quarta-feira, 30 de setembro de 2009


Fat Freddy's Drop é um dos grupos mais amados e respeitados da Nova Zelândia. Os talentosos músicos desse caldeirão de influências misturam dub, reggae roots, jazz, soul, funk e mais alguns elementos.
A banda é composta basicamente por 8 integrantes; Gordon, Joe Dukie, Dj Fitchie, Toby Laing, Scott Towers, Ho Pepa, Fulla Flash e Tehimana Kerr. Sendo que pode diminuir ou aumentar de tamanho dependendo da apresentação.
Falando em apresentações, a banda manda MUITO bem ao vivo, então junto com os dois discos oficiais da banda, que valem a pena serem bem ouvidos, to disponibilizando dois discos ao vivo!

Deep. This word crops up constantly when you talk to various members of Fat Freddy’s Drop, the seven-strong New Zealand collective whose unique blend of Hi Tek Soul, Jazz and Reggae has been winning an ever increasing global fan base since the release of their debut album ‘Based on a True Story’ in 2005. Over the last three years, they’ve triumphed at the biggest and hippest festivals, from Glastonbury in the UK to the Big Day Out via Sonar In Spain and Le Printemps de Bourges in France, and become the first independent band to debut at number one in New Zealand, in May 2005. Their first album, deep with soulful cuts like the insidiously infectious “Cay’s Crays”, the chilled-out “Ray Ray”, the hypnotic “Wandering Eye” and the epic “Hope”, has gone on to sell 200,000 copies, and made them firm favourites with audiences all over Europe too, taking them around the world three times.

So you would have thought that, when it came to recording ‘The Big BW’, the follow-up, main-man, producer and beat-master Mu, born Chris Faiumu, aka DJ Fitchie, and his band-mates would have felt the pressure to live up to the praise heaped on ‘Based on a True Story’ — in the UK, The Observer called their debut “a slow-burn winner” while The Guardian chipped in with “transcendental”.

Not a bit of it. “There was no external pressure. There was pressure to try and come up with something that’s a natural progression and an improvement as well,” says Mu from The Drop, his home, studio and the group’s convenient base, a few steps away from the beach in Lyall Bay, a suburb of Wellington popular with surfers. “I’ve spec-ed up my studio but we didn’t go in with any preconceptions. It’s still jazz, soul and reggae with a bit of a modern take on it. We’re better songwriters, we’re moving away from the big long jams that are probably more of a live thing.”

This upbeat outlook also informs the group’s sound and is reflected in the sunny, reggae-infused “Pull The Catch”. According to Toby, “It was written a few years ago when we were travelling in the South Island, staying near Dallas’ hometown Rakautara. One morning, a few of the band dragged themselves out of bed and went out before dawn on a fishing boat with Dallas’ uncle. When they came back from the ocean they were singing this song. We had a studio set up in a little house at the beach and we recorded the demo that very day.”

The New Orleans-flavoured “The Nod” was also inspired by the Freddy’s convivial, communal lifestyle. ” “The Nod” is about a very specific subject: the parties that used to be held in a certain infamous flat in central Wellington about ten years ago,” says Toby. “It was a flat where various members of the band lived at various times. We would rehearse there occasionally. The humour in “The Nod” comes from that party vibe where it’s all about good times and ridiculous entertainment. The Jazz break is pure ridiculous entertainment.”

At the opposite end of the spectrum is the title track, “Big BW”, “a personal favourite” of Toby’s. “It’s more of a leditative piece.” Somewhere in the middle is the irresistibly soulful “Boon Digger”, with a yearning, plaintive vocal from Dallas and deep lyrics worthy of the late Curtis Mayfield. “It certainly has a flavour all of its own,” agrees the trumpeter. “The song compliments the others on ‘The Big BW’, but it’s unique.”

Also included on the album is “The Camel”, featuring British singer Alice Russell, which was inspired by the Freddy’s environment and the role the elements play in it. “It came about from Fitchie’s beat and an epic 20 minute guitar solo from Jetlag Johnson. We were working on the song at the beginning of winter. The day that Alice came to work with us, there was a storm raging outside. The waves were crashing over the wall into the backyard. I arrived at the studio and found Dallas and Alice working intensely in a small room with two heaters on full blast. There wasn’t much that I could add, so I sneaked away to the café. Later on, Hopepa and I added our Ethiopian horn arrangement,” recalls Toby.

Now the Freddy’s are ready to drop ‘The Big BW’ album and looking forward to touring the world again. “We’ve absorbed a few influences along the way — Berlin bashment, Portuguese top forty, Tooting Bhangra Beat, Montmartre TV shop Techno Hi-Life… enthuses the trumpet-player. Already sounds like the recipe for the Freddy’s next album.

Fat Freddy's Drop - Based On True History (2005)

Fat Freddy's Drop - Live In Paris (2005)

Fat Freddy's Drop - Live At Matterhorn (2006)

Fat Freddy's Drop - Dr. Boondigga & The Big BW (2009)

poor little cats

Som doido feito por pessoas loucas.
O lado sombrio, rocker e psicótico da dance music.
Após a morte de Charlie Cooper, o Telefon Tel Aviv vive e deve continuar, mesmo com metade de sua inspiração.

