tag:blogger.com,1999:blog-23791165786841547722024-03-02T01:14:24.522-08:00dadastic! soundssights . sounds . visionsUnknownnoreply@blogger.comBlogger21125tag:blogger.com,1999:blog-2379116578684154772.post-32974209233573060472020-11-01T18:38:00.000-08:002020-11-01T18:38:01.603-08:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibrItM4-gk1A9ewIUYEdqsc9Mtlnm_UxC6jQiPmJixWXJ6_z9djyWq3p7C8XA6lQIED2Nav58gHN5CqMabW7Ah7EIZrOGUK-a5DGSqDMxoCOaNgnRw6Ux4OU8snAKzBvN8gsmoBdsx46E/s997/fRAGMENTS+OF+eNDEAVOUR+OUT+NOW.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="969" data-original-width="997" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibrItM4-gk1A9ewIUYEdqsc9Mtlnm_UxC6jQiPmJixWXJ6_z9djyWq3p7C8XA6lQIED2Nav58gHN5CqMabW7Ah7EIZrOGUK-a5DGSqDMxoCOaNgnRw6Ux4OU8snAKzBvN8gsmoBdsx46E/w400-h389/fRAGMENTS+OF+eNDEAVOUR+OUT+NOW.jpg" width="400" /></a></div><p style="text-align: center;"><b><span style="font-family: arial; font-size: large;">The first release on the re-launched dadastic! sounds is<br /></span><span style="font-family: arial; font-size: large;"><span style="color: #04ff00;">FROM FRAGMENTS OF ENDEAVOR</span><br /></span><span style="font-family: arial; font-size: large;">by Romanian artist <br /></span><span style="color: #04ff00; font-family: arial; font-size: large;">DOLORES MONDO STASH</span></b></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">Our first release is the proj</span><span style="font-family: arial;">ect of Dan Tecucianu </span><span style="font-family: arial;">who lives in Bucharest, Romania. Dan is also a visual artist who creates intricate collages that are much in the manner of his music. Out of what the casual viewer or listener may first perceive as chaos, a story emerges. The stories contained on FROM FRAGMENTS OF ENDEAVOUR are told through low-tech and old-school re-assemblage of everything from classical to jazz to sacred clips of ancient cassettes</span><span style="font-family: arial;">, and Dan's own instrumentation. </span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">The songs may be based on random sounds, but those sounds are cut-up, recycled, looped, and deliberately re-assembled to create music, not just soundscapes. This is fantastic stuff for fans of The Residents, Captain Beefheart, Throbbing Gristle, and Psychic TV...or even John Cage.<br /></span></span><span style="font-size: medium;"><span style="font-family: arial;"><span>FROM FRAGMENTS OF ENDEAVOUR comes highly recommended. We don't release anything we don't love and there's a lot to love here. Part pathos, and part humor and Dan's own natural musical talents set Dolores Mondo Stash apart from other aural experiments.</span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><span>Dolores Mondo Stash may at first sound like "ambient" music, or even found sounds, but a closer listen reveals itself to be deliberately composed songs. <br /></span></span></span><span style="font-size: medium;"><span style="font-family: arial;">It's an all-new approach. Have a</span> <span style="font-family: arial;">listen. It will grow on you-perhaps even grow on you like mold.</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;"><br /></span></span></p><table class="Table" style="background-color: #f7fafc; border-collapse: collapse; border-spacing: 0px; color: #3c4257; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, "Helvetica Neue", Ubuntu, sans-serif; font-size: 14px; max-width: 100%; overflow-wrap: break-word; width: 975px;"><tbody class="Table-body" style="box-sizing: border-box; overflow-wrap: break-word;"><tr class="Table-row" style="box-sizing: border-box; overflow-wrap: break-word;"><td class="Table-cell Table-cell--align--left Table-cell--verticalAlign--top Table-cell--width--auto Table-cell--wrap--wrap" style="box-sizing: border-box; margin: 0px; outline: 0px; overflow-wrap: break-word; padding: 0px; vertical-align: top; width: auto;"><div class="Box-root Flex-flex" style="box-sizing: border-box; display: flex; margin: 0px; outline: 0px; overflow-wrap: break-word; padding: 0px;"><div class="Box-root Flex-flex" style="box-sizing: border-box; display: flex; margin: 0px; outline: 0px; overflow-wrap: break-word; padding: 0px;"><div class="db-CopyPasteableApiKey Box-root" style="box-sizing: border-box; cursor: pointer; margin: 0px; outline: 0px; overflow-wrap: break-word; padding: 0px;"><a href=" pk_live_51HTLUPJeYAtqhBu81Rg7503qmFBsuLXGPEcBZ7FrR77qrxAAsWrGyc6HKU09kratgyOz8F9pZUumlrcZGzMQaLPD00cjUXPRQp"> </a><br /></div></div></div></td></tr></tbody></table><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-20411948746762565032013-08-25T13:44:00.001-07:002020-08-03T16:33:29.432-07:00NEW STYLE BY RAPID-I<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium; font-weight: normal;"><span style="font-family: "trebuchet ms" , sans-serif;">This five-song EP is as fresh and fun as it was when it was first recorded in the late 1980s. It’s full of unexpected twists and turns while retaining the beat and a playful sense of joy. rapid-I was one of the few jazz-punk
bands to emerge from the West Coast during the 1980s, which makes the EP even more of a bright spot for collectors and fans of that era; It’s sort of Barney Miller crossed with James Chance, New Style pulls you into the groove and occasionally spits you back out, but never leaves you too far from getting back into the beat. It never takes itself too seriously....this is No Wave that's on the funkier side. The music is full of percussion, sharp guitar hooks, bass-heavy
bottom with a sense of precision while remaining loose and spirited. The EP
contains a full-length version of the title song and a shorter radio version that stands on its own. This is another of the long-lost gems of Seattle proto-grunge that deserves to be heard and </span>enjoyed. The music was released in the mid-2010s but it's still available. <a href="https://www.amazon.com/s?k=NEW+STYLE+RAPID+I&i=digital-music&ref=nb_sb_noss">CLICK HERE!</a></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-80772261172049079062012-02-22T21:23:00.001-08:002020-08-03T16:09:39.053-07:00THAT'S DADASTIC!TWENTY TURNED-ON HITS BY THE ORIGINAL ARTISTS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">New stuff. Old stuff. Paris. Martha's Vineyard. Seattle. Jakarta. London. Portland and Buenos Aries. Rock. Funk. Folk. Garage. Wierdo. At dadastic! sounds we don’t let genre or language or location stand in the way of the music we love. Neither should you. So here are twenty turned-on hits by the original artists that cross all those boundaries. Of course their not all by the original artists. We’ve included two cover songs that completely transcend the originals. All of the songs here are favorites of ours. No internet contests, no paid inclusions no hype beyond trying to get you to pay attention and support some of these artists. Go ahead; buy a CD or download from these artists…or us. <br />
The music on That’s Dadastic! ranges from a forgotten teenage garage band recorded almost 50 years ago to music that is not quite back from the CD plant. And how could we release a compilation without including some old pre-grunge favorites from Seattle? “on the backs of giants“ and all that stuff, as somebody said. Along with those unknown artists there’s a few well-known producers, sidemen and engineers here too; but we’ll let you figure out who those people are rather than tooting our horn. Some of the songs are so strong we didn’t mind that they were recorded with no production qualities to speak of. We’re more interested in having you a listen to a song you like and sticking around to discover some new stuff.<br />
There’s way too much to mention and too many people to thank. That’s why we’ve set up a website to give you details, let you know where to buy songs from these artists and download bonus tracks. We’re even updating the site from time to time…news, freebies, and all kinds of glamorous stuff. Isn‘t all this mind-bending? Sure. Just so you don’t forget. </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-22786093334045449502011-12-09T13:19:00.001-08:002020-08-01T19:17:34.976-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: lime; font-family: "trebuchet ms"; font-size: x-large;"><strong>THE FUGITIVES COME RUNNING OUT OF OF PORTLANDS PAST</strong></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DFMvnTCqgSEp3dh6QI1C4LM2wS4wycZoZ-2-XEj3lKf2deEpP0s5D2vp1EWpCK-sNRosN2KO-WakwOygiRdAC5kDrnNCFBeVaEpGelpAJUbwCBLvdoIs3LPbyvESMzcX_90PFcI-NeM/s1600/Fugitives_poster_1965_dadastic_blog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DFMvnTCqgSEp3dh6QI1C4LM2wS4wycZoZ-2-XEj3lKf2deEpP0s5D2vp1EWpCK-sNRosN2KO-WakwOygiRdAC5kDrnNCFBeVaEpGelpAJUbwCBLvdoIs3LPbyvESMzcX_90PFcI-NeM/s400/Fugitives_poster_1965_dadastic_blog.jpg" width="276" /></a><span style="font-family: "trebuchet ms";"><span style="font-size: medium;">Over the decades there’s been many bands calling themselves The Fugitives. The mid-60s group from Portland may have been the first-but it didn’t stop the record pressing plant from misspelling the name on the bands first single, ‘We Gotta Run’. Though it was labeled ‘The Fugatives’ Portland Oregon kids already knew who they were. The Fugitives were a popular band on the Northwest music scene at the time. In 1965 they'd won the city's Teen Fair battle of the bands and were on their way to national prominence. Today there are barely a footnote alongside the great bands that are associated with Portland during that era, the most famous being The Kingsmen and Paul Revere and The Raiders. The Fugitives were and are every bit as good as any band working in the Northwest at the time, so it’s an honor to be able to re-introduce them to 21<sup>st</sup> century listeners. Somewhere along the way we discovered an anonymous teen journalist writing in one of the local Portland newspapers. We thought we'd share it here since it such a step into the past! The article:<br /><br />BAND OF THE MONTH<br /><br /> Although the oldest member in the group is only 19, The Fugitives with Ann and Rhonda are an all-around professional group who can put on a great show to please a variety of audiences. Managed by John Hillsbury, who’s noted for his contributions to live theater in Portland, The Fugitives are winners of last year’s Teen Age Fair, winning over 96 other combos, and Rhonda (Rhonda Anderson) is a Miss Teen Talent contest winner in Long Beach California. <br /><br />Band members can play anything from 4-4, hard rock to western and jazz, to formal dances. They prefer ballad rock. They have written much of their own material. A current disc “We Gotta Run” is on many jukes and is being played regularly by KGAR. The flip ballad is ‘Don’t Pretend’. On the Tork label. they are recording six new songs which were proven popular at numerous dances at which they have played. <br /><br />When the group appears, a technical man, Dann Egan, travels with it to stage the show. The group is well-organized, talented, versatile and conscientious.<br /><br /><br />From March 10 to 19th The Fugitives with Ann and Rhonda will tour several cities in Canada, including Vancouver and Victoria, with even more exciting schedules coming up this summer <br /><br />The group includes Bob Bentz, electric organ and sax; Mike Walker, lead guitar; Steve Evans, bass: Larry Burton, drummer; Rhonda, jet-dancer;: Ray Walker, lead singer; Ann Scott, blonde bombshell. </span><span style="font-size: medium;">Steve and Ray attend Jefferson, Rhonda goes to Marshall and Ann to Wilson. The remaining boys have graduated.</span></span></div>
