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Inpress Magazine #1149 (X)
Issue Label: November 17th, 2010
Photo Credit: Paul Harries and Neil Krug
See the cover shot with no writing: here
See the article shot with no writing: here
(if you can't read it here, you can make it REALLY big at the source link, pages 26 and 27)
#mcr#gerard way#ray toro#frank iero#mikey way#november 2010#2010#danger days era#red hair gerard#steelers 32 shirt#neil krug#issuu#paul harries#red white and blue star shirt#inside out tasmanian devil shirt#inpress magazine
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The Music Launches Expansive Street Press Archive To Honour Australian Music History | theMusic.com.au | Australian music news, gig guide, music reviews
https://t.me/city_of_melbourne/1234
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This story left a great inpression on me back in the day
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Inpress – No.324 19 October 1994 – Jeff Buckley On Cover
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Interview with Rhys from the 20 October 2010 issue of Inpress Magazine
Rhys Darby is heading back to Australia with his new stand-up show, It's Rhys Darby Night. The Kiwi comedian speaks to Aleksia Barron about his rapid rise to the upper eschelons of the comedy world.
When Rhys Darby answers the phone from his headquarters in New Zealand, the temptation to demand a Flight of the Conchords band-meeting style roll call is almost overwhelming -- but most certainly unoriginal.
When asked whether journalists are still demanding that Darby declare himself 'present', he laughs. "It's almost gone, the roll-call hounding," he says. "It was very big last year. But you do get the odd mention."
New Zealand's number one ginger ninja, Darby, is a comedic star on the rise. After years of traipsing around the UK peddling his wares as a stand-up comic, he became involved with a radio project alongside a pair of Kiwi funnymen, Bret McKenzie and Jemaine Clement. That project was Flight of the Conchords, which gave rise to the television series of the same name catapulting the trio of New Zealanders to overnight fame. And while McKenzie and Clement were front and centre in the spotlight, Darby's performance as hapless band manager Murray saw him getting noticed by the industry elite.
The turning point where Darby realised that he had truly reached a new level of success was his appearance in the Jim Carrey vehicle Yes Man. It was a sign that a career in comedy acting was a real possibility for him.
"I certainly hoped that that's where I could go, but I had no idea that it would happen that fast and that quickly," he explains. "Getting Yes Man, that was just freaky. I'd sort of idolised Jim Carrey for a long time, and I hoped to one day maybe meet him -- but to act in a film with him, my first feature film, well, I can't really describe how that felt. I thought, 'This should take a bit longer'."
The cherry on the sundae, so to speak, was Carrey's unrestrained public praise of Darby while on the film's promotional circuit, when the established actor likened his co-star to Peter Sellers. "That meant a lot to me, coming from a man that I'd looked up to so much."
There's been no shortage of feature film opportunities for Darby since, including a cameo on oddball hit The Boat That Rocked and parts in upcoming rom-coms Coming & Going and Love Birds.
"I kind of just had to hold onto the reins," he says, laughing. However, never one to rest on his laurels, Darby was keen to show his chops on the stand-up circuit. He embarked on a worldwide tour, coinciding with the release of his stand-up comedy DVD, Imagine That!. The DVD release, Darby explains, introduced audiences to his stand-up style, which helped him be seen as himself, not just Murray. "It was really perfect timing, because [the DVD] became quite popular, and then people knew that I did actually do stand-up. People were already aware of it when I went on tour."
Now he's returning to stages around the world with a new show, It's Rhys Darby Night, in which he's broadened his on-stage range of comedic tricks. While Darby's stand-up is known for his sound effects and impressions, this time around, he's raising the bar.
"I do three characters in the show, which to me are probably the funniest part in it," he says, adding that these characters will involve, "actually going back and putting a different outfit on. I decided I could do this because I've done a bit of acting and people seem to laugh at my characterisations on film, so I've added that."
