (2009 Extended Remix)”, album: Foxbase Beta

Discover more about Saint Etienne and their music on their official website and via their MySpace page.

P.S. Obviously I missed out on the Foxbase Beta boat, so if you happen to get your hands on one of the 3000 copies and are feeling generous…I have a Dropbox account.

Girls - Lust for life

Girls, La banda del momento, por fin ha sacado su álbum debut titulado ”album” , ( no tienen demasiada gracia con esto de los nombres). La crítica lo ha acogido muy bien, cosa que la banda se tiene muy merecida. Cuando lo escuchen verán que es fácil justificar tanta habladería.

Os dejamos el video de su más reciente sencillo, Lust For Life, en la que piden a gritos tres de las cosas que harian feliz a cualquier ser humano:

“I wish I had a suntan, I wish I had a pizza and a bottle of wine,”

+ MÚSICA: POP ROCK, EVOLUÇÃO MUSICAL?

Primeiramente é bom saber o que é o Pop Rock.

• Pop Rock surgiu do Rock and Roll, com uma influência de estilos musicais populares, ou seja, da música Pop!

Como assim?

Antes dos anos 60 o Rock Original predominava o mundo, principalmente entre os americanos! Mas o surgimento de ídolos como: Elvis Presley e The Beatles, mudaram [podemos dizer assim] o Rock de uma forma que agradou a muitos! Começou com os sucessos de Elvis e si expandiram no mundo com os Beatles, que tinha uma forma bem alternativa de usar o Rock!

Enfim, dessa misturada toda surgiu o Pop Rock! Que no decorrer dos tempos passou por varias alterações. Fases como: Original (anos 60), Progressivo (anos 70), Baladado e Explossivo (anos 80), Independente (anos 90), Contemporâneo (anos 2000).

E não para de si transformar, o Pop Rock segue evoluindo… evoluindo pra melhor! E o Brasil segue também nessas mudanças e evoluções! Agora o que resta saber até onde vai isso! E si um dia vai ter um fim! [espero que não!]

Comentários do Gil Jr:

- Dificil uma pessoa não gostar! Querendo ou não todos sabem cantar pelo menos uma música Pop Rock! Quem hoje não canta BeeGees, ou Oasis, ou U2, ou Blink 182, ou CPM 22, ou Skank, ….?? Todos são Pop Rock! Confesso que sou fã de Fall Out Boy! [uma dica boa é assistir o Videoclipe do "Red Hot Chilli Peppers - Dani California", mostra a evolução que falei aqui no Blog!]

Obrigado a todos que leram meu Post, e prometo boas postagens musicais! Aceito pedidos e sugestões também… =D

Lungs

Doutor, raio-x é tããão século XX...

Em uma era em que acostumou-se a se pensar micro, o sucesso se tornou algo pequeno, restrito, em poucas palavras, indie. A música acompanhou esse processo, e fato é que discos totalmente desprovidos de ambição são laureados, ganham seus Mercury Prizes, e entram pra história. Não que eu esteja negando a mágica de um Whatever People Say I Am, That’s What I’m Not ou, muito menos, o marco de um Is This It da vida, só deixo claro a tendência atual na música pop de não se fazer música de grande escopo.

É por isso que um disco tão ambicioso quanto Lungs surpreende. Ele é um disco expansivo, seu som espalhando-se por todos os lados, contando fábulas de violência e amores desfeitos. Florence Welsh, que com seu coletivo forma o Florence + The Machine, definitivamente queria ser lembrada. Ela escreve com a sinceridade de quem não tem nada a perder. Em “Kiss with a Fist” ela descreve uma briga violenta, que termina com “Eu pus fogo em nossa cama”. Temos um sentido aí. Porém, em “Girl with One Eye”, a faixa seguinte, ela conta “Eu peguei uma faca e cortei o olho dela fora/Eu o levei para casa e o assisti murchar e morrer”. Temos um sentido completamente diferente; há um senso de que pôr fogo na cama seria fácil até demais para ela.

Antes de uma queimadora de camas e antes de uma artista, no entanto, Welsh é uma Voz, e é essa Voz que guia o álbum, a voz de um desespero contido, de um ser perto de explodir, ou de se sublimar para sempre. Musicalmente, Lungs é apoteótico, quase profético, em termos. “Rabbit Heart (Raise It Up)”, melhor faixa do conjunto e uma das melhores do ano, vê Welsh cantar sobre sacrifício e o conto de Midas, se transformar em um coral e desabrochar num refrão cheio cheio de pianos e violinos crescentes. “Cosmic Love” leva esse crescendo ao infinito e “Drumming Song” é, como o título explicita, construída em cima de uma batida psicótica.

Todas as músicas expõem a carne e o sangue de Welsh e as três que acabo de comentar trazem revelações essenciais ao espírito de Lungs. Em “Drumming Song” ela descreve sua loucura: “Mais doce que o céu, mais duro que o inferno”. Em “Cosmic Love”, sua vida: “Sem amanhecer, sem dia, estou sempre neste crepúsculo”. Mas em “Rabbit Heart (Raise It Up)”, ela lança a pergunta derradeira sobre si mesma: “Quem é o cordeiro e quem é a faca?”. Essa pergunta assombra o álbum, e seus ouvintes, do início ao fim. Para o bem ou para o mal, Lungs, bem como sua criadora, é uma besta em carne-viva.

