#LA Rock Review

[earlycuntsets]

mcr unboxing lame time

-frank iero's hallowed grounds coffee by la paisa bonita

-strange fan-made mcr vhs from ebay of "fireside bowl 2002"

my sweet husband wanted to go all out for the production of this and I am forever grateful to him. he does tech repair/3d printing tutorials.

he also 3d printed the little franks in the top left of the shot that were drawn by @horrorhare.

@myxchemicalximbalance & @ronna-rue here's my coffee review lol

wanted to use @batman-gifs comment below in the video! But I jumped the gun and missed the opportunity. They just capture the mystery of the vhs really well lol

also there's an easter egg in the audio when i pour the coffee high fives to anyone that catches it

[reckonslepoisson]

Blonde Redhead (1995), La Mia Vita Violenta (1995), Fake Can Be Just As Good (1997), In an Expression of the Inexpressible (1998), Melody of Certain Damaged Lemons (2000), Misery is a Butterfly (2004), 23 (2007), Penny Sparkle (2010), Barragán (2014), Sit Down For Dinner (2023), Blonde Redhead

At first Blonde Redhead listened as a sort of less avant-theory-heavy Sonic Youth, but over three or so decades they’ve certainly proven to be much more than Gordon, Moore and co. lite. From noisy rock origins to pared-back interludes to modern-day sheen, they’ve been concocters of pieces equal parts tense and brittle, dreamy and ungraspable, driven and unrelenting. 

Pick(s): ‘Astro Boy’, ‘(I Am Taking Out My Eurotrash) I Still Get Rocks Off’, ‘Bipolar’, ‘In an Expression of the Inexpressible’, ‘In Particular’, ‘23’, ‘Here Sometimes’, ‘Mind to Be Had’, ‘Before’

[liliromi]

Anoche vi la peli de Naruto: "Guardians of the crescent moon" y uufff que linda peli, por Dios. La animación, el desarrollo de personajes, los outfits nuevos de los chicos, todo, todo, todo.

El doblaje le dio puntos extra, pero me hubiese gustado que la esposa, al enterarse que su ex estaba gordo, haya dicho "Qué te panzó!?"

Pensé que solo me gustaba por la nostalgia, la había visto hace años con mi hermano mayor en una época muy bonita de mi vida, sin embargo, me emocioné en varias partes, más cuando los chicos le hacen la promesa al personaje de Hikaru, ahí estallé en lágrimas.

Bueno, gente, los puntos negativos son pocos:

- El villano principal, que tenía la voz de Jesse Conde AKA el Duende Verde, era bastante genérico.

- La esposa del villano jamás habló en toda la peli y si no aparecía iba a ser igual.

- El policía este, que se parecía a Gai, se murió muy rápido. Una lástima porque era churro.

- Me hubiese gustado que explorasen un poquito más sobre la relación del Rey con su hijo y nieto.

- Casi 3/4 de la peli Kakashi no hizo nada importante.

Por lo demás, todo bien, había visto Road to Ninja la semana pasada y la verdad que no me gustó tanto. No fue la octava maravilla como casi todo el mundo anda pregonando.

En síntesis, vean la 3era peli de Naruto, gente, no se van a arrepentir.

Ahre habla como si le siguieran 300 personas

[shittymusicreviews666]

Reseña: El Nervio Del Volcán

Caifanes (1994)

reseñado el 22 de junio

Categoría: Álbum

Género: Latin rock, jazz

Alrededor de estas fechas hace tan solo 29 años, la banda de rock Caifanes lanzó uno de sus álbumes mas famosos de la época, y no solo de esa época, apuetso que todos nosotros hemos escuchado al menos una vez la canción ‘Afuera’.

Sin embargo este álbum tiene varias canciones igual de geniales, como ‘Aquí no es así ‘ o ‘ Pero nunca me caí ‘ ( si no las conoces no eres mexicano 👿).

Siendo objetivos este es un album realmente bueno, fusiona aspectos claro del rock, pop e incluso jazz.

Es un álbum muy variado con una canción para todos, ya sea que prefieran disfrutar el ritmo y la letra de canciones mas melancólicas como ‘Ayer me dijo un ave’ y ‘La llorona’, o prefieras bailar y cantar a todo pulmón con ‘ Afuera’, ‘Aquí no es así’ o mi fav ‘Aviéntame ‘.

-Bruño🐀

[soundsandnoises]

PANIC! AT THE DISCO.