Conchords fans will doubtless be pleased to know that It's Rhys Darby Night will feature Darby's musical abilities as well (who could forget Leggy Blonde or the operatic Rejected?). "I've got a theme song!" he says enthusiastically. "I think everyone should have one, which you can slip out at parties. I open the show with a theme song about me, based on me, sung by me." He chuckles, "I don't know how good it is, but people seem to laugh."
The reason behind the new material, Darby explains, is his increased confidence in his comedic acting abilities. "For me, stand-up has always evolved, and as I've grown in popularity I've thought, 'Okay, people do like what I've got, so I'll challenge myself'. I just love doing comedy acting now."
However, when it comes to looking at the longer term, Darby remains drawn to the small screen. Television, not film or stage, is the medium in which he would like to do the majority of his work. "It's not as fleeting as the other two," he explains. "On film, you're only working with people for three months. And with stand-up, you're very much on your town. Television -- with the limited work I've done on Conchords -- you've got a family. That appeals to me the most, really."
It seems a loaded statement, given the persistent rumours that Darby will take Steve Carrell's place on the US version of The Office. However, when asked where he'd like to be in a year's time, he speaks enthusiastically about his own project, based on one of his new stand-up characters, park ranger Bill Napier.
"We've just shot the pilot," he says proudly. "It's set in New Zealand, about a ranger who goes around the world on adventures, so it's a bit of an Indiana Jones kind of thing, but it's a sitcom. It's the world's first action-adventure sitcom." It sounds just about crazy enough to work, and Darby, who would prefer to remain based in New Zealand with his young family, is crossing his fingers.
"My dream is for that to come about, to be able to film it here, and to sell it to the Americans -- then the whole world can see it."
For now, however, Darby is just excited to be getting back on stage and showing his expanded range as a stand-up comic. "It's about having fun and doing it all." Still, for fans of his earlier work, he's keen to make sure they walk away happy. "I'll usually do a couple of encores -- stuff they've seen in an earlier show or on my DVD, which I know they love." Whatever Darby does, it's clear he'll always aim for the best. "I'm trying to give them everything I've got."
#rhys darby#interview#magazine#2010s#2010#aus#i have so many thoughts about so many of the things mentioned in this article holy shit#this is from a free magazine from melbourne street press what a fucking awesome interview#bnl
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how P!ATD fans treated The Dresden Dolls in summer 2006
a lot of fans were horrible towards The Dresden Dolls during their opening act on P!ATD’s summer tour, so here are some relevant quotes & blog posts that give a general picture of what happened. I’ll start with Ryan’s update in April 2006:
Well well well. We've stirred up some controversy now haven’t we? In regards to our headlining tour this summer with The Dresden Dolls..we couldn’t be more excited, and from the look of things many people are thinking the exact opposite. We feel this could be a great thing for both bands if you let it be. All I'm asking here is that you give it a shot. From the start we (panic) have had labels attached to us, along with assumptions of who we are how we think, what we care about, and what we aspire to be etc. so when it came time for us to plan our headlining tour we decided to do things our way, and on our own terms.I promise you, this show will not be like what you’re used to going to see. And if you've seen us perform before, I urge you to come out and see us on this tour. We’re finally able to do what we've been wanting to do live since we started this band.. and we'd love to play for as many people as possible. This definitely won’t be what has been considered to be an "ordinary" panic show. We are honored that the support bands we’ve asked to do the tour accepted, we're really looking forward to you guys hearing some artists that you may not have had the opportunity to hear or see live up until now.So please, do yourselves a favor and get to these shows early, you really don't want to miss these other acts.This has been the first time we've gotten to choose who we are going out with, and hopefully it will feel like home. – Ryan
Ryan to Designer magazine in April 2006: “We really wanted to get a band on tour that drew a different audience, for us to branch out and for their band to branch out. We're really excited to have Dresden Dolls out on tour, we're big fans of them… Some of our fans have been saying they shouldn't be on the tour but we've got to prove ourselves to their fans as well.”
Ryan to Inpress in fall 06: “When I first heard [The Dresden Dolls] I thought they were one of the only other bands that were somewhat doing what we were doing. And I knew our fans for the most part had never heard of them, so we were really excited when we heard they'd take the tour... It was an experiment, and it was great some nights and some nights it was not so great.”