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<span style="font-family: "trebuchet ms"; font-size: medium;">The A-Side of The Fugitives debut single is included on our compilation <a href="https://www.amazon.com/Thats-Dadastic-Various-artists/dp/B005L0K7QQ" target="_blank">THAT'S DADASTIC!</a> Listen to 'We Gotta Run' below.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-73306095542785540722011-11-10T21:23:00.001-08:002020-08-01T19:25:47.508-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="color: lime; font-family: "trebuchet ms" , sans-serif; font-size: x-large;">BAD THINGS NOBODY KNOWS</span></strong><br />
<strong><span style="color: lime; font-family: "trebuchet ms" , sans-serif; font-size: x-large;">Los Venenos Tells It All</span></strong><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">What if Jacques Brel got ass-pounding drunk and started a fist fight with Johnny Cash? Imagine Jacques broke his good hand in that fight and ran off to Buenos Aires where he ended up homeless on the streets playing for coins to buy the cheapest rot-gut liquor he could find. If all that happened the resulting sound might be like Los Venenos.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">Los Venenos was formed in 2010 by Gabriel Perez, a much nicer guy than the sound, not the band I'm describing. Perez’s original vision was supposed to be a solo project. but soon he was joined by his sister, Mariana Teo. The Perez y Teo combination worked so well that the two began making at-home demo recordings…the kind of simple, expressionistic, ham-fisted recordings that no studio recording could compete with. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">“Our influences are 60s rock, country, rockabilly, old school punk, new wave, and alternative music,” Gabriel tells me.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">“The idea of the band is being a bit different in comparison with other music. Our inspiration is simple things that happen in life and the things that bother us. Many people live with those situations, so we use the resource of the raw sound to express them. We like to be more direct with the lyrics“.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">Maybe the lyrics sound more direct because English isn’t Perez or Teo’s first language. The lyrics are starker than Americans are used to, but they’re still poetic. Everybody knows-or should know-that the Spanish language has a profound tradition of literature and poetry.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">“Our idea is a cultural exchange too. To create the feeling of music of all the world that is expressive and from the very inside of people's heart. That’s the music that e that deserves our ears. So with Los Venenos, we try to express those things that are annoying in the society…cruelty, poverty, selfishness”.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">What Gabriel Perez doesn’t mention is that ultimately Los Venenos’s music is filled with a kind of desperate hopefulness.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">“Mariana plays bass and sings the chorus. I play guitar, do vocals and play drums. This formation allows the music that we want to do. It’s critical music. It expresses something that is not right“.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">"The name "Los Venenos" comes from a tale by Argentine author and social critic Julio Cortázar. The meaning is similar, but not exactly the same as the English word 'poison'. As we know, this means something bad or dangerous. Our songs are a little bit like that. They’re about things not many people want to know about. That summarizes the whole thing. People telling other people things they already know but things they don't recognize. Things that they would rather not know".</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">“We’d like to do live performances if it's possible. Meanwhile, we continue writing and recording songs. That what Los Venenos believes, want to do and to express“.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">Los Venenos have released their first single and video of the song ‘Return’. They're also featured on the recent release <a href="https://www.amazon.com/Thats-Dadastic-Various-artists/dp/B005L0K7QQ"><i><b>THAT’S DADASTIC!</b></i></a> </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: medium;">The 20 song compilation includes their version of Leonard Cohen’s ‘It Seems So Long Ago, Nancy’. It/s much more raw, gutsy and powerful than the original. The duo are also recording their first full-length album, appropriately titled <i>Males Que No Todos Conocen</i> roughly translated; <i>Things Nobody Knows. </i> It should be released in the Fall of 2020.</span><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2379116578684154772.post-2697528944278679862011-09-02T17:40:00.004-07:002020-09-25T19:24:23.611-07:00FIRST VIDEO SINGLE FROM INFRAME PROJECT - AYAYA<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">The band was fronted by one of Asia's up and coming guitarists, Achman Ananda and</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">The video was created by Dirk Prophet.</font></span></div>
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<font face="trebuchet"><span style="background-color: black; color: white; font-size: large;"><span>Indonesian Lyrics:</span></span></font></div><div dir="ltr" style="text-align: left;" trbidi="on"><font face="trebuchet"><span style="background-color: black; color: white; font-size: large;"><br /><span>Bulan, Belum Terbelah dua</span><br /><span>ayaya.. untuk apa, sakit hati karena cinta?</span><br /><span>wakakakaka.. tertawa sajalah</span><br /><span>English Translation:</span><br /><span>The moon has not broken into pieces yet</span><br /><span>Ayaya</span><br /><span>Wakakakaka...let's just laugh</span><br /><span>Songwriters: Fajri Rusani/Achmad Ananda</span><br /><span>Recorded at Inframe Studio, Jakarta Indonesia</span></span><br />
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Bintang masih bercahaya</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">bukan akhir dunia</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">kalau hanya karena putus cinta</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">ayaya.. mau bilang apa</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">jika putus bercinta, yasudahlah</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">wakaka.. itu hal biasa</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">wakakakaka.. karena kita</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">hidup di dunia diberi cinta agar bahagia</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">The stars are still shining</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">It's not the end of the world</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Just because your heart is broken</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">What is the heartbreak of love?</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Ayaya</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">What can you say</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">When your heart is broken. Just get over it.</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet"><span><span style="font-size: xx-small;">Ⓟ</span></span><span> and</span> © Rusani/Ananda/Inframe Project 2011</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Fajri Rusani / Vocal</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Achmad Ananda / Guitar</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Jessi Mates / Additional Drums</font></span></div>
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<span style="background-color: black; color: white; font-size: large;"><font face="trebuchet">Mean Sibarani / Additional Bass</font></span></div>
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<font face="trebuchet"><span style="background-color: black; color: white; font-size: large;">Producer/Engineer: Fajri Rusani / Achmad Anan</span><span style="background-color: black; color: white;">d</span>a</font></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-2843770283634057932011-01-26T10:58:00.001-08:002020-08-01T13:30:59.888-07:00IDIOT CULTURE: NOT SO DUMB<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOUJeXipI8JnoKtoLRCEzJsaXZGKO3Fp-11r-fAb0DIx9IHYUJsRvJgmEWEnMoGo45wu19Yx89CmbRb_mtaOWbcd5IeAEra_WDNQ39KknabXjny5uAdK2cttICbo3wixbBL9mQbAWhyphenhyphenRQ/s1600/idiot-cover_blog.jpg"><img style="margin: 0px 10px 10px 0px; width: 307px; float: left; height: 301px;" id="BLOGGER_PHOTO_ID_5540764564517407250" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOUJeXipI8JnoKtoLRCEzJsaXZGKO3Fp-11r-fAb0DIx9IHYUJsRvJgmEWEnMoGo45wu19Yx89CmbRb_mtaOWbcd5IeAEra_WDNQ39KknabXjny5uAdK2cttICbo3wixbBL9mQbAWhyphenhyphenRQ/s400/idiot-cover_blog.jpg" border="0" /></a><span style="color: rgb(255, 153, 0); font-weight: bold;font-size:130%;" > </span><div style="text-align: justify; font-weight: bold;"><br />
<span style="color: rgb(204, 204, 204); font-weight: normal;font-family:trebuchet ms;font-size:130%;" ><span style="color: rgb(255, 153, 0); font-weight: bold;">IDIOT CULTURE</span> is the latest project by reclusive Seattle guitarist Byron Duff. Byron began to make his mark in the 1980's with the band The Spectators. The band were known for jaw-dropping performances in the underground clubs that were legendary even before they spawned the emergence of what would be the 1990’s Seattle Scene. Bob Mould (Husker Du, Sugar) once called The Spectators "the best unreleased band in America". Although the band lasted no more than a year they landed opening and touring spots with the Huskers, Dead Kennedys and The Stranglers among others. Before splitting they developed a strong following that lasts to this day. </span><span style="color: rgb(204, 204, 204); font-weight: normal;font-size:130%;" ><br />
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</span><span style="color: rgb(204, 204, 204); font-weight: normal;font-family:trebuchet ms;font-size:130%;" >In 1986 Duff formed ’Dive’ with bassist TJ West and drummer Steve Dodge and continued into the 1990's. After Dive, Duff and drummer Steve Dodge reformed as ’Moth’. Eventually the three original Dive members-Byron Duff, T. J. West and Steve Dodge-were reconstituted and spent time writing and recording for several years out of the limelight. This trio that has emerged as Idiot Culture.</span><span style="color: rgb(204, 204, 204); font-weight: normal;font-size:130%;" ><br />
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</span><span style="color: rgb(204, 204, 204); font-weight: normal;font-family:trebuchet ms;font-size:130%;" >Because Byron Duff been missing from the Seattle music scene for a number of years, his re-emergence and the upcoming album has been highly anticipated among those that are familiar with his work. Duff’s sound in Idiot Culture definitely leans heavier nowadays, but the music is still a hybrid of seemingly contradictory styles. One minute the sound may seem metallic or punkish. A few bars later the melody is overtaken by jazz chords. At times the prog rock guitar suddenly transforms into a surf riff….imagine Dick Dale doing Kraut rock…if that’s possible. </span><span style="color: rgb(204, 204, 204); font-weight: normal;font-size:130%;" ><br />