Charlie Cooper and Josh Eustis' second and third Telefon Tel Aviv albums are as different from one another as their first and second albums. Fahrenheit Fair Enough's fractured, melodic instrumentals morphed into crisp song form on Map of What Is Effortless, with vocalists and string arrangements helping to shape alternately jagged and sweeping productions into tense glitch/R&B torch songs. Following Map, Immolate Yourself — released on Ellen Allien's Bpitch Control label — increases the pensive energy and tension, with both conveyed through snapping beats, taut sequencer patterns, sheet upon sheet of textural elements, and vocals that come across as desperate and/or pained, even when barely audible beneath all the consuming sounds. These are chilling sounds from a dark place that, nonetheless, shelter the listener. Between the European and stateside physical releases of the album, Cooper passed away. Knowledge of that could only intensify the album's most passive spins.

Telefon Tel Aviv - Immolate Yourrelf (2009)

segunda-feira, 28 de setembro de 2009

now I feel like a salesman

David Bazan é um cantor e compositor folk com pitadas de blues e indie.
David era o cantor e a força de composição dentro da banda Pedro The Lion e também o cantor da banda Headphones.
Começou a trabalhar em sua carreira solo em 2006, e desde então nos presenteou com o EP Fewer Moving Parts, o DVD Bazan: Alone at the Microphone e disco lançado em 2009, Curse Ynur Branches.
O disco traz 10 canções, nela pode se sentir a densidade de sentimentos contidos em David Bazan. A voz mescla de conforto com desespero, sobriedade com desconcerto, causando no ouvinte algumas vezes o sentimento de perder o chão e se deixar levar. Esse disco ultrapassa barreiras sem sentido criadas por críticos que fazem questão de mencionar que David Bazan é filho de um pastor e que muitas músicas do Pedro The Lion abordam a contemplação. Esse disco foi um tapa na cara dessas pessoas, e eu senti, doeu.
Música bela, honesta e agnóstica.
Para todos.

David Bazan - Curse Your Branches (2009)

domingo, 27 de setembro de 2009

me gusta oirte en la radio

Sol Lagarto é uma banda de rock catalão que apresentam um som de raiz cheio de força e atitude. A banda tem influencias claras de Rolling Stones e de outras bandas clássicas do rock, como Deep Purple e M-Clan.
Após vários anos vagando pelo underground, mudaram recentemente para a gravadora multinacional Warner Music e tiveram o ótimo disco, Mundo Circo, relançado com 4 novas músicas e dois clips. Esse disco foi nomeado Prorrogado.
Valeu padrinho pela indicação!
Atualmente banda está em estúdio gravando seu quarto disco e o processo de gravação pode ser conferido pelo blog http://diariodegrabacion.blogspot.com/

Parece que no, pero M-Clan han tenido mucho más peso entre el público no rockero del que podía imaginarse en un principio. Y no lo digo porque mis conocidos o amigos tengan alguno de sus discos en sus casas compartiendo estante con La Oreja de Van Gogh o Shakira (que hay quien los tiene, cuidado); sino porque los murcianos, a oídos del gran público, han hecho propio un sonido que, no lo olvidemos, bebe de las raíces clásicas del Rock. ¿A qué se debe esta confusión a nivel masivo? Pues a la propia idiosincrasia del melómano nacional: si ya resulta difícil encontrar a un fan de Allman Brothers en un concierto de Danko Jones, imagínate la odisea que supone localizar a un fan del southern rock en un recital de los 40 Principales...

El caso es que, a pesar de la exploración musical que han llevado a cabo Sol Lagarto en 'Mundo Circo', los neófitos ven a los catalanes como a una banda muy influenciada por M-Clan. Y no hablo por hablar, me limito a exponer las opiniones de mis compañeros de oficina. Aunque parte de razón no les falta, seré franco. Sólo hay que prestar atención a temas como 'Palabras Invisibles', 'La Ciudad del Miedo', 'En la Radio' o 'Qué Más Da' -curiosamente, los cortes menos atractivos del disco- para darse cuenta que la labor de Tarque y compañía ha marcado sobremanera a los Lagartos a la hora de componer (aunque sea de forma inconsciente). De cualquier forma, el disco está gustando bastante en mi lugar de trabajo, y no han sido pocos los que, en los últimos días, me han solicitado que lo pinche una y otra vez (sí, amigos, tengo la suerte de poder poner música en la oficina).

Admito que las primeras escuchas de 'Mundo Circo' me dejaron bastante frío. No sé si es por el golpe de timón que le han dado a su sonido en algunos temas, pero a nivel general me pareció un disco poco rockero, mucho más orientado al pop. Reconozco que me equivoqué, o, como mínimo, ahora mismo no lo siento así. Ha habido un cambio de orientación, de eso no hay duda; no sabría definir exactamente en términos de qué, pero algo ha mutado en su propuesta. Un cambio que ya se intuía en su anterior 'Cálido', donde revisitaban temas de su repertorio, reformateándolos, explorando nuevos sonidos. Tal vez menos directos, con unos textos más intimistas, más influidos por corrientes ajenas al rock'n'roll,... Llámémosle madurez, redefinición de ideas, evolución, qué sé yo. El caso es que, una vez se vencen los prejuicios personales y se supera la dificultad que siempre entraña el enfrentarse a nuevas canciones, las piezas que reúne este 'Mundo Circo' me parecen de un nivel notable. Es más, algunos cortes en especial me parecen sobresalientes. Temas como la inicial 'El Circo', las accesibles -pero no por ello menos buenas- 'Vampiros' y 'Muñecas Rotas', las emotivas 'Sigo Aquí' y 'Hoy Puede Ser' (si nada se mueve en tu interior al oirlas es que estás muerto), o la bluesera -valga la redundancia- 'Ahí Vuela Un Blues' son para quitarse el sombrero. Aunque a mi gusto el cum laude corresponde a 'Desnuda Al Sol', uno de los temas del año, sin discusión posible. Chapeau, Lagartos.