Fans said that the crowds at many shows would talk during The Dresden Dolls to the point where you could hear loud chatter during pauses in their songs. Kids would also shout mean things, give the band the finger, and be generally rude. I heard by August that P!ATD’s fans had started getting a reputation in the industry (but idk if that’s just a rumor). Amanda Palmer mentioned feeling like a “piss-upon opening band.”
One fan’s comment after a show: “UGH i forgot to rant about the crowd and how horrible and disrespectful they were. i was shocked during the dresden dolls when they had the nerve to start chanting "panic!" and when they applauded crazily when the drummer asked them to clap if they want them to get off the stage.”
From a Boston Globe article in October: To make a long and (to hear Palmer tell it) hideously unpleasant story short, the Dresden Dolls -- who wear face paint and perform minimalist, Weimar-inflected songs about gender reassignment -- dealt night after night with the wrath of the PANIC! fans -- suburban teens who had ponied up to see the MTV hotties. ``We expected a more alternative crowd," Palmer says. ``Instead we were facing a bunch of teenagers who were booing us. We had just put our record out. It was an important time for us. And our music was falling on deaf ears." Turns out the Dresden Dolls fans felt similarly unfriendly toward the main act. ``I wanted to smack [our fans] for thinking they were so high and mighty," Palmer says.
EXCERPTS FROM AMANDA PALMER’S BLOG (myspace too):
June 26: i'm on a plane on the way to washington DC, to start the panic at the disco tour. we'll be opening for a band i've never met, never talked to, and whose music i barely know. it should be interesting. and they're almost half my age. my god.
June 28-29: last night was a completely beautiful mindfuck. the first night of the tour - in DC - was fine, strange to be back in it but the boys in the panic at the disco band are total sweethearts, like lambs. i tried to prepare myself for how young everything would feel but walking through the crowd i almost feel like something was illegal. there are not going to be a ton of our fans at these shows, definitely something i was expecting and something i tried to remedy by booking these simultaneous "fuck the back row" film festivals at which i'm also playing solo: to give our fans a place to go if they a) couldn't get tickets or b) didn't want to deal with the situation only to watch us play a support set for 40 minutes. that's why i booked it. it seems that it's going to be serving a far more medicinal purpose.
it always takes me a while to realize what's missing and then i realize there is nothing going on offstage and nothing to fucking do in the lobby....and that these fans are not dresden dolls fans. the sense of community is so different, so remote and impersonal. no brigade. I am starting to realize how much I take it all for granted, our fans, the community, the feeling in the audience. I've never known it any other way. I assumed NIN was some sort of excpeption (music about isolation and anger = isolated and angry crowd, n'est pas?). I'm starting to understand. It aint no fucking accident. for years now, our own opening bands always tell us how overly kind our crowd is, how supportive, how open-minded to their music or band. and I've never paid that much attention, thinking: well, of course. why wouldn't they be? they are people, they like music, they will listen, they will be respectful. to disrespect the opening band would be disrespecting us, because we are allies, comrades. Simple. and we take great care in picking our openers so that we can maintain the trust of our audience.
back to our story. so the panic crowd last night seemed to me to be tepid, but decent. i did notice one asshole flying his middle finger when we first came out but I told him where he could stick it. meredith joined us on violin (as she often does) for "missed me" and i left stage feeling like we'd played a great set. but why were all these people backstage giving me timid and sympathetic looks? it turns out that my in-ears were providing with with a sonic wall of ignorant bliss, because there was a contingent in the audience shouting at us throughout the entire set. meredith was yelled at, called a "fat troll" and was threatened with fat kidn sof ass-fuckings, and there were multiple requests for her - and us - to get the fuck off stage. and to shut up and go home, etc etc etc. brian was livid and bashed the fuck out of the drums. w'ere not used to this. we're used to the land of Art Love... but i was ignorant while it was happening, i found this all out after the show, in the dressing room and in a taxi on the way to the Fuck The Back Row show at the Brooklyn Lyceum. i was troubled, upset by all of it, wondering if we'd made a terrible fucking decision to come on this tour....so i arrived in brooklyn, all verklempt, to a land that looked like oz to me. everywhere there were people laughing, making art, performing, being humans....i flashed back to the nokia theater from 24 minutes before where i was walking by 13-year olds screaming at each other while cell phone ads on giant TV screens blazed in all of our faces. i had certainly been through hell to arrive in heaven. so if this tour will teach me anything, it's that i'm fucking lucky for what i have. some bands don't have it, some people may never know it. i feel like the luckiest girl alive, trapped in a lesson in the shape of a sports arena.