UTILITA ARENA, BIRMINGHAM (04/03/2023) & AO ARENA, MANCHESTER (10/03/2023)

VIVA LAS VENGEANCE TOUR/ FAREWELL TOUR

UTILITA ARENA, BIRMINGHAM (04/03/2023) & AO ARENA, MANCHESTER (10/03/2023)

VIVA LAS VENGEANCE TOUR/ FAREWELL TOUR

Some may understand this notion better than the others: When you say good bye to the band that has been a part of your life for 18 years it simply breaks your heart. It probably breaks the hearts of people directly involved with the band like crew, touring members, etc. more than yours, or in a different way. But it does. It's bittersweet, to say the least: it was supposed to be just another tour after release of another album, and then sometime in the middle of promotional cycle, not long before the tour was to begin the announcement shattered it all.

It leaves... certain numbness, I guess. These bands they become the family you chose, 'they're the hope, they're the prayer, when no one else is there'.

After all, this weird little cousin (to carry on with family metaphor), unafraid of anything, ever-changing, growing to become larger than life, one with a flair of the dramatic just stops existing. Sure, the music is still there, it will warm your heart when heart fails to beat on its own, but the live shows, the anticipation, the NEW music, a brand new phase... These won't be there. Ritual of sort is broken, becomes incomplete.

I suppose it's better to bow out when you're at your best (or shall I say: 'it's better to leave than be replaced'?) rather than become a repetition, a caricature of yourself... And Brendon managed to do exactly that. With brand new chapter opening for him – parenthood. His decision technically comes as a surprise, but it seems that clues were all there: "Viva Las Vengeance" sounds somewhat... final, when you have a real good listen. It's this intangible something hanging between words, creeping behind every note. I've heard this few times before (not knowing just yet that the album was about to be the last one from the band, it was just this “feeling” that became the reality soon after).

It must have taken an enormous toll on Brendon: all these years on the road, all the expectations ("Do It to Death"), but I wonder if fans realise the extent of it.

Just a mention really, in Birmingham, about how he was doing it for over 18 years carried a lot of weight, yet I'm not sure the fans noticed the heavy undertone. He thanked everyone involved: crew, band members, fans. Kept it to the minimum ('We've wrapped up this farewell tour for you'), sort of ripping the band-aid off: it's been a blast, a long road now's the time to shut up and go to bed [to paraphrase].

The tone surprisingly shifted in Manchester. Being named the loudest on tour, causing even more noise and cheers to which Brendon responded that he keeps on increasing the volume on his “box”, that it was already “up on 11, if that thing even goes to 11”, true or not it was extremely well received (duuh!) and appreciated. The word “appreciated” was the leitmotiv of the evening in Manchester and “gratitude”, too. That's what Brendon talked about during his last show: how grateful he felt, rather than overwhelmed, how he appreciated everyone who was there for Panic!, being it 18 years ('Thank you!'), 18 months or 18 seconds ('Welcome! And farewell!'). And shouting: 'Live life like it's your last day!' at the very end summed up the mood perfectly.

Even though I wish I could have heard some older songs for the last time live I wouldn't want to swap any of the ones that landed on the setlist. And it was only fair that whole “Viva Las Vengeance” was played for the first and last time live. It's a shame, they're absolutely fantastic live. Combining incredibly catchy tunes with poignant lyrics, little messages of hope and defiance (like these couple of lines from "Say It Louder": “When you got no place to call your home. Just remember how you felt at the show”). These are the anthems for the underdogs, misunderstood, misfits ("Star Spangled Banger" being great example here). But it seems that most of all it's about leaving a legacy behind. The right kind... You had to be there to feel the electric atmosphere. As I said: 'most of it', because there's a lot of manic, tongue in cheek lyrics too (there's whole lot of it in "Sugar Soaker").

Of course, I missed “The Ballad of Mona Lisa”, I would have loved to hear “Lying is the Most Fun a Girl Can Have without Taking Her Clothes Off” or dance like mad to “Nicotine”. I could go on forever, but the evening only has so many hours and so does the show. The setlist was perfectly crafted: there was so many emotions (“I Write Sins Not Tragedies”) and so much to dance to (“Emperor's New Clothes”, “Don't Threaten Me with a Good Time”). And I wouldn't swap trippy singalongs on "Nine in the Afternoon" for anything else.

The show was long, rich, full bodied – like fine wine, leaving different notes to taste on your tongue. Melting hearts on “Don't Let the Light Go Out” (and crowd waving their phones up and down to the very line). Uniting and celebrating each other during “Girls/Girls/Boys” (with rainbow confetti showering the crowd, reflecting in the lights from the stage and thousands of paper hearts, lit up by phones' flashlights, lifted up throughout the crowd – in Birmingham Brendon laughed that fans vibed so much that it brought the confetti right back on stage and covered it all).

