#corin cd

[volterran-wine]

I hope this doesn't come across as a headcanon request, and if it does, feel free to ignore it. I just saw that "Volturi and Taylor Swift lyrics" post you made and I was wondering if you think any of the Volturi are Swifties?

• — 𝐎𝐧 𝐭𝐡𝐞 𝐦𝐚𝐭𝐭𝐞𝐫 𝐨𝐟 𝐛𝐞𝐢𝐧𝐠 𝐒𝐰𝐢𝐟𝐭𝐢𝐞𝐬

No need to fret dear Anonymous, I shall answer your question seeing as though we are only days away from Miss Swift's newest album being released. Personally I am looking forward to the album very much myself.

I have decided to put them all into a couple of categories for you dear Anonymous; I hope they are to your liking.

𝐖𝐨𝐮𝐥𝐝 𝐡𝐚𝐯𝐞 𝐞𝐧𝐣𝐨𝐲𝐞𝐝, 𝐛𝐮𝐭 𝐢𝐬 𝐝𝐞𝐚𝐝

Didyme.

𝐃𝐨𝐞𝐬 𝐧𝐨𝐭 𝐫𝐞𝐚𝐥𝐥𝐲 𝐥𝐢𝐬𝐭𝐞𝐧 𝐭𝐨 𝐡𝐞𝐫 𝐦𝐮𝐬𝐢𝐜:

Jane • Alec • Marcus • Caius

𝐋𝐢𝐤𝐞𝐬 𝐚 𝐜𝐨𝐮𝐩𝐥𝐞 𝐨𝐟 𝐡𝐞𝐫 𝐬𝐨𝐧𝐠𝐬:

Athenodora • Sulpicia • Aro • Felix • Corin • Afton

𝐇𝐚𝐬 𝐚 𝐟𝐚𝐢𝐫 𝐚𝐦𝐨𝐮𝐧𝐭 𝐨𝐟 𝐡𝐞𝐫 𝐬𝐨𝐧𝐠𝐬 𝐨𝐧 𝐭𝐡𝐞𝐢𝐫 𝐩𝐥𝐚𝐲𝐥𝐢𝐬𝐭:

Demetri • Heidi • Renata • Chelsea

𝐈𝐬 𝐚𝐧 𝐮𝐧𝐚𝐬𝐡𝐚𝐦𝐞𝐝 𝐒𝐰𝐢𝐟𝐭𝐢𝐞 𝐭𝐡𝐚𝐭 𝐢𝐬 𝐜𝐨𝐮𝐧𝐭𝐢𝐧𝐠 𝐝𝐨𝐰𝐧 𝐭𝐡𝐞 𝐝𝐚𝐲𝐬 𝐟𝐨𝐫 𝐓𝐓𝐏𝐃:

Santiago.

[fantastic-mr-corvid]

prinsess dianas ex husband did one good thing and made the corination a monday and a bank holiday. but guess what my fuking day off is a monday. welp time to break out the inner terrestrails cd including sutch hits as 'off with their heads' and 'farewell to the crown'

[clan-fuildarach]

and that’s what u missed 

[manysmallhands]

#25: Sleater Kinney - You're No Rock N Roll Fun

Released - May 2nd 2000

Highest UK Chart Position - #85

First Heard - Cheap cd, 2014

I wouldn’t have heard of Sleater Kinney the first time around, so by the time I bought All Hands On The Bad One nearly 15 years later, the context for this would have been long since past. However, pompous guitar bands fronted by Very Serious Men are as constant as a northern star and so I can’t say it took much effort to pick up the thread.

Sleater Kinney don’t need to prove that they can rock to anyone so going all out pop here is smart, a prime position from which to take a swipe at the lofty artistes of the indie scene. Corin ditches her trademark holler for an arch tunefulness and, while the guitars take the usual spidery post-punk route, the deceptively sweet harmonies and Janet’s double time drumming ultimately carry the day. In short, this song absolutely slaps. 

A few months after I bought this, the heroes reception that greeted SK’s return in 2014 illustrated a slightly changed picture in the indie world, where women are an increasingly strong and playful presence and things are better for it. But chauvinism remains a huge issue in the industry and so the message of You’re No Rock n’ Roll Fun is always worth remembering: if yr too cool to think that women can rock, who the fuck do you think you are?

[thecdproj]

Get Up single, by Sleater-Kinney, 1999, Kill Rock Stars. Out of print. Purchased at Amoeba Records in Los Angeles 2017.

Tracklist:

Get Up

By The Time You’re Twenty-Five

Tapping

[1962dude420-blog]

Today we remember the passing of Joey Ramone who Died: April 15, 2001 in Manhattan, New York

Jeffrey Ross Hyman, known professionally as Joey Ramone, was an American musician, singer, composer, and lead vocalist of the punk rock band the Ramones. Joey Ramone's image, voice, and tenure as frontman of the Ramones made him a countercultural icon.

Jeffrey Ross Hyman was born on May 19, 1951, in Queens, New York City, New York to a Jewish family. His parents were Charlotte (née Mandell) and Noel Hyman. He was born with a parasitic twin growing out of his back, which was incompletely formed and surgically removed. The family resided in Forest Hills, Queens, where Hyman and his future Ramones bandmates attended Forest Hills High School. He grew up with his brother Mickey Leigh. Though happy, Hyman was something of an outcast, diagnosed at 18 with obsessive–compulsive disorder alongside being diagnosed with schizophrenia. His mother, Charlotte Lesher, divorced her first husband, Noel Hyman. She married a second time but was widowed by a car accident while she was on vacation.

Hyman was a fan of the Beatles, the Who, David Bowie, and the Stooges among other bands, particularly oldies and the Phil Spector-produced "girl groups". His idol was Pete Townshend of the Who, with whom he shared a birthday. Hyman took up the drums at 13, and played them throughout his teen years before picking up an acoustic guitar at age 17.