July 4: one good thing did happen: i invited the panic boys over to the cloud club since we were all in town at the same time and ryan, the shy and retiring lyricist, took me up on my offer. there was a raging party here the night before, so wading through the carnage and hungover vibe i showed him our magic house and we watched some ghetto impromptu fireworks from the roof. we had a wonderful time...the way it's supposed to be, everybody in the cloud club sitting around til late late, drinking and philosophizing about nothing important...
August 10 (after tour): it's so hard to relate to anyone, even those who know me well, the combination of good and bad and evil i've been whizzing through in the past five weeks. one minute, playing in front of vapid mallrats who are alternately ignoring us and screaming at us. seeing the look in brian's face (he is, in my humble opinion, one of the top drummers of the century) after kids scream at him "YOU SUCK!!!!" after his heartwrenching drum solos. dressing rooms with no food, and sometimes no water, fluorescent lights, no trees, no quiet, no soundchecks, the haze of nothing to do in the middle of giant parking lots that stretch as far as the eye can see. squeeeeeeeling fourteen-year-old girls hanging around the tour buses all night, hoping to catch a glimpse of a panic member. trying to relate to the boys in the band, mostly not getting anywhere. the bus starting to feel like a cage.
the panic tour did have it's bright spots. the boys themselves continued to be gentlemen and sweethearts, and i got to know ryan (the guitarist and songwriter that i had over to the cloud club, see last long blog) a little better. i felt like i had something, anything, in common with him....he has an artist's head, i said, he thinks in lyrics, he likes to wear wild make-up (but had never heard of adam ant?? i tried to rectify and gave him an adam ant mix, but who knows if that'll do any good)...he must be from a similar planet. he grew on me. we sat down one night after a particularly harrowing show and i decided we'd fight fire with fire and start covering "imagine" by john lennon. so what do you think, when all this is going on? you've sold a million records, the girls scream your name....what the fuck is happening in your head? what's going on? we talked about wsriting on the road, how it's impossible. how there's no mental space to get to the place where you can possibly articulate an idea. he looked at me and told me that he'd never talked to another artist about this before. there's not that many of us, you know. you're writing this, performing that, whatever. the struggles are the same. i close my eyes, i see myself in the same way. i wish i had someone to talk to who has been through the same thing.
ryan learned "imagine" and we played it on stage with us the next night, and instead of people throwing water bottles at us, i think they were just really confused. i was hoping for water bottles. you win some, you lose some. at any rate, any irony was lost. note to self: this crowd doesn't yet "get" the irony thing... a lot of these kids were attending a concert for the first time. for many it was the second. their first concert? the polls revealed: britney spears. i'm dead serious. so we covered "hit me baby" nightly as well, with brendon from panic on vocal. irony lost, but what good fun!! if the tour had continued, we were going to work on "living on a prayer". we tried to have fun. we did what we do. take lemons, make lemonade. take situation, make art.
brian and i were getting along fine. we were bonded through our vehement frustration of a common enemy, the panic fans. we went out on stage every night ready for battle. but i turned to myself for a solution, and i foudn it in this: why not make a video with these guys? they're here, they're bored like we are, they're hilarious. so we did. we decided to film a home-movie video of the two bands trying to kill each other, spy vs. spy style, and the results will be forthcoming. they were all excellent actors.