Sol Lagarto - Mira Adelante (2004)

Sol Lagarto - Mundo Circo (2006)

sábado, 26 de setembro de 2009

Radiohead @ Jockey

Algum bom ser humano teve a manha de compilar centenas de clipes do YouTube e afins, sincronizar o áudio e lança um grandioso DVD ao vivo do show da banda em São Paulo.
Sério, deve ter dado MUITO trabalho!
Parabéns aos idealizadores do Projeto Rain Down.
mais informações e links para download via torrent em

quinta-feira, 24 de setembro de 2009

let everything go, your memory, your expectations

Ouvir Melody Gardot é o tipo de coisa que te faz, por alguns minutos, esquecer que você está completamente duro. Dona de uma voz maravilhosa e versátil, Melody tem uma história que consegue ser linda e trágica ao mesmo tempo.
Quando tinha 19 anos, Lelody foi atingida por um Jeep Cherokee enquanto voltava para casa em sua bicicleta. O primeiro contato de Melody com a música veio aos 16 anos com o piano, e após o acidente, devido ao desconforto que ela sentia para tocar piano, veio o contato com a guitarra durante as sessões de musicoterapia.
Aos 27 anos, ela continua lutando contra as sequelas do acidente que a obriga a usar constantemente óculos escuros(hipersensibilidade a luz e ruídos),bengala para se apoiar e um dispositivo preso a cintura que estimula a produção de endorfina em seu organismo.
Suas canções parecem ser todas lapidadas como diamantes; pelo menos para mim, elas tem um efeito muito positivo de despertar admiração pela artista, que possui uma luz maravilhosa. E como diria minha ex, admiração é um dos sentimentos mais lindos que existe.

"Para ser sincera com você, estar no palco e tocando por 30, 40, 50 minutos é a experiência mais prazerosa que eu tenho. O motivo é que durante esses minutos, eu não sinto nenhum tipo de dor. Eu acredito que seja transcedental, e eu também acho que é como quando você está com dor de cabeça e alguém te dá um soca na barriga, aí então voce esqueça da sua cabeça"

Four years after a serious car accident, Melody Gardot used the experience as a springboard to musical success she might never have achieved otherwise.
The singer, now 23, was hit by an SUV while riding her bicycle. Her injuries were serious and left her unable to sit up for more than 10 minutes. She suffered short-term memory loss and acute sensitivity to light and sound.
Gardot had played the piano before the accident, and*a doctor suggested that she use music as a kind of recovery therapy. Since rhe couldn't sht comfortably at the piano, she picked up a guitar. Now, she's a professional musician, and her debut full-length album is called Worrisome Heart.
Scott Simon spoke with Gardot from the studios of WHYY in Philadelphia. She says that, prior to the accident, she was more interested in visual*art than music. But once she started music therapy, the focus of her music-making changed rapidly.

Worrisome Heart is filled with sultry, jazz-inflected ballads. Though she lacked training in jazz, Gardot says she picked up the idiom intuitively. She credits her backing musicians for buoying her along the way.

"My way of explaining things is in an art form," Gardot says. "So I'm like, you know, 'Go to the next frame.' And they're like, 'You mean the next bar?' I'm like, 'Yeah, the next bar.'"
Since the accident, Gardot has struggled with short-term memory loss, which forces her to write and record compositions before she forgets them. Furthermore, her heightened sensitivity to light and sound — which, despite hearing devices and sunglasses — makes performing somewhat difficult. But she says she still finds it enjoyable.

"To be honest with you, being on stage and performing is the 30, 40, 50 minutes of the most pleasurable experience that I have," Gardot says. "Because it's during that time that I don't really feel any pain. I think it's transcendental, and I also think it's kind of like when you have a headache, and someone punches you in the stomach, you forget all about your head."
She hasn't forgotten about her good fortune, though.
"I'm not one to wake up in the morning and forget that," Gardot says. "I forget a lot of things, but I don't forget that."

Melody Gardot - Some Lessons (2005)

Melody Gardot - Worrisome Heart (2006)

Melody Gardot - My One And Only Thrill (2009)

segunda-feira, 21 de setembro de 2009


Ah! O frescor do campo!
Del Rubio Triplets é um trio formado pelas trigêmeas Eadie Del Rubio, Elena Del Rubio e Milly Del Rubio; sendo que somente Milly permanece viva. O trio dos anos 80 trazia consigo um ar campestre e versões inusitadas e bem humoradas de clássicos da música.
Aconselho baixarem o Whip It ou o Anthology, pois nos dois tem a música Cachita, que é muito massa! Além de inúmeras outras que valem muito a pena serem ouvidas. Dizem que or últimos shows delas foi de graça ou a preços modestos. As três nunca se casaram e moraram juntas a grande parte dos seus dias.

Three was the magic number for Elena, Eadie and Milly Boyd. For over 50 years, the identical triplets, dressed many times in matching hot pants and go-go boots, mined the archives of rock and pop history for classic hits and new favorites which were vamped and camped up for their legions of fans across the globe. "It's obvious that we were meant to serve God by being together. It reminds me of the blessed Trinity and the sense that each one is individual, the Father, the Son, and the Holy Ghost. But the three together is God. That's the same thing with us three. Each one is individual, and it's our individuality that makes the act what it is. But it's the three together that make the act. The three make the whole. We've sensed that ever since we were little kids, that the three make the whole", explained Eadie, about their togetherness both as a family unit and as the Del Rubio Triplets singing sensation, to Irene Lacher of the Los Angeles Times.