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</span><span style="color: rgb(204, 204, 204); font-weight: normal;font-family:trebuchet ms;font-size:130%;" >The album is full of trance-like riffs and hypnotic hooks. But it’s also clear the band is also not afraid to tread into the realm of momentary unrestrained chaos just for the joy of it. There's always something unexpected to rise to frenetic levels, but the pace is leisurely enough to allow the soundscape to fully sink in. The album was recorded live in-studio analog recording and mixed by the renowned producer Jack Endino. Idiot Culture isn’t the product of, or inspired by Soundgarden, Nirvana or Mudhoney, but Endino‘s work with those bands makes him singularly qualified to understand and enhance what Idiot Culture wanted to achieve. His deft hand takes care not to detract from the original intention of the recordings. He’s allowed the sound to remain incredibly tight while allowing tones to go where they may…is that a ripped speaker cone or Duff‘s playing? Was that feedback misplaced or on purpose? </span><span style="color: rgb(204, 204, 204); font-weight: normal;font-size:130%;" ><br />
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</span><span style="color: rgb(204, 204, 204); font-weight: normal;font-family:trebuchet ms;font-size:130%;" >Idiot Culture uses long passages and favors guitar and bass as a way of delivering deeply into compelling sounds rather than rely on solos. This is stuff you’d listen to late at night, motionless in an altered state…or as loud as hell in the middle of a herd of buffalo. It works successively on both levels. It's all the more impressive for it’s seamless layering of guitar sounds played simultaneously. Duff has long been regarded as an extraordinary guitarist with the ability to play several parts in unison as well as abrupt effects changes.</span><span style="color: rgb(204, 204, 204); font-weight: normal;font-size:130%;" > </span><span style="color: rgb(204, 204, 204); font-weight: normal;font-family:trebuchet ms;font-size:130%;" >Dodge’s drumming is strong but not ham-fisted and West’s bass plods, plugs along and shines exactly where it should. The results here are extraordinary.</span></span><a href="http://www.dadastic.com/idiotculture_splash.html"><span style="font-weight: bold;font-family:trebuchet ms;font-size:130%;" <br><br />
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BUY IDIOT CULTURE CD OR DOWNLOAD MP3</span><span style="font-weight: bold;font-family:trebuchet ms;" > Click Here</span></a> </div><br><br><br />
<iframe title="YouTube video player" class="youtube-player" type="text/html" width="480" height="390" src="http://www.youtube.com/embed/xpdNmMeLYhM" frameborder="0" allowFullScreen></iframe><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-38487181767745694752010-03-10T14:51:00.001-08:002020-08-01T13:30:59.956-07:00BILL BELL<div align="justify"><span style="font-size:180%;"><span style="font-family:verdana;"><strong><span style="color:#ff9900;">NOT JUST ANOTHER PREACHER'S KID</span></strong>
</span></span></div><div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXO1qVLKRUtRpciOk97lqsgcKO2EWlkVQWcbPn8f1yVaDDljWODuGJKBBBA6uW5PmFVfJc2fTINu5z2HgUxfQ9_XOE1FJyeAv4c6ONxmsw7oU-C5T2tYJansEFzlUdOgwD29h1pTVSu1U/s1600-h/Vicar1.JPG"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 325px; FLOAT: left; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5447158052151356258" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXO1qVLKRUtRpciOk97lqsgcKO2EWlkVQWcbPn8f1yVaDDljWODuGJKBBBA6uW5PmFVfJc2fTINu5z2HgUxfQ9_XOE1FJyeAv4c6ONxmsw7oU-C5T2tYJansEFzlUdOgwD29h1pTVSu1U/s400/Vicar1.JPG" /></a><span style="font-family:trebuchet ms;color:#ffffff;">Bill Bell's latest CD The Vicar's Son delves into traditional and contemporary Irish, Scottish and American fiddle music...but that's only a small slice of Bell's musical interests. His musical resume includes work with iconic underground pop stars, film, the avant-garde and Rai and Raga music. <br><br>
Bell’s early musical influences were church hymns and Country/Western music. These influences were, according to Bell due to his father being a Southern Baptist minister and an accomplished Western songwriter and singer. Bill was also introduced to classical music and started lessons on the violin at age 12. He later lost interest to pop influences with the invasion of the British and the Beatles. Bell majored in choral composition in college and in the late 1970s but his later interests found him concentrating on electronic music, focusing on “Musique Concrete”.<br><br>
“I spent years with razor blades and magnetic reel to reel tapes“ he recounts. One result was “The Sirens of Galilee” a four years-in-the-making composition of found, recorded and manipulated sounds. His influences at the time were Morton Subotnik, John Cage, Karlheinz Stockhausen and Walter Piston. Living in Los Angeles afforded Bell the opportunity to meet other electronic musicians like Bob Moog, Tom Oberheim, Serge Teherepnin and Don Buchla. Bell worked with some of their earliest synthesizer modules. Electronic music and its frontier possibilities led Bell further into a period of experimentation with microtonal, non-twelve tone composing systems. This came in handy when ten years later he met and worked with kitch icons The Del Rubio Triplets.<br><br>
“While living in Long Beach I met the amazing Del Rubio Triplets at a bar/lounge on Pacific Coast Highway. At this time they were playing lounges and rest homes. It was the beginning of a long friendship and collaboration as I brought them into the pop world as an opening act for the Fibonaccis at the Masonic Temple in Long Beach in 1988. We recorded the album, “Three Gals, Three Guitars,” and their career was launched into the Hollywood underground. After the initial success of their first LP I produced “Whip It” and “Jingle Belles,” both CD releases in 1991.<br><br>
During this same time period Bell also studied film composition with Earl Hagen and Jerry Goldsmith. “ I assembled a recording studio in Long Beach and recorded projects with some early Southern California bands including, the Suburban Lawns, Su Tissue and Rhino 39. Bill also contributed violin tracks to bands he says he respected; the Fibonaccis, Electric Sheep, Non Credo and Giant Ant Farm“.<br><br>
In 1992 Bill Bell contributed tracks to the film score of “Kafka” with Jeremy Irons and wrote and produced “Frightened by Nightingales,” with Josey (Josie) Cotton in 1993. His later work with Josie Cotton resulted in the co-production of another Josie (Josey) Cotton CD, the popular “Invasion of the B-Girls.”
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As a matter of clarification he often used his middle name ‘Rhea’ instead of ‘Bell’ and much of his 1990s music was credited as Bill Rhea. After the completion of “Frightened by Nightingales” In 1993 and 1994 Bill began recording orchestral and mandolin tracks on an international music project with the Algerian Rai singer, Rimitti. These recordings were produced by Jean Benoit Vauxelaire in Paris, France and with Geza X in Hollywood. Other musicians contributing to the two CDs were Robert Fripp, Flea, Geza X, East Bay Ray, and the Fowler Brothers. Bill has also written and produced the mockumentary, “Mysteries in Midgetville.” He is also a member of the Intercontinental Philharmonic Orchestra and contributed multiple tracks on the 2007 release of “The Pillory,” by Jasun Martz.<br><br>
Since the late 1990's Bill has concentrated on American and Celtic fiddle music, having produced two CD‘s. “Under the Dome” (2003), is a compilation of Civil War music and his latest, ‘The Vicar’s Son,’ The Vicar’s Son’ is a collection of traditional and original Scottish, Irish and Texas fiddle music.
It includes folk tunes Bell has picked up on his travels in the British Isles as well as his own inspired tunes. He imbues the recordings with beauty and care, bringing in top of the line musicians Paul Burton, Eddie Young,Dan Richardson, Enrique Platas and Red Dice to provide sensitive background accompaniment.The result is warm, inviting folk music in an historical context with Bell's contemporary twist...as you can hear in the title track. This is friendly, unaffected music by an equally friendly and unaffected artist, with just enough mystery to provide an edge. Music that is presented with warmth and just a touch of slyness. According to Bill:<br><br>
“I found my fiddle in a pawn shop in Lubbock Texas in November 1983. It is labelled 'Aldric' Paris France, 1828. I hope you enjoy listening to 'The Vicar's Son' which is, after all, just a fancy way of saying "Preacher's Kid".</span><br><br>
<a href="http://dennybop.accountsupport.com/store/page23.html#20"><strong>Buy THE VICAR'S SON by BILL BELL</strong></a><br><br>
<strong><span style="color:#ff6600;">SEE THE VIDEO HERE</span></strong><br><br>
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<embed src="http://vimeo.com/moogaloop.swf?clip_id=10047009&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="225"></embed></object></div>
<p><a href="http://vimeo.com/10047009">Vicar's Son</a> from <a href="http://vimeo.com/crownchimp">Nickolas Duarte</a> on <a href="http://vimeo.com/">Vimeo</a>.</p>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-2379116578684154772.post-60639799120839280892010-03-06T11:08:00.000-08:002020-08-01T13:30:59.989-07:00<div><font color="#ff6600" size="4" face="trebuchet ms"><strong>THE VIDEO TARGETS LIVE AT WREX 1981</strong></font>
<font color="#ff6600" size="4" face="trebuchet ms"><strong>JUST FOR MONEY</strong></font>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyVFvzONwQ1QdagcLMFIm30jo9loBS_yVMBgLBg_nbxGTsmAGsT7BjzEPG-O0nSx25CGtbecCQw0fenjTlwBw' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-72133626332001958072010-02-22T10:00:00.001-08:002020-08-01T16:11:28.363-07:00PETTINATO & THE PESSI-MYSTICS<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSu1IjBK1o0OoXeA8tj9hyphenhyphenGySF145mSIpcdh50HDM_gxHRgQEGsrDbacBRlyfL7ua9nWeTJ6lStwi72KO31oMRpZoIbXUFeXY4fCqcPrGDjzmV15yj-eiLnRpzglX4Z8E9bMAnc-d7c_4/s1600-h/Pettinato_rear_blog.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 400px; FLOAT: left; HEIGHT: 344px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5441160253357531058" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSu1IjBK1o0OoXeA8tj9hyphenhyphenGySF145mSIpcdh50HDM_gxHRgQEGsrDbacBRlyfL7ua9nWeTJ6lStwi72KO31oMRpZoIbXUFeXY4fCqcPrGDjzmV15yj-eiLnRpzglX4Z8E9bMAnc-d7c_4/s400/Pettinato_rear_blog.jpg"></a> <div align="justify">In November of 2000 seven musicians who had never performed together walked into a studio in Buenos Aires to conduct an experiment. The engineer set the tape rolling and the band began to play. There was no rehearsal, no charts, no previously agreed on strategy. This project was the brainchild of Roberto Pettinato; author, social commentator, TV personality and one-time member of Sumo, the most influential rock band ever to come out of South America.<br />
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During the initial session and another the following week the players came up with ten solid tracks; all of them improvised and mostly without overdubs or mixing. The result is El Yo Saturado (I Am Saturated) by Pettinato and The Pessi-Mystics. The music is unapologetic, chaotic, beautiful anti-pop. It combines spaced-out psychedelic dirge and a free-for-all atmosphere unbounded by pop conventions. But El Yo Saturado is more than noise or intellectual meandering. It’s a solid slice of the beauty of process that satisfies as any polished product.<br />
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It was the vision of Roberto Pettinato that brought these performers together. Pettinato was already a well-know figure in the Argentinean underground, avant garde and alternative rock scene at the time of this recording. Pettinato had made his name as a journalist in the late 1970’s. He was also known as the on-again-off again saxophonist for Argentina’s most well-known alternative band Sumo. <br />