...a week before the tour ended, we got the call in seattle that ryan's dad had suddenly died. his only close family. he was an only child and his mom was out of the picture. our hearts sank, we sat in the bus and all looked at each other at a loss for words.
they canceled two shows. we almost didn't want to get the call that the shows were on, because we assumed that that would mean that ryan had been talked into coming back on tour when he should be at home, dealing. dealing with who, with what? ryan came back on tour after three days off, we finished up in california. the whole crew felt strange, their whole gang seemed out of sorts. no wonder. i took a long walk with ryan around the parking lot in anaheim. i felt like the whole world had been thrown at him, in all it's shitty ugliness, and what could i say? better to say nothing. we walked, saying nothing and occasionally something. we started at the hooters billboard, hoisted 5 stories in the air to reach the passing traffic from the highway. we waled to the bud light billboard, hoisted 5 stories in the air to reach the passing traffic from the highway. do you have anyone real to talk to? i will. i'll talk to you. when you're ready. don't lose me. i'm an ally. really. i hugged him and i went back to the bus, getting into my bunk with a heaviness i couldn't describe.
October 10: so, THE DRESDEN DOLLS VS PANIC! AT THE DISCO video is now up, and it's awesome. everybody who has seen it so far seems to love it, but i did make a serious mistake sending an initial email to folks saying that "this is what i did in place of killing them or myself because the tour was so difficult". i guess you don't make jokes like that. i can't gloss over the fact that that i thought the tour WAS HELL when i was in it, despite the fact that i loved the guys in the band and, against all odds and everybody's assumption, really respected what they were trying to do. i read their cover article in SPIN magazine the other night, which actually read like a 3-4 day tour diary of a chunk of time we were with them. it brought me right back to that month, which i have shelved as a distant nightmare. but the truth is the truth, even if it's only mine. if anyone watches that video and doesn't see the love and two bands having a good time, which we were, fuck 'em. that said: it's very difficult when a band exists as a concept in one world, as a musical entity in another, and as a group of human beings in yet a third. i know, because we are very much at the mercy of the same triple-edged sword. i've met or heard about tons of people who don't like my band simply because they think they shouldn't. and they've never seen us live, much less heard the music. sometimes it's hard to not take that personally. why do i bring that up? because it's fucking difficult for me to try to navigate the fact that although i had plenty of love for the actual human beings in Panic! At The Disco, and beyond that a real sympathy and admiration for what they (and especially Ryan, the only one who I really got to know) were trying to achieve, i didn't have any fucking love for the environment i was in when we toured with them. some of their crew were downright mean, and many of their fans were the antithesis of Rock Love. however, since the tour, it's actually been really therapeutic to see some more crossover and gap-bridging between our fans and theirs via our forums (and plenty of our fans were just as judgmental and nasty as the panic fans) and i assumed that this video would dissolve that bullshit even further. so far, it has. i;ve learned more about who was there and paying attention. the panic fans that sucked the most were also the most vocal, and i'm only now seeing the nicer ones come out of the woodwork. people are way more likely to shout out "YOU SUCK!!!" than "YOU RULE!!!!" at an inopportune and quiet moment in a song. respectful and open-minded people will simply be listening. and plenty were. so thank you, you new fans who saw us on that tour. we're goddamn glad you're here... but for the record (and this IS THE RECORD, motherfuckers): it was also wonderful. i managed to have good times. i had fun making this video. i made some friends. i got our music out to the few people who were interested. i learned a lot of really, truly valuable lessons. i will never again regret i wasn't famous at 18. it could have been worse, the band COULD have easily been assholes and actively treated us badly. they weren't. they were sweethearts. looking back, would i do it again? fuck, yes. i don't believe in regret, and everything happens for a reason one way or another.so that's the word on that. enjoy the movie.
WHAT ROLLING STONE SAID ABOUT THE BACKSTABBER VIDEO IN OCTOBER 2006:
We’ve been catching up on this Panic! at the Disco/ Dresden Dolls controversy and feeling like a timeline or some notecards would be helpful. It seems that during this summer’s Panic! at the Disco tour, the Dresden Dolls, who opened for Panic!, had some serious problems with both group’s respective fans loathing each other. We can’t really see flocks of gum-smacking mall-rats digging the Dresden Dolls’ wacky show. And they didn’t.