Nota: 9,5

milagres

.

Οι Secret Life of Sofia από το Brooklyn αλλάζουν όνομα προς το εξωτικότερο για αυτούς πορτογαλικό Milagres. Ως καλή Μπερλίνα ενημερώνω φίλους και οπαδούς μελαγχολικού  indie rock με θαυμάσιες φωνές και αιθέριες ατμόσφαιρες. Αναμένεται το Lost in the Dark. Μέχρι να συμβούν όντως τα θαύματα, κάτι από την μυστική ζωή της Σοφίας.

the secret life of sofia : moon on the seas gate

the secret life of sofia : outside

neulich in der taz:"Der Trick mit dem toten Briefkasten"

Rapidshare-Server laufen den Internet-Tauschbörsen langsam den Rang ab. Die Netzpiraterie 3.0 stellt die kulturverarbeitende Industrie vor völlig neue und schier unlösbare Probleme. VON TARIK AHMIA

Der Kampf gegen widerrechtliche Kopien von Musik, Filmen und Software wird immer aussichtsloser. 95 Prozent aller Downloads sind illegal, schätzt die Musikindustrie. Seit Jahren mühen sich die Anwälte der Medienindustrie ab, vor allem gegen Nutzer von sogenannten Internet-Tauschbörsen vorzugehen. Sie sind beliebte Verbreitungswege, um Musik, Software und Filme millionenfach unters Volk zu bringen.

Doch der Datenfluss der Internet-Tauschbörsen ist häufig langsam und wer hier Urheberrechte verletzt, kann leicht entdeckt werden. In diesen virtuellen Tauschringen werden PCs mit Hilfe einer Software weltweit vernetzt, die auch das Kopieren von Dateien zwischen den PCs automatisch abwickelt. Auch in Deutschland wurden schon Tausende dieser Internet-Nutzer mit kostspieligen Abmahnverfahren überzogen, weil sie Urheberrechte verletzt haben.

Die Tauschbörsen waren allerdings nur ein Vorgeschmack auf die Netzpiraterie 3.0, die die Medienindustrie jetzt im Internet erlebt. Denn Filme, Musik und Software stehen nun auf Servern zum Abruf bereit, von denen jedermann mit geringem Risiko und maximalem Komfort herunterladen kann. Dieser Albtraum für Urheber hat einen Namen: “Ein-Klick-Hoster”.

Filehoster wie “uploaded”, “megaupload” oder “ultrashare” bieten Speicherplatz wie auf einer riesigen öffentlichen Festplatte an. Es sind tote Briefkästen, in denen Internet-Nutzer anonym, kostenlos und nahezu unbegrenzt Dateien hinterlegen und wieder abrufen können. Zu finden sind dort aber nicht nur Familienfotos oder Urlaubsvideos, sondern auch jede Menge urheberrechtlich geschütztes Material. Die Bedienung ist einfach: Ein Klick zum Hochladen, einer zum herunterladen. Wer eine Monatsgebühr von wenigen Euro bezahlt, kann dies mit maximaler DSL-Geschwindigkeit tun. Für die Ein-Klick-Hoster ist das ein Millionen-Geschäft.

“Von unseren Servern laden zu jeder Tages- und Nachtzeit mehrere Millionen Nutzer gleichzeitig Dateien hoch oder herunter”, sagt Bobby Chang, Chef des weltweit größten Ein-Klick-Hosters “Rapidshare”. Die Rapidshare AG mit Sitz im schweizerischen Städtchen Cham hat sich innerhalb von drei Jahren in die Top 20 der am meisten besuchten Web-Seiten weltweit katapultiert. Rapidshares Internet-Leitungen können pro Sekunde mehrere hundert Gigabit Daten verschicken.

Zur Zeit liegt Rapidshare noch vor ebay.com und amazon.com und etwa gleichauf mit google.de. “Auf unseren Servern befinden sich ständig mehr als 50 Millionen Dateien, die etwa 4,5 Millionen Gigabyte Festplattenspeicher belegen”, sagt Chang, der die Dienstleistung seiner Firma mit dem Postgeheimnis vergleicht. “So wie die Post dürfen auch wir nicht automatisch jeden Inhalt durchsuchen, den unsere Kunden uns anvertrauen”. Eine Kontrolle, was da alles verschickt wird, sei angesichts der schieren Masse nicht möglich: “Wir können keine Uploads kontrollieren – aus technischen und rechtlichen Gründen nicht”, sagt Chang zum Ärger der Inhaber von Urheberrechten.

Alexander Wolf von der Rechteverwertungsgesellschaft GEMA ist davon überzeugt, dass Rapidshare auf die Begehung von Rechtsverletzungen ausgelegt ist: “Rapidshare gehört heute zu den Top 10 der illegalen Anbieter weltweit. Hier wird wissentlich die illegale Vervielfältigung und Verbreitung von Urheberrechten, Filmwerken, Musikwerken unterstützt.”

Auch wenn viele Dateien auf den Rapidshare-Servern legal sind, bleibt der Sharehoster ein Schlaraffenland für Netzpiraten. Um es diesen aber nicht zu leicht zu machen, bietet Rapidshare selbst keine Suchfunktion an. Herunterladen kann eine Rapidshare-Datei nur, wer den genauen Dateipfad kennt. Diese Links sind aber über Google schnell zu finden. Wer etwa die den Namen des Pixar-Animationsfilmes “OBEN” mit dem Suchwort “Rapidshare” in der Suchmaschine kombiniert, bekommt 380.000 Treffer. In den Google-Ergebnissen findet man ohne große Umschweife Links, mit denen sich der Film direkt von Rapidshare herunterladen lässt.

