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sinceileftyoublog · 1 year

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Riot Fest 2023: 9/15-9/17

The Cure's Robert Smith

BY JORDAN MAINZER

So was this the biggest Riot Fest yet? Maybe in terms of headliners, but the festival still felt like the type to bring together bands new and old, paying just as much mind to presenting up-and-coming artists with a punk rock ethos as the legends who spearheaded those scenes to begin with. Here were our favorite sets.

Quasi's Sam Coomes

Quasi

The amount of sound that Sam Coomes and Janet Weiss got out of keyboard (plus affects), drums, and vocals was mesmerizing. Quasi, 10 albums deep, certainly showcased their latest opus, Breaking the Balls of History (Sub Pop), nailing the tempo changes of "Nowheresville" and warbling harmonics of "Riots & Jokes". But they also reminded you why they've been such a consistent force since the early 90's. Those unfamiliar with the band watched as Coomes unceasingly made his keyboard sound like a guitar on the clattering "The Rhino", or like a Peanuts-style barroom jaunt on "Unto Itself". Weiss, meanwhile, ever the impressive multi-tasker (watching her, you gain an appreciation for the difficulty of playing drums and harmonizing), rhythmically swung on the soulful "Back In Your Tree" and pummeled "Last Long Laugh". And yes, "Doomscrollers" was awesome.

Quasi's Janet Weiss

Yard Act's James Smith

Yard Act

Seeing a talk-singing band at a festival has its risks. What if the sound mix is off and the band overshadows the singer? And what if that singer is someone like Yard Act's James Smith, who delivers such beautifully acerbic words you don't want to miss? Not to worry at Riot Fest. You could hear him perfectly, his lyrical dexterousness and emcee-like flow shining on tracks like set opener "Rich" and "The Trapper's Pelts". But the band itself also provided breaks for Smith, embarking on extended jams during "Land of the Blind" and a full-blown disco breakdown on their latest single, "The Trench Coat Museum". Overall, what separates Yard Act from so many of their peers in the UK post-punk scene is a unique mix of cynicism and humanity, tightly wound compositions and inescapable boogie-downs. "The future is terrifying," remarked Smith before performing "100% Endurance", imploring the crowd to live in the moment. What normally might be forced seemed all the more genuine coming from him. Or, as the band might say, "It's hippy bullshit, but it's true."

Yard Act's Sam Shipstone

Screaming Females (from left to right: Marissa Paternoster, Jarrett Dougherty, Mike Abbate)

Screaming Females

With a mere 40 minutes to play, New Jersey heroes Screaming Females managed to fit in some of their hookiest songs with enough room to breathe in between them. The set contained plenty of intro jams, Marissa Paternoster's relentless shredding, Mike Abbate's brawny basslines, and Jarrett Dougherty's rich snares, from "Brass Bell" to "Wishing Well". And the band serenaded us with side 1 track 1 of their finest, Albini-produced hour, Ugly's "It All Means Nothing", sounding as crispy as ever.

The Breeders' Kim Deal and Josephine Wiggs

The Breeders

I find that the quality of experience of full album plays at a concert or festival are dependent on a few factors: whether the band are good instrumentalists, whether the songs are as effectively sequenced as a live set as they are a studio album, and the rarity of the material itself, in the band's recent history or as a past full album play. For The Breeders this year, 2 out of 3 ain't bad. While I would have pined at the opportunity to see them blast through Pod, you cannot deny the anthemic quality and musical significance of Last Splash, cementing the band in indie rock history and introducing to the world the quick learning of Kim Deal's sister Kelley. And to me, it doesn't matter that I saw the band perform Last Splash twice for the album's 20th anniversary back in 2013. It will never get old to hear Kim bark "Check / check / check / One, two" into a harmonica mic, anticipating Jim Macpherson's introductory click-clack and Josephine Wiggs' all-timer of a sinewy bass line. Throughout their set, The Breeders demonstrated what I believe they've always done best, even better than the Pixies or Nirvana, creating an interplay between the gentle and the raw and the distorted. Oh, and they did have time for a few more at the end, including "Iris". Here's to the Pod 40th anniversary set at Riot Fest 2030.

Turnstile's Brendan Yates

Turnstile

Talk about dynamics! If most hardcore bands rely on intense cacophony, the Baltimore band's crossover appeal comes in the form of not even their hooks but their melodies. In between ferocious versions of "MYSTERY", "BLACKOUT", and other game changers from Turnstile's breakout record GLOW ON, they traded fist-pumps for dance-offs, drum solos, ballads ("ALIEN LOVE CALL"), and moments of ambience and quiet. At the center of it all is lead vocalist Brendan Yates and his unique timbre, at once forceful and gorgeous on back catalog highlights like "Real Thing". Turnstile is one of a kind; when they thank you for letting them be themselves, it's not just a sly Sly reference. They mean it.

Turnstile touring member Meg Mills (left) and bassist "Freaky" Franz Lyons (right)

From left to right: Foo Fighters' Rami Jaffee, Dave Grohl, Josh Freese

Foo Fighters

In previewing Dave Grohl and company's headlining set, I suggested folks "catch Foo Fighters performing songs from their best album since The Colour and the Shape." Taking the stage after Turnstile ended, they shockingly proceeded to play absolutely nothing from But Here We Are. Okay, according to setlist.fm, both "Rescued" and "Glass" were on the setlist, but not performed. Grohl, perhaps taking a page from his one-time mop-topped bandmate, is the ultimate showman, preferring to elongate songs from silence to build to climax (opener "All My Life", church-organ-hue-to-full-band "Times Like These"), tell stories (the one you've heard about 13-year-old Grohl going to see Naked Raygun and Rights of the Accused at the Cubby Bear with his cousin), and launch into a medley of covers when introducing his band ("Sabotage", "Blitzkrieg Bop", "Whip It", an impressively loud version of Nine Inch Nails' "March of the Pigs"). Yes, some of the spontaneous moments were probably gimmicks. Even though the camera panned to fans in Metallica and Black Sabbath t-shirts when Grohl stuffed riffs from "Enter Sandman" and "Paranoid" in "No Son of Mine", as if he was doing the covers for the people in the t-shirts, past and future setlists show evidence of the same exact shtick. But when a crowd member shouted out a request for Wasting Light deep cut "White Limo"--not done consistently for at least the past couple album cycles--the band, including new drummer Josh Freese, absolutely nailed it. Grohl is also, thankfully, self-aware, noting before playing the maudlin "My Hero" that, "The good thing about a Foo Fighters show is if you don't know the song, just look at the minivan driver next to you. They'll know what to do." Yet, his unavoidable role as leader of the band for the common person doesn't prevent him from being earnest. The set's best moment came when the band played There Is Nothing Left To Lose's "Aurora", the first song Grohl wrote with the late Taylor Hawkins, the drummer's favorite Foo Fighters song. It ascended to a guttural scream, a quick moment of catharsis before some true professionals went back to work.