In 1974, Jeffrey Hyman co-founded the punk rock band the Ramones with friends John Cummings and Douglas Colvin. Colvin was already using the pseudonym "Dee Dee Ramone" and the others also adopted stage names using "Ramone" as their surname: Cummings became Johnny Ramone and Hyman became Joey Ramone. The name "Ramone" stems from Paul McCartney: he briefly used the stage name "Paul Ramon" during 1960/1961, when the Beatles, still an unknown five-piece band called the Silver Beetles, did a tour of Scotland and all took up pseudonyms; and again on the 1969 Steve Miller album Brave New World, where he played the drums on one song using that name.

Joey initially served as the group's drummer while Dee Dee Ramone was the original vocalist. However, when Dee Dee's vocal cords proved unable to sustain the demands of consistent live performances, Ramones manager Thomas Erdelyi suggested Joey switch to vocals. Mickey Leigh: "I was shocked when the band came out. Joey was the lead singer and I couldn't believe how good he was. Because he'd been sitting in my house with my acoustic guitar, writing these songs like 'I Don't Care', fucking up my guitar, and suddenly he's this guy on stage who you can't take your eyes off of." After a series of unsuccessful auditions in search of a new drummer, Erdelyi took over on drums, assuming the name Tommy Ramone.

The Ramones were a major influence on the punk rock movement in the United States, though they achieved only minor commercial success. Their only record with enough U.S. sales to be certified gold in Joey's lifetime was the compilation album Ramones Mania. Recognition of the band's importance built over the years, and they are now regularly represented in many assessments of all-time great rock music, such as the Rolling Stone lists of the 50 Greatest Artists of All Time and 25 Greatest Live Albums of All Time, VH1's 100 Greatest Artists of Hard Rock, and Mojo's 100 Greatest Albums. In 2002, the Ramones were voted the second greatest rock and roll band ever in Spin, behind the Beatles.

In 1996, after a tour with the Lollapalooza music festival, the band played their final show and then disbanded.

Ramone's signature cracks, hiccups, snarls, crooning, and youthful voice made him one of punk rock's most recognizable voices. Allmusic.com wrote that "Joey Ramone's signature bleat was the voice of punk rock in America." As his vocals matured and deepened through his career, so did the Ramones' songwriting, leaving a notable difference from his initial melodic and callow style—two notable tracks serving as examples are "Somebody Put Something in My Drink" and "Mama's Boy". Dee Dee Ramone was quoted as saying "All the other singers in New York were copying David Johansen (New York Dolls), who was copying Mick Jagger... But Joey was unique, totally unique."

In 1985, Ramone joined Steven Van Zandt's music industry activist group Artists United Against Apartheid, which campaigned against the Sun City resort in South Africa. Ramone and 49 other recording artists – including Bob Dylan, Bruce Springsteen, Keith Richards, Lou Reed and Run DMC — collaborated on the song "Sun City", in which they pledged they would never perform at the resort.

In 1994, Ramone appeared on the Helen Love album Love and Glitter, Hot Days and Music, singing the track "Punk Boy". Helen Love returned the favor, singing on Ramone's song "Mr. Punchy".

In October 1996, Ramone headlined the "Rock the Reservation" alternative rock festival in Tuba City, Arizona. 'Joey Ramone & the Resistance' debuted Ramone's interpretation of Louis Armstrong's "Wonderful World' live, as well as Ramone's choice of Ramones classics and some of his other favorite songs; The Dave Clark Five's "Any Way You Want It", The Who's "The Kids are Alright" and The Stooges' "No Fun."

Ramone co-wrote and recorded the song "Meatball Sandwich" with Youth Gone Mad. For a short time before his death, he took the role of manager and producer for the punk rock band the Independents.

His last recording as a vocalist was backup vocals on the CD One Nation Under by the Dine Navajo rock group Blackfire. He appeared on two tracks, "What Do You See" and "Lying to Myself". The 2002 CD won "Best Pop/Rock Album of the Year" at the 2002 Native American Music Awards.

Ramone produced the Ronnie Spector album She Talks to Rainbows in 1999. It was critically acclaimed but was not very commercially successful. The title track was previously on the Ramones' final studio album, ¡Adios Amigos!.

Joey Ramone died at the age of 49 following a seven-year battle with lymphoma at New York-Presbyterian Hospital on April 15, 2001, a month before he would have turned 50. He was reportedly listening to the song "In a Little While" by U2 when he died. In an interview in 2014 for Radio 538, U2 lead singer Bono confirmed that Joey Ramone's family told him that Ramone listened to the song before he died, which Andy Shernoff (The Dictators) also confirmed.

His solo album Don't Worry About Me was released posthumously in 2002, and features the single "What a Wonderful World", a cover of the Louis Armstrong standard. MTV News claimed: "With his trademark rose-colored shades, black leather jacket, shoulder-length hair, ripped jeans and alternately snarling and crooning vocals, Joey was the iconic godfather of punk."

On November 30, 2003, a block of East 2nd Street in New York City was officially renamed Joey Ramone Place. It is the block where Hyman once lived with bandmate Dee Dee Ramone and is near the former site of the music club CBGB, where the Ramones began their career. Hyman's birthday is celebrated annually by rock 'n' roll nightclubs, hosted in New York City by his brother and, until 2007, his mother, Charlotte. Joey Ramone is interred at Hillside Cemetery in Lyndhurst, New Jersey.

The Ramones were named as inductees to the Rock and Roll Hall of Fame as part of the class of 2002.

Several songs have been written in tribute to Joey Ramone. Tommy, CJ and Marky Ramone and Daniel Rey came together in 2002 to record Jed Davis' Joey Ramone tribute album, The Bowery Electric. Other tributes include "Hello Joe" by Blondie from the album The Curse of Blondie, "Drunken Angel" by Lucinda Williams, "You Can't Kill Joey Ramone" by Sloppy Seconds, Joey by Raimundos, "I Wanna Be Your Joey Ramone" by Sleater-Kinney, "Red and White Stripes" by Moler and "Joey" by the Corin Tucker Band, "I Heard Ramona Sing" by Frank Black, Amy Rigby's "Dancin' With Joey Ramone" and "The Miracle (of Joey Ramone)" by U2.

In September 2010, the Associated Press reported that "Joey Ramone Place," a sign at the corner of Bowery and East Second Street, was New York City's most stolen sign. Later, the sign was moved to 20 ft (6.1 m) above ground level. Drummer Marky Ramone thought Joey would appreciate that his sign would be the most stolen, adding "Now you have to be an NBA player to see it."