Tausende Nutzer betreiben das systematische Hochladen neuer Filme und Musik als eine Art Sport. “Links zu Rapidshare lassen sich in vielen Foren und privaten Blogs finden”, sagt Julian Finn von der Kampagne “Fairsharing”. Inzwischen gebe es eigens Suchmaschinen wie “Rapidsearch”, die ausschließlich Rapidshare-Links anbieten.

Seit zwei Jahren prozessiert die GEMA gegen Rapidshare wegen des Vorwurfes, nicht genügend gegen die Verletzung von Urheberrechten zu unternehmen. “Unser Ziel ist es, einen Lizenzvertrag mit Rapidshare zu vereinbaren. Das ist für alle Seiten die optimale Win-Win-Situation”, sagt Wolf und stößt damit bei Rapidshare auf taube Ohren. Doch die Gerichtsverfahren laufen bislang, ohne dass das Unternehmen seine Geschäftspraxis grundlegend ändern musste. Eine endgültige gerichtliche Entscheidung läßt auf sich warten.

Die Vertreter der Urheber tappen bei den Ein-Klick-Hostern in ein rechtliches Vakuum. Denn während ihre Ermittler in konventionellen Tauschbörsen auf eigene Faust einzelne Nutzer über deren IP-Nummer gezielt identifizieren und juristisch verfolgen können, legen die Ein-Klick-Hoster großen Wert auf Diskretion. Bei Rapidshare wird das Sicherheits-Team nur bei eindeutigen Rechtsverstößen aktiv: “Wenn wir Kenntnis davon haben, dass eine Datei die urheberrechtlich geschützt ist, auf Rapidshare öffentlich gemacht wurde, dann löschen wir sie”, erklärt Chang:”Ich werde unseren Usern aber nicht unterstellen, dass sie vorsätzlich Material bei Rapidshare hochladen, um es illegal zu verbreiten”.

Das Dilemma der Ein-Klick-Hoster macht deutlich, dass sich die Verbreitung von digitalen Kopien über die Gerichte kaum mehr stoppen lässt. Grundsätzliches Umdenken ist nötig. Julian Finn fordert deshalb, das Tauschen im Internet nicht mehr zu kriminalisieren. “Geistige Werke wie Bücher, Filme und Musik sind darauf angelegt, dass viele Menschen sie anhören und konsumieren. Es belebt die kulturelle Vielfalt wenn jeder Mensch Zugriff auf möglichst viele solcher Inhalte hat”, sagt Finn.

Er und seine Mitstreiter von der Kampagne Fairsharing glauben, dass eine pauschale Abgabe eine Möglichkeit sein könnte, die Urheber dennoch finanziell zu entschädigen. “Wenn man pro Monat fünf Euro für jeden DSL-Anschluss erhebt und zusätzlich für den Kauf von Computerhardware und MP3-Spielern eine Abgabe von 2,5 Prozent aufschlägt, würden etwa 600 Millionen Euro zusammenkommen”, sagt Finn. So eine “Kultur-Flatrate” könnte den Verlust kompensieren, der den Urhebern durch illegale Kopien entstanden ist.

Die Idee einer Kultur-Flatrate wird bereits bei den Rundfunkgebühren sowie für Computerdrucker und CD-Rohlinge umgesetzt. Mittlerweile gibt es auch die ersten Handy-Tarife, die das unbegrenzte legale Herunterladen von Musik mit einschließen. In Dänemark gibt es solche Angebote auch schon für Festnetz-DSL-Anschlüsse.

Die neue pauschale Internet-Abgabe stößt nun auch bei der GEMA auf offene Ohren. “Jeder, der den Markt kennt, kann eine Kultur-Flatrate nicht grundsätzlich ablehnen”, sagt Alexander Wolf von der GEMA. Die Kultur Flatrate sei nur sehr unkonkret und müsse sehr detailliert ausgestaltet werden.

Mittelfristig wird der Musik-, Film- und Softwareindustrie wohl tatsächlich kaum etwas anderes übrig bleiben, als bei der Durchsetzung des Urheberrechts neue Wege zu beschreiten. Denn selbst wenn Rechteinhaber die Ein-Klick-Hoster mit Hilfe der Gerichte stoppen sollten, wäre auch dieser Erfolg wohl nur von kurzer Dauer. Denn die Netzpiraten werden dann auf eine neue Technik umsteigen – mit der sie der Industrie wieder einen Schritt voraus sind.

Quelle: taz.de

CEATEC Japan 2009 & Tokyo Motor Show

Δύο σημαντικές εκθέσεις λαμβάνουν χώρα μέσα στον Οκτώβρη στην Ιαπωνία.

Η CEATEC κράτησε από τις 6 ως τις 10 του μηνός, ενώ το TOKYO MOTOR SHOW θα ξεκινήσει στις 24 και θα τελειώσει στις 4 του Νοέμβρη.

Η CEATEC είναι αυτό που λέει το όνομα της: Combine Exhibition of Advanced TEChnologies. Δηλαδή, έκθεση προηγμένης τεχνολογίας.

