Fok! Muziek Trivia deel MXXXVIII

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Op donderdag 6 augustus 2009 00:01 schreef bigshadow het volgende:
Caribou

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Op donderdag 6 augustus 2009 00:24 schreef Grobbel het volgende:

Dan Snaith is inderdaad van Caribou. En ze moesten hun naam veranderen vanwege Handsome Dick Manitoba, de lul. Maar Caribou is

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Op donderdag 6 augustus 2009 09:00 schreef Z het volgende:
Deerhunter.

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Op donderdag 6 augustus 2009 00:24 schreef Grobbel het volgende:

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Dan Snaith is inderdaad van Caribou. En ze moesten hun naam veranderen vanwege Handsome Dick Manitoba, de lul. Maar Caribou is

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is the super group combining some of Scotland's musically creative as well as some of indie rock's finest to emerge during the late '90s. All hailing from the city that brought Travis, Primal Scream, and Texas to the U.K. music forefront, boasted similar testimonies to their native land and swooning swan songs surrounding drink and daydreams. It's merely an experiment -- musical mayhem captured during ten days in a studio ...

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My Bloody Valentine deelt gratis oordoppen uit.

De, volgens eigen zeggen, Loudest Band On Earth My Bloody Valentine gaat tijdens hun optredens oordoppen uitdelen. De fabrikant van de oordoppen is sponsor geworden de de Brits/Ierse band. Gitarist Kevins Shields hoopt met de actie gehoorbeschadiging te voorkomen bij de fans van zijn band. Zelf heeft Fields al jaren lang last van een suizend oor. Zangeres Belinda Butcher liep eerder een oorperforatie op tijdens een optreden van My Bloody Valentine.

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Op donderdag 6 augustus 2009 09:40 schreef Beregd het volgende:
the dears?

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Op donderdag 6 augustus 2009 09:41 schreef Burnett het volgende:
ter info:
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Op donderdag 6 augustus 2009 09:47 schreef bartrid het volgende:

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die ga ik over 2 weken zien. Doppen mee dus want het zaaltje waar ze spelen staat nou niet bekend om de goeie sound....

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Op donderdag 6 augustus 2009 09:51 schreef bartrid het volgende:
Herman Brusselmans?

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Those stadium shows may possibly be the most extravagant and expensive (production-wise) ever: $40 million to build the stage and, having done the math, we estimate 200 semi trucks crisscrossing Europe for the duration. It could be professional envy speaking here, but it sure looks like, well, overkill, and just a wee bit out of balance given all the starving people in Africa and all.

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Or maybe it's the fact that we were booted off our Letterman spot so U2 could keep their exclusive week-long run that's making me less than charitable? Take your pick! but thanks, guys!

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Op donderdag 6 augustus 2009 09:53 schreef bartrid het volgende:

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O2 Academy in Oxford. De geluidsman daar is ook doof want zelfs bij the Gutter Twins stond het allemaal veel en veel te hard en over Melvins zullen we het maar helemaal niet hebben....
Ik ben wel benieuwd want ik heb Dinosaur Jr nog nooit gezien. Gelukkig heb ik Alpine Musicsafe doppen die zeker voor de prijs erg goed zijn.

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Op donderdag 6 augustus 2009 10:04 schreef bartrid het volgende:

Nieuwe plaat is erg lekker inderdaad (als je de goeie pressing hebt dan )
http://media.pias.com/dinosaurjrfarmcd/

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Op donderdag 6 augustus 2009 09:35 schreef bartrid het volgende:

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Op plaat leuk, niet super bijzonder maar live staat het als een huis, stukken heavier maar vooral super dansbaar.

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I did a benefit show Sunday night for the Red Hot organization at Radio City. I joined Bon Iver, Dirty Projectors, Feist, My Brightest Diamond, The National, Dave Sitek and Sharon Jones, and it went extremely well. The concert revolved around a double record, Dark Was The Night, which features those artists plus Grizzly Bear, Arcade Fire, Yeasayer and a bunch more. I did two songs live with Dirty Projectors, and duets with Feist and Bon Iver — I was pretty thrilled. St. Vincent, TV on the Radio and Lavender Diamond were hovering around as well.

There’s a lot going on musically right now. It’s an exciting time. Other than Sharon Jones’ soul music and some of the other artists’ folk leanings, the overall tendency amongst this group seems to be a kind of potpourri of art rock. I mean that in a good way — it’s art in that pop music is taken, assumed even, to be a serious and open form; a genre that admits a wide variety of approaches and instruments; and a musical form that is equal in depth and emotion to anything else out there. That’s a really different approach than what might be called traditional rock or pop, which can be extremely dogmatic — not to mention disposable — with prescribed instrumentation, tempos and subjects. There’s a sense of seriousness about this crop of artists — serious play, but still serious.

Besides their dedication to their art, most are successful — but one senses that fame wasn’t their primary engine for choosing a career in music. There was no hierarchy in this group — everyone was treated as an equal, and participated with everyone else where they could. Many were already acquaintances or friends. Times have changed. No one was drunk, on drugs or two hours late for rehearsal. There was no “rock star” behavior. That could sound boring — but such rebellious, clichéd behavior hasn’t always guaranteed good music. When great music would surface from a personal or professional mess, it often seemed like a rare but happy accident, unlikely to be repeated.

Maybe it’s the headiness of being surrounded by so many creative folks, but it seems that popular music — some of it anyway — might be going through one of its periodic peaks. It also seems that rock music, or some sizable branch of it, has evolved from being a throwaway piece of merchandise for teens to a respectable art form. The transformation, made in fits and starts over many decades, seems more or less complete.

Hit factories and Scandinavian songwriters churn out chart-toppers — some of which I love — but that kind of pop music stays within fairly proscribed boundaries, while this other stuff — though not as slick or polished — ranges all over the place.

I’m somewhat fascinated by the factory approach. Terius Nash and Christopher Stewart wrote most of “Umbrella” — a song many of us can’t resist. Nash was interviewed in the New Yorker, saying, “I usually don’t do second verses… I just do the first verse and do the hook.” (On that song he made an exception.) [Link to article] Doesn’t do second verses! Wooo. From a certain standpoint, he’s right. If you haven’t got the listener by the first verse and chorus/hook you might as well quit, because the regular pop fan won’t even make it to the second verse. And once you have the listener hooked, you can say pretty much any old thing in the second verse as long as it fits melodically and metrically.

It’s a different approach — an intensely detailed way of making music — though in some ways it’s less like music than some kind of sonic mind fuck. It’s polished to an inhuman sheen — and when it works, the machines win hands down. I have friends who just do beats — a seductive beat with the right sounds can go halfway to sucking in a listener. I’ve heard that Missy Elliot used to audition beats, though her run with Timbaland was hard to top.