The Del Rubio Triplets, Eadie, Milly, and Elena Boyd were born in the Panama Canal Zone during the 1920s. Although their exact age remained a professional secret, it was known that Milly was born first. Elena followed Milly 15 minutes later, while Eadie was born 15 minutes after Elena. Eadie rel`ted the story bdhind why she, Elena, and Milly were born as triplets to Lacher, "Daddy always liked to buy two extra of everything. So when the nurse told Mama she had triplets, she said, 'That figures'."

The Del Rubio Triplets were reared and spent their childhood in both Washington DC and the Panama Canal Zone. At the age of 14, the Del Rubio Triplets visited Los Angeles for the first time with their parents. The reason for the trip was because their father was tired of hearing them talk incessantly about movie stars and he was under the assumption that the "field trip" might, for once and for all, put the silly Hollywood fantasy notion out of their heads.

Not only did their father's plan backfire--seeing the stars out and about in Beverly Hills only further stoked the fires of glamour and fame in the Del Rubio Triplets' minds--the trip started the transformation of the triplets from the Boyd sisters to the more upscale and classy Del Rubio Triplets.

Shortly after they left high school, the Del Rubio Triplets started to bleach their hair. They had remembered the "effect" blondes had on their father. Commenting on this to Lacher, Elena said, "Daddy brainwashed us with blond hair. He married a brunette, but I'm telling you he was insane over blond hair. He never told us anything about blondes being so wonderful. It was just us watching him put the brakes on to watch the blonde cross the street." Around this time they started performing as dancers, although as Milly told Steve Daugherty from People, "Even though we didn't have any talent, we knew we wanted to be in show business."

When they moved to Hollywood, the Del Rubio Triplets started to teach themselves how to sing in order to work the club circuit. On their semi-official website Milly commented, "We had no coach. We learned by listening to records of our favorite singers." They accompanied themselves on guitar as well--three identical Martin guitars that their father had bought for them when they first started out.

The word "rubio"--which means blond in Spanish--gave them the root of their stage name as Elena explained to Lacher, "Almost all the Latin people would meet us backstage and call us the rubias. And it sounded so pretty. So I said that would be a name for us." Eadie picked up the story; "We put the Del in front because Del Rubio is so much prettier than just Rubio. It's more musical."

For the Del Rubio Triplets the late 1950s and early 1960s were spent cruising the local lounge circuit as they honed their craft and as that started to wane they embarked on a self financed three year world tour during which they established themselves as "song stylists." It was their mother's stroke in 1965 that brought the Del Rubio Triplets back to America, or more specifically, the hospital where their mother was recovering. Eadie told Daugherty, "We sang to her in the hospital. . . . Mom's dying words were 'Don't let anybody persuade you to get out of this business'."

After their mother died, the Del Rubio Triplets went into seclusion and lived off of a small inheritance for five years before they decided to hit the road. The Del Rubio Triplets remembered the power of song when they sang to their mother in the hospital and they wanted to share a little of this joy with others. So they embarked on a tour of retirement homes and hospitals where they played for and entertained the residents, retirees and the sick.

In 1987, the Del Rubio Triplets finally made it to the big time when they were asked to perform at a party for members of Los Angeles's underground art scene and made appearances on such television programs as Pee Wee's Playhouse, Night Court, Golden Girls, Ellen, Full House, Married with Children, and MTV.

The following year the Del Rubio Triplets released their first album, 3 Gals, 3 Guitars, which featured covers of such classic and contemporary rock hits as the Doors' "Light My Fire," the Pointer Sister's "Neutron Dance," the Beatles' "Hey Jude," and the Bangles' "Walk Like an Egyptian."

Three years later the Del Rubio Triplets released Whip It. The 1991 release featured uniquely Del Rubio interpretations of the songs "Whip It" by Devo, the Rolling Stones' "Satisfaction," and "Wake up Little Suzy" by the Everly Brothers. While both of the Del Rubio Triplets' cover albums were released on the label Karma, their holiday songfest retrospective, Jingle Belles, was released on their own Del Rubio Records label in 1991.

None of the Del Rubio Triplets ever married because, as Eadie told Lacher, "God comes first.... my sisters come second.... Music comes third" and any potential love interest was a distant "fourth."
by Mary Alice Adams

Del Rubio Triplets - Three Gals Three Guitars (1988)

Del Rubio Triplets - Whip It (1991)

Del Rubio Triplets - Anthology (2000)

mexido, não batido.

Aconselhada por meu amigo cantor e compositor, responsável pelo sapateado do onibus e pelos vocais de Suzie Q no karaoke; Pink Martini é uma banda que pode ser encaixada no genero world music por misturar em suas músicas tango, jazz, lounge, música cubana e européia. A banda é formada por 12 membros e é originária de Oregon.
A idéia inicial da banda era fazer o tipo de música que todos que ouvissem, independente de quem, pudesse ficar a vontade.
Uma festa!