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Luca Podran the founder of Sumo was an Italian who had gravitated to London and Manchester England during the rise of post-punk. He had hang out and become friends with the likes of Ian Curtis of Joy Division, Mark E. Smith of The Fall, members of Gang of Four and A Certain Ratio. It was with this musical and cultural background that Padron found himself in Argentina to kick a heroin habit. Sumo’s mark on Argentine rock is as undeniable as it is indelible. Roberto Pettinato who was an asiring member of Argentina’s underground music scene became riends of Podran, and in 1984 Podran invited Pettinato to become part of Sumo. Pettinato remained with the band until it disintegrated with the death of Pod ran in 1987. <br />
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By then Pettinato had begun to venture into television as a late night music presenter. Pettinato continued to pursue his career as a musician by forming various groups and overseeing several experimental productions. His interest in both paid off and by the mid-90’s Pettinato began hosting a series of popular late night television shows in Argentina. His shows completely revolutionized Argentine television with their mix of music, interviews, humor and acidic political satire. Along the way Pettinato exposed his audience to artists that had largely gone unnoticed in Argentina. Artists like Van der Graff Generator, John Martyn, Nick Drake, The Velvet Underground, Ian Dury, and Joy Division with whom he had the connection to through the late Luca Prodan.<br />
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In November 2000 a chance encounter between Pettinato and Jose " Pepe" Navarro led to a discussion of how music is created. Within a couple of weeks Navarro and Pettinato set out to form an ad hoc band-The Pessi-Mystics-that included Pettinato, Navarro, Javier Saiz and Salvador “el Rojo” Agustoni. Ultimately Peter Bearish and brothers Gonzalo and Coco Rainoldi collaborated in the recordings. The resulting album would be “live” and without any rehearsal. The goal was not so much to “jam” but to spontaneously create the music even though the musicians had not rehearsed-in fact most of them had never even met-prior to the sessions there are clear shared influences in the music. Chief among them is the post-punk of Luca Prod an, the kraut rock of Holgar Czukay (Can) and contemporary psychedelia. In a departure from his normal role as saxophonist, Pettinato took on vocal duties and played guitar. The best of those experimental recordings were culled from two late night sessions. The result was ‘El Yo Saturado” (I am Saturated) . <br />
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The album was released in early 2001 to rave reviews in the Argentina press The opening track. “Joy Division (Three In The Morning) is an obvious tribute to Luca Podran and his friendship with Ian Curtis. It is as worthy of attention as any British or US single of it’s kind, but not surprisingly the song and the entire album found little attention outside South America’s limited alternative rock scene. Despite it’s critical success the album was released in a relatively small pressing, and has become highly sought-after.<br />
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This is an important, seminal work by an important group of artists. The album’s importance is punctuated by the fact that Roberto Pettinato is now one of the most recognizable figures in South America. He has gone on to become a media phemon and currently hosts the show Un Mundo Perfecto as well as publishing the popular South American rock journal La Mano. Pettinato is also the author of an account of his involvement in Argentina’s early alternative music scene as well as two books on comedy and satire. <br />
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dadastic! sounds is particularly proud to introduce ‘El Yo Saturado’ to a wider audience.<br><br />
WATCH THE VIDEO 'JOY DIVISION THREE IN THE MORNING <br><br><br />
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<a href="http://www.dadastic.com/pettinato_splash.html">BUY THE CD OR DOWNLOAD</a></div><div align="justify"></div><div align="justify"><a href="http://www.dadastic.com/pettinato_splash.html">EL YO SATURADO by PETTINATO & THE PESSI-MYSTICS</a></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-2379116578684154772.post-88835259641244649902010-01-21T14:08:00.000-08:002020-08-01T13:31:00.057-07:00<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJz-nk8w-8BO9W5ZPHcBNkUNy6jSh9HAspiaIk0UJKfq5nw8PyUrmkXeDglSOQ_hNDx0ESjKoB6XKemOlP12QZvxORsK74iCxV5wmpqJR1mvbxbWoh1gYBdZuj0BWNIkDno_OSh-3Q9G4/s1600-h/del_rubio_bw_fixed+for+blog.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 334px; FLOAT: left; HEIGHT: 366px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5429318793459609858" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJz-nk8w-8BO9W5ZPHcBNkUNy6jSh9HAspiaIk0UJKfq5nw8PyUrmkXeDglSOQ_hNDx0ESjKoB6XKemOlP12QZvxORsK74iCxV5wmpqJR1mvbxbWoh1gYBdZuj0BWNIkDno_OSh-3Q9G4/s400/del_rubio_bw_fixed+for+blog.jpg" /></a>
<span style="font-family:trebuchet ms;font-size:130%;color:#ff9900;">THE GALS ARE BACK IN TOWN!</span> In the mid-1980’s The Del Rubio Triplets became an overnight success-after 40 years of playing around the world, being chased by Abbott and Costollo, opening for Victor Borge and entertaining in every Nursing Home in Southern California! Three Gals Three Guitars made The Del Rubio Triplets household names-if your household happened to be in Hollywood-during the mid to late 1980’s The look-alike sisters went from the D- list to opening clubs from Tokyo to Brussels; they appeared with everyone from John Waters to Nathan Lane.
At the height of their career Millie, Eadie and Elena were everywhere. They showed up on TV shows like Married With Children, Night Court and The Golden Girls. They did a classic turn by singing “Walkin’ In A Winter Wonderland” for Pee Wee Herman’s 1988 Christmas Special. They became the Queens of Kitsch and icons for outsiders who didn’t quite fit into the typical mold of pop glamour and pre-packaged talent.
We here at dadastic! central are pleased to be able to offer the original 12” vinyl recording of the ladies’ first album. The treats on Three Gals, Three Guitars include standards like Besamo Mucho to The Neutron Dance and Walk Like an Egyptian…all performed in that inimitable Del Rubio style that made them the Queens of 80’s Kitsch. Go-go boots, hot pants, good cheer and unlikely covers by The Del Rubio Triplets make this collectors item. This LP is from the first, original 1988 vinyl pressing on Cabazon Records. <span style="font-size:130%;color:#00cccc;"><strong><a href="http://www.dadastic.com/del_rubio.html"><BR>
BUY THE 12" VINYL LP HERE</a></strong></span></div><div align="justify"><strong><span style="font-size:130%;color:#00cccc;"></span></strong></div><div align="justify"><strong><span style="font-size:130%;color:#ff9900;">LISTEN TO 'WALK LIKE AN EGYPTIAN' BY THE DEL RUBIO TRIPLETS</span></strong></div>
<img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://counters.gigya.com/wildfire/IMP/CXNID=2000002.11NXC/bHQ9MTI2NDM1NTM*MjQ4NCZwdD*xMjY*MzU1MzcwNzIwJnA9MjcwODEmZD1taW5pX211c2ljX3BsYXllcl9maXJzdF9nZW4mbj1i/bG9nZ2VyJmc9MSZvZj*w.gif" /> <embed type="application/x-shockwave-flash" src="http://cache.reverbnation.com/widgets/swf/13/widgetPlayerMini.swf?emailPlaylist=artist_648028&backgroundcolor=EEEEEE&font_color=000000&posted_by=artist_648028&shuffle=&autoPlay=false" height="83" width="262" > </embed><br/><a href="http://www.reverbnation.com/rpk" onclick="javascript:window.location.href="http://www.reverbnation.com/c./a4/13/648028/Artist/648028/Artist/link"; return false;"><img alt="Music press kits" border="0" height="12" src="http://cache.reverbnation.com/widgets/content/13/footer.png" width="262" /></a><br/><img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://www.reverbnation.com/widgets/trk/13/artist_648028/artist_648028/t.gif"/><a href="http://www.quantcast.com/p-05---xoNhTXVc" target="_blank"><img src="http://pixel.quantserve.com/pixel/p-05---xoNhTXVc.gif" style="display: none" border="0" height="1" width="1" alt="Quantcast"/></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-72220345603792274432010-01-15T02:56:00.000-08:002020-08-01T16:17:34.865-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: trebuchet ms;"><span style="font-size: small;"><span style="color: #ff9900; font-size: 130%;">GIVE US SOME SLACK!</span> "<span style="color: #cccccc;">Bigger than Breakfast is the 1988 debut album by Slack, a white funk quartet from Portland, Oregon. The album conjures an 11-song spell pulled from rap, fusion, punk, psychedelia, jazz, and croquet. Put an Oregon moontan on a skateboard, give it a dance beat and a groove so scorchin' it can dehydrate a fern bar, and you've drafted Slack. From the comedic temporary amnesia of "Brain Toast" to the tater-tot frustration of "Out to Lunch" to the gentle contemplation of "Spiders," Slack's varied stand-up attacked not only shoots to your soul, it could alter your DNA“.
Bigger than Breakfast was the first LP produced by trombonist Bruce Fowler, a veteran of Captain Beefheart and Frank Zappa’s recording and performing bands. It’s a perfect antidote for those who pine for the days when alt/funk/jazz was fueled by erratic horns and clumsy lyrics instead of highly polished synthetic, soul-less sounds. Slack were indisputable masters of the kind of sweaty, alcohol-fueled live sets that often resulted in hangovers and poor choices in sex partners. Bigger Than Breakfast might not result in a trip to rehab, but it captures the essence of whiteboy funk perfectly. </span></span></span></div>
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<span style="color: #33ccff; font-family: verdana;"><strong><a href="http://www.amazon.com/Bigger-Than-Breakfast/dp/B00366ES62/ref=sr_shvl_album_1?ie=UTF8&qid=1336872471&sr=301-1" target="_blank"><span style="font-size: large;">BUY THE DIGITAL DOWNLOAD HERE</span></a></strong></span></div>
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<span style="color: #ff9900; font-size: 130%;"><strong><span style="font-size: large;">
<span style="font-family: "Trebuchet MS", sans-serif;">WATCH THE VIDEO OF 'SPIDERS' BELOW</span></span></strong></span></div>
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<span style="font-family: trebuchet ms;"><span style="color: #ff9900; font-size: 130%;">DANCING DOWN CIVILIZATION</span> <span style="color: #cccccc;">Suppose Nino Rota got drunk with John Phillip Sousa in the back room of a Hollywood soundstage. Suppose they're joined by a couple of organ grinders from a failed traveling acrobatics troupe. Suppose they pick up an Asian chanteuse at the corner dive, and together stagger home to drink, sing, and dance till the light of dawn.
The music produced from such a meeting of the minds (or mindless debauchery) might describe The Fibonaccis, a headshrinkin' espresso-fueled ensemble equal parts Berlin cabaret, Sicilian dirge, and hip-shakin' Watusi mating ritual. Hard to label? Yep. Hard to enjoy? Never!
The Fibonaccis, who swiped their name from a thirteenth-century Italian mathematician, molded disparate exotic tastes into an act of musical chicanery, pleasing but deceiving to the eye and ear. Twenty-two years after it’s original release, their ground-breaking Civilization and It’s Discotheques sounds as confoundingly ahead-of-it’s time as ever.