Jehnny Beth

The Savages frontwoman seems to be just getting started as a solo artist. After releasing the underrated To Love Is To Live in 2020 and a collaboration with Primal Scream's Bobby Gillespie in 2021, Beth gave Riot Fest a collection of heady, yet horny industrial tunes. Her presence captivated onlookers above the skittering beat and deep bass of "Heroine" and the propulsive techno of "We Will Sin Together". She entered the crowd multiple times throughout the set, establishing a warm camaraderie much different than the pure intensity of Savages. And her voice, as ever, was on point, rising above backing tracks and her band (including guitarist/keyboardist Johnny Hostile) with her belt and quintessential yelps. And if Foo Fighters gave us a taste of NIN the night prior, Beth performed her cover of "Closer" in its entirety, a song whose salacious subject matter fits right in with Beth's ethos. To get a taste of what she and her band sounded like (including two new songs played at Riot Fest), check out the just released LIVE EP (20L07 Music).

Viagra Boys

The self-described "Sweden's third worst band" essentially distilled all of the best moments from their show at The Salt Shed earlier this year into a tight 45 minutes of bangers. They started off with mostly highlights from their most recent album Cave World, the stars of the show as usual mostly shirtless singer Sebastian Murphy, guitarist-saxophonist Oscar Carls (donning a white shirt with the word "GOGO" in bold black print), and Tor Sjödén's breakneck timekeeping. As the set went on, even if you were familiar with their routine as I was, it never got old, from the disco breakdown of "Ain't Nice" to Carls' bleating intro to "ADD" and gyrations during "Research Chemicals". Perhaps new this time was Murphy's push-ups during "Sports", noises dripping like molasses out of his mouth and into the microphone on the floor. If a full concert reveals Viagra Boys in all of their fascinating contradictions, a festival exemplifies their id, a group of stellar musicians at their most absurdly sleazy and stunningly surreal.

Viagra Boys' Sebastian Murphy

PUP

Talk about a victory lap: Saturday at Riot Fest marked a year and a half since PUP's most recent studio full-length, THE UNRAVELING OF PUPTHEBAND (Rise), as well as their last show for a while as they take a touring break. It was also a good summation of a moment in time for the band. They were capable of displaying the cleaner sound and hooks of their more recent material, like the 60's pop harmonies of "Totally Fine". But they also resembled the band who can reliably rip your ass with the one-two life-affirming punch of "If This Tour Doesn't Kill You, I Will" and "DVP", and who can casually return back to their roots on a rare song played from their self-titled, "Reservoir". They're still the best Toronto rave-uppers this side of METZ.

From left to right: (PUP's Stefan Babcock & Nestor Chumak)

Crowd at PUP

Death Cab For Cutie

If I'm going by the same three rules I laid out when covering The Breeders, then Death Cab For Cutie performing Transatlanticism in full covers rules one (capable instrumentalists) and sort-of three (rarity of material). They don't often play many of the Transatlanticism deep cuts on a regular basis, which made hearing the album in full at golden hour worthwhile for diehards. But there was sort of a reason "Death of an Interior Decorator" didn't intoxicate the same way "The Sound of Settling" did, the latter with a wordless chorus unfamiliar crowd members learned on the spot. Death Cab didn't meet rule two: The band's breakout album is top-heavy and slow-paced, not nearly as fun of a live experience as Last Splash or The Postal Service's Give Up. At the same time, in a vacuum, each song performance contained its own thrills, whether the guitar distortion and crescendos of "The New Year" and the album's title track, the squeaky chair sway of "Lightness", or the driving keyboards of "We Looked Like Giants". Especially as compared to Death Cab's later material, though, the band here was less riotous, more contemplative.

Queens of the Stone Age

As they walked out to Peggy Lee's "Smile", I couldn't help but think that Queens of the Stone Age was, as recently as early this year, one of the less likely bands to emerge under the lights at Riot Fest. Since 2017's Villains, Josh Homme had kicked a photographer in the face during a concert and faced a deserved public chiding, been embroiled in a bitter divorce with ex-wife Brody Dalle, and been diagnosed with and successfully fought cancer. It's understandable that he wasn't even sure he wanted to record the band's latest album In Times New Roman... (Matador) given the ups and downs, but it came out, and here was the band. The record is pretty much what you'd expect, with the band's quintessentially swaggering riffs and thudding beats, Homme's spooky, warbling falsetto, goofy portmanteaus, and lyrical head-scratchers. (See: "Voyeurism-jism may cause blurry visions on opener "Obscenery".) During their sub-headlining set, QOTSA performed the appropriate tracks from their new record. Fatalistic worldview be damned, "Negative Space" sported siren-like guitars to match its buzzing rhythm section. Instead of "Paper Machete", whose titular object is certainly a metaphor for the purportedly "all bark, no bite" Dalle, the band opted for "Emotion Sickness". Homme repeated the refrain, "Baby don't care for me," referring to his divorce but in a large festival setting ambiguous enough to conjure a singalong from anyone who has ever been a part of a decaying relationship. And then there was the slow funk psychedelia of "Carnavoyeur", on which Homme sings, "Accept, enjoy the view / When there's nothing I can do / I smile," maybe the reason they walked out to Peggy Lee, continuing to bare their teeth when life tries to get them down.