It took Pink Martini a full decade -- their debut, Sympathique, came out in 1997; the follow-up, Hang on Little Tomato, was released in 2004; and now Hey Eugene! arrives in 2007 -- but they've finally perfected their particular good-time blend of cabaret pop, pre-"world music" international fare, golden-age Hollywood scores, and lounge-informed, classy jazz. It's still tempting to be wary of a group that wears its eclecticism so ostentatiously on its sleeve, but in the end nothing about the Oregon-based Pink Martini feels pretentious or mannered. While there is more than a taste of the tongue-in-cheek to China Forbes' vocals, Pink Martini, a dozen strong, never come off as precious or stylized, as did so many of the bands that came along during the '90s lounge revival and then disappeared from the planet. While on one hand they fine-tune what it is they do, Pink Martini also expand their focus on their third album. The Latin elements of the first two albums are still present, no more so than on "Tempo Perdido," a samba-rhumba written by Ataulfo Alves, originally sung by Carmen Miranda and abetted here by a high-school choir, but the group's passport has many new stamps on it. "Bukra Wba'do," originally sung by Egyptian star Abdel Halim Hafez, is PM's first foray into the world of Arabic music, and the foamy "Taya Tan" is a sweet but somewhat foreboding Japanese pop confection. "Ojala" takes the group into French chanson; "Dosvedanya Mio Bombino," obviously, leans Russian (great line: "I tried to storm the Kremlin of your heart"), but not so obviously also tilts toward various other Latinstrains from samba to son, which are touched upon elsewhere. Alternating between English (a touching, minimal "Tea for Two" with vocal jazz legend Jimmy Scott guesting; the opening, Forbes/Lauderdale-penned "Everywhere," a lush '40s-style torch song that could just as easily have been an old Judy Garland or Peggy Lee hit) and foreign-language vocals, Forbes is at ease in any situation. Bandleader/founder Thomas Lauderdale has become a masterful helmsman, guiding the core orchestra through its tricky, subtle paces. Ironically, the title track is the least interesting thing here, a slow-jam R&B bird-flip to a guy who took the singer's number and never bothered to call. Such silliness isn't becoming of the talent and originality on display all over Hey Eugene!, and they'd be wise to stick to the globe-hopping and genre-splicing in the future without resorting to downtown-styled faux coolness.
All Music Guide

Pink Martini - Sympatique (1997)

Pink Martini - Hang On Little Tomato (2004)

Pink Martini - Hey Eugene! (2007)

domingo, 20 de setembro de 2009


The Perishers é uma banda bem interessante de indie rock sueco.
A banda iniciou suas atividades em 1997 e era composto por seis membros, após 2001 mudou sua formação para um quarteto. Conta com Ola Klüft no vocal e guitarra, Martin Gustafson nos teclados e backing vocal, Pehr Åström é o baixista e Thomas Hedlund é o baterista, que também atua na banda Phoenix, já postada aqui mas que foi deletada graças aos direitos autorais que pertencem a Universal Music.
Já participaram de diversas trilhas sonoras de seriados como The OC, One Tree Hill, Veronica Mars, Grey’s Anatomy e Greek. Nos tres discos a banda mantém a identidade com músicas calmas e melodias agradáveis, aconselho principalmente o primeiro disco, From Nothing To One.

The Perishers - From Nothing To One (2002)

The Perishers - Let There Be Morning (2003)

The Perishers - Victorious (2007)

quarta-feira, 16 de setembro de 2009

a horta da laranjeira

eu encontrei a solução pro seu caso e sugiro um tratamento pra voce melhorar
eu vou plantar cenouras
nas sua cabeça

Som Imaginário - Som Imaginário (1971)

segunda-feira, 14 de setembro de 2009

Chinese Democracy do Mangue

Demorou mas saiu.
Membro ativo do movimento mangue beat nos anos 90, Otto foi percussionista do Nação Zumbi e do Mundo Livre S/A.
Saiu de Pernambuco em 1989 para passar dois anos na França, tocando percussão nas ruas e metrôs de Paris. Na volta, aportou no Rio de Janeiro e chegou a animar o som de uma gafieira ao lado de Jovelina Pérola Negra. Do Rio de Janeiro, Otto rumou para o Recife, quando conheceu duas pontas de lança do movimento mangue beat: Chico Science e Fred Zero Quatro.
Traz em 2009 seu quarto disco, Certa Manhã Acordei de Sonhos Intranquilos.
O nome do novo álbum é a transcrição da primeira frase de A Metamorfose, romance de Franz Kafka em que um homem acorda transformado em barata. Mas os tais sonhos intranqüilos parecem ter sido outros, e Otto não nega os pesadelos com a indústria fonográfica. "Não quero nem ouvir proposta de gravadora. Negociar com eles me constrange, derruba a auto-estima. Só falam de números e logo você começa a sentir culpa pelo que está fazendo. Não quero passar por isso. Trabalho melhor sem culpa", diz. Por conta disso, o disco é gravado em esquema de independência. "É como se fosse meu primeiro disco. Contei com os amigos, não teve grana." Na banda estão Catatau (guitarrista do Cidadão Instigado), Pupillo e Dengue (baterista e baixista da Nação Zumbi). A produção é de Otto e Pupillo. "[O cineasta Paulo César] Saraceni se ofereceu para fazer um clipe e [o artista] Tunga, a capa", completa.