After several years in development, Ramone's second posthumous album was released on May 22, 2012. Titled ...Ya Know?, it was preceded on Record Store Day by a 7" single re-release of "Blitzkrieg Bop"/"Havana Affair"

[ourladyofomega]

Summer of 2006. I waited to take the trip to Philadelphia for a month to see Sleater-Kinney since my former ‘friend’ and fellow DJ D-Klein offered tickets for people to go with him. We had no idea who else would be playing up until then. With us was Elizabeth, D-Klein’’s friend and a huge Sleater-Kinney fan. And off we went to Philadelphia in a sweltering partly cloudy 95* day.

We travel through Coney Island when out of nowhere D-Klein and Elizabeth decide to stop at Astroland to ride the Cyclone. It put the trip on pause like a video game to take a spontaneous time out. But they enjoyed themselves, and why not? I wasn’t going to keep them.

We then drive through the Verrazano Bridge, then Staten Island and through New Jersey. I see all the industrial areas, petrol-storage facilities, the many rest stops, restaurants, and Sunocos lining the New Jersey Turnpike. Last time I checked, the Sunocos averaged no more than $3.05 a gallon. The music played nothing but, you guessed it, Sleater-Kinney, a taste to what to expect. So Olympian, so Kill Rock Stars. Also on the player was D-Klein spinning almost the ntire X-Ray Spex CD as well. We finally arrive in the Philadelphia outskirts at around 6:30 PM and shortly thereafter we cut through Chinatown. I didn’t know Philadelphia even had a Chinatown, but the three of us riding around assumed this was where we would go for some sushi.

Eventually we drive past the venue and see the young Philadelphia hipsters do nothing but stand in line waiting for the show to start and others walking the Philly streets towards the venue as well. We park in front of the bistros and tables and chairs set up on the sidewalks of Philly. At this point we still had no idea who else was playing other than Sleater-Kinney.

We choose Swanky Bubbles, a champagne and sushi bar. For a small eatery it was pretty neat with well-lit ambience and matching low-volume music to go with it. Me, D-Klein, and Elizabeth sit down and talk about the difference between the Philadelphia and Long Island punk scenes, some college student economics, party appearances, and other fine places to eat over our sushi dinner. We order between us wasabi mashed potatoes, a lychee drink, six spears of buttered asparagus salted with parmesan cheese, and sushi rolls such as California, Tuna, Philly, Spider Leg, Time Bomb, and Double Dragon (wasn���t that a video game?); and for dessert, a crispy Thailand banana split. $110.00 was the bill. Sold.

We walk back to the venue and the valet parking guy allowed us to park right in front of the entrance. It was now Club Polaris, formerly the Starlight Ballroom. We get there and find people with extra tickets to give away or sell. In the meantime, we hang out with the organizer of the venue. D-Klein was talking to him about the past shows of yester-years and decades ago. The promoter informs us that Clear Channel was trying to buy out both their venue and Philly scene. It’s depressing to think that Clear Channel would buy out the punk, indie-rock, and hardcore kids and tell them to fuck off so that Clear Channel can put their clean, polished, packaged industry acts in there, with no other outlets for these kids to go who call the streets their own. How we thought that pretty soon, the scene could implode with nowhere to go and be swallowed up into nothing. Where else would we go but further down?

It was when we stand in front of the Polaris waiting to get in that we heard music from inside the venue. We all finally find out to our surprise from the organizer the band was sharing the bill with Sleater-Kinney:

…The Roger Sisters.

Me and D-Klein were floored and it was then we knew that a great show was already going to become even greater.

We go in and this truly was the scene the magazines always talked about. Guys dressing hardcore, some moppy, some Napolean Dynamite cartoonish, and some slim t-shirts. The girls were pretty cute as well with their art-school haircuts, skirts, funny tees, piercings, and either Olympia-type or Williamsburg-type super-feminist style. Imagine makeoutclub ever having a meeting center.

Polaris was dark and crowded. All around us were many bars to get beer. There were many booths where kids sat around and mostly in groups drinking beers and water. (Remember, this was during a heat-wave. The Eastern board was hit with 90 degree-plus weather with lots of humidity). Some were quiet, arms crossed and minding their own. Others were very delighted to see each other and were greeted with hugs and kisses. We witnessed a couple of lesbians making out as well. And you had to give it to one fan who came to the show in a wheelchair.

The ballroom, as expected, was huge with lots of standing space. When the three of us got there, the front of the standing room was taken up but we managed to make our way about ten feet from the speakers, with a very lucky few who took a spot standing right under the vent. We had a good view to see the Rogers Sisters perform. Miyuki Furtado (bass / vocals) dedicated a song to Spiro Agnew, but took it back and later dedicated it to Condoleezza Rice. Jennifer Rogers (vocals / guitar) applied her lip gloss to prepare for the end of their set. Miyuki whipped himself around in a frenzy, performing sonic guitar tricks and creating feedback for all of us. We literally see the sweat and mist come off of his forehead. Laura Rogers (drums / vocals) whipped herself into a frenzy, too. The set lasted only 45 minutes but it was a good set. As we didn’t even know that the Rogers Sisters would play, it was no loss and all gain. Everyone wins.

The three of us hit the merchandise tables. I score Sleater-Kinney’s self-titled CD for $15.00 and I wanted to get some Rogers Sisters stuff but no one was at the tables yet. We sit around taking in all this humidity and heat observing the scene for a little bit more before we hit the merch- tables again where Miyuki and Laura finally set shop. A d.i.y. ethic. For $7.00 I grabbed three 7” singles from the Sisters who came off as very nice and gracious people. Elizabeth scores a Roger Sisters CD and matching Sleater-Kinney tees for her and her friend.

What hooked me to the Rogers Sisters was that I discovered them on WUSB’s Riot Grrrl Plus show in Summer 2003 and happened to record “I’m A Ballerina” on tape. And every chance I had I aimed to play them on the air. Why not? I figured people can be art-smart from getting into them. Bonus.