Mr. Bungle's Mike Patton

Mr. Bungle

Given that Faith No More and Mr. Bungle cancelled tour dates in 2021 due to Mike Patton's health--including that year's Riot Fest--Saturday night's Mr. Bungle set felt like a triumph. Walking out to an atonal version of Richard Strauss' "Also sprach Zarathustra, op. 30", the all-star lineup of a pig-tailed Patton, guitarists Trey Spruance and Scott Ian, bassist Trevor Dunn, and drummer Dave Lombardo went on to slay nonstop. Immediately notable, of course, was Patton's shapeshifting voice, emulating a digeridoo at one moment and forcibly chanting the next, screeching at warped speed in between. Though they played mostly from their excellent 2020 album The Raging Wrath Of The Easter Bunny Demo (Ipecac), it wouldn't have been a Mr. Bungle set without covers, from the fitting (Slayer's "Hell Awaits", Sepultura's "Territory"), to the unexpectedly beautiful (10cc's "I'm Not in Love", Spandau Ballet's "True"), to the nonsensical (the Pepto Bismol jingle). For the fans that had waited all day to get front row or even the casual listener, it was a performance well worth the wait.

Mr. Bungle's Trevor Dunn

Mr. Bungle's Scott Ian

From left to right: Thursday's Tucker Rule, Geoff Rickly, Tim Payne

Thursday

With weather delaying the gate opening until just before 2 PM and all sets scheduled before then cancelled, perennial Riot Festers and New Jersey heroes Thursday played an abridged set that was the first of the day for many. Since they started right at 2, the crowd was, at first, very sparse. Geoff Rickly decided to give people time to filter in, the band starting with a slow song, cheekily, "Running From The Rain". From there, it was like the Thursday CliffsNotes: "Signals Over the Air", "Cross Out The Eyes", "Understanding in a Car Crash", the works. Ever the appreciative and charismatic frontperson, Rickly shouted out the cancelled bands, mentioned that none other than Gorilla Biscuits were going to let them do a song were they themselves cancelled, and called touring with headliners The Cure 20 years ago "one of the best experiences of our lives." By the time they finished with "War All The Time", the title track of an album celebrating its own two decades, the crowd was, thankfully, Thursday-sized.

Ride

"This is a song from Nowhere not about death," is how Ride vocalist and rhythm guitarist Mark Gardener introduced "Taste". It made me think: Even if you do pay attention to this band's lyrics, their songs have an inherently uplifting sound, and especially live. From the get-go, the legendary in-and-out Hammond organ riff from "Leave Them All Behind", the band enveloped the crowd in a tornado of noise, whether on melodic later material like "Future Love" and "Lannoy Point" or the stunning "Vapour Trail", which saw Andy Bell capture the spirit of the song's violin with his guitar. They closed with "Seagull", whose opening bass riff inspired various crowd members to bounce up and down, including yours truly, even after standing in line for three hours on day three of a massive festival.

Ride's Mark Gardener

Ride's Andy Bell

Gorilla Biscuits

During their set at Riot Fest, someone turned to me and mentioned they saw Gorilla Biscuits at Metro in the early 90s as a teenager. The person next to him replied, "I learned about them like I learned about all music: Tony Hawk Pro Skater." Such is the life of a classic hardcore band playing at a punk festival in 2023. Leave it to the New Yorkers to break the rules of full album plays, though. Though a horn section came out to call them on to the stage, just like "New Direction" opens, they interrupted their play-through of Start Today with a few songs from their self-titled debut as well as a cover of "Minor Threat". Anthony Civarelli was in top form, launching himself into the crowd from the start, never stopping in his communal energy.

Gorilla Biscuits' Anthony Civarelli

The Mars Volta

When you're a band whose best songs are double digit-minutes long, curating a one-hour set must be difficult. Thankfully, The Mars Volta can cram a wide array of ideas, genres, and tempos in just one song. "L'Via L'Viaquez" was chock full of retro metal guitar solos and salsa breakdowns, Cedric Bixler-Zavala wailing with the best of them. They even managed to sandwich a snippet of Can's "Vitamin C" into the beloved "Cicatriz ESP", contemporary prog rock legends paying homage to their krautrock forebears. Bonus points for Bixler-Zavala pausing to name his top 3 Chicago punk bands: The Vindictives, Trenchmouth, and 90 Day Men.

The Cure's Reeves Gabrels and Robert Smith

The Cure

Seeing The Cure live is one of those transcendent experiences like watching Nine Inch Nails close out last year's Riot Fest. I caught people weeping in the front row during "Pictures of You". The drawn-out instrumental intro to "Fascination Street" garnered just as much fanfare as "Push", "In Between Days", and "Just Like Heaven". Even an overplayed, cheesy song like "Friday I'm In Love" sounded longing and wistful. The band members' age may increase, but they sound exactly the same as when I saw them last decade, presumably as beautiful as ever. The three unreleased songs they've played, slow burns "Alone", the epic "Endsong", and ballad "And Nothing Is Forever", have become staples of their setlists since debuting last year. I knew The Cure's set would be a highlight, if not the highlight of the festival. What I didn't expect was for it to cause me to anxiously await the release of their first new album since 2008.

The Cure's Roger O'Donnell

The Cure

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scoticus · 10 days

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hello today (sep 14) is the 20th anniversary of when i started recording my music listens on last.fm and here are here top 20 artists and albums from that timeframe: [scrobbles in square brackets]

Radiohead [18707]

The Mars Volta* [16607]

Wolf Parade [14327]

Holy Fuck [11407]

The Smashing Pumpkins [9716]

The National [9391]

Sleep Research Facility [8497]

TV on the Radio [7274]

The Conet Project [6898]

Omar Rodriguez-Lopez* [6696]

Blanck Mass [6531]

Coheed and Cambria [5853]

Modest Mouse [5701]

Death Cab for Cutie [4867]

Tapes 'n Tapes [4491]

At the Drive-In* [4387]

The Sound of Animals Fighting [4122]

Fuck Buttons [4100]

Black Marble [4095]

Portugal. The Man [4079]

*ORL bands total [27690]

Recordings Of Shortwave Numbers Stations (The Conet Project, 1997) [6898]

Congrats (Holy Fuck, 2016) [5238]

At Mount Zoomer (Wolf Parade, 2008) [4704]

Apologies to the Queen Mary (Wolf Parade, 2001) [4672]

Expo 86 (Wolf Parade, 2010) [4153]

De‐Loused in the Comatorium (The Mars Volta, 2003) [3974]