There’s a most delicious sadness to the new record from Brazil’s Otto, a veteran singer from Recife’s ultra-fertile mangue-beat scene whose style could be called energetically moody. The title paraphrases the opening lines of Kafka’s “Metamorphosis,’’ and the album delivers on the implied promise of an emotional journey: It arcs from an almost grandiose lamentation of cruelty and loss (“Crua’’) to an end-state of quiet resolution (“Agora Sim’’). Along the way, as Otto travels to Bahia to invoke the spirits (“Janaina’’) and thrashes out a cathartic rock anthem (“6 Minutos’’), you don’t need to understand the Portuguese lyrics to appreciate that he is working out demons. In fact, Otto, thoughtful and sensitive to begin with, is recovering from a recent divorce from actress Alessandra Negrini, his wife of seven years, and “Certa manhã . . .,’’ which also includes a song about their daughter, doesn’t conceal its therapeutic intent. But just as welcome, it signals the continued vitality of the Recife scene - where Otto emerged in iconic 1990s bands Naçao Zumbi and Mundo Livre S/A - with its enchanted blend of regional rhythms, rock, and electronica influences. A crack band supports, with fine percussion and a sweet, almost Congolese guitar; guest spots from Céu and Julieta Venegas augment the mix.
Boston Globe

Otto - Certa Manhã Acordei de Sonhos Intranquilos (2009)

sábado, 12 de setembro de 2009

I don't even get your T-shirt's pun

Há quem diga que não, mas de 2005 pra cá, muita coisa boa apareceu na música nacional e internacional... claro que esses sons não estão jogados por aí, nas grandes radios, nas revistas que se dizem especializadas e nos grandes canais. Mas mesmo assim, esses grupos não se deixam intimidar por nenhum peixe grande, pois a internet está aí; e hoje sabemos explorar essa tecnologia como nunca.
Desde que comecei a fazer esse blog, consegui expandir minha maneira de ver o mercado fonográfico e os caminhos alternativos desse mesmo. É interessante ver como bandas totalmente independentes, ou em selos, ou em gravadoras pequenas e honestas, conseguem hoje com talento e sorte, fazer turnes, gravar discos utilizando apenas apoios culturais e artísticos, e principalmente, serem reconhecidos fazendo o som que eles querem, independente do flow e do mainstream.
Um exemplo disso é o Harlem Shakes. A banda que começou em 2006, quando um grupo de amigos resolveu se juntar pra tocar. Todos cantam, alguns já trocaram de função entre si, mas atualmente a banda conta com brent na bateria, Kendrick nos teclados, Lexy é o vocalista, Todd é o guitarrista e Jose é o baixista.
A banda já fez turne acompanhando o Deerhoof, Vampire Weekend e Beirut; e abriu shows para Wire, Clap Your Hands Say Yeah, Arctic Monkeys, entre outras.
A banda levou um ano para gravar Technicolor Health, que conta com as participações de Stuart Bogie (TV on the Radio) e Jon Natchez (Beirut) tocando sax.

It looks as if 2009 is shaping up to be one magnificent music year. If you aren't already convinced then allow me to present more proof in the form of Harlem Shakes full-length debut Technicolor Health (Mar. 24th). I had originally been exposed to the Harlem Shakes and their solid debut EP in a sort of guilty-by-association fashion. The DIY emergence of IGIF-loved ARMS; Todd Goldstein just happens to be the guitarist of the Brooklyn band (talk about a sweet day job).

I'm glad the fates played out the way they have for I've come across a true independent rock gem. Technicolor Health is a departure from earlier compositions, moving on with their sound into greener pastures full of progressive pop and inventive instrumentation that will either make you happy or just want to dance! The band took a solid year recording the record and curated a few collaborations with the likes of Stuart Bogie (TV on the Radio) and Jon Natchez (Beirut) playing sax. They've taken the comforts of a modern rock sound and blended them with the most organic principles of pleasant pop. Look no further, simply listen to the evidence:

This is the perfect example of how a song can start off as a tiny thought only to build and build like a snowball rolling downhill. What starts off as just a few snowflakes of a drum machine and acoustic strumming turns into a catchy clump of snow quickly embracing gravity. Steamrolling downward it picks up a memorable melody, soft keys, brass, and shakers before rolling over everyone (earfirst, mind you) in its path. The build-up gives way to a breakout chorus that will have more feet tapping than your sister's dance recital! This very contagious chorus acts as the heart of the pop diddy, establishing a tempo and mood that drives the tune onward into a colorful crescendo of keys. It's the type of song that will take you by surprise, get stuck in your head, and make you wonder what 2009 has in store for the Harlem Shakes.

Harlem Shakes - Technicolor Health (2009)

quarta-feira, 9 de setembro de 2009

woulf! woulf!

O último disco do fun. pode até ser uma colaboração, mas Ruess é a sem dúvidas a grande estrela; as músicas são construídas na teoria melódica Ruessianica; arranjos lindos, músicas pegajosas com contornos claros e atmosferas muito interessantes; uma expansão no que se pode chamar de pop.
Para alguém que nunca ouviu, Dog Problems se trata da recuperação de Ruess sobre uma das grandes tragédias da vida, o término de um relacionamdnto(oque deixnu Ruess com uma pequena coleção de cachorros para cuidar). Muitas das músicas tem uma temática de esperança, rancor, etc.
É a voz da alma querendo tocar, e há coisa mais sincera do que isso?

Aim And Ignite is the debut album from the new trio fun., which has gathered Nate Ruess (The Format), Andrew Dost (Anathallo) and Jack Antonoff (Steel Train) together. The groups sound follows very close to Ruess's previous band The Format but expands their straightforward alt-pop into a much more festive and orchestrated record. The entire album feels like an event that brings along horns, sharp harmonies and plenty of good spirit. Aim And Ignite easily could have been too corny in parts but it takes care of that notion with its quick turns and surprisingly upbeat pace, which never lets it go over the top. You quickly find yourself tapping along to the bounce of "Walking The Dog" or helping out the ELO type harmonies on "All The Pretty Girls". I can't say that I initially had many high expectations for Aim And Ignite but after one spin, fun. surpasses most of all three guys previous work. With that said fun. is a group that could easily blow up on the college radio circuit and Aim And Ignite is a record that just might creep it's way into our final 50 list for 2009!