Sleater-Kinney finally came to play for a good 90 minutes. I believe D-Klein’s life has now culminated into this one night: he’s a huge fan who never had failed to play them on his show on a consistent basis (and he’s known to do that with Sonic Youth as well). Without him he wouldn’t have made this attempt to see them one last time.

One last time? Yes, Sleater-Kinney would finally call it quits after eleven years of making Kill Rock Stars a lot of money. This was their last tour and The Woods was their final record. They had to go out with style big time.

They came on and it was deafening. These ladies knew how to rock. Listen to the way they sound as theirs was rivaled by no other. Mid-set, Carrie Brownstein and Corin Tucker faced off and play their guitars towards each other and it was amazing. I was taken over. For 90 minutes I was trying to follow and absorb everything that Sleater-Kinney performed. Janet throws drumsticks and Carrie shakes out water bottles at the crowd to cool themdown. Fans screamed for them to keep going, not to go. They really loved this band that truly represented the indie-rock crowd and grrrls / femmes in general. One guy even ran on stage and urged the crowd to get ready to catch him up as he was about to stage-dive. He jumps off and instead lands on his feet. Sorry, Charlie. It’s not how it goes here at a Sleater-Kinney show.

After a while, they walk off-stage and fans just did not want to get it, so they stand there cheering and clapping heavily for five minutes more. And yes, they came back to play a few more songs, some off of The Woods. And that’s all she wrote in Philadelphia. An extended ovation as one-by-one Sleater-Kinney walks off-stage and acknowledge their fans with handshakes and smiles.

I don’t know about D-Klein or Elizabeth, but my head was about to explode. Throbbing. My entire body dripping of sweat, my shirt damp from the humidity. We leave Polaris and start driving home, a very exhausting three-hour drive compounded by listening to more Sleater-Kinney, X-Ray Spex and now The Rogers Sisters, taking home a still-pounding headache and wonderful memories from the last day of July that year.

[dustedmagazine]

Jennifer Kelly 2020: I’m done expecting next year to be better

Not to belabor the point, which has been covered everywhere, but 2020 sucked. My last live concert was on March 7th. It was 75 Dollar Bill in a beautiful reconfigured industrial space on the Amherst College campus, and I already had questions about whether I should be there or not. The show was worth it, absolutely riveting, and no one I know got sick from it, but a couple of weeks later, Amherst College shut down and then, basically, the world.

When I think about 2020, I think about bands that don’t fully make sense unless you see them live, and how, this year, no one got to see them live. I think about musicians who were barely making it before, now cut off from concert revenues and, in a lot of cases, day jobs at restaurants, coffee shops and bars. I think about six-digit medical bills from multi-week COVID-19 treatments, and how my insurance will only cut that to low five figures. I think about the constant spew of bile and nonsense, the willful destruction of American institutions and the persistent sense that we will never recover from any of this, and I look for refuge.

Most of the time in music. Because the music kept coming even when everything else shut down. Even the artists who were holding back for better conditions ended up releasing EVERY ALBUM ON EARTH starting about September 18th. There was always music, good music, interesting music, beautiful music, and while that doesn’t compensate for a terrible year, it was something.

Here are 10 albums I loved best from 2020, with links to reviews or other articles I’ve written about them.

1. Gunn-Truscinski — Soundkeeper (Three Lobed)

Soundkeeper by Gunn-Truscinski Duo

A gorgeous exploration of mood and tone, this double CD set includes two extended live cuts and ten more recorded just down the road in Easthampton, Massachusetts. (And I thought nothing ever happened up here.) “Pyramid Merchandise” punches the hardest, John Truscinski balancing rock solid beat keeping with abstracted sculptures of percussive experiment, while Gunn finds the sweetness and the growl in his blues-touched guitar sound. But “Ocean City” is pure lovely respite, with big rounded notes dropping slowly and with grace through wavering transparencies of sustained tone. Long, searching, “Soundkeeper” will rekindle your longing for live improvised music, while the closer “For Eddie Hazel” vibrates with supercharged intensity, the notes and the steady rhythm too bright and beautiful to look at straight on.

2. Six Organs of Admittance — Companion Rises (Drag City)

Companion Rises by Six Organs of Admittance

Chasny imbues the down-home with wonder and the inexplicable with natural grace in this album inspired by stargazing. The album’s name references the way Sirius appears close to Orion, and the rollicking “The Scout Is Here,” commemorates the appearance of the Oumuamua asteroid, but this is no squiggle-y space opera. The music is mainly made of clean, all-natural picking, blues bends, and rambling jangle, though ruptured, periodically, by rushing, whooshing, amplified electronic sounds. Warm, simple clarity is tipped with awe in finger-picked “Black Tea,” while mists and mysteries predominate in evanescent “Worn Down to the Light,” but the joy comes in the balance between the ordinary and the unknowable shimmering like stars in a black sky.

3. Gil Scott-Heron and Makaya McCraven — We’re New Again (XL Recordings)

When the estate of Gil Scott-Heron asked Chicago composer, percussionist and hip hop chopper Makaya McCraven to reimagine the artist’s last, most personal album, McCraven jumped at the chance to tackle its themes of black struggle, black family and perseverance. McCraven surrounded Scott-Heron’s words with shimmering, post-jazz arrangements that incorporated some of his father’s recordings (his dad is jazz drummer Stephen McCraven) in an ongoing tribute to the blood relatives who shape and equip young black men for a challenging world. The music is wonderful, very different from the original, spare, blues-based arrangements, but they open out the master’s words in an illuminating way. I like, especially, the hustling, shuffling movement of “New York Is Killing Me,” which summons the city’s energy as clearly as the feel of heat rising out of a subway grate in August.

4. Obnox — Savage Raygun (Ever/Never)

Savage Raygun by Obnox

Obnox’s psychedelic mayhem roars like a California wildfire, setting a torch to rock, soul, hip hop, jazz and punk with fuzz-crusted abandon. Icons like Hawkwind flare out and curl into white-hot ash, while even Neil Young’s lick from “Southern Man,” is consumed in the all-encompassing heat of Lamont Thomas’ onslaught (“Young Neezy”). A double album, Savage Raygun covers a lot of ground, but in such a kinetic rush that it seems like one entity that stretched from end to end.