Amputechture (The Mars Volta, 2006) [3550]

Frances the Mute (The Mars Volta, 2004) [3232]

High Violet (The National, 2010) [3025]

Dumb Flesh (Blanck Mass, 2015) [2962]

In Rainbows (Radiohead, 2007) [2897]

Dead Weather Machine (Sleep Research Facility, 2004) [2743]

La Barca, complete edition (Thomas Köner, 2014) [2738]

Slow Focus (Fuck Buttons, 2013) [2499]

Under the Iron Sea (Keane, 2006) [2488]

Boxer (The National, 2007) [2430]

Keep Color (The Republic Tigers, 2008) [2420]

Beak> (Beak>, 2009) [2399]

Walk It Off (Tapes 'n Tapes, 2008) [2334]

SimCity 4 (Jerry Martin, 2003) [2297]

#me #music #last.fm #top20 #radiohead #the mars volta #wolf parade #holy fuck #the smashing pumpkins #the national #sleep research facility #tv on the radio #the conet project #omar rodriguez-lopez

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notanothersongaboutlovebracket · 1 year

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Positivity Song Sub-Bracket

Rhett and Link - I'm On Vacation vs The Stupendium - Shine Through

Avril Lavigne - Here's to Never Growing Up vs Brent Morgan - Gonna Be Okay

Tamino - Indigo Night

Death Cab for Cutie - Grapevine Fires vs MARINA - Ancient Dreams In A Modern Land

Florence + The machine - daffodil vs Mother Mother - Infinitesimal

Harold Melvin & the Blue Notes - Wake Up Everybody

Survivor - Eye of the Tiger vs Death - Let The World Turn

Bon Jovi - It's My Life

Måneskin - Zitti E buoni vs dodie - Secret for the Mad

Caleb Hyles - Amber and Rain vs The Mowglis - Bad Dream

Frozen 2 Cast - Show Yourself

Rise Against - Tragedy + Time vs The Crane Wives - Turn Out The Lights

Louis Armstrong - What A Wonderful World vs Stan Rogers - The Mary Ellen Carter

Lord Huron - Until the Night Turns

The Crüxshadows - Quicksilver vs Surfaces - Sunday Best

Frank Sinatra - My Way

Jeff Williams - This Life is Mine vs Sonic adventure 2 - Escape from the city

AURORA - Running with the wolves vs Paloma Faith - Upside Down

The Cog is Dead - Weird

Jimmy Cliff - You Can Get It If You Really Want It vs Steam Powered Giraffe - Malfunction

The Black-Eyed Peas - I Gotta Feeling

Delta Rae - Dance in the Graveyards vs Phineas and Ferb Cast - I'm Me

Tank and the Bangas - Black Folk

Thomas Rhett - Be a Light vs I Fight Dragons - Disaster Hearts

The Crane Wives - Volta vs Go! Child - Outro

Rachel Platten - Fight Song

Colbie Caillat - Try vs VHS Christmas Carol - Christmas Electricity

Chip Skylark - My Shiny Teeth and Me

Something Else - I’m Something Else vs Steppen Wolf - Born The Be Wild

Jack Johnson - Upside Down

Kenny Loggins - Footloose vs Rhythm Heaven - Beautiful One Day

OR3O - Living on

#bracket info

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justbebackbeforethekick · 7 months

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Hi hi hello! I saw you’ve helped folks find fics before and I’m hoping someone out there remembers this one: Eames gets stuck in (what i think is) limbo and Arthur goes down to get him, but it’s a wild goose chase. I think Arthur wanders around Tokyo/a city for a while, before eventually ending up in some kind of jungle, then there’s a cab that turns to sand end when he eventually finds Eames, Eames has forged himself into a dog? Or a deer? It’s a very surreal fic, very cerebral. Hoping some of these disparate things left an impression!! I can’t find it on AO3 so I hope it hasn’t been deleted :(

I know the one! I couldn’t remember the name at first but then I remembered that the dog was described as having “rheumy eyes”. Using that, I was able to find it - it’s Volta by weatherfront

Based on what you’ve said, I think this is the one. I hope it is!

#arthur/eames #arthur x eames #arthurxeames #inception #dreamhusbands #inception fanfiction #fic finder #arthur darling #inception fic finder #dream husbands #arthur and eames #joseph gordon levitt #tom hardy

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gb-diesellok · 1 year

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I'm making my own list for next year's stex appreciation month because I think this year's list was organized weirdly. Why lump ALL the nationals in one single day and (gang/trax/marshalls)

but not combine CB/Cabs. Or Volta/Voltar(Zero)?

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beatasticband · 2 years

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@another-brick-inthewall tagged me to post the last 10 songs I listened to, so here it goes, thank you! :)

- Sun Spells- TERRA PINES - ghost of perdition- OPETH - polish girl- NEON INDIAN - love vigilantes- NEW ORDER - all apologies- NIRVANA - the requisition- THE MARS VOLTA - I don’t know how to survive- DEATH CAB FOR CUTIE - what’s it gonna be- BUSTA RHYMES & JANET JACKSON - don’t cry- GUNS N’ ROSES - mr crowley- OZZY OSBOURNE I tag: @louder-than-love @betterinthe90s @justmakesuresheeatsthemouse @winterdryad @childinthecorn @sgreen-rdm @sludgeeem @floating-in-waves @tremolorecords @h0tmulligan @guiltyofallsevensins

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voxies-finest · 2 years

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this CD does not exist.

but having grown up with my dad's CD collection keeping me company during the long summers between school semesters i became familiar with a wide variety of album art that informs my creative practice to this day. at my dad's recommendation i listened to all sorts of music from the 70s, 80s and 90s, mostly settling on classic and prog rock greats like Rush, Pink Floyd and Led Zeppelin but occasionally dipping into metal (Megadeth, Metallica, Judas Priest) or new wave (Talking Heads & Devo) or the work of experimentalists, pioneers and other unconventional trendsetters like David Bowie, Laurie Anderson, Peter Gabriel and Thomas Dolby.