Make no mistake, this was no ordinary sideshow-barking gang of geeks. This was a band with entrails. Return to the future with one of the most remarkable underground bands of the 1980’s with this classic slab of vinyl. The Fibonaccis' traveling carnival will take the detour to your town, and hold you open-mouthed and spellbound with their sprightly tales and twisted oompahpah.</span> </span></div>
<span style="color: #33ff33; font-family: verdana; font-size: 130%;">Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-58987747827968925492010-01-07T21:47:00.000-08:002020-08-01T15:59:50.688-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 130%;"><span style="color: #ff9900; font-family: "trebuchet ms";">GNARLENE PULLS A FAST ONE</span> </span><span style="color: #cccccc;"><span style="font-family: "trebuchet ms";">The muddy Duwamish River runs through South Park, a grimy down-and out neighborhood south of Seattle. The river pulls chemical and industrial sludge from up-river as it passes through. The slow-moving water’s chemical content probably accounts for the oddball behavior of Gnarlene, one of one of South Parks oddest behaving residents. </span></span></div>
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<span style="color: #cccccc;"><span style="font-family: "trebuchet ms";">Gnarlene is proudly gay and/or lesbian and strives to confuse your gender conceptions and bedazzle your fashion senses. He combines black levis and Chuck Taylor’s with pink wiggage and jewel-encrusted sweater creations. So what music do you expect from this bearded, pink-haired former radical faerie? Striesand? Lady Gaga? Show tunes? Fuck you. How about metal with trashy Doll-esque licks, lyrics and looks? Gnarlene is the perverted offspring of post-grunge and punk rock bathed in the unholy waters of faggotry. Gnarlene even throws in a bit of Country-Western and twee folk music just to fuck-up the mix.
Maybe it's the PCB's. Maybe it's the heavy metals. Maybe it’s the cool, artistic vibe that permeates the area, that causes it to reek with wanton self-expression. Whatever it is, South Park has provided the inspiration for Gnarlene’s best work to date. Blood & Treasure is her sophomore (and sophomoric) release and it rocks really hard. The album is filled with catchy punk/pop as well as a few totally unexpected turns. Recorded at Self-Adhesive Records in Fremont/Seatttle by Jon Goff and mastered by Barry, it combines the best traditions of Seattle rock with the vision only a queer lost among rockers is capable of. Think Mudhoney meets Flight of the Conchords meets gay Frankenstein.
The music can be just as raw as it is polished, but Gnarlene has made poverty a virtue. The video clip of Blood & Treasure’s first single She’s Got A Fast One was made for less than forty bucks and it shows. It couldn’t be more perfect if it cost a couple million and was directed by George Lucas. Gnarlene is backed by old geezers, escapes from a rent-a-cop with a squirt gun a his prop and drives away in one hell of an art car!</span></span></div>
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This is fun stuff…but it’s dangerous too. Blood & Treasure defies easy categorization. It’s aggressive but not angst driven. It’s not simpering queer-core by a long shot. You might do some head-banging on one song and scratch it and wonder during the next. It’s music from an outsider that prefers to be there. It’s juvenile, puerile, and totally rockin'…just how it’s meant to be. </div>
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<strong><span style="color: #33ff33; font-family: "verdana"; font-size: 130%;"><a href="http://www.dadastic.com/gnarlene_splash.html">BUY CD HERE</a></span></strong>
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<span style="color: #ff9900; font-size: 130%;"><strong>Watch 'She's Got A Fast One' by Gnarlene</strong></span>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2379116578684154772.post-35746016441227916212009-12-05T16:44:00.000-08:002020-08-01T13:31:00.191-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9-1PLHRUcWP4klLb8D7Gd7cPvMk_VSmF6epAfL6rSrCd47YvZ_1scS8av2wtmKTLliEw5MaAXzZNdPx2_RDcW0HNCvX1C4IXYflZ9LmdSMa4tTc_m_M5UAt3UnRK3dBK2mK8TwxJKVAw/s1600-h/heffern.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 272px; FLOAT: left; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5413732359998229202" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9-1PLHRUcWP4klLb8D7Gd7cPvMk_VSmF6epAfL6rSrCd47YvZ_1scS8av2wtmKTLliEw5MaAXzZNdPx2_RDcW0HNCvX1C4IXYflZ9LmdSMa4tTc_m_M5UAt3UnRK3dBK2mK8TwxJKVAw/s400/heffern.jpg" /></a>
<div style="TEXT-ALIGN: justify"><span style="font-family:verdana;font-size:130%;color:#ff9900;"><span style="font-family:trebuchet ms;">GARY HEFFERN GIVES CONSOLATION</span><strong> </strong></span><span style="font-family:trebuchet ms;color:#cccccc;">There's an </span><span style="font-family:trebuchet ms;color:#cccccc;">Elvis Costello song called “Man Out of Time”</span><span style="font-family:trebuchet ms;"><span style="color:#cccccc;"><span style="color:#cccccc;"> and that title is always one I’ve</span> thought applicable to Gary Heffern. His voice, his</span> pensive songs, and his outsized personality suggest a <span style="color:#cccccc;">simpler and earlier era. Like the struggling men and women in the short stories of</span> </span><span style="font-family:trebuchet ms;">Raymond Carver, or the figures sitting at diner stools in the paintings of</span> Edward Hopper, the characters in Heffern’s songs exist in a noir-ish netherworld of an uncertain time but one that surely is not ours. They drift and struggle in a place where the simple concept of consolation exists as a salvation.</div><div style="TEXT-ALIGN: justify">
</div><div align="justify">Heffern is a songwriter’s songwriter, which is one of the reasons his work has always commanded so much respect from other musicians. Many stellar names contribute to Consolation including musicians from such noteworthy bands as the Screaming Trees, Young Fresh Fellows, Love Battery, Walkabouts, Built to Spill, Motels, Mad Season, and Tuatara, among others. Even when Heffern is singing with Alejandro Escovedo or Mark Lanegan, both of whom take vocal turns here, these collaborations come off as a further explorations of the Heffern’s worldview.</div><div align="justify">
Nine of the thirteen songs here are Heffern originals but even the four covers have a melancholy. On “All His Children” Heffern takes a forgotten song from the over-looked film “Sometimes a Great Notion,” and turns it into an anthem of longing. Considering that Heffern’s voice is at times reminiscent of both Johnny Cash and Nick Cave, it is no surprise to see him take on a Merle Travis song, or to take a refrain from Gram Parsons. Still, Heffern’s cover of Bruce Springsteen’s “Growin’ Up” is such a re-imagining that it now sounds like it came off Nebraska rather than Springsteen’s 1973 debut.</div><div align="justify">
In Heffern’s own songs there is a constant struggle between darkness and light, between failed dreams and reckless prayer, between a world where all hope is lost and one where a consoling friend offers a sliver of deliverance. Even on a song as haunting as “(I Am Your) Destroyer,” which sounds like Iggy Pop could have written it, there is still a core of sweetness among the ruins. “That’s the Beauty (Of the Little Things in Life)” truly rings with a ghost: It was written in Seattle’s Comet Tavern on the very night that Gits’ singer Mia Zapata went missing (and later turned up murdered). Not only a remarkable time piece, “That’s the Beauty” demonstrates Heffern’s skill at creating a story arc that celebrates the fragility of life at the same time it bemoans it. It’s the kind of re-framing that is uniquely Gary Heffern and part of what makes Consolation a career-defining album.
<span style="color:#ff9966;">Charles R. Cross
</span><span style="font-family:verdana;font-size:130%;color:#33ff33;"><strong><a href="http://www.dadastic.com/heffern_splash.html"><br><br>BUY THE CD
</a></strong></span></div><div align="justify"><span style="font-family:verdana;font-size:130%;color:#ff6600;"><strong>SEE THE VIDEO TO LA LA LAND
</strong></span></div><strong></strong><div align="justify"><span style="font-family:trebuchet ms;font-size:130%;color:#ff6600;"><strong><span style="font-family:verdana;">BY GARY HEFFERN</span> </strong></span></div><div align="justify"><strong><span style="font-family:Trebuchet MS;font-size:130%;color:#ff6600;"></span></strong></div><div align="justify"></div>
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/_XzOy8z0SZU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/_XzOy8z0SZU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-42452256605113036932009-12-05T12:26:00.000-08:002020-08-01T13:31:00.225-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-1PSrGFpcbaAfMUeEWrm8iZBdzn7A2QYxUCwUCXNtFX7SP4t9CSNNiDKzsHrv4RKHfzrv0u5LYqobD8i_W5STbmRD5tXfNPrOZrr27Qjv_Xi7ea05C-DaqGKUKhwsGlJyP4r8yCDu1k/s1600-h/Nancy_Jephcote_credit_Lynn_Christoffers.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 309px; FLOAT: left; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5411864505401980018" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy-1PSrGFpcbaAfMUeEWrm8iZBdzn7A2QYxUCwUCXNtFX7SP4t9CSNNiDKzsHrv4RKHfzrv0u5LYqobD8i_W5STbmRD5tXfNPrOZrr27Qjv_Xi7ea05C-DaqGKUKhwsGlJyP4r8yCDu1k/s400/Nancy_Jephcote_credit_Lynn_Christoffers.jpg" /></a> <div align="justify"><span style="font-family:trebuchet ms;font-size:130%;color:#ff9900;">NANCY JEPHCOTE: SCHOOLING THE I-POD GENERATION TO LISTEN</span> "I'm not setting out to start a career," says Nancy Jephcote. "I made the CD to honor what I was given. Every gift you have comes at a price. If a certain area of your life is compelling to you, you have to limit other areas of your life. "Garland of Rain" is an anthology of her career, and she admits to having spent much time and energy over the last two years designing a CD that would completely satisfy her.<br />
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In making the CD, Ms. Jepchote traveled from her long-time Martha's Vineyard home to Texas to do the recording with a long-time friend of hers, Tom Prasada- Rao. She describes the recording process as a perfect meeting of the minds. In the recording process, Ms. Jepchote, who was raised in a family of classical musicians, was able to play multiple instruments on a single track, painstakingly polishing the performances until they had arrived at a finished product.</div><div align="justify">The effect is orchestral. "Garland of Rain" is a two-disc set, each 35 to 40 minutes long. The songs sound full and nuanced. Ms. Jepchote has a wonderful voice that slides harmoniously through the songs.<br />
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Ms. Jepchote has made her living teaching music, both privately and throughout the Island school system. Thoughtful and considered as she speaks, she lights up when she describes teaching music: "Music is magical in its ability to bypass the brain and reach a person inside. It can really help people's hearts. When teaching, I would think, 'Who is this person, what's important to them, and how can I help them reach it.' Whether or not the music was their real goal, working with music could help them reach it."<br />
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With her emphasis on teaching comes a willingness to learn. "We are learning from the young how to be connected in this day and age," she says. "With the realm of computers, the way music is being listened to has changed greatly in just the last couple of years."<br />
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The Vineyard community has changed since Ms. Jepchote started playing on the Island, but its appreciation of live music remains. "I miss the sense that the Wintertide brought in the winter," speaking of the former coffeehouse in Vineyard Haven, "but we still have events such as potlucks and fundraisers that capture that energy. There is a certain joy in seeing your friends and neighbors performing. In many places people don't have that."<br />