5. Anjimile — Giver Taker (Father/Daughter)

Giver Taker by Anjimile

Anjimile sounds beautifully comfortable with their new vocal range in this second full-length, which follows a gender transition. Pitched low and warm, their voice effortlessly navigates subtle melodies, integrating complex, African-leaning rhythms into songs about love, identify, family friction and the possibility of redemption through embracing one’s authentic self.

6. Osees — Protean Threat (Castleface)

Protean Threat by Oh Sees

John Dwyer has fronted bands called The O.Cs., The Ohsees, Thee Ohsees and now just Osees, evolving from a one-man bedroom pop outfit to a gleefully slopping garage pop project to a droning, krautrocking motoric monster along the way. This newest iteration takes a little of this, a little of that, from the repertoire, putting Dwyer’s best Bo Diddley-esque stomper in years (“If I Had My Way”) next to a wiggy psychedelic freak bomb called “Toadstool” which is adjacent to the dub-scented, narcotic head trip called “Gong of Catastrophe.” The mix works because Dwyer and his band commit to all of it, sequentially and within tracks. It’s the best Osees in years, all the good things in one package.

7. Sam Amidon — S-T (Nonesuch)

As always, Amidon starts with traditional, mostly folk and blues material and, as always, he transforms it into something more adventurous, spiritual and faintly otherworldly. With Shahzad Ismaily and Antibalas’ Chris Vatalaro to back him up, he breaks down the unyielding contours of pre-modern banjo tunes and porch blues, finding steady drones and complex afro-beat syncopations in their steady melodies. You can hear “Cuckoo Bird” a million times in a million different voices and never hear it as luminous and open-ended as here.

8. James Elkington — Ever Roving Eye (Paradise of Bachelors)

James Elkington is always pressed for time, maybe because he works regularly for so many other people’s bands (Richard Thompson, Jeff Tweedy, Spencer Tweedy) and collaborates with others (Steve Gunn). And yet his second solo album brims with balm and solace; he finds time in the interstices between warm, jazz-scented, Pentangle-esque verses and intricate flurries of picked and strummed and electric guitar. Even “Nowhere Time,” which exhorts “It is time for you to move,” has an ease and calm to it, while “Moon Tempering” is as still and lovely as winter starlight. Ever-Roving Eye is an album that assures us we’ll get it all done somehow, but just stop for a minute and listen.

9. Jehnny Beth — To Love Is To Live (Arts & Crafts)

This riveting solo debut from the Savages frontperson is both quieter and more intense than her full-band compositions, juxtaposing incendiary spoken word with the hedonistic thump of the dance floor. Guests are varied—Joe Talbot of IDLES at one pole, the actor Cillian Murphy at the other—but the music never drifts from Jehnny Beth’s singular viewpoint. Compare her to PJ Harvey or Beth Gibbons or Bobby Gillespie as you will (I did), but this is her 100%, and there’s nothing else like it.

10. Cable Ties — Far Enough (Merge)

Far Enough by Cable Ties

Australia churns out quality punk bands like the Hershey factory makes kisses, and Cable Ties, formed in Melbourne by four young rebels, ranks as one of the best to surface here in America this year. “Tell Them Where to Go” is the money track here, all rust-crusted bass crunch and ragged estrogenated vocal energy. But let’s not put them in the “girl band” ghetto. As I said in my review, “The easy thing would be to compare McKechnie’s vibrato-zinging vocals with those of Sleater-Kinney’s Corin Tucker or her verbal agility to Courtney Barnett, but the blunt force and agile violence of the music, brings to mind post-punk bands like the Wipers, Protomartyr and Eddy Current.”

Honorable mention

I also really enjoyed these albums in 2020.

Lewsberg — In this House (12XU)

Damien Jurado — What’s New Tomboy (Mamabird)

Bill Callahan — Gold Record (Drag City)

Mike Polizze — Long Lost Solace Find (Paradise of Bachelors)

Destroyer — Have We Met (Merge)

Decoy w/ Joe McPhee — AC/DC (otoROKU)

Thurston Moore — By the Fire (Daydream Library)

Tobin Sprout — Empty Horse (Fire)

FACS — Void Moments (Trouble in Mind)

Elkhorn — The Storm Sessions (Beyond Beyond Is Beyond)  

Howling Hex — Knuckleball Express (Fat Possum)

Wendy Eisenberg — Auto (BaDaBing)

Xetas — The Cypher (12XU)

Califone — Echo Mine (Jealous Butcher)

Chouk Bwa & The Ångströmers — Vodou Alé (Bongo Joe)

Shopping — All or Nothing (Fat Cat)

Bonny Light Horseman — S-T (37d03d)

Tashi Dorji — Stateless (Drag City)

The Slugs — Don’t Touch Me I’m Too Slimy (2214099 Records DK)

Dr. Pete Larson and his Cytotoxic Nyatiti Band — S-T (Dagonetti)

[veinereastath]

Random vent time, since I have nothing to do today; and writing about things that are bothering is known to be helpful :”)  A bit of rant about the Witcher (Aen Elle, guess what), feel free to scroll past it if it’s not your cup of tea. It may n0t even make sense or be productive, I felt just the need to to it, and tumblr is already a burning trashcan (that I still love somehow), I’m just adding some oil to it. Some spoilers ahead, from TW3 and Lady of The Lake.

1: Wild Hunt (I speak as per The Red Riders, not about the game title) in general was really poorly done (plot-wise), but at least CD Projekt Red admitted it was their fault and because of lack of time and resources. It happens, it’s fine, we still have books (... well, one [last one] book and about 30 pages in it, but damn, these are good pages). It’s been 5 years, it’s okay, we accepted it, many discussions were held on this account.