Alice in Chains, Pearl Jam, Nirvana, Soundgarden, Collective Soul and Temple of the Dog chewed me up and dragged me through the 90s before eventually i turned towards more modern styles, becoming enamored with the complex, chaotic and often psychedelic sound of The Mars Volta; the constantly evolving structures of prog rock (King Crimson, Porcupine Tree, Yes); the plucky, jagged melodies and odd textures and time signatures of noise and math rock (Deerhoof, Toe, Piglet, Maps and Atlases); the sprawling introspective soundscapes of post-rock (GY!BE, Sigur Rós, Explosions in the Sky, The Evpatoria Report, Tortoise); the sometimes-moody sometimes-peppy vibes of indie rock (Death Cab for Cutie, Modest Mouse, The National, Cake); the walls of sound of shoegaze, slowcore and all manner of sad rock (My Bloody Valentine, Codeine, Red House Painters).

this one doesn't exist either 🤭

eventually my love for guitar-driven music waned and i found myself lost in an auditory labyrinth of synthesizers and drum machines. from synth pop to minimal techno, house, IDM, EDM, vaporwave, chiptune, future funk, jazz fusion, drum and bass, ambient - you name it, i at least passed thru. Oneohtrix Point Never, Four Tet, Tortoise, Jaga Jazzist, James Blake, George Clanton, Brian Eno, Blank Banshee, Aphex Twin, Floating Points, Infinity Frequencies and Disasterpeace are just a handful of the electronic artists that have had massive impact on my personal artistic practice in recent memory.

all this to say - i've seen a lot of album covers in my time, and by extension i've imagined many more band names, song and album titles and the covers that might accompany them, but i've never really done anything about all that - until now. my ongoing collection "this CD does not exist" provides a framework for me to imagine artwork and a teensy bit of accompanying lore for albums that don't (and will likely never) exist. it's a place to indulge in all the fun of imagining music projects without any of the pressure (or massive time and energy investment) of forming a band and actually making it happen!

but of course CDs aren't only used for music - i grew up playing plenty of video games on my old Windows 95/98/XP PCs in the days before downloadable content (Myst, Diablo and Rollercoaster Tycoon stand out in particular) and the art and design choices of the CD packaging from early PC games will live with me the rest of my life. those influences will undoubtedly creep in every once in a while... and definitely already have.

#art #digital art #CD art #CD artwork #album art #this cd does not exist #voxeljunk

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firststarisee · 2 years

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My Top 100 Albums of 2022

Gang Of Youths - angel in realtime.

The 1975 - Being Funny In A Foreign Language

The Wonder Years - The Hum Goes On Forever

Lizzy Mcalpine - Five Seconds Flat

Everything Everything - Raw Data Feel

Kendrick Lamar - Mr. Morale & The Big Steppers

A Place For Owls - LP1

Bryde - Still

Valleyheart - Heal My Head

Taylor Swift - Midnights

beabadoobee - Beatopia

MUNA - MUNA

Arcade Fire - WE

My Kid Brother - Happy.Mad.Weird.Sad

Birthday Dad - The Hermit

Fatherson - Normal Fears

Kehlani - blue water road

Angel Olsen - Big Time

The Big Moon - HERE IS EVERYTHING

Anna Tivel - Outsiders

Stand Atlantic - f.e.a.r. (Fuck Everything and Run)

The Weeknd - Dawn FM

Noah Cyrus - The Hardest Part

Cold Years - Goodbye to Misery

Tove Lo - Dirt Femme

Carly Rae Jepsen - The Loneliest Time

Graveyard Club - Moonflower

The Midnight - Heroes

Beyoncé - Reniassance

Maggie Rogers - Surrender

Charlie Hickey - Nervous At Night

Lucius - Second Nature

Betty Who - BIG!

Father John Misty - Chloë and the Next 20th Century

Bastile - Give Me The Future/Dreams of The Past

Sudan Archives - Natural Brown Prom Queen

SZA - SOS

Out of Service - The Ground Beneath Me

wrest - End All The Days

Caracara - New Preoccupations

Pale Waves - Unwanted

Death Cab For Cutie - Asphalt Meadows

Camp Trash - The Long Way, The Slow Way

Ryan Adams - Romeo & Juliet

The Smile - A Light for Attracting Attention

The Mountain Goats - Bleed Out

Head and The Heart - Every Shade of Blue

Pinkshift - Love Me Forever

Coin - Uncanny Valley

King Princess - Hold on Baby

Harry Styles - Harry’s House

Alex the Astronaut - How To Grow A Sunflower Underwater

Coheed & Cambria - Vaxis II: A Window of the Waking Mind

Soccer Mommy - Sometimes, Forever

Tegan and Sara - Crybaby

Bartees Strange - Farm to Table

Momma - Household Name

The Beths - Expert in a Dying Field

Beach Bunny - Emotional Creature

Butch Walker - …As Glenn

Lauv - All 4 Nothing

Skullcrusher - Quiet The Room

Superorganism - World Wide Pop

Drake - Honestly, Nevermind

Martha - Please Don’t Take Me Back

MAITA - I Just Want To Be Wild For You

Tomberlin - i don’t know who needs to hear this…

Companion - Second Day of Spring

Silvana Estrada - Marchita

Sigrid - How to Let Go

BANKS - Serpentina

Future Teens - Self Help

Pinegrove - 11:11

Frank Tuner - FTHC

Stars - From Capelton Hill

Camp Cope - Running with the Hurricane

Dawes - Misadventures Of Doomscroller

Orville Peck - Bronco

Ghostly Kisses - Heaven, Wait

Watkins Family Hour - Vol. II

Ryan Adams - Chris

AURORA - The Gods We Can Touch

Kate Havnevik - Lightship

The Mars Volta - The Mars Volta

Florence + The Machine - Dance Fever

Bad Suns - Apocalypse Whenever

Stella Donnelly - Flood

Courtney Marie Andrews - Loose Future

Vince Staples - RAMONA PARK BROKE MY HEART

SOAK - If I never know you like this again

Hatchie - Giving The World Away

Copeland - Revoling Doors

SYD - Broken Hearts Club

Bjork - Fossora

ROSALÍA - MOTOMAMI

Denzel Curry - Melt My Eyez See Your Future

Pool Kids - Pool Kids

Liss - I Guess Nothing Will Be The Same

Sasha Alex Sloan - I Blame The World

Fickle Friends - Are We Gonna Be Alright?