… After watching the results of this collaboration, we guess the point is to make fun of the feud between the bands’ fans by pretending to kill each other? It doesn’t totally work and some serious backstory is necessary but listen, you get to gaze upon the bare chest of Panic! frontman Brendon Urie and we know thousands of those Dresden Dolls haters out there will enjoy that shit.
(HERE’S THE MAIN SUMMER TOUR POST)
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Speedy J - Wikipedia
Speedy J performing in 2006
Jochem George Paap (born 14/02/1969 in Rotterdam), known by his stage name Speedy J, is a Dutch electronic music producer based in the city of Rotterdam. His breakthrough came with the release in 1992 of the minimal techno track Pullover. Subsequently, his material became more mellow as he moved away from the hardcore sounds that were then becoming popular in Belgium and the Netherlands.
His debut album Ginger (1993) was released on Richie Hawtin's Plus 8 record label in Canada, while in the UK it was part of Warp Records' Artificial Intelligence series of electronic listening music. A further, more introspective release, G-Spot followed in 1995; a live album, !ive, was also released. Afterwards his work, which included Public Energy No.1 (1997) and A Shocking Hobby (2000) became more experimental, importantly influencing the development of what is known as "IDM", or intelligent dance music.
"Upon first impressions, Public Energy No.1 highlights a big departure from previous Speedy J offerings... in a complete role reversal, it enters upon an iconoclastic electro territory more familiar to admirers of such other purveyors as Autechre, the Aphex Twin, Mike Paradinas and Martin Damm in his Steel persona," wrote Andrez Bergen in 1998 for Australian magazine Inpress.[1]
The album Loudboxer (2002) saw a return to a more minimal four to the floor style of techno. While the CD version of the album contains 15 tracks mixed together, the vinyl version instead contains 200 locked grooves.
He collaborated with Mike Paradinas on the project Slag Boom Van Loon, through which they have released two CDs on Paradinas's record label, Planet Mu. In 1999, he also released two ambient albums for the FAX +49-69/450464 label under his real name.
In 2008, he released his sound library/audio software, entitled Kreate by Jochem Paap. KREATE is released by Fixed Noise.
Also in 2008, Speedy J started releasing music on his own record label, Electric Deluxe, as well as records by Terence Fixmer, Gary Beck, Tommy Four Seven and others.
In 2013, Speedy J and Luca Mortellaro released a collaborative album under the name Zeitgeber. It was released on Mortellaro's label Stroboscopic Artefacts.
Discography
Ginger (Plus 8/Warp, 1993)
G-Spot (Plus 8/Warp, 1995)
!ive (Beam Me Up!, 1995) (live album)
Public Energy No. 1 (Plus 8/NovaMute, 1997)
Vrs-Mbnt-Pcs 9598 I (Fax +49-69/450464, 1999) (as Jochem Paap)
Vrs-Mbnt-Pcs 9598 II (Fax +49-69/450464, 1999) (as Jochem Paap)
A Shocking Hobby (NovaMute, 2000)
Loudboxer (NovaMute, 2002)
Collaborations as Jochem Paap
Slag Boom Van Loon – Slag Boom Van Loon (Planet Mu, 1998) (with Mike Paradinas)
Slag Boom Van Loon – So Soon (Planet Mu, 2001) (other artists' remixes of the Slag Boom Van Loon album)
Pete Namlook & Jochem Paap – pp.nmlk (Fax +49-69/450464, 2004)
Jochem Paap + Scott Pagano – Umfeld (Umfeld.tv, 2007) (released as a DVD, audio by Jochem Paap, video by Scott Pagano)
Zeitgeber – Zeitgeber (Stroboscopic Artefacts, 2013) (Speedy J and Luca Mortellaro collaborative album)
Collabs
Collabs is the name of a series of 12" vinyl EPs wherein Speedy J collaborates with a selection of techno artists. Following Collabs 300 Speedy J and Chris Liebing embarked on a Collabs tour, on which they performed a mix of live samples and turntable mixing. An album, Collabs 3000: Metalism, was released November 10, 2005, on NovaMute.