2: Wild Hunt may be done poorly, but Eredin himself got absolutely and devastatingly flattened to a pancake, while in the book he’s a juicy donut. No, right now I’m not talking look-wise (which isn’t that important anyways, I presume), but motivations and personality wise. That hurts more. Way more. Also, why make him kill Auberon on purpose? In the books it was accidental, and he himself was briefly shocked, but had to immediately return to his cold facade because capturing that goddamn escaping Ciri was the most important thing at the moment. Making him just a typical usurper was another reason to not see him as a good villain. The plot of TW3 could still be glorious if they actually stick to the “Auberon death was an accident, aphrodisiac + fisstech don’t work well together, it’s a fact” and Eredin became King as a natural way of things. Books never specified if he was actually the second in line for the throne, neither they say who actually became the King after Muircetach died, but it seems quite likely that it would be Glas. The whole idea of trying to open Ard Gaeth / beat the White Frost / invade the Witcher world would still make sense. And would be, of course, more interesting if CDPR would add those quests they had to scrap off for reasons I mentioned above [1]. For those not aware - there was one involving Geralt going undercover, trying to learn more about Caranthir and Hunt’s plans and it was supposed to be massive, but... <sad violin>  Also, the “Eredin killed Auberon on purpose” could make sense if it was somewhere stated that it was Avallac’h’s manipulation, but then Corine’s vision doesn’t make sense. Remember that Auberon died with Ciri at this side, with her holding his hand [book-wise]. She’s nowhere to be seen in this vision, and if I remember correctly the oneiromancer’s visions could not be fabricated. Sad violin intensifies.

3: Well, I’m a trash so of course I have to mention this somehow. Witcher 3 really went too much into “[Eredin’s] face resembled a bird of prey” line from Lady of the Lake but quite forgot that he was still an elf. And, surprised pikachu, Ciri immediately upon meeting him got interested in him, which he was aware of. Despite the fact that he was insulting her constantly, she wanted something from him <wink wink, remember the scene in the alcove in Tir na Lia?> This should be a sign that he must’ve looked both dangerous and attractive at the same time. Attractive to the point where his insults were not able to totally douse her fascination.  Eredin in Witcher 3 is perfect if you want to be terrified on spot. Though maybe they did it on purpose because they wanted to make a strong point that he’s the villain of the game, I don’t know. Also, making attractive elves is something they know how to do - Iorveth was pretty neat, the face features of elves in W3 are also really good (also god bless some normal sized elven ears, I can’t look at those big and long they have in Dragon Age for example). Avallac’h wasn’t portrayed exactly like he should (aquamarine eyes where? blonde hair where?) but he looked good, let’s admit it. Imlerith was quite-quite (though why THE FUCK is the poor guy bald, jeezus citrus). Okay, Ge’els is the symbol of Aen Elle glory and you can’t change my mind - they managed to create fantastic clothing, give him good, defined features, somehow predatory look (Eredin is crying in the corner) and quite a mature skin complexion with few blemishes here and there. And it was good, because it made him look natural, like he could genuinely exist, he wasn’t extraordinary perfect. I wanted to touch and feel his face so bad. Just oh god, the goth queen makeup, why? All Aen Elle are suffering from this condition. Well, male ones. The Aen Elle female in Crevan’s laboratory looks quite decent. Or they just didn’t want to change her model, since it is the same the Aen Seidhe female have in brothels, for example. 4: Ciri trusting Avallac’h and mentioning this trust at every occassion is... god, just no. I will try to describe her situation in Tir na Lia [from the book] in my own words: 1. Imagine that you’re running away from a man that was your captor [Bonhart] and used to torture you for weeks/months. During this escape you accidentaly find yourself in a foreign country, full of foreign people with their own language. They look different, they act different, they have different morals, everything, you name it. 2. One of those people [Avallac’h] is saying it’s a destiny that brought you here, and you have to pay the debt to all his people because your great grandfather from six [6] generations ago banged a girl they were literally creating for centuries. It’s your fault, pay for it, Ciri. 3. The man says that in order to pay that debt and be able to return to your country, you have to sleep with his boss and at the same time your great-great absolutely great grandfather from 7 generations ago [Auberon], because the mix of your genes and his genes will allow to extract some kind of gene that will make humanity immune to, I don’t know, Covid 19 for example. It’s the key to saving people, you have to do it. 4. Later you hear from this great-7 generation-grandfather that either you agree to this, or you will go into laboratory and they will forcefully take out your placenta (presumably).  5. Just to make you feel better, everyone in this foreign country is hostile towards you (passive-agressive is a better term, alright), so everyday you see this disgust on their faces. Not to mention that while Avallac’h is trying to play nice, Auberon didn’t manage to do it for long, while Eredin is straight forwardly describing you as a worthless being. <3

And she’s trusting him so much after that? Really? Now, I get that if you’re running away from mortal danger you will probably try to get every help you can, so I can somehow accept that she accepted Avallac’h’s protector role, but I don’t accept that she’s trusting him to such an extent. Why? Because trying to put a woman (or a man) in someone else’s bed fits the defitinion of rape perfectly. I find it hard to accept that she would be all “I trust him” after that. Not to mention that she was, I think, 16-17 years old at that time? I need to check this later... Okay, I’m done, sorry~ The only wish I have is that Netflix series will stay the hell out of any Aen Elle or Tir na Lia plotline. Please. I beg you. Don’t touch it. Don’t look at it. Leave it be, leave it to this one book, to this 30 pages, I absolutely beg you.  I sense Witcher Netflix rant coming from me soon, woohooho~

Forever salty, forever sad

[manualstogo]

For just $3.99 David Copperfield Released December, 1969: Charles Dickens' famous British Coming-of-Age drama. Directed by: Delbert Mann Written by: Jack Pulman from the book by Charles Dickens. The Actors: Richard Attenborough Mr. Tungay, Laurence Olivier Mr. Creakle, Robin Phillips David Copperfield, Cyril Cusack Barkis, Edith Evans Aunt Betsy Trotwood, Pamela Franklin Dora Spenlow, Susan Hampshire Agnes Wickfield, Wendy Hiller Mrs. Micawber, Michael Redgrave Dan Peggotty, Ralph Richardson Mr. Micawber, Emlyn Williams Mr. Dick, Sinead Cusack Emily, James Donald Mr. Murdstone, James Hayter Porter, Megs Jenkins Clara Peggotty, Anna Massey Jane Murdstone, Andrew McCulloch Ham Peggotty, Nicholas Pennell Thomas Traddles, Corin Redgrave James Steerforth, Isobel Black Clara Copperfield, Donald Layne-Smith Mr. Wickfield, Christopher Moran Boy Steerforth, Jeffrey Chandler Boy Traddles, Kim Craik Child Emily, Helen Cotterill Mary Ann, Alastair Mackenzie Little David, Allison Blair girl, William Lyon Brown the doctor, Robert Lankesheer Mr. Sharp, Christine Ozanne midwife, Gordon Rollings the milkman, Vanessa Shaw the prostitute, Anne Stallybrass Martha Brian Tipping boy, George Woodbridge the Vicar. Runtime: 2 hours *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact us as it is unusual for any item to take this long to be delivered. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item. This product complies withs rules on compilations, international media and downloadable media. All items are supplied on CD or DVD. On Dec-13-16 at 14:29:14 PST, seller added the following information:

[clan-fuildarach]

zaer’s goal was ofc the production of an heir (corin) who was the king of a powerful empire, and also the inheritor of one of the largest and most influential trading companies in the world 

but as u know, zaer is also in pursuit of immortality. he has no plans to give up control of his company to an heir

the sooner corin figures this out, the better

[msasara]

HELP THE HOOPLE: A Benefit for Scott McCaughey in Portland, Jan. 5th-6th 

December 15, 2017 As many of you know, our dear friend Scott McCaughey suffered a major stroke on November 16 while touring with Alejandro Escovedo. Scott is back home in Portland with his family and friends where he’ll begin rehabilitation on the road to recovery. To help raise money for Scott’s recovery, a two-night concert event and online auction of one of a kind items. has been put together. 100% of the money raised will go to Scott to help out with medical and rehabilitation expenses. “Help The Hoople” is two nights of incredible music, featuring a stellar lineup of musicians and friends of Scott’s. On Friday, Jan. 5th at the Star Theater, the following lineup will perform : Alejandro Escovedo Corin Tucker, Mike Mills, Peter Buck, Janet Weiss, Kurt Bloch Fernando & Mike Coykendall James Mercer (The Shins) Jerry Joseph Justin Townes Earle M. Ward Patterson Hood (Drive By Truckers), Chris Funk (The Decemberists) Tickets go on sale Friday Dec. 15th at 9 a.m: https://www.ticketweb.com/event/help-the-hoople-a-benefit-star-theater-tickets/7934145?pl=star On Saturday, Jan. 6th, at the Wonder Ballroom the following lineup will perform: Peter Buck, Mike Mills, Corin Tucker, Janet Weiss, Kurt Bloch Casey Neill Dharma Bums James Mercer (The Shins) super surprise guest There are two ticket options: General Admission @ $50.00, and a limited number of VIP tickets at $100.00, which includes early admission, and a meet and greet with the artists playing. You can buy your tickets here starting Saturday Dec. 16th. There is also an Online Auction featuring signed guitars, LPs, CDs, Posters, Books, concert tickets, backstage meet and greets, and many, many other items. You can register for the Auction here starting Monday Dec. 18th. Finally, a GoFundMe campaign for medical expenses has been set up by Scott’s wife Mary, and you can donate here: https://www.gofundme.com/c3npfr-scott-mccaughey-medical-fund If you have questions or would to donate an item to the Auction, please contact Josh Taylor at: cannabuzzcolumnist@gmail.com

⬆️ Concert in Shibuya on February 10, 2017. Scott McCaughey and Peter Buck (pictures I took with my old smartphone).

[vinylbay777]

Week In Review: New Songs / Music Videos You Need to Check Out (November 17-23, 2019)

A lot of new music is released in a given week, fighting for the listener’s attention. This week was no different, as we saw a plethora of songs and music videos hit the internet, especially when it came to rock and pop. Sleater-Kinney, The Struts, Haim and The 1975 are just some of the artists with new music out over the last seven days.

Vinyl Bay 777, Long Island’s music outlet, loves new music. That’s why we’ve once again scoured the internet for the best new songs and music videos of the week. Here are six (and a few more) that we think are worth taking another look at this weekend.

1.       Nasty Cherry, “Brain Soup”: “Brain Soup” has a retro 1970s punk-y disco quality to it. The groove is infectious and the delivery is full of attitude. They remind me of a mellower version of The Runaways ready to take over a roller disco. (video)

2.       The 1975, “Frail State Of Mind”: “Frail State Of Mind” sounds a bit like “TooTimeTooTimeTooTime” from last year’s ‘A Brief Inquiry,’ sharing a quick vocal injection-like delivery. However, “Frail State” is more chaotic. Set to an electronic dance beat, frontman Matty Healy deals with social awkwardness, singing about how he doesn’t go out because of anxiety, but also how it pushes people away. (video)

3.       MOBS, “Big World”: Coming out of the gate with a buzzy guitar line that draws you in, “Big World” explodes into a big pop rock party. You can’t help but dance and groove along to the song’s over-the-top energy. (video)

4.       Sleater-Kinney, “Love”: You can’t really go wrong with that classic riot grrl sound. “Love” has a straightforward and catchy melody, carried along by steady bass and snare drum. Carrie Brownstein’s strong, staccato verses and Corin Tucker’s floaty choruses meld together in a way that’s inviting and easy to listen to. (video)

5.       The Struts, “Somebody New”: The Struts are usually known for big, Rolling Stones-meets-Queen anthemic pieces. But “Somebody New” is different. This piano-driven tune is just as big and theatrical as you would associate with the band, but in a much more intimate, emotional way. There is so much passion and pain behind Luke Spiller’s vocals that it’s hard not to get sucked in. (video)

6.       Haim, “Hallelujah”: Somber and reflective, “Hallelujah” (not a cover of the Leonard Cohen classic, but if you want to hear Haim cover him you should check this out) puts thought behind feeling grateful for being where you are and remembering those who have had an impact on who and where you are. The last verse in particular, about the loss of Alana Haim’s friend, is especially touching. The lyrics make you think and reflect on life, and will perhaps bring a tear to your eye.  (video)

Further Listening:

·         Maggie Rogers, “Love You For A Long Time”: (video)

·         Nada Surf, “Something I Should Do”: (video)

·         Echosmith, “Shut Up And Kiss Me”: (video)

·         Best Ex, “Bad Love”: (video)

·         The Who, “I Don’t Wanna Get Wise”: (video)

·         Drive-By Truckers, “Armageddon’s Back In Town”: (video)

·         Rina Sawayama, “STFU!”: (video)

This week saw a log of great new rock and pop songs and music videos hit the internet. With the weekend here, now is the perfect time to revisit some of the week’s best. Check out some of our favorites above and let us know what new tracks you’ve been digging this week in the comments below.