#Year end lists

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sunburnacoustic · 1 year

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Found the archives of some old sites, and I don't know about other people but I'm feeling slight old/lost fansites nostalgia, so I might post some clippings from fansites here. What is this blog if not a tribute to everything in the Muse universe anyway?

But so that it's not an awful scroll on your dashboards, I will break it up into posts. Find the full thing on the Internet Archive, linked (thank goodness for the internet archive!)

The Muse biography from the now-defunct microcuts.net, one of the biggest Muse fansites before MuseWiki ended up being the only one left (social media doesn't count).

Archived here.

Biography Pt. 5 [Pt. 4]

Recording Absolution

Then they took another break to record the third album but this time they dropped John Leckie and worked with Paul Reeve, John Corfield and Rich Costey. Matthew explains "He was the man we originally thought of working with for the rock tracks. He'd previously mixed some great rock records -Audioslave, Rage Against The Machine's ‘Renegades’, The Mars Volta - but in the meantime he'd been sending us discs of other people he'd worked with like Philip Glass and Fiona Apple and was trying to convince us that he should do the whole album. We reworked Apocalypse Please with a more aggressive sound, without too much over-production, and it sounded better. In the end he did do pretty much all the album, and mixed it as well. He understood what we were trying to achieve. The main thing with Rich was that his mixing technique was pretty precise. Every cab would have about 10 microphones on it and they would all be placed with mathematical precision. I remember spending a whole day playing the guitar and seeing Rich outside with a measuring tape and a spirit level! He was making the slightest adjustments, millimetres at a time to get it so there was perfect phase."

The album was going to be uplifting but then the US and the UK went to fight Iraq in the Gulf and everything changed. "We started off with a full orchestra, experimenting, pushing it right over the Queen mark - 98 backing vocals, 32-piece orchestra and all sorts! We did two songs like that and kinda lost our minds,” says Matthew. “We ended deciding to get back to basics. We re-recorded some of the stuff with the orchestra, toned it down a little bit. It sounds a lot harder now than I expected. In terms of general context, the world's changed in the last year, the world events of the last year and a half. It's not that we're a political band but I think it's impossible to avoid those things. I think there's a lot of apocalyptic stuff going on in a lot of the songs. While we were recording all the war (with Iraq) was coming out and we were in the process of recording while watching that. The direction definitely took a pretty harsh change in the middle of it all. In relation to the album it's come across more as a general fear and mistrust of the people in power. It's about moments of extreme fear, and a fair bit of end of the world talk.”

Matt also explains how it is different from ‘Showbiz’ and ‘Origin of Symmetry’. “In the past I was layering guitars quite a lot but this time I wanted to get just one guitar part to stand out and be just perfect. On the last album [‘Origin of Symmetry’] for example, on songs like ‘Citizen Erased’ or ‘Micro Cuts’, I did a lot of multiple guitar parts. But when I went to do it live, I actually found myself simplifying the guitar parts and found that the simple parts were much more effective and much more powerful sounding. So in making this album, instead of recording the songs in layers, I was actually working on the parts a lot more before I recorded them.”

[Pt. 6]

#Muse band #Matt Bellamy #microcuts.net #muse fansites #old website nostalgia is kicking in; I am not old enough to have old website nostalgia and yet technology moves so quickly that here we are #muse biography #muse #matt bellamy #chris wolstenholme #dom howard #2002 #2003 #Muse Absolution

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coolmusiccentral · 2 years

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Top 50 Albums of 2022

Happy New Year to all! Let's start 2023 with our selection of the best albums that 2022 had to offer, a list that focuses mostly on rock music and its various guises, from the sublime folk rock of Big Thief, to the majestic post-punk of Dry Cleaning, Fontaines D.C. or Horsegirl, from the ethereal indie pop of Beach House to the psychedelic sounds of The Black Angels and everything else in this vast and diverse musical biosphere.

Here are our Top 50 Albums of 2022 (plus a few more), accompanied by a playlist with some of the standout tracks from these excellent records:

Top 50 Albums

Dragon new warm mountain I believe in you - BIG THIEF

Stumpwork - DRY CLEANING

Skinty fia - FONTAINES D.C.