A sophomnre album is (probably) the most important record for any musician to release. Debut albums are a way for an artist to test the waters, tame the masses, and establish themselves with good reviews, respectable hype, and novice excitement. Good examples of such a debut would be bands like The Arcade Fire, Beirut, and The Postal Service. Do these bands have an expiration date? Can they meet the hype and expectations? Are they a "one album wonder?" All of the questions and concerns for an entire discography can be satiated with one sophomore release.

Enter The Format.
Here is a band that had a solid debut album with a simple combination of a guitar, witty lyrics, and a catchy set of vocal chords. A band that hates the corporate rock scene so much they named themselves The Format mocking the typical corporate rock format used to sell albums. A band whose two (main) founding members are barely in their 20's and have been dumped by their record label...twice! A band that recently released a sophomore album that knocked me off my feet.

Dog Problems is the follow-up to the 2003 debut Interventions and Lullabies, which was chock full of catchy lyrics, acoustic guitar, and sprinkled with enough pop melodies to entice the likes of pop-punk hipsters and hormonal teenagers*alike. Also gobbling up their infectious sound were major label buffs at Atlantic. Soon after joining the folks at Atlantic - the work on Dog Problems commenced. It was within this "new work" that Atlantic started complaining. Like most major record companies, they wanted Nate and Sam to make a lot of the same music that was found on their debut and take the "safe route" to successful record sales with their already winning concoction. Unable to reach a compromise, Atlantic dropped the boys...twice. Instead of throwing in a towel soaked in frustration, disappointment, and anger, The Format somehow turned the sour taste of musical transactions into a creative reformation.

Flirting with the very essence of pop perfection, The Format open their latest album with two (great) songs that set the tone for the record. "Matches" begins the record with whimsical keys and xylophone while ending in a crescendo of haunting vocals and fluttering harp. Segueing flawlessly into the second track, "I'm Actual" is where listeners can gain a good idea of what to expect from the album. Lyrics taken from personal experience (Can we please take this hour and talk about me? / And my hatred for corporate magazines / You know they don't speak to me / The irony is they won't speak with me), catchy vocal melodies, and more instrumentation found in one track than on the entirety of their debut. By this point, many of their MTV-watching fans of their first album are will be officially scratching their heads by the conclusion of this track. Those that know better will be applauding.

With the musical mood set, the songs only get better as the album progresses. The ghost of Freddie Mercury seems ever present in the extremely vocal "Time Bomb," while "She Doesn't Get It" and "Pick Me Up" cover topics of casual sex and the struggles of being self sufficient all while making you want to break into dance. Then comes the title track of the album, and by all means the best song they've ever created. With more ups and downs than Keith Richards on a weekend, "Dog Problems" has brilliant orchestration and lyrics influenced by their MySpace driven fans ("Boys in swooping haircuts are bringing me down taking pictures of themselves"). Other tracks of notable merit include "The Compromise," written about their conflicts with major record labels, my personal/lyrical favorite "Inches and Falling," and a closing song, "If Work Permits," that has one of the hardest hitting musical transitions since Neutral Milk Hotel's Holland, 1945.

If there's any justice in this world, Dog Problems will be one of your favorite summer records, the undoubtedly shell-shocked scenesters will get over themselves to soak in this gem, and The Format will advance as trendsetters in the music business with a new format that'll have everyone saying "Damn, now that's how you make a sophomore album."
I guess I'm Floating

fun. - Aim And Ignite (2009)

The Format - Dog Problems (2006)

segunda-feira, 7 de setembro de 2009

brazilian sea amazes me

DevotchKa é uma banda incrível de multi-instrumentistas super talentosos.
Apresentam inúmeras influencias de música de todas as partes do mundo, segundo o myspace da banda, suas influencias vão de música romana, slava, grega e bolero misturada com punk americano e folk roots. Confuso? Também acho.
No início eles faziam backing band para grupos burlescos, e chegaram a fazer turne acompanhando Dita von Teese, rainha do fetiche. Essa banda é uma das melhores coisas que ouvi nos últimos anos. Vale muito a pena ouvir, e se voce se interessou, visite o site oficial da banda, que é genial.
Aconselho quem quiser conhecer, começar pelo Supermelodrama e seguir a evolução da banda por disco lançado.
A banda é composta por:
Nick Urata – vocais, guitarra, piano, trumpete, theremin, bouzouki
Tom Hagerman – violino, acordeon, piano, gaita
Jeanie Schroder – sousaphone, baixo acústico, vocais
Shawn King – bateria, percussão, trumpete, acordeon, orgão