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Perhaps the most frustrating thing about music with such richness, is trying to tack it into a genre.<br />
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"Music is freer than genres," says Ms. Jepchote. "They don't ask visual artists, 'What genre is that painting?' But you have to associate. Folk is a vast area, and this falls into it somewhere. There is rock influence, Latin influence... We carefully arranged the order of the tracks. The goal was to make something unique, make it sound like good music."</div><div align="justify">"I was told that no one listens to whole CD's anymore, that they take the songs they like and put them in an iPod on shuffle," Ms. Jephcote says. "I'm from a different generation. I like sitting down and listening to a CD, so I made my CD to the standards that I have and feel fulfilled for it."<br />
<br />
The music has a refined, resilient energy, a fullness that comes with the life experience of its creator and reflects her positivity that has come from hardship. "There are a lot of health quandaries that can hold people back, times when your life is shaping you rather than you it," Ms. Jephcote says. "I've learned not to take any degree of health for granted. When I was healthy enough to do this project, I realized I had no excuse not to, late as it feels like in my life."<br />
<br />
Having made a conscious choice to live a fulfilling life, Ms. Jephcote says, "It is much easier to observe loss than it is to observe improvement and wealth. We have to practice gratitude. We have to be able to turn our attention to what we want to grow. To recognize what's good, and not get stuck in what isn't."<br />
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<span style="color:#ff9900;">Ben Williams, The Martha's Vineyard Times.</span></div><div align="justify"><span style="color:#ff9900;"></span> </div><div align="justify"><span style="font-family:verdana;font-size:130%;color:#33ff33;"><strong><a href="http://www.dadastic.com/garland_splash.html">BUY THE CD</a></strong></span></div><div align="justify"></div><div align="justify"></div><div align="justify"><span style="font-family:verdana;font-size:130%;color:#ff9900;"><strong>LISTEN TO 'ROBERT' & 'WALK ON'</strong></span></div><div align="justify"><span style="font-family:verdana;font-size:130%;color:#ff9900;"><strong>BY NANCY JEPHCOTE</strong></span></div><img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://counters.gigya.com/wildfire/IMP/CXNID=2000002.11NXC/bHQ9MTI2NDM1NjIyMDY5NCZwdD*xMjY*MzU2MjUzMzQ*JnA9MjcwODEmZD1taW5pX211c2ljX3BsYXllcl9maXJzdF9nZW4mbj1i/bG9nZ2VyJmc9MSZvZj*w.gif" /> <embed type="application/x-shockwave-flash" src="http://cache.reverbnation.com/widgets/swf/13/widgetPlayerMini.swf?emailPlaylist=artist_604359&backgroundcolor=C5F60A&font_color=000000&posted_by=artist_604359&shuffle=&autoPlay=false" height="83" width="262" > </embed><br />
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<img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://www.reverbnation.com/widgets/trk/13/artist_604359/artist_604359/t.gif"/><a href="http://www.quantcast.com/p-05---xoNhTXVc" target="_blank"><img src="http://pixel.quantserve.com/pixel/p-05---xoNhTXVc.gif" style="display: none" border="0" height="1" width="1" alt="Quantcast"/></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-48106967962219403202009-09-05T00:05:00.000-07:002020-08-01T13:31:00.258-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV6Fsd4UktxdiSjhjFb4oLmSDxGf4nd8rl-KDE3xVnzO0etgoxRaqPww_UF_JjrXiPjO8csXe0E875Vrc2fzlPYmub0s1p-jDc2pWnRTXqiW-ANHytNCwsnPJabOGkH3igs6OSgQadGrY/s1600-h/otherness1b.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 400px; FLOAT: left; HEIGHT: 268px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5378774778482420802" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV6Fsd4UktxdiSjhjFb4oLmSDxGf4nd8rl-KDE3xVnzO0etgoxRaqPww_UF_JjrXiPjO8csXe0E875Vrc2fzlPYmub0s1p-jDc2pWnRTXqiW-ANHytNCwsnPJabOGkH3igs6OSgQadGrY/s400/otherness1b.jpg" /></a>
<div align="justify"><span style="font-family:times new roman;"><span style="font-size:130%;"><span style="color:#cccccc;"><span style="font-family:trebuchet ms;color:#ff6600;">FROM PATAGONIA TO BUENOS AIRES AND NOW TO THE USA. OTHERNESS ARE GOING PLACES.</span></span> </span></span><span class="Apple-style-span" style="font-family:'trebuchet ms';">OTHERNESS is a quirky alt/rock band that made their way from the furthest reaches of Argentina's Patagonia to Buenos Aires four years ago. Since then they have worked constantly, recording, playing. and touring. Now the hard work has begun to pay off with notice in their adopted city and as far away as London Seattle and New York . Their first South American CD titled Lite 2007 released in sold out almost immediately. A video of one of the CD's songs Once Begop went into rotation on MuchMusic Latin America. Now the band have set their sites on bringing their special brand of techno-punk to the US and Europe. It's a goal brothers Gonzalo and Martin Cativa have had since their days growing up in the cold desolate landscape of Comodoro Rivadavia Argentina. <br><br>
While growing up Martin and Gonzalo Cativa and Adrian Bersais took comfort in the fact that some of their musical heroes- Leadbelly, Arthur Alexander, Kurt Cobain-were able to escape the gloomy confines of dull grey backgrounds that offered very little future. Comodoro Rivadavia was a boom town gone bust in the 1990's. There was little time or opportunity to put into dreams of becoming rock musicians. But their drive led them to uncover the music of Nirvana, John Lennon, Elvis Costello and the Argentine grand master of tango, Astor Piazzolla. Paying careful attention to the craft of artists like these has helped Martin and Gonzalo Cativa to become the authors of hundreds of catchy, exciting songs that are entirely the product of their own talents.<br><br>
Along the way the three created their own sort of manifesto. It has become an outline of the way they view life in the 21st Century. The basics of this include observations such as;<br><br>
• The pilgrim needs to travel, if he stops he can die at the hands of what he considers the final learning-or perhaps adoration.<br>
• Everyone is addicted to something.<br>
• What is achieved with drugs can be obtained by other means.<br>
• Explore alternative knowledge.<br>
• Human beings are simply sexual.<br>
• Marriage is an obsolete institution that died in the 20th century.<br>
And just for good measure;<br>
• "El sexo y el dolor firman la identidad de la carne" - W. Burroughs<br><br>
If this makes the band sound like earnest young idealists, the fact is they are also full of fun and a sense of wonder. There's a sense of hope and positivity in their music and lyrics that make them seem ...well....happy. The addition of drummer Pablito Gaggioni in 2008 has rounded out the band and given the extra drive they had been looking for. They have made a commitment to write and perform their songs in English which goes against the current trend in Argentine rock. These days Argentine pop seems a bit doctrinaire in it's insistence to be sung in Spanish when in fact most of it is nothing more than a re-hash of older British and English sounds. The sound Otherness has created doesn't even fit easily into today's pop music pigeon-holes. It's a quirky, upbeat sound that pays serious attention to the tradition of intelligent pop music. It also honors sounds like the traditional choros of Northern Argentina and Brazil, as well as the tango...a tradition that rose out of the Buenos Aires slums to become one of the most recognizable musical genres in the world. The members of Otherness show great deference to the master of Tango, Astor Piazzolla, but never overuse the style . Thus avoiding the pitfall of sounding like twee "world music". They are the furthest thing one imagines from musical archeologists. In fact, the August 2009 issue of London's Rock Pulse says:<br><br>
</span></div><div align="justify"><span class="Apple-style-span" style="font-family:'trebuchet ms';">"A fresh new rock group from Argentina are hitting the American and British music scene with their quirky and fun sound. Their name; Otherness. They have recently released their new single digitally. Containing the tracks Adorable and Pill-grim. They are an interesting four piece, sounding unlike anything I've heard before. Mellow and fiesty songs with a hint of electro. I love the vocals and rhythm that seems to come so easily to them, without trying too hard to impress. Otherness have passion and dedication and truly sound brilliant! Their first US tour is sure to be a success..."<br><br>
Their first US album is being released on the eve of a tour that will take them across North America for the first time. It will fulfill a dream of following the spiritual journey of great American travellers like John Stienbeck and Jack Kerouac and fellow Argentinean Che' Guevara. The CD is being released by Seattle independent label dadastic! Sounds and includes eight new songs as well as Once Begop the hit from their debut album The CD is scheduled for release October 13th 2009. It will be available directly though the dadastic! sounds website at www.dadastic.com. As well as amazon.com, CD Baby, i-tunes and many other download sites worldwide. Check out the band's video of ONCE BEGOP.</span></div><div align="justify"><span style="font-family:verdana;font-size:130%;color:#33ff33;"><strong><a href="http://www.dadastic.com/otherness_splash.html">BUY THE CD</a></strong></span></div><div align="justify"><strong><span style="font-family:verdana;font-size:130%;color:#ff6600;">WATCH THE VIDEO
</span></strong></div><div align="justify"><span style="color:#ff6600;"><span style="font-size:130%;"><strong><span style="font-family:verdana;">ONCE BEGOP by OTHERNESS</span></strong>
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<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/H8lD0tSTPVY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/H8lD0tSTPVY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-37954608158215583842009-04-05T10:37:00.000-07:002020-08-01T13:31:00.291-07:00<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxMR9bW8PpTD7WcYDiDvksMU7Opzdy9UhfpNPlzem9opi_JVppMU0dV2GpoxP2ijlwF0UjqA5-3oNdl3iOqNycu7V9IVDmYurLAaiRmnuOqetaa-G3kt25J4C8cPQLuQTijfTGT35q8jw/s1600-h/studentnurse2.jpg"><img id="BLOGGER_PHOTO_ID_5321272386352335090" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 269px; CURSOR: hand; HEIGHT: 268px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxMR9bW8PpTD7WcYDiDvksMU7Opzdy9UhfpNPlzem9opi_JVppMU0dV2GpoxP2ijlwF0UjqA5-3oNdl3iOqNycu7V9IVDmYurLAaiRmnuOqetaa-G3kt25J4C8cPQLuQTijfTGT35q8jw/s400/studentnurse2.jpg" border="0" /></a>
<span style="font-family:trebuchet ms;"><span style="color:#cc9933;"><span style="font-family:verdana;font-size:130%;color:#ffcc33;"><strong>STUDENT NURSE SAYS: STAND UP STRAIGHT!</strong></span>
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</span>By 1981 Student Nurse were a mainstay on the alterative Seattle scene. Their angular, slightly dissonant and dancey sound set them aside from the darker, the punkier, or the heavier bands they shared bills with. The best of their contemporaries honed-in on their sound. Student Nurse expanded outward, sending the band on a trajectory headed somewhere between subversion and art-damage. The jittery guitars of Helena Rogers, Tom Boettcher and Eric Muhs stood just a little out front of Johnny Rubato’s jazz-influenced understated drumming. Helena’s Roger’s singing was disjointed, pointillist and determined.<br>
The band put out the mutantly delightful “Disco Dog” as well as “As Seen on TV”, a one-sided EP with cover art hand-screened by Rogers. This is the kind of stuff collectors drool over nowadays, but Student Nurse wasn’t interested in the pre-manufactured collectible market that would later be a trademark of other Seattle artists and labels. For them the art was part of the ethic.<br>