Versions of modern performance - HORSEGIRL

Once twice melody - BEACH HOUSE

Wilderness of mirrors - THE BLACK ANGELS

How do you burn? - THE AFGHAN WHIGS

Lucifer on the sofa - SPOON

Blue rev - ALVVAYS

Hellfire - BLACK MIDI

Wet Leg - WET LEG

The overload - YARD ACT

Loggerhead - WU-LU

Time bend and break the bower - SINEAD O' BRIEN

Cool it down - YEAH YEAH YEAHS

Endless rooms - ROLLING BLACKOUTS COASTAL FEVER

Endure - SPECIAL INTEREST

A light for attracting attention - THE SMILE

Covers - CAT POWER

Fear of the dawn - JACK WHITE

Spencer gets it lit - JON SPENCER & THE HITMAKERS

When the wind forgets your name - BUILT TO SPILL

Tired of liberty - THE LOUNGE SOCIETY

Classic objects - JENNY HVAL

Anywhere but here - SORRY

Broken equipment - BODEGA

Reeling - THE MYSTERINES

Radiate like this - WARPAINT

Warm Chris - ALDOUS HARDING

Laurel hell - MITSKI

Waterslide, diving board, ladder to the sky - PORRIDGE RADIO

Everything was beautiful - SPIRITUALIZED

YTI⅃AƎЯ - BILL CALLAHAN

Pompeii - CATE LE BON

Labyrinthitis - DESTROYER

Mr. Morale & the big steppers - KENDRICK LAMAR

Fear fear - WORKING MEN'S CLUB

My other people - TV PRIEST

Big time - ANGEL OLSEN

We've been going about this all wrong - SHARON VAN ETTEN

Ants from up there - BLACK COUNTRY, NEW ROAD

The car - ARCTIC MONKEYS

The boy named If - ELVIS COSTELLO & THE IMPOSTERS

Doggerel - PIXIES

Wild loneliness - SUPERCHUNK

Growing up - THE LINDA LINDAS

Heart under - JUST MUSTARD

The other side of make-believe - INTERPOL

Life is yours - FOALS

Topical dancer - CHARLOTTE ADIGÉRY & BOLIS PUPUL

More recommendations: Oh death - GOAT, Expert in a dying field - THE BETHS, Sometimes, forever - SOCCER MOMMY, And in the darkness, hearts aglow - WEYES BLOOD, (watch my moves) - KURT VILE, Sonancy - LOOP, Most normal - GILLA BAND, God save the animals - ALEX G, Time skiffs - ANIMAL COLLECTIVE, Formentera - METRIC, We - ARCADE FIRE, Headful of sugar - SUNFLOWER BEAN, See through you - A PLACE TO BURY STRANGERS, Black pearl - 50 FOOT WAVE, Ultraviolet battle hymns and true confessions - THE DREAM SYNDICATE, "Hello, hi" - TY SEGALL, Entering heaven alive - JACK WHITE, Dance fever - FLORENCE + THE MACHINE, This is what we do - LEFTFIELD, No thank you - LITTLE SIMZ, Tableau - THE ORIELLES, Reason in decline - ARCHERS OF LOAF, The Mars Volta - THE MARS VOLTA, Cheat codes - DANGER MOUSE & BLACK THOUGHT, Inner world peace - FRANKIE COSMOS, Here is everything - THE BIG MOON, The line is a curve - KAE TEMPEST, Fossora - BJÖRK, Asphalt meadows - DEATH CAB FOR CUTIE, Everything was forever - SEA POWER, Pre pleasure - JULIA JACKLIN, Fire doesn’t grow on trees - THE BRIAN JONESTOWN MASSACRE, XI: Bleed here now - AND YOU WILL KNOW US BY THE TRAIL OF DEAD, Angus tempus memoir - BLUE ORCHIDS, A foul form - OSEES

#best of 2022 #best albums #big thief #dry cleaning #fontaines d.c.#horsegirl #beach house #top albums 2022 #2022 #Spotify

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toffeethief · 2 years

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Top 5 Albums In The Year Of Our Lord 2022

1. Bill Orcutt - Music For Four Guitars

2. Matthew J. Rolin - Passing

3. USO9001 - Rhesus Albert

4. Parannoul & Asian Glow - Paraglow

5. Black Country New Road - Ants From Up There

Honorable Mentions: 84 Tigers - Time In The Lighthouse / 700 Bliss - Nothing To Declare / Beach Rats - Rat Beat / Berthold City - When Words Are Not Enough / Björk - Fossora / Boris - W & Heavy Rocks 2022 & fade / Buñuel - Killers Like Us / Bill Callahan - YTILAER / Callous Daoboys - Celebrity Therapist / CAN - Live In Cuxhaven 1976 / Cave In - Heavy Pendulum / Chat Pile - God's Country / City Of Caterpillar - Mystic Sisters / Cloud Rat - Threshold / High Command - Eclipse Of The Dual Moons / Dälek - Precipice / Death Cab For Cutie - Asphalt Meadows / Dwellers Of The Twilight Void - Demo 1 / Elder Jack - Elder Jack Long Play / Hazy Cherry Sour - Strange World / Helms Alee - Keep This Be The Way / Julia Jacklin - Pre Pleasure / Dave Knudson - All You Have To Change Is Everything / KRS-One - I M A M C R U 1 2 / Lamb Of God - Omens / Mary Lattimore & Paul Sukeena - West Kensington / Shawn Lee & Misha Panilova - Space & Tempo / Lesser Care - Underneath, Beside Me / Lizzo - Special / Magma - Kartëhl / The Mars Volta - The Mars Volta / Meshuggah - Immutable / Mindforce - New Lords / Moor Mother - Jazz Codes / The Mountain Goats - Bleed Out / Murder By Death - Spell/Bound / Mydreamfever - Rough And Beautiful Place / Open Mike Eagle - A Tape Called Component System With The Auto Reverse / Otoboke Beaver - Super Champon / Parannoul - White Ceiling / Black Dots Wandering Around / Pedro The Lion - Havasu / Post-Skeleton - Everyone You Know Is Alone / Primus - Conspiranoid / R.A.P. Ferreira - 5 To The Eye With Stars / Raw Brigade - Aggressive City / Russian Circles - Gnosis / Sawtooth Grin - Good / SLUG - Continuing Growth / Soul Glo - Diaspora Problems / Spite House - Spite House / Stray Bullet - Factory / Sudan Archives - Natural Brown Prom Queen / The Tallest Man On Earth - Too Late For Edelweiss / These Arms Are Snakes - Duct Tape & Shivering Crows / They Are Gutting A Body Of Water - Destiny XL / Tutu Duo - Wisdom Fight / Warpaint - Radiate Like This / The Weeknd - Dawn FM / Weyes Blood - And In The Darkness, Hearst Aglow / Wormrot - Hiss / Youth League - Somehow Those Were The Days

#lists

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hotnew-pt · 29 days

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Guia completo do Meo Kalorama: horários dos concertos, bilhetes, transportes e informações úteis sobre o último grande festival de verão #ÚltimasNotícias #Portugal

Hot News O Parque da Bela Vista, em Lisboa, volta esta semana a acolher nova edição do festival Meo Kalorama – a terceira, no total. O festival, que se realiza de 29 a 31 de agosto, conta no cartaz com nomes como Massive Attack, LCD Soundsystem, Ana Moura, Jungle, Sam Smith ou Death Cab for Cutie + Postal Serviceentre muitos outros. De fora ficaram os The Smile, banda formada por Thom Yorke e…

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lecodellariviera · 2 months

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L’ASSOCIAZIONE FARE MUSICA PRESENTA “BRAVO JAZZ” 11 EDIZIONE

SERVIZIO DI FRANCESCO BASSO

Al via l'undicesima edizione di Bravo Jazz

Mercoledì 24 luglio Fare Musica e Uno Energy presentano: The godfather of Swing RAY GELATO & THE GIANTS

Giovedì 25 luglio FABRIS FIVE FOR MONK Jose Fabris voce - Frank Taschini Sax tenore e Soprano - Lorenzo Herrnhut Girola Chitarra - Alberto Micciché basso elettrico - Enzo Cioffi batteria