Στις φώτο που παραθέτω πιο κάτω, μπορούμε να δούμε κάποιες από τις πιο προχώ γκατζετιές.

Πειραματικές κινούμενες μονάδες στη λογική των ψαριών. Η μελέτη των κοπαδιών των ψαριών, είναι η τελευταία πρόταση για τα μποτιλιαρισματα των αυτοκινητων.

Κινητό από υπολείμματα κατεργασμένου ξύλου με επεξεργασια αδιαβροχου.

Τηλεφωνο χαμαιλέων..προσαρμόζεται στο χρώμα του περιβάλλοντός του.

Το νέο Vaio... απλά έπαθα πλάκα...

Αν και δεν είμαι και πολύ fun των αυτοκινήτων, μου ήταν αδύνατον να μην σας παρουσιάσω μία ακόμα απίθανη πρόταση της HONDA. Στο TOKYO MOTOR SHOW που θα ξεκινήσει σε δυο βδομάδες, θα παρουσιάσει το νέο Η3 που έχει μια “μικρή” διαφορά με τα άλλα μικρά αυτοκίνητα της…

Έχει στην πόρτα του οδηγού ένα ατομικό συστημα κίνησης, μάλλον είτε για περίπτωση ανάγκης είτε για είτε ως προσωπικό οχημα για μικρομετακινήσεςι στην πόλη όπου δεν μπορεί να ακολουθήσει το αυτοκίνητο.

Όπως μπορείτε να δείτε και στο μικρό βίντεο παρουσίασης, έχει δυνατότητα κίνησης προς τα μπρος ή πίσω, αλλά και διαγώνια και προς το πλάι.

Γαμώ;

Hope Sandoval

Hope Sandoval and the Warm Inventions just released their second, long-awaited collection of music, titled Through the Devil Softly.

The new music stands in some dusty, murky ground between the previous HS&tWI CD, 2001’s Bavarian Fruit Bread (BFB), and the legendary body of work created by Sandoval’s other (long dormant) band, Mazzy Star. Through the Devil Softly (TtDS) is neither as downbeat-shoe-gazing as BFB was, nor is it as deathly otherworldly as the Mazzy Star work was. TtDS finds a glowing haze that the others forego in their overcast evenings and midnight reveries.

The sonic textures of old (glinting, rain-like guitar work; fleeting harmonicas; noir-ish, understated drums) are back and certainly reference the previous HS&tWI recording. But in TtDS they feel not so much quoted as rethought, reconstructed; there really is a different feeling to this new group of songs. Bavarian Fruit Bread’s sound was nested largely in an acoustic feel and this inflected every aspect of the production – even the layered use of keyboards and other ambient soundscapes present in the work. In TtDS, layered instrumentation and vocals signal the constructed, incremental product that it is.

I’m pleased with the confidence in Sandoval’s voice on TtDS and find the syncopation of delivery that she’s using really lovely. Yes, the trademark lilting languidness is there – it’s something fundamental to how she uses her instrument – but on TtDS her intonation touches a clarity and closeness not felt on previous tracks. The music stays pushed off in fade and reverb, yet Sandoval’s breathy voice is near and concise when compared to her past work.

Overall, TtDS feels more varied and staged than BFB… and that’s good. It’s a body of music that feels like it is referencing a greater range of feeling than past tracks were while retaining the trademark sound and mood for which Sandoval is known.

It’s nice to have more Hope out there.

Key tracks from Through the Devil Softly:

Blanchard
For the Rest of Your Life
Sets the Blaze

Gary Numan/Living Ornaments 1981-Disc 2

Disc 2:

She’s Got Claws—-The crowd remains very amped after the long first set, and Numan continues to roll out song after song. This,  he announces as the new single…the song is by now familiar and just as alien in sound as the rest of the show. When Numan sings of being “Dreams in cold storage”, my heart literally propels from my chest with streams of understanding and relation to my own emotions. Still wonderful…same as it ever was!!!

Cars—-The crowd literally goes wild for a moment as the song begins…they seem to settle down and take in the phenomena as Numan delivers a dead on impersonation of the original. A bit more faster paced than the original, Numan still manages to find relish and enthusiasm in the crowd’s reaction .

I Dream Of Wires—-Another full blown tale of alienation and the lack of connection, this song, taken from the Telekon release [the first Numan I ever owned] still speaks to me of the cold and distant alienation Numan felt to those around him. This is magnificent…the crowd sings along with Numan, letting him know he is not alone with his feelings. This is a pure joyful moment. Brilliant!!!

I’m An Agent—-The sound of the track is remarkable in its likeness of the recorded version….Numan seems to be singing in an even higher register and the result is fantastic. There are some in and out sound problems with the track, but overall it is excellent.

The Joy Circuit—-Continuing the heavy attention on the at the time new release [Telekon], this is another great selection from it. The crowd loves the song and you can feel their enthusiasm and excitement as they clap along. The instrumentation is wonderful!!! Numan seems even more distant and aloof in voice…the cold and calculated delivery is fantastic. The audience reacts to the ebbs and flows of the music with loud exclamations and excitement. This is great!!!

I Die; You Die—-As the song is introduced, the crowd goes nuts!!! Thew music rises above and stands at the apex of the arena in a huge and calculated way. Numan is at his deadpan best…the slight whine of the voice is enduring as hell and when Numan actually does sing it is fantastic.