In early ‘81 Student Nurse entered Triangle Studios to record two sides for Pravda Records. The choice of songs seems odd…both had a real pop element to them. But both were still subversive. The A side ‘Recht Op Staan’ was sung in a foreign language and the B side “Electronic Pop Smash’ was devoid of the synth sound that was becoming so popular at the time. Just as odd was the choice of producer, David Javelosa of NYC/LA techno jokers Los Microwaves. But dig a little closer and it’s apparent this was definitely an inside job. Two and a half decades later, it’s a lot easier to see just how the band sought to subvert even the most accessible music they could muster up.<br>
Although the band was fairly democratic, onstage Student Nurse belonged to Helena Rogers. Skinny but not a bit frail looking with piercing silver eyes with Phranc-ish hair. All shouts and smiles. Totally Lesbo-chic before Lesbo-chic was chic. She provided the caffeinated energy that led to them onto many of the best local bills of the era. They didn’t seem to mind that local promoters were unlikely to choose them as openers for touring acts. The were too oddball. Too difficult to pigeonhole. And let’s face it; promoters were scared by Helena Rogers butch dynamic.<br>
Student Nurse didn’t spend time calculating what would have been best for their career. Otherwise they never would have released this single. The title ‘Recht Op Staan’ is Dutch for ‘stand up straight’. The song’s lyrics extol the benefits of good posture. Not a likely way to get attention from the American indie audience at the time, but ‘Recht Op Staan’ is a bit of a collectors item these days. In fact all of Student Nurse’s vinyl releases go for a fair amount of cash. A recent Seattle citing of ‘Recht Op Staan’ had an asking price of $28. If you’re after a copy of their EP or of Disco Dog be prepared to spend more. Likewise, many of the silk-screens that came out of Rogers silkscreen/design studio during the 1980’s are in demand. Posters for shows by Audio Leter, The Fags, Red Dress as well as their own are easier to appreciate these days. Like Student Nurse’s music, they are shiny examples of being the unknowing architects of the future.<br></div><div align="justify"><span style="font-family:verdana;color:#ffcc33;"><strong>LISTEN TO 'RECHT OP STAAN' BY STUDENT NURSE</strong></span></div><span style="font-family:verdana;color:#ffcc33;"><strong>Click through to download</strong></span>
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<img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://counters.gigya.com/wildfire/IMP/CXNID=2000002.0NXC/bHQ9MTIzOTE1NjU5MTEwMCZwdD*xMjM5MTU2NjMxODc5JnA9MjcwODEmZD1taW5pX211c2ljX3BsYXllcl9maXJzdF9nZW4mbj1ibG9nZ2VyJmc9MSZ*PSZvPTdmYWM4NWExNGVmMzRjNWVhMTk*YTcwOGUzZWM2NWI1.gif" /><embed type="application/x-shockwave-flash" src="http://cache.reverbnation.com/widgets/swf/13/widgetPlayerMini.swf?emailPlaylist=artist_416932&backgroundcolor=EEEEEE&font_color=000000&posted_by=artist_416932&shuffle=&autoPlay=false" height="83" width="262" > </embed><br/><a href="http://www.reverbnation.com/c./a4/13/416932/Artist/416932/Artist/link"><img alt="STUDENT%20NURSE" border="0" height="12" src="http://cache.reverbnation.com/widgets/content/13/footer.png" width="262" /></a><br/><img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://www.reverbnation.com/widgets/trk/13/artist_416932/artist_416932/t.gif"/><a href="http://www.quantcast.com/p-05---xoNhTXVc" target="_blank"><img src="http://pixel.quantserve.com/pixel/p-05---xoNhTXVc.gif" style="display: none" border="0" height="1" width="1" alt="Quantcast"/></a>Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-2379116578684154772.post-49282002253998932212009-03-24T18:51:00.001-07:002020-08-01T13:31:00.325-07:00<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiste6MxNAtQ3ehUXBQ6rP0j37G94vlIC1Aln8UCq4i7a0vfqLxjH9VsnqUuX9RSG_n8R5jHgtsUDtNlI6_Myo0vtmcyWk_BhzB6D0oMzgOs28LkXI6uItXCXuOPBcJc7y8P1kYNTtmacQ/s1600-h/refuzorsgrey.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 296px; FLOAT: left; HEIGHT: 314px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5322118921242470786" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiste6MxNAtQ3ehUXBQ6rP0j37G94vlIC1Aln8UCq4i7a0vfqLxjH9VsnqUuX9RSG_n8R5jHgtsUDtNlI6_Myo0vtmcyWk_BhzB6D0oMzgOs28LkXI6uItXCXuOPBcJc7y8P1kYNTtmacQ/s400/refuzorsgrey.jpg" /></a>
<strong><span style="font-family:verdana;font-size:130%;color:#ffcc33;">THE REFUZORS FIND THEIR FAITH</span><span style="font-family:verdana;font-size:180%;color:#ffcc33;"> </span></strong><span style="color:#cccccc;">Remember The Refuzors back in their heyday? Back when they were A-list Seattle punk rockers. They were one of the best live bands around. Uncompromising, edgy and raw. They could have been lumped in with alot of hardcore bands from that era but for one thing. The songwriting, mostly by guitarist and vocalist Mike Refuzor set them far ahead of other great Seattle bands like The Fartz or The Blackouts. <br>
These guys never made it out of the confines of the Vancouver/Seattle/Portland alt vortex. I'm sure they never made a penny, but The Refuzors were the real deal. Totally without guile or bullshit, their lives and music were undistinguishable. They were hombres, outside the lines with fiercely loyal fans. By the late 80's though, the band slowly unraveled from drugs, alcohol, a generational shift in music and limited recognition outside the Northwest. It's a typical story, but it's without a typical ending. Read on.<br>
In 1993 Mike Refuzor got some of his band mates back together and recorded two sides for the now defunct Seattle label 'Bag of Hammers'. The results are spectacular. 'Think I Lost My Faith' and 'Jim Jones' might just be the missing link between the brilliant NW underground scene of the 1980's and the brilliant but over-hyped 'grunge' of the 90's. Unfortunately Bag of Hammers released only 800 copies of the single and without any promotion it went nowhere. That in itself has made this a long sought-after single. I'd bet my balls somewhere there's still a stack that were never sold....It's that rare. Meanwhile Mike ended up in a spiral that eventually left him on the street. In the early 2000's he suffered a mild stroke and without the support from his old friends and fans he became nearly unknown to the generation who cut their teeth on grunge.<br>
Recently I came across a copy of the ‘Bag of Hammers’ single and was completely caught off guard. The Refuzors were always a great live act, but I only know of one other recorded song available anywhere. 'White Power' was included on the Seattle Syndrome compilation put out in 1981 by Engram Records. 'White Power' was a great track, and possibly could have gotten college radio airplay if it weren't for it's misleading title. The song was directed at one-time Seattle rock critic Regina Hackett and her assumption that Mike's black leather had something to do with fascism. Remember, this was 25 years ago. The chorus screams:</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4DJv5zHmgu1dIVUjZJTv4XTpWEvWOAD1m-h9TqTqKSm56UC6Es7yFECXHrJ6RS0uLFOjBNcq8K2t9C4pJPSBsq-cr0mjDWpkOaBhpVjSlB4g3-kgbMFyPiR7lVWewbdYw9MQQt6qLsA/s1600-h/Refuzors+back.jpg"><span style="color:#cccccc;"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 198px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5313670173157888002" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4DJv5zHmgu1dIVUjZJTv4XTpWEvWOAD1m-h9TqTqKSm56UC6Es7yFECXHrJ6RS0uLFOjBNcq8K2t9C4pJPSBsq-cr0mjDWpkOaBhpVjSlB4g3-kgbMFyPiR7lVWewbdYw9MQQt6qLsA/s200/Refuzors+back.jpg" /></span></a><span style="color:#cccccc;"><br>
'I never said White Power to you...White Power, I'm sayin' it now. You put those words in my mouth"<br>
Both 'Think I Lost My Faith' and 'Jim Jones' have big guitars and upfront drums & bass that defy the typical punk rhythm section. Mike's vocals are torn-ragged and raw, but not like every other cookie-cutter hardcore vocalist. This is real pain; not fake angst. There's a beautiful, passionate cruelty at work here. These songs are a brilliant mix of writing and delivery. This is classic stuff. Stuff that makes me want to howl and cry and bang my head at the same time. Stuff that proves my theory; The greatest bands in the world will probably never be heard. Most will never make it outside their garage door.<br>
The atypical ending? The lives of some of The Refuzors have taken turns for the better. Mike's off the street, healthy and making a go at being clean and sober. Sixteen years after they were recorded both songs...along with an entire album's worth of material...Are about to be re-released. The Refuzors may never end up onstage again…who knows? But we'll have a permanent reminder of their contribution to the outrageous success far less talented Seattle bands had in the 90's. I don't know if The Refuzors were some of the 'Shoulders of Giants' grunge bands stood on, or if they were just garage-bound guys that got stepped on and tossed aside when the music biz smelled cash. It doesn't matter. Think I Lost My Faith' and 'Jim Jones' are fucking brilliant, fucking beautiful masterpieces even if they never get heard....But they will. Just you wait...You'll hear them.
</span><br><br>
<strong><span style="font-family:trebuchet ms;font-size:130%;color:#ff9900;">LISTEN TO 'THINK I LOST MY FAITH' BY THE REFUZORS</span></strong><BR><BR>
<img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://counters.gigya.com/wildfire/IMP/CXNID=2000002.11NXC/bHQ9MTI1MjMxNzk3MTA*NSZwdD*xMjUyMzE4MDA4ODAyJnA9MjcwODEmZD1taW5pX211c2ljX3BsYXllcl9maXJzdF9nZW4mbj1ibG9nZ2VyJmc9MSZvZj*w.gif" /> <embed type="application/x-shockwave-flash" src="http://cache.reverbnation.com/widgets/swf/13/widgetPlayerMini.swf?emailPlaylist=artist_406058&backgroundcolor=F92E0A&font_color=000000&posted_by=artist_406058&shuffle=&autoPlay=false" height="83" width="262" > </embed><br/><a href="http://www.reverbnation.com/c./a4/13/406058/Artist/406058/Artist/link"><img alt="THE%20REFUZORS" border="0" height="12" src="http://cache.reverbnation.com/widgets/content/13/footer.png" width="262" /></a><br/><img style="visibility:hidden;width:0px;height:0px;" border=0 width=0 height=0 src="http://www.reverbnation.com/widgets/trk/13/artist_406058/artist_406058/t.gif"/><a href="http://www.quantcast.com/p-05---xoNhTXVc" target="_blank"><img src="http://pixel.quantserve.com/pixel/p-05---xoNhTXVc.gif" style="display: none" border="0" height="1" width="1" alt="Quantcast"/></a>Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-2379116578684154772.post-5862642274089036732009-03-03T01:19:00.000-08:002020-08-01T13:31:00.358-07:00<div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gU2g2i7GXoPo_3puF4kdJR_8r5dq5wJGkAov2rritB7_jTL9pDl8pZ22Nr21z_WakvHDlYKdJndq2z_vZB2ryWjGxHg3xKQfn9WKJgn3_hh5f-e3iuVrhoG0VQ1wF7bPTPEWwUCchqA/s1600-h/nwpunkcover3.jpg"><img id="BLOGGER_PHOTO_ID_5316952680432845426" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 230px; CURSOR: hand; HEIGHT: 320px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gU2g2i7GXoPo_3puF4kdJR_8r5dq5wJGkAov2rritB7_jTL9pDl8pZ22Nr21z_WakvHDlYKdJndq2z_vZB2ryWjGxHg3xKQfn9WKJgn3_hh5f-e3iuVrhoG0VQ1wF7bPTPEWwUCchqA/s320/nwpunkcover3.jpg" border="0" /></a>
<span style="color:#ffcc33;"><span style="font-family:verdana;font-size:130%;"><strong>NW PUNK ROCK : 30 PLUS YEARS OF PUNK ROCK</strong></span>
</span><span style="color:#cccccc;">For two</span> <span style="color:#cccccc;">years Dave Alexander searched attics, basements and various storage lockers to come up with live clips of some of the Northwest’s best punk rock. Along the way he interviewed people like Joey Shithead (D.O.A) and Mark Arm (Mudhoney) to help tell the story of 30 years of hardcore punk from Vancouver BC, through Bellingham, Seattle and Olympia WA and on to Portland and Eugene OR.