Venerdì 26 luglio NINA PAPA 4TET Nina Papa voce e percussioni - Bèatrice Alunni piano - Christian Pachiaudi basso elettrico - Cédric Le Donne Batteria percussioni

RUE GUIGLIA 5TET Marco Neri chitarra e composizioni - Amaro Sampedro Lopez Sax - David Marques Piano e tastiere, Luca Leoncini basso elettrico - Luigi Arieta batteria

Sabato 27 luglio ON THE CORNER by BAMBINO FEAT. ALEX ™ WIR IUM DJ SET FROM JAZZY TO SAN.CO La location unica delle terrazze di San Costanzo diventa per l’11° anno il grande stage dove il jazz nelle sue molteplici declinazioni è diventato un punto fermo di assoluto valore. Negli anni si è sempre cercato di creare l’ambiente più consono alla musica jazz. Il fatto che la rassegna anticipi di una settimana Rock in The Casbah, dimostra ancora una volta l’assoluta qualità di un luogo che sa rendere ogni emozione musicale scaturita da generi spesso molto diversi tra loro. L’apoteosi del decennale, dove Fare Musica ha proposto una star internazionale condivisa tra le manifestazioni, si è dimostrato un importante solco sul quale costruire l’11esima edizione. La direzione artistica di Enzo Cioffi ha scelto così un cast particolareggiato e quanto mai esplicativo del grande mondo del jazz, che ha il suo culmine internazionale nella prima serata della rassegna con il grande Swing di RAY GELATO. Serata realizzata con l’intervento, come sponsor unico, di UNO ENERGY.

Mercoledì 24 luglio Fare Musica e Uno Energy presentano: The godfather of Swing RAY GELATO & THE GIANTS Ray Gelato “the godfather of swing”, ha portato il suo marchio speciale di musica swing, jazz e R&B in tutto il mondo a partire dal 1988. Con la sua band di prim’ordine The Giants presentano uno spettacolo ad alta energia che non smette mai di trascinare la folla, farle battere i piedi e chiedere ancora di più. Il risultato è che Ray è stato paragonato a grandi come Cab Calloway e Louis Prima e definito “uno degli ultimi grandi intrattenitori jazz!” Il leggendario ‘Padrino dello Swing’ e la sua band hanno alle spalle una carriera illustre e di successo, che include una presenza di lungo termine al famoso Ronnie Scott di Soho, dove la band si esibisce ogni Natale registrando sempre il tutto esaurito. Ray ha anche suonato per Sua Maestà la Regina Elisabetta d'Inghilterra, ha aperto il concerto di Robbie Williams alla Albert Hall, ed è stato scelto per suonare al matrimonio di Sir Paul McCartney. Eccezionali le sue interpretazioni di brandi classici del genere, spesso coloriti da un italiano molto “Brooklyn Addicted”, alternati a sue composizioni originali, ormai assunte al ruolo di Classici del genere.

Giovedì 25 luglio FABRIS FIVE FOR MONK Jose Fabris voce - Frank Taschini Sax tenore e Soprano - Lorenzo Herrnhut Girola Chitarra - Alberto Micciché basso elettrico - Enzo Cioffi batteria

Un tributo molto particolare al grande pianista americano Thelonious MONK. Idea nata da Giuseppe Fabris che con l’ascolto dello standard “Straight no chaser” ha iniziato a scrivere un testo in italiano. Un approccio di libera interpretazione sulla magica e sorprendente musica di MONK, musicista geniale ed innovativo, vera linfa vitale per i musicisti e gli appassionati. Un omaggio, quindi, sempre modesto, umile, rispettoso ma quanto mai innovativo. L’ospite della serata sarà il sassofonista (tenore e soprano) Frank Taschini accompagnato da Enzo Cioffi alla batteria, Alberto Miccichè al basso elettrico, Lorenzo Herrnhut alla Chitarra e, chiaramente Giuseppe Fabris Voce.

Venerdì 26 luglio NINA PAPA 4TET Nina Papa voce e percussioni - Bèatrice Alunni piano - Christian Pachiaudi basso elettrico - Cédric Le Donne Batteria percussioni

RUE GUIGLIA 5TET Marco Neri chitarra e composizioni - Amaro Sampedro Lopez Sax - David Marques Piano e tastiere Luca Leoncini basso elettrico - Luigi Arieta batteria Nina Papa 4TET: un quartetto ricco di saudade e sensualità, caratteristiche del paese d’origine della cantante e percussionista Nina Papa, Il Brasile. La sua calda voce rivisita alcune delle più belle melodie della Bossa Nova, alternate, con interpretazioni molto personali, a canzoni francesi. Cifra stilistica del nuovo album “Dans un Souffle”.

RUE GUIGLIA 5TET: Il quintetto nasce al conservatorio di Nizza, dall'unione di musicisti del Ponente ligure e nizzardi. I membri già fanno parte di un collettivo più ampio che anima più progetti originali che spaziano dal rock, al funk, all'hip hop fino appunto al jazz.

Questo progetto, alimentato principalmente dalle mie composizioni ed arrangiamenti, propone nuova musica originale che mescoli le influenze musicali ed esperienze personali maturate negli anni, cercando di “raccontare” il tutto in chiave strumentale.

Sabato 27 luglio ON THE HOUSE by BAMBINO feat. ALEX ™ Una vera e propria festa del live e delle jam cittadine, musicisti abituati a gravitare intorno alla figura di Alex, poliedrico e talentuoso trombettista italo-australiano. La grande scuola internazionale e le esperienze fatte oltreoceano messe al servizio di una scena solida come quella del jazz ponentino. E, come in ogni festa, la serata prosegue con WIR IUM ed il suo dj set assolutamente particolare. VALERIO TUDINI è in assoluto il dj con più carisma musicale, tanto da poter spaziare tra i suoni jazz, latin, swing con selezioni particolarmente ricercate e particolari.

From JAZZY to San.Co è il tema, una scia musicale che parte dal grande mondo della musica afroamericana per tornare a casa, a San Costanzo

Organizzazione Associazione FARE MUSICA in collaborazione con il Comune di Sanremo - Assessorato al Turismo e Manifestazioni. (GIANCARLO FORTE, ENZO CIOFFI, LARRY CAMARDA, SIMONE PARISI) INIZIO SPETTACOLI ORE 21.45

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