Cry The Clock Said—-The song is a nice segue from the previous with little if any silence between the two. The song begins in an oft way…lots of little noises and sounds but no real music to speak of for the first minute or so. The song is a nice instrumental interlude that shows the atmosphere of the band and the ability to play it out in a live setting. The end of the song when Numan does enter the fray is haunting and sad.

Tracks—-Again, you notice the crowd reaction to the opening strains of the song….mid way through the first bar, the audience takes over vocal duties and it is the thing that goose bumps are made of. The tempo of the song seems faster, the cold steel feel is still very much in effect. This is wonderful despite some vocal problems on the sound board.

Down In The Park—-Of course, the arena reacts as you would expect upon hearing the piano based strains of this classic. The song comes alive with added synth and the crowd again erupts. The swirling feel of the recording is incredible….the vocal of Numan is not loud enough, but it serves the purpose. The whine and slight strain makes the song so human. This is really wonderful.

My Shadow In Vain—-I have always liked the more aggressive and punk feel of this song. In the beginning with Tubeway Army, Numan turned out some great classic New Wave/Punk material. It is nice to hear this live…it is even faster and more aggressive….very nice!!

Please Push No More—-Oddly enough, Numan follows up the previous track with a slow and plodding release. The sound of the song is morose and unhappy. Numan talks of technology and lack of control. The song is intense and almost still from a musical standpoint. When Numan allows so, the crowd delivers the chorus on their own to a wonderful effect. Numan seems to be giving a farewell speech through the song…it is incredible.

Are ‘friends’ Electric?—-A fantastic song in its own right, Numan sings of alienation and disappointment….isolation and paranoia……fear and loathing in a wonderful and endearing way that melds into a great pop song. Long a favorite of mine, the live version[s] are way better than the recorded original because of the crowd reaction everytime it is played. This is no exception….this crowd goes nuts!!! The song is oddly stripped down for the first bar, but comes alive and Numan does not disappoint. A definite high point of the show!!!

We Are Glass/Outro—-As the show comes to a close, the sound seems to get even worse…the band sounds muted and distant. The vocal is in and out in an odd messy way….disappointing, but all in all the recording is a nice piece of history in a stellar career.

***1/2 out of 5

Tegan & Sara - Where Does the Good Go

Tegan & Sara - So Jealous

I knew I had heard this on Grey’s Anatomy, but I wasn’t sure when. So I looked it up.

But first…I had to Shazam it to find out who it’s by.

Re-heard in the first episode of a new show that’s being aired on e4 at the same time as ANTM and One Tree Hill +1 (who is responsible for these viewing clashes??!), Being Erica. It’s about a woman in her early thirties who is taken on a journey of self-discovery by a therapist with a difference – instead of just talking through and resolving past experiences, she’s transported back into the body of her younger self to “fix” her issues. I actually quite like it but I reckon a lot of people won’t – it’s a bit Ally McBeal with added in-your-face psychoanalysis.

Tegan & Sara – Where Does The Good Go

It was also used on an episode of Grey’s Anatomy, in the first episode of the first season*, I’m pretty sure either right at the end, or right at the start – there was definitely a voice-over involved.

It’s a pop track, in the quirky and a little cheeky style that I’ve come to expect from the show (I think the Voluntary Butler Scheme would be perfect for Grey’s!) and featured on the Canadian duo’s 2004 album, So Jealous.

They’ve actually released six albums, with the latest, Sainthood, out in the UK on 27 October and they’re coming over here for a live show at o2 Shepherd’s Bush Empire on 13 November.

*Note to self: Do not use Google to find music from shows if it may lead to spoilers for the first episode of the new season. KICKING MYSELF RIGHT NOW.

Dragonette - Fixin To Thrill (2009)

Dragonette – Fixin To Thrill

Label…………………….: Universal Music Canada

Genre…………………….: Pop

StoreDate…………………: Sep-29-2009

Source……………………: CDDA

Grabber…………………..: Exact Audio Copy (Secure Mode)

Encoding Scheme……………: Lame 3.97 V2 VBR Joint-Stereo

Size……………………..: 55,8 MB

Total Playing Time…………: 42:47

Release Notes:

Tracklisting

01. Fixin To Thrill 04:08

02. Gone Too Far 03:40

03. Liar 03:56

04. Stupid Grin 03:45

05. Easy 03:48

06. Pick Up The Phone 03:36

07. We Rule The World 03:41

08. Big Sunglasses 03:31

09. Okay Dolore 02:34

10. Come On Be Good 03:22

11. You’re A Disaster 03:32

12. Don’t Be Funny 03:14

Support The Artists, Buy Their Music….

Download Dragonette – Fixin To Thrill 2009 part 1:

http://hotfile.com/dl/14231242/4de74c4/DFTT09.rar.html

Download Dragonette – Fixin To Thrill 2009 part 2:

http://rapidshare.com/files/289227024/DFTT09.rar

Over/Under: Paramore/LoveHateHero

This is the first installment in the new Rather Red series: Over/Under. I’m gonna give you an artist who is overrated, and why their new album isn’t that great. I’m gonna follow that up with an underrated artist and why you should buy/download/torrent/shoplift their album instead.