Collabs 100 (with Adam Beyer)
Collabs 200 (with Literon)
Collabs 300 (with Chris Liebing)
Collabs 301 (with Chris Liebing)
Collabs 3000: Metalism (with Chris Liebing)
Collabs 400 (with George Issakidis)
Collabs 401 (with George Issakidis)
Collabs 3000: Metalism (with Chris Liebing)
Collabs: Magnit EP (with Chris Liebing)
Collabs: Magnit EP 2 (with Chris Liebing)
References
^ Speed Freak, Andrez Bergen. Zebra, Inpress, 1998.
External links
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In My Room Lyrics - The Last Shadow Puppets
In My Room Lyrics – The Last Shadow Puppets
In my room she’ll get to you In my room she’ll get to you In my room Could I turn on the light Inpress unknown eyes Humour absorbs the thoughts Challenge emotionless thoughts Seeing things with a second glance As she turns through her magazines In my room she’ll get to you In my room she’ll get to you In my room Could I turn on the light Inpress unknown eyes Humour absorbs the thoughts Lift up…
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#2008 Album#2008 Music#2008 Song#Song Lyrics#The Age Of The Understatement Album#The Last Shadow Puppets#The Last Shadow Puppets Lyrics#The Last Shadow Puppets Music#The Last Shadow Puppets Song Lyrics
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inPress is a 3 Columns, Responsive Blogger Template with Left and Right Sidebars and 4 Columns Footer. inPress Blogger Template has Featured Content Slider, Navigation Menu, Social and Share Buttons, Google Fonts, Related Posts, Auto Read More and More Features.
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My Chemical Romance in 2010 (X)
Photo Credit: Neil Krug
Used (at least) in - Metal Hammer Presents: The Secret History Of My Chemical Romance and Inpress Magazine
#mcr#my chemical romance#gerard way#frank iero#ray toro#mikey way#neil krug#inside out tasmanian devil shirt#red hair gerard#red white and blue star shirt#danger days era
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"Brilliantly animalistic." Some love from Inpress/TheMusicMelb this week!
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ChkChkBoom
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Album Review: Manchester Orchestra - Simple Math
Manchester Orchestra - Simple Math (Inpress Magazine, May 2011)
Three albums in, Atlanta fivesome Manchester Orchestra is going for the jugular, tackling the beast that is the concept album. Simple Math finds them venturing further to the stadiums and into the hearts of disillusioned young adults everywhere. The thread is the life of 23-year-old lead singer Andy Hull, as he deals with adulthood. Considering the personal nature of the subject matter it’s hard for the concept to get bogged down like so many of its ilk do. This is no Roger Waters hitchhiker album.
The emotionally-charged orchestrations of cuts like the aptly titled Mighty and the title track help make this Manchester Orchestra’s most fully realised work yet. Unfortunately the power of the musicality doesn’t always gel with Hull’s vocals. The gritty guitar-driven sound of April Fool and others almost begs for a singer with more gravitas. The sweeping strings and hair metal licks of Pale Black Eye work more effectively because the slow-burning groove is built around Hull's tales of a rocky relationship and the emotion of his voice. As a lyricist Hull is very self-aware of both his persona and the journey his band is taking. On opening track Deer he refers to their fanbase and how taken aback he is by the growing popularity.
Dan Hannon, who helmed the production for Simple Math and the band’s earlier work, has a Starbucks compilation and some Christian rock albums on his CV, which gives somewhat of a window into some of the sounds behind the album. At times it resembles ‘Manchester Orchestra does FM rock.’ The fact that they pull the style off better than many of their contemporaries and add an emotional core help make it more than a tribute. Longtime fans and newcomers will most likely find a kinship with the band and the subject matter with this polished new epic.
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Album Review: Gang Gang Dance