Singing so loud that the lungs gave out (oh, wait different band reference here): “I Write Sins, Not Tragedies” for the last time rolling through the crowd like a storm – both in Birmingham and Manchester (I must say, it was way louder and powerful in Manchester, it was deafening and beautiful). In Birmingham Brendon smirked and commented after: 'Oh, wow you really know the lyrics', in Manchester it seemed to blew his mind, big grin appeared as the crowd sang the cheeky lyrics. The show couldn't end better with 'High Hopes', on a high note indeed: the anthem, the perfect eulogy.

#

I was fortunate enough to see Panic! at the Disco more than once. I've heard Brendon take on Queen's 'Bohemian Rhapsody' and ooof, was blown away by what he did with it (just a memory of it gives me chills, that good). I was fortunate enough to see him at meet and greet few years back. I remember his boyish charm spilling with every smile that he was giving to fans waiting in line to tell him their stories in less than a minute, to thank him... I remember him being attentive, humbled by each and every encounter. Act or no act, it was the moment I will cherish and keep forever as a precious memory, one of these “meet your heroes” moments. In the house of memories that keeps me going it has a very special place (oh, did I mention that “House of Memories” was so electrifying, it's such a mighty song live!).

[just to add some context to the photo above: image of touring crew/management]

Setlist:

Say Amen (Saturday Night)

Hey Look Ma, I Made It

Don't Threaten Me With a Good Time

This Is Gospel

Miss Jackson

Emperor's New Clothes

VIVA LAS VENGEANCE:

Viva Las Vengeance

Middle of a Breakup

Don't Let the Light Go Out

Local God

Star Spangled Banger

God Killed Rock and Roll

Say It Louder

Sugar Soaker

Something About Maggie

Sad Clown

All By Yourself

Do It to Death

Girls/Girls/Boys

House of Memories

Nine in the Afternoon

Death of a Bachelor

I Write Sins, Not Tragedies

Victorious

High Hopes

[musicalthought]

album review; insane clown posse's the wraith: shangri-la (2002)

♡ fav song: blaaam!!!

♡ least fave song: crossing thy bridge

♡ overall: 6.9/10

♡ definitely not their best :(

[luuurien]

Yo La Tengo - This Stupid World

(Indie Rock, Noise Pop, Post-Rock)

The indie rock mainstay's latest album anchors them in the present and doesn’t try to obscure or alter your vision of it. This Stupid World is Yo La Tengo’s most unvarnished record to date, but the familiarity and safety of the trio’s bittersweet indie rock makes staring into darkness an invitation to fully inhabit the present.

☆☆☆☆☆

Few rock bands can still be making music together forty years in and still feel refreshed and reignited with each release, and Yo La Tengo have never ceased to let the world guide them to new truths. Through their open-ended indie rock where anything from bossa nova to noise rock can be a part of their storytelling, Yo La Tengo have the incredible ability to make their music relaxing and familiar even when the styles they play with have a tendency to create a barrier between you and the music, their heaviest moments shockingly comfortable to situate yourself in. It’s through their mastery of heartfelt indie rock they can make an album like This Stupid World such a beauty despite how they fight their way through tumbling post-rock jams and scraggly noise pop, Yo La Tengo reaching into the darkness to embrace what they have right now. Listlessness is at the core of This Stupid World, but Yo La Tengo succeed though knowing that their time together is precious nonetheless. Between winding avant-rock and plaintive folk excursions, This Stupid World welcomes extremity Yo La Tengo can then use to tell stories of stress, inescapable tragedy, and individual healing without losing the freedom and love their music prides itself on.

There are only really two kinds of songs in This Stupid World - immediate, noisy indie rock and contemplative folk/country tunes - but by keeping themselves in a solid spot between raucous noise pop and thoughtful meditations on the world around them, Yo La Tengo lets you disappear into their world while keeping your eyes on the road ahead. Sinatra Drive Breakdown pushes you straight into the band’s new muck, Georgia Hubley and James McNew locking in on a thick motorik groove as Ira Kaplan wrestles with guitar feedback and tumbling solo sections, the few moments Hubley and Kaplan sing together glimpses of human connection peeking through dread, Brain Capers and the title track near the album’s end further inducing a state of blissful anxiety where anger and fear reside within heavenly, mind-numbing shoegaze. When they lighten up on all the feedback and distortion, they welcome you into their arms through the regal country balladry of Aselestine or Apology Letter’s minimalist folk rock so that Kaplan can admit his own faults in a moment of prime Yo La Tengo bittersweetness, quiet moments between the foreboding day-to-day of Tonight’s Episode or Brain Capers’ mighty shoegaze where staring into the abyss feels just a little less lonely. As triumphant a return This Stupid World is for the band, it’s no different than anything they’ve released in their near four decades as a band together, Yo La Tengo speaking to the darkness of whatever’s going on around them at the time and inviting you to indulge in despair without feeling completely alone along the way.