                                                            ---

Discover music new and old at Vinyl Bay 777. As Long Island’s top new  independent record shop, we have thousands of titles to choose from in a variety of genres. Browse our wide selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. Whether you’re looking for something new to you or to rediscover the classics, we have you covered. And with more titles being added to our selection all the time, you never know what gems you might find at Vinyl Bay 777.

[daggerzine]

V/A- WHITE LACE AND PROMISES: THE SONGS OF PAUL WILLIAMS (CURRY CUTS)

Portland Paul Curry previously released a comp record called Drink a Toast to Innocence on his Curry Cuts label and now he’s back with his tribute to Paul Williams. If you’re of a certain age (ie: over 50 like me) then you’ll remember Williams who seemed to be on every tv show back in the 70’s. From awards shows to regular tv shows like the Brady Bunch and on and on. You couldn’t miss him as he stood about 5’ 2” and his long blond hair with those darkened shades (ok, maybe you could miss him). Dude was also a hell of a songwriter which is why 23 artists join in here and cover his songs. The guy was all about sweeping orchestration and grand melodies. A few of my faves on here include Zack Jones doing a superb version of “Someday Man” and The Davenports opening the cd up with the gorgeous “Evergreen.” Elsewhere the talented Lisa Mychols offers up the lovely piano ballad of “You and Me Against the World” while Andy Reed does “The Rainbow Connection” and The Corner Laughers spout out a cool, bouncy version of “Movin’ Right Along” (The Corner Laughers’ Karla Kane also does a whimsical version of “You Give a Little Love”). A few others faves on here include Corin Ashley, Greg Pope, Cliff Hillis and plenty more. There were a few on here that I didn’t care for but most of White Lace and Promises is all aces.    www.currycuts.bandcamp.com

[findpenpalsover20]

I know this is unusual, but I’d love to find people working in Human Resources. I will be starting a job as the assistant to a restaurant owner soon and will work my way up to an HR credential. It’d be fantastic to write to people who’re already in the field.

Name: Mia Age: 27 Sexuality: bisexual Interests/hobbies: film, feminism, garage sales, photography, reading, traveling, stationery, singing, concerts, riot grrrl, punk, zines, psychology, painting, collage, altered books, lomography, architecture, cats, organic food, and tea. Favorite films: Ghost World, Amelie, Little Miss Sunshine, The Invisible Circus, Moonrise Kingdom, Hedwig and the Angry Inch, But I’m a Cheerleader, Beautiful Losers, 20th century women. Favorite music: Sleater-Kinney, Le Tigre, the Dresden Dolls/Amanda Palmer, Bratmobile, Stereo Total, Magnetic Fields, Tilly and the Wall, Bikini Kill, Crass, Noisettes, The Slits, Long Blondes, Regina Spektor, Kimya Dawson, Jens Lekman, Elliott Smith, Neutral Milk Hotel, Yeah Yeah Yeahs, Beirut, The Gossip, Los Campesinos!, Mirah, Coco Rosie, Thao and the Get Down Stay Down, Jason Webley, St. Vincent, Tune Yards, The Corin Tucker Band, Zoe Boekbinder, Defiance, Ohio. What would you like to send/receive? Long letters, handmade envelopes, mix CDs, postcards, stationary and art. Who would you like to send and receive mail from? Anyone. But definitely snail mail rather than e-mail. What countries would you like to receive mail from and send to? I’d love to write to people in different countries, but the US is fine as well. Anything else you’d like to add? I have a bachelors degree in art therapy, with a women’s studies minor. I work as a caregiver. I love curiosity. I often enjoy solitude. I feel most drawn to other outsiders and artists. Nothing is as exciting as mail love. I’ve been writing to pen pals since I was 15, and I can’t imagine it not being a part of my life. I’d love to hear from you!

polkadotumbrella @sbcglobal.net

[discoverthebook]

SEVEN PROPHETIC EVENTS DEAD AHEAD. God laid down a framework for us to understand the future. He clearly explains 7 foundational elements that tie together all the hundreds of prophetic Scriptures in the Bible. That is the contents of this series that I am calling “What’s Next?”  a look at the clear and well-described events that lay ahead for us who know Jesus, and for planet earth. There are seven major events. All remaining prophecies in the Bible are tied to one of these events. These are the seven steps that each of us should have marked in our Bibles and lodged in our hearts.     With each of these steps, there is an affirmation God wants us to make for Him. I hope that you will do so with me as we study. I call these seven steps from Now to Eternity! 1. RAPTURE I THESS. 4 BE READY – Christ is Coming for me 2. JUDGMENT SEAT OF CHRIST 2 CORIN. 5 BE HOLY – Christ will test my life. 3. TRIBULATION REV. 6-19 BE THANKFUL – Christ will keep me from the hour. 4. SECOND COMING REV. 19 BE PATIENT – Christ will right all wrongs. 5. MILLENNIUM REV. 20 BE FOCUSED – Christ will perfect the earth 6. GREAT WHITE THRONE REV. 20 BE FAITHFUL – I will point people to Christ. 7. HEAVEN REV. 21-22 BE INVESTING – I will lay up treasure in Heaven. (WNS-09; 050220PM) Follow Discover the Book Ministries to stay up to date: Facebook: https://www.facebook.com/discoverthebook/ Instagram: https://www.instagram.com/discoverthebookministry/ Twitter: https://twitter.com/discoverthebook Purchase resources: E-Books: https://tinyurl.com/y3wbhlxy Traditional Books: https://tinyurl.com/y4xgz9rb Audio CDs: https://tinyurl.com/y5nnj3eu Donate to the ministry: https://discoverthebook.org/donations/partnership/ PayPal QuickLink:  https://paypal.me/JohnandBonnieDTBM?locale.x=en_US For more of Dr. John Barnett's Bible teaching messages go to: https://discoverthebook.org/