OVERRATED: Paramore- Brand New Eyes

Sure, Hayley is the cutest Tennessee-bred girl I’ve seen in my life, and she’s got one hell of a voice, even at 7 in the morning. But she can’t even remember the words to her new songs!

And then she tries to blame it on Robert Smith from The Cure. Blaming legends for your own problems won’t get you anywhere, Miss Williams, except maybe in bed with Rather Red living off of my part-time retail salary (one can only hope).

Brand New Eyes is not even the second best album to drop on 9/29/09. It has a couple catchy songs (”Careful” and “Ignorance”) to begin with, but then the rest of the album is all a blur of boring pop-punk. Fast songs that wouldn’t have made the cut on their last album RIOT! are mixed with softer numbers that make even me go soft for Hayley.

The song that Hayley was TRYING to sing in the above video, “Misguided Ghosts” isn’t the low point of the album, but it isn’t exactly the redeemer either. This acoustic diddy might get in your head, but it was recorded very poorly. And I disagree with the placement of yet another soft number towards the end of an album that already numbed you with tedious punk songs that all sound the same interlaced with boring ballads.

UNDERRATED: LoveHateHero- America Underwater

LoveHateHero is another band who came out with their third full-length last Tuesday. They play energetic pop punk much like Paramore, but don’t enjoy the same amount of commercial success, mostly due to the fact their lead singer isn’t a red-headed cute girl that tweenies and teenies across the country can look up to.
LoveHateHero wasn’t always so accessible. In fact, their last couple albums exhibited screamo/post-hardcore at its finest. On America Underwater, the band opted to drop the screams and solos, and instead worked even harder on their already amazing hooks.

“Saints and Sinners (HisStory)” is a blazing starter to the album. Vocalist Pierrick Berube belts out the chorus, “There’s no such thing as a saint without a history, or a sinner without a future!” Next up is the album’s first single, the title track, “America Underwater”. Although this song is definitely unlike the old LoveHate, the band obvious has fun playing the song.

Unlike Paramore’s latest effort, the energy only picks up from here. “You’ll Never Know”, “Echoes”, and “Come and Get It” are just a handful of treasures you’ll find Underwater.

If there’s any reason for you RnO readers to support LHH, it’s that they’re from our hometown of Los Angeles. They play local shows regularly, although this winter they’re doing a tour of South America. Wish the boys well at their MySpace, which is deserving of as much traffic as our city.

Allison Iraheta - Friday I'll Be Over U

Evviva le canzoni ascoltate a palla.

Oggi è la volta di Friday I’ll Be Over U, primo singolo di Allison Iraheta, concorrente dell’ultima edizione di American Idol (è arrivata al quarto posto nella finale), che anticipa l’album – ancora senza titolo – in uscita il 1 Dicembre.

A me lei piace molto, ha una personalità interessante, e secondo me ha quel fattore che la potrebbe far sfondare. La canzone poi è veramente bellina, un brano pop-rock che ricorda molto P!nk e Kelly Clarkson, due artiste che adoro.

BOATS

Okay, mettons les choses au clair!
Si j’écris pas beaucoup ces derniers temps, ce n’est vraiment pas parce que je me pogne le beigne. En fait, j’en suis à refaire mon site web de A à Z puisqu’il ne correspond vraiment plus à ce que je fais maintenant. Autrefois plus orienté presse, j’ai ouvert les yeux et décidé de mettre du pain sur la table.(sens propre du terme) Comme la situation actuelle et la conjoncture économique n’est pas favorable à bla bla bla bla, les journaux sont en train de mourrir, j’ai décidé d’élargir un peu mon champs de compétences!

Revenons à nos veaux, j’en suis donc à refaire mon site web pour vous présentez mon travail des 6 derniers mois. Nouveaux portraits, beaucoup de promo/pochette de band/un peu de mode/ Malaise profond(mon projet personnel de 2009) qu’à peu près personne n’a vu.

Et comme je suis quelqu’un de romantique, au sens propre du terme, j’aime beaucoup les surprises pis toute pis toute. Je vous réserve donc la surprise de mon travail le plus récent pour quelque part à la mi-novembre. Mon programmeur, Jean-Maxime Couillard, est parti en Chine attraper la H1N1 donc je l’attend sagement! J’attends de sortir un peu tout en même temps avec la formule www.raphaelouellet.ca 2.0. On verra ben ce que ça donne.

Pour aujourd’hui, je me contredis question de vous présenter une photo que j’ai fait hier d’un band de Winnipeg en visite pour POP Mourial nommé Boats. Ceci n’est qu’une photo agace en attendant de vous montrer le vrai résultat.

Fey: La Cantante Revela Cuales ex Parejas le Fueron Infiel

La cantante confiesa que sus anteriores relaciones no le dejaron un buen sabor de boca; con su actual pareja vive a plenitud

Fey confesó que con sus dos últimas parejas no tuvo buena suerte, pues sus ex novios no fueron honestos con ella.

La intérprete de “Provócame” señaló que el ex integrante de Magneto Mauri y Federico Traeguer no cumplieron con sus expectativas por sus constantes mentiras.

“Aunque no he sido de mucho sufrir por amor si he tenido malas elecciones al respecto en mi vida y de repente he caído en gente que no es honesta”, dijo Fey.

La cantante también aceptó que no ha tenido muchos novios en su vida amorosa pero siempre espera de los hombres una sinceridad incondicional.