Grief hangs over every minute of This Stupid World, but the band never point at anything too specific as the culprit: the surprise sadness that strikes Hubley while watching TV in Aselestine (“The TV's on / I see your face / …Cue applause I cry for us”), a desire for connection with lost loved ones in the weightless finale Miles Away (“Friends are all gone / Keep wiping the dust from your eyes”), the inability to look away from tragedy in Fallout (“I'd turn away, if only I could / I want to fall out of time / Hold back, unwind”); they’re all individual parts of a larger despondency with the world after spending so many years living in it and seeing what they love be both ripped away and slowly disappear in front of them. They’ve stood the test of time as a band, and This Stupid World is a reminder of what has made them such a monumental part of indie rock since the late ‘80s, how their music touches on broad feelings through specific imagery and thoughtful musicianship that can embrace the tougher edges of rock as much as it embraces the rawness of singer/songwriter music. It’s both Hubley’s comforting laugh as the ambiance of amplifiers fills up the first seconds of Aselestine and the maddening drones in the title track that are needed to make This Stupid World such a perfect collection of songs, Yo La Tengo comforting you into the darkness while holding close everything they love along the way.

Though it rarely feels like we’re getting any further from the chasm with each passing day, This Stupid World asks you to walk closer to it rather than run away. Tragedy is impossible to fully escape, and sometimes the best decision is to let it take you over so that the days after aren’t as hard. Whether they’re tangled in wiry, long-form anxiety rock or attempting to ease themselves with some of their lightest songs to date, This Stupid World is one of the most comforting commentaries on darkness in recent years that doesn’t sacrifice love in the face of disaster. They know what’s coming for them next, but that only makes the time they have together now more valuable, Yo La Tengo still doing what they love and capturing a blurry but essential picture of living with the depths slowly closing in on you. As heartbreaking as the world can be, we all have to keep living through it all.

[dougwallen]

Yo La Tengo review for The Weekend Australian

[thoughtswordsaction]

Cirque De La Merde - Favourite Season LP (Keep It A Secret Records)

Cirque De La Merde’s Favourite Season is a fierce, high-energy burst of hardcore punk from Innsbruck, Austria. This LP is a whirlwind of melodic hardcore, punk rock, and unfiltered intensity that captures the finest hardcore aesthetics with a modern edge. Across these tracks, Favourite Season is relentless, delivering everything a hardcore punk fan could want: powerful vocals, infectious riffs,…

[thejoyofviolentmovement]

New Audio: Miranda and the Beat Share Churning "Anxiety"

New Audio: Miranda and the Beat Share Churning "Anxiety" @ejrc @clarioncallpr @imtherealcb

Formed back in 2018 here in NYC and now based in New Orleans, the rising rock outfit Miranda and the Beat — currently Miranda Zipse (vocals, guitar), Dylan Fernandez (Farfisa) and Alvin Jackson (bass) — have been renowned for their high-energy live shows and fearless punk approach.  After extensive touring to support last year’s self-titled full-length debut, the rising rock outfit will be…

[sutrala]

Linkin Park's new singer Emily Armstrong explodes in Los Angeles concert tour kickoff https://www.usatoday.com/story/entertainment/music/2024/09/12/linkin-park-tour-2024-new-singer-emily-armstrong-chester-bennington/75146366007/

[theindyreview]

Album Review: Guster - Ooh La La

#AlbumReview: @Guster - Ooh La La Veteran indie band's new album is an exceptional monument to delight @bighasslemedia #newmusic #review #Guster #rock #indierock #alternative #alternativerock #oohlala

Alternative is a big word in music. In a world where there are so many choices outside of what is fed to us on radio and television, almost anything could be considered “an alternative”—in the literal sense of the word. But when that indie rock group makes it big, is championed by the music industry, and shows up on playlists at your local pharmacy, are they really alternative any more? So what…

[methodman13]

Experience the Power: Queensrÿche's Origins Tour Triumph at Bogart's

Experience the Power: Queensrÿche's Origins Tour Triumph at Bogart's

[stoneyocean]

Stoney Ocean - THE ONE

[thrashntreasure]

Ep82 Honesty w/ Heart w/ Melanie La Barrie! (West End!)

70 Guests, 70! This week, we're joined by our 70th guest (70th!!!)- West End (and now Broadway) icon, Melanie La Barrie! Together, we 'Follow the Leader' to shuck some Korn, before having a Ragtime with the Original Broadway Cast album- to discuss Melanie accidentally making her West End debut in the London production! Plus we chat about & Juliet, Lateness, A Strange Loop, Boring shows, Youth Theatre in Trinidad and Tobago, and heeeaaps more!

https://twitter.com/melanielabarrie -- https://www.instagram.com/melabarrie/

[janesadek]

The Three Mistakes