The gypsy-tinged quartet Devotchka was formed in Denver, CO, by multi-instrumentalists Nick Urata (vocals, guitar, trumpet), Tom Hagerman (violin, accordion), Jeanie Schroder (sousaphone, bass), and percussionist Shawn King. Supporting musicians rotated in and out of the eclectic group's lineup, contributing such diverse sounds as strings and bazoukis. While some described Devotchka's sound as polka-rock or circus music, the band was actually a cross-pollination of numerous influences, including cabaret, spaghetti Westerns, and the immigrant dance music of Eastern Europe. Supermelodrama, their self-released 2000 debut, garnered numerous accolades, and the band toured in support of the record with such luminaries as Calexico, 16 Horsepower, Flogging Molly, and Archer Prewitt. Una Volta followed in May 2003. Issued by the Boulder, CO, indie Cicero, Devotchka promoted the album through a tour with noted burlesque/fetish entertainer Dita Von Teese. Their solid third album, How It Ends, was released in 2004, followed by Curse Your Little Heart, an EP of covers that included Siouxsie and the Banshees' "Last Beat of My Heart" and the Velvet Underground's "Venus in Furs." In 2006, they composed the lush score for Little Miss Sunshine, earning a Grammy nomination for Best Soundtrack. In March of 2008, the bands' most mature release, A Mad and Faithful Telling, hit the shelves. ~ Johnny Loftus, All Music Guide

DevotchKa - Supermelodrama (2002)

DevotchKa - Una Volta (2003)

DevotchKa - How It Ends (2004)

DevotchKa - Curse Your Little Heart (2006)

DevotchKa - Mad And Faithful Telling (2008)

senha para todos: evrenselmuzik

quinta-feira, 3 de setembro de 2009

sunshine in the rainy day

Banda de rock inglesa muito influenciada por The Cure, The Smiths, Pixies entre outros. Puro late 80's no início dos anos 2000.
Resgate muito bem feito!

Eddie Argos (lead vocals)
Ian Catskilkin (lead guitar)
Freddy Feedback (bass guitar)
Jasper "Jeff" Future (guitar, backing vocals)
Mikey Breyer (drums)

Art Brut is the kind of band that shouldn't be able to make three good albums. That's not to say they aren't talented, but the whole project should have worn out it's welcome by now. When they burst onto the scene several years ago with Bang Bang Rock 'n' Roll, the band's quirky post-punk style - combined with singer Eddie Argos' talk-sing vocals - was certainly fun and a breath of fresh air, but it never felt quite sustainable. Now, four years later, the boys are still doing pretty much the same thing, and I - for one - am still having a great time. Argos' whit is very much intact and the band continue to provide sharp, angular rock 'n' roll riffs that make their latest effort, Art Brut vs Satan, a solid return for these lovable and seemingly perpetual underdogs.

Lead track and first single, "Alcoholics Unanimous," has been in constant rotation for me for the last month or so and provides a fantastic kick-off for the record. Argos spends the time wondering about what exactly happened to him the night before while his friends shout out less than encouraging and often contradictory phrases during the chorus ("I've been making mistakes - lots of mistakes! I'm hiding it well - Not very well!"). Argos is still primarily dealing with his inability to properly manage his life and his penchant for causing awkward situations, but he's clever enough that it doesn't get stale. "DC Comics and Chocolate Milkshake" is an enthusiastic ode to never growing up, "Am I Normal?" is all about romantic failures, and "Summer Job" discusses trading work for time with friends.

Argos has some less than inspired moments scattered throughout the disc, like the boring public transportation anthem "The Passenger" or the tuneless "Slap Dash for No Cash," but he's on so much of the time the misfires don't stick out much. Adding to the record's consistency is the explosive mix of spiky guitars, frenetic drums, and backing vocals that always hit the spot. Art Brut may love punk music, but they can't hide their obsession with pop melodies and anthematic choruses. Albums these days are generally top-heavy, but Art Brut close 'vs Satan' with a fantastic three-song set, starting with the funky, danceable "Twist and Shout," continuing with the previously mentioned "Summer Job" and ending in the confused, catchy "Mysterious Bruises," the latter of which is well over seven minutes long.

Art Brut is a band that can take little getting used to, but Art Brut vs Satan is the kind of record that's easy to love and was made to be enjoyed. Featuring spectacular production from Pixies frontman Frank Black and a fresh, invigorated effort from the boys, this could be the perfect addition to your summer collection. I imagine these guys will have to grow up eventually, but while they keep making such great records, I don't mind that they take their time.
font: http://chewinggumfortheears.blogspot.com

Art Brut - Bang Bang Rock & Roll (2005)

Art Brut - A Little Complicated (2007)

Art Brut - Art Brut vs. Satan (2009)

terça-feira, 1 de setembro de 2009

piece by piece

Alguma idéia de como seria o new wave nos dias de hoje? Com pinceladas de soul e pop, essa banda do Reino Unido consegue fazer e muito bem, um new wave muito atual.
As canções apresentam atmosferas vezes calmas e pacíficas, vezes obscuras e misteriosas...
Influenciados por The Kills, Cocorosie, Jesus and Mary Chain e Mariah Carrey(lol); essa banda me faz lembrar um pouco Sonic Youth tambem. Esses vocais tímidos vão te conquistar!
Vale a pena conhecer!

Pitchfork: 8.7
"The record is not a complete break with recent sounds: tune in during certain moments of "Crystalised", and you'll hear the flecked, staccato guitars of Interpol. "Infinity"'s slow-strummed electric chords feel like late-period Radiohead. But xx is nervy and self-contained, the product of a new band thinking a lot harder about topics-- sex, composition, volume-- than we are accustomed to new bands thinking. It is so fully formed and thoughtful that it feels like three or four lesser, noisier records should have preceded it. The xx didn't need a gestation period, though xx is nuanced, quiet, and surprising enough that you might."

Drowned in Sound: 9
" The XX know when to tense, when to relax. It’s instinctive. It could be because they’ve known each other for years, it could be luck that this combination of four people is somehow tuned to one another and can create something so clear, so fluent. It’s pointless speculating about it. It’s here and it’s almost perfect."

The xx - xx (2009)