“En vez de tener muchos novios, lo que he tenido pues es maridos, es casi lo mismo porque soy muy de relaciones muy tensas”.

A pesar de las malas experiencias, la cantante vuelve a darse otra oportunidad en el amor y le abrió su corazón a Alonso Orozco, con quien vive a plenitud un año de noviazgo.

new tweets from @LadyGaGa

# To all my fans who are already twittering the new song lyrics *i love you* you are true music lovers and superfans. Get ready for snlabout 1 hour ago from TwitterBerry

# Still leaving on solo TOUR this nov. Announcing next week. leaked next single is makin my ears bleed. Wait till you hear the real version 11:35 AM Oct 2nd from TwitterBerry

Don’t miss her on SNL tonight performing her new single off of The Fame Monster, I will be putting it up here as soon as it leaks on youtube so check back if you didn’t catch it.

50 Cent - <em>Before I Self Destruct</em> & Timbaland - <em>Shock Value 2</em>

The album artwork for 50 Cent’s upcoming studio album came out, as seen above, and also has a confirmed release date. November 17th is the day.

Also, Timbaland’s sequel to his 2007 banger album is scheduled for November 24th, which is sick cause it’s only a week apart. Confirmed features are from Justin Timberlake, Lady Gaga, Shakira, Kings of Leon, Miley Cyrus, Daughtry, The Fray, and Paramore. Also:

The first single, described as having a vampire theme reminiscent of Twilight, will feature the super-producer’s new French artist SoShy. It is expected to debut this month.

Can’t wait.

Muting Dengan Cepat

Muting juga banyak dipakai pada situasi – situasi musik groove yang funky, dimana tangan picking kita melakukan strumming konstan pada not 16th, dan misalnya tangan fretting kita memegang akord bentuk E9 [bisa dimainkan dengan memencet senar D fret ke 6 sambil melakukan barre pada senar yang lebih kecil pada fret ke 7, dan mungkin kalau bisa silakan ditambahkan akar akord di senar A sekalian, ini adalah bentuk akord funk kesukaan banyak orang ]. Dengan bermain groove funk, kita harus memotong bunyi bergantian antara bunyi akord dan bunyi perkusif, dengan rhytm konstant umumnya diresolusi not 16th pada setiap bar. Bunyi perkusif pada partitur sering diberi lambang sebagai symbol “X”. Ketika kita melihat banyak symbol “X” itu bergantian dengan akord, maka cara memainkan not perkusifnya adalah dengan mengangkat sedikit jari – jari tangan fretting kita, sehingga sebuah bentuk akord tidak ditekan sempurna melainkan tersentuh jari – jari saja.

Yang jadi faktor utama pada bahasan ini adalah, sejauh mana jari – jari kita mengendurkan tekanan terhadap akord yang sedang dimainkan. Tangan kita bisa tetap membentuk suatu akord tertentu, tetapi sedikit mengendurkan tekanan untuk memisahkan senar agar tidak menempel pada fret, dan memotong bunyinya. Ketika jari – jari kita benar – benar meninggalkan senar, maka itu adalah tanda bahwa kita terlalu mengendurkan tangan, yang akan menimbulkan suatu suara yang tidak diinginkan, dan itu berarti kita salah dalam melakukannya.

Untuk melakukan teknik ini [ya sebaiknya semua orang bisa melakukannya karena ini adalah teknik yang menyenangkan ] adalah dengan menyiapkan sebuah bentuk akord, pada posisi muting, memulai sebuah pola strumming, dan tekankan bunyi akord di waktu – waktu tertentu yang menurut kita terdengar enak Usahakan agar pola rhytm kita tetap pada jalurnya dan jangan sampai terpengaruh dengan pola pada tangan fretting yang sedang bergantian melakukan fretting dan muting, karena proses ini akan berlangsung dengan sendirinya secara natural, jadi prioritasnya adalah tetap fokus pada groove dan timing dari pola ritmik kita.

Di dalam studio, seorang gitaris kadang – kadang akan melilitkan suatu kain pada neck, disekitar nut, dan mengencangkannya sampai sekedar bisa untuk meredam open strings. Ini jelas cara yang curang :p tapi benar – benar bisa membantu pada bagian – bagian tertentu pada permainan gitar yang tidak bergantung pada open strings. Misalnya saja kita bermain solo 8 bar pada sebuah rekaman lagu pop, dan setelah 10 kali kita melakukan pengisian solo, semuanya hampir sempurna tetepi misalnya lagi selalu ada open E yang berbunyi di bar yang sama bertepatan ketika licks kita yang luar biasa harus dimainkan, apakah kita akan memutuskan untuk melakukan kecurangan ini? :p

Dalam situasi seperti diatas, ketika kita tidak mungkin bisa melakukan alasan untuk mundur sementara untuk berlatih intensif [lagi], sementara kita semua tahu kalau setiap waktu di studio itu berharga mahal, dan tidak akan pernah cukup kecuali kita memang punya studio sendiri, maka cukup adil kalau kita bisa mencoba melakukan cara apapun untuk menyelesaikan musik kita secara efektif

Pérolas Videoclípticas 02 - Covers

Boa noite! \o

mal aê o tempo sem postar… tava meio aperriado com a facul.. mas lá vai! XD

A o tema de hoje das pérolas videoclípticas dialético-caóticas é: “Cover” \o/

primeiramente vou mostrar covers em que ambas as versões tenham clips, com dois casos pra analisar:

A primeira música ééé… “Girls Just Want to Have Fun”  da cantora pop Cyndi Lauper (considerada por mim a melhor de todas! dá 15 a 1 em Madonna, e faz a Britney Spears e a Lady Gaga parecerem mais a Stefhany! xD)(e sim! eu não sou o headbanger tr00zão que só gosta dos tr00 bréque métau 666 frõ rél du capets! uheauheauhe XD)
A música lançada em 1983, primeiro silgle de seu album de estréia, alavancou a cantora ao estrelato de maneira inimaginável, e o segundo single “Time After Time” atingiu o primeiro lugar em vários países. O que eu gosto particularmente na Cyndi é que as musicas geralmente nao seguem um simples padrão. geralmente numa mesma música ha variações de harmonia e ritmo bem notórias. O clima alegre e descontraído de “Girls Just Want to Have Fun” aliada à temática da rebeldia, faz dessa canção certamente um dos maiores clássicos da musica pop mundial!
O clip:
http://www.youtube.com/watch?v=Mft3_A6qtRA

A incorporação foi desativada mediante solicitação

FFFFFFFFFFFFFFFFFUUUUUUUUUUUUUUUUUUUUUUU-

Caçei no youtube todo um video que eu pudesse incorporar, mas nada… malditas gravadoras.. XD
Continuando…

Parodiando o clima de descontração do clip, os italianos da banda de Power Metal Trick or Treat fizeram um video extremamente engraçado, com claras referências ao original da Cyndi, e outras molecagens bem divertidas, alem de imagens de shows e loucuras no backstage! Além de terem mandado muito bem no arranjo da canção, que ficou superpesada para agradar aos Metalheads, mas sem perder a magia! xD

Agora um aviso: se você sente vertigem, ânsia de vômito, tontura ou outros sintomas ao ver coisas nojentas,  pule o vídeo seguinte!
A versão dessa excelente canção por uma “cantora” de criatividade comparada à de um protozoário chega a me causar os sintomas citados anteriormente…
se querem ver, é por sua conta! xD
Miley querida… É fato de que você canta mal! mas não adianta vc abaixar o tom da música em 2 tons e meio… sua voz continua insuportável!

A versão ficou horrível, não acrescentou nada criativo, a Miley Cyrus não passa de mais um produto enlatado da indústria cultural voltada às  criancinhas metidas a patricinhas massas sem acesso a música boa, além do que ela nunca vai conseguir cantar com a mesma energia, técnica e potência da Cyndi Lauper. Quero ver o que o Régis Tadeu falaria desta versão.. aeuheauheah xD

Vamos à outra canção:

Creedence Clearwater Revival foi uma banda de rock and roll americana formada por John Fogerty (guitarra e vocais principais), Tom Fogerty (guitarra), Stu Cook (baixo) e Doug Clifford (bateria), que, sob outras denominações, tocavam juntos desde 1959. Adotaram o nome Creedence Clearwater Revival em 1967, com o qual lançaram as primeiras gravações em 1968. A canção “Lookin’ Out my Back Door”, cujo single foi disco de ouro, foi lançada no álbum Cosmo’s Factory, de 1970, considerado o melhor álbum da banda, tendo sido disco de platina.
Eis o clip da supracitada canção:

Agora imagine essa musica em velocidade aumentada, guitarras distorcidas, solos ultra-rápidos, e vocais agressivos! Pois é.. isso foi feito, e o resultado saiu excepcionalmente bom! fatores determinantes pra isso ter dado certo foram: Alexi Laiho, Roope Latvala, Henkka Blacksmith, Janne Warman e Jaska Ratikainen! isso mesmo! os finlandeses do Children Of Bodom realizaram essa tarefa com maestria! não por acaso eles são, na minha opinião, a banda mais foda da atualidade! xD

O cover saiu como b-side do single Blooddrunk, do álbum homônimo lançado ano passado. Este mês será lançado o álbum de covers Skelentons in the Closet, e como parte de divulgação, foi gravado o clipe para “Lookin’ Out My Back Door”. Fantástica versão! *-*’

Próximo… Ele.. o Rei do pop.. Michael Jackson! XD
Essa realmente é Hors-Concours, mas pra mim, o Michael é completamente secundário, perto das bases de Steve Lukather, e do antológico solo de ninguem menos que Eddie Van Halen! \o/

Agora o momento FAIL!
Eu até tolero o Fall Out Boy… não acho que sejam tão ruins assim, mas porra.. fazer cover de Beat It e chamar o John Mayer para tocar o solo… se ao menos fosse tão técnico quanto o do VH, ou que pelo menos não descaracterizasse tanto, mas o que ele fez foi um SACRILÉGIO! Van Halen é sagrado! Beat It não é Beat It com um solo extremamente simplório, sem criatividade, que até um garotinho de 7 anos faz melhor!!
quem quiser ver, aí está o link… é outro com a incorporação desativada! x)
http://www.youtube.com/watch?v=hI-0Hgu8mUk

Por hoje é só! Espero que eu tenha causado polêmica! quero ver sangue! xD tenham gostado. se gostou, comente! se não gostou, foda-se comente também! xD
Boa noite, povo! até a próxima!