Dave’s D.I.Y. production culminated in this 2 DVD documentary. It shows the passion and life-blood of NW hardcore punk through it’s infancy to it’s current incarnation. It’s a gritty, down-to-earth and totally chaotic celebration. It contains little-seen archival footage of some of the Northwest’s legendary bands shot at some of the Northwest’s most famous punk venues: The Metropolis and The Funhouse in Seattle; Satyricon in Portland, and more.
An entire disc is devoted to live music and the other is documentary, with an incredible line-up of bands. The Dishrags, Subhumans, The Fartz, Maggot Brains, Hot rod Lunatics, Solger, The Rickets, The Meyce, Mr. Epp and the Calculations, Zipgun, D.O.A., The Slashers, Subvert, The Insurgence, The Rebel Spell, TBA, Leper, The Dreadful Children, Potbelly, Swads, The Furies, Flash, Fitz of Depression….and….let me catch my breath….more.
The 2 disc DVD is available now through our mail order catalogue for only $9.98.…yeah, that’s right…less than 10 smackeroos. Just click on the handy link to your right > </span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2379116578684154772.post-74210716498806102902009-02-25T21:57:00.000-08:002020-08-01T12:52:54.903-07:00UPCHUCK: GONE BUT NOT FORGIVEN Free Downloads<div dir="ltr" style="text-align: left;" trbidi="on"><img border="0" height="0" src="http://c.gigcount.com/wildfire/IMP/CXNID=2000002.0NXC/bT*xJmx*PTEyOTY2MjgwODEzOTcmcHQ9MTI5NjYyODA4ODUxMCZwPTI3MDgxJmQ9cHJvX3BsYXllcl9maXJzdF9nZW4mZz*xJm89/ZDZjYWVlMmY2YTRmNDY3OGJjMzk4YjIzNjliNjQyN2Mmb2Y9MA==.gif" style="height: 0px; visibility: hidden; width: 0px;" width="0" /><embed align="top" allowfullscreen="true" allownetworking="all" allowscriptaccess="always" bgcolor="#ffffff" flashvars="id=artist_402530&posted_by=&skin_id=PWAS1004&background_color=EEEEEE&border_color=000000&auto_play=false&shuffle=false" height="180" loop="false" quality="best" seamlesstabbing="false" src="http://cache.reverbnation.com/widgets/swf/40/pro_widget.swf" type="application/x-shockwave-flash" width="400" wmode="opaque"></embed><br />
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<div dir="ltr" style="text-align: justify;" trbidi="on"><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXuQlt_fCS9OySXMfAR2jdjvX4Qov1suB987m8uGgPflPPsrW05FFwpI58xKpGOGjHnqzRab4gl2CG_pX6Kn2I4egHQO_Q6yKBKPjgF7vaKrPqhWkrEn1e9IJfm64pI1dnF1pSIVFheGE/s1600/UPCHUCK+BLOG+NEWEST.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXuQlt_fCS9OySXMfAR2jdjvX4Qov1suB987m8uGgPflPPsrW05FFwpI58xKpGOGjHnqzRab4gl2CG_pX6Kn2I4egHQO_Q6yKBKPjgF7vaKrPqhWkrEn1e9IJfm64pI1dnF1pSIVFheGE/s1600/UPCHUCK+BLOG+NEWEST.jpg" /></a><span style="font-size: large;"><b><span style="background-color: black;"><span style="color: orange;">BY THE TIME CHARLES 'UPCHUCK' GERRA TURNED 17</span></span></b></span><b><span style="font-size: small;"><span style="background-color: black;"> he’d been locked up in juvenile detention for being gay, run away to Seattle, was arrested for offering an off-duty cop a blow-job in exchange for bus fare home and co-founded one or Seattle’s earliest punk bands. By the time he died in 1990 he’d left an indelible mark on everyone who’d ever met him or seen him perform. Onlookers were pulled in whether he was leaping around the stage like a psychotic elf or floating effortlessly in ecclesiastic robes and bishop’s miter. There were performances wearing a wig made of live squid. The poop head. The night he lip-synched on top of a pool table to Wayne County’s “Fuck Off” in his underwear, swinging the largest dildo mankind has ever seen. In Upchuck’s world Kabuki demons performed alongside malevolent gremlins and 18th Century dandies…and not just onstage</span></span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">From the moment Upchuck woke up every morning there was only one goal to work toward? ‘How am I going to be a star today?’ Life was performance whether it was on the stage of local clubs or riding a bus to the supermarket. Watching his single-mindedness thrilled everyone who stood by and watched it; especially since the people closest to him were living in a slightly more modest version of the same world.</span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">The theatrics of shock have become cheap gimmicks in today’s world of pop music. They no longer carry much more than marketing value. Outrage has become homogenized and commercialized to the point of being an embarrassing and cliché. Even in the 1970’s and 1980’s Upchuck’s antics wouldn’t have meant much if it weren’t for the a very important thing: He had talent and vision. It was almost enough to just hover across the stage, or stalk the audience. But the make-up and outrageous stage personae paled compared to the voice. Big and rich, just like Upchuck liked his men. It lay somewhere between a bass and a tenor, but he wasn’t afraid to teeter on the edge. It didn’t matter if he hit the mark or not. Most of the time he did. There was also the chance of a yelp, a howl or a caterwaul that betrayed his love of the work of Yoko Ono. Maybe a Toya Wilcox riff …or a Nina Hagen growl; all gutsy performers that Chuck admired, but never sought to imitate. He didn’t need to. He was his own creation and that was all he needed.</span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">Upchuck created his own drag that had nothing to do with the bitchy caricatures most people associate with men who dress up. His drag was genderless, but at the same time sexual. It had elements of punk, but rejected the nihilsm of the black-jacket crowd. He also had a filthy mouth and wasn’t afraid to say what he thought. Day after day he’d shout out the “chuckisms” that he never seemed to get tired of. “POTTY!” was a favorite. And the endlessly over-used punch-line “I had a date like that once”. They were expressions so old and played-out that they took on newer, funnier lives simply because he blurted them out so often.</span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">By the late 1980’s Upchuck had moved on from Seattle, like a lot of his contemporaries. The Northwest music scene was too limited and any chance of industry scouts showing up in Seattle was still unheard of. Upchuck with his band The Fags set off to New York City where they met modest success in the downtown scene that was exploding at the time. After a couple of years The Fags disintegrated as a band, but without the drama that usually accompanies that stuff. Everyone moved on to different pursuits, but still remained close friends. They remain friends still. </span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">Upchuck remained in New York City to pursue a solo career in music and acting. He landed a couple of good roles and an especially wonderful part in the video “Eight Arms to Hold You” an Arthur Baker production that was to used in the film “Goonies” It didn’t make the film but the song and video became a “free-style hit. In 1987 producer Yorum Vazan introduced Upchuck to a brilliant young Israeli songwriter named Shlomo Sonnenfeld. Together they wrote inspired music that sounds as fresh today as it did when they came up with it. They named the duo they created ‘Such’. For live performances they were joined by the best musicians they could find: including McGinty of The Psychedelic Furs, Iggy Pop drummer Paul Garisto and bassist Kent Weber who’s worked with everyone from Donovan to Triumph The Insult Comic Dog.</span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">Soon the team of Upchuck and Shlomo attracted the attention of John Holbrook, a multi-Grammy winning producer/artist/mixmaster who worked primarily at Bearsville Studios in Upstate New York. He became their producer and mentor. Together they entered the studio with a handful of songs that would be the core of their breakthrough album. Upchuck’s big break was just around the corner. </span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">Just as everything began to fall into place, he woke up one morning on a trip to Seattle to find he‘d lost his voice. It was TB. In the mid-1980’s an otherwise healthy young man contracting TB meant only one thing: AIDS. Fortunately he was back among the friends that he’d spent most of his punk years with, but he wanted to move forward. His voice eventually returned but he never recorded again. Ironically, he managed to do two of his most notorious shows during this period. Both were Fags reunions dubbed the First and Second ‘Annual Fags Reunion and Macaroni & Cheese Bake-offs They’re still talked about, and Macaroni & Cheese has never been the same.</span></b></div><div style="background-color: black; color: #f3f3f3; font-family: Verdana,sans-serif;"><b><span style="font-size: small;">Despite the AIDS Upchuck didn’t complain much unless the listener might reward him with a new pair of shoes or a shabby but stylish ‘40’s fur coat. Besides, there was always a project or an idea that needed attending to. There were friends and social gatherings, even though eventually everything became too much of a chore. Life became an endless struggle between living life full and not having the health to do it. Going on without his full voice, his music and his time onstage was worse to him than living with his illness. The last two years of his life were the most excruciating. Not because of the illness, but because it kept him from doing all the things he had yet to accomplish.</span></b><br />
<b><span style="font-size: small;"><br />
On the morning of May 28, 1990 Charles Gregory Gerra drew his last breath. It wasn’t an easy death, and it was clear he wasn’t ready to leave. At the very moment of his passing the most incredible bolt of energy exploded out of his body, into the entire room and beyond. He wasn’t going without leaving as much as he could behind. It’s an energy that hasn’t yet dissipated. It’s still here with us. He’s still here with us….with those who’ve loved him for so many years, and those who will love him after the next 40 minutes of listening to this CD. Charles Gerra may be gone, but Upchuck lives on.</span></b><br />
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<b><span style="font-size: small;"><a href="http://www.dadastic.com/chuck_splash.html"><span style="font-size: large;"> BUY THE CD OR DOWNLOADS HERE</span></a></span></b></div></div></div>Unknownnoreply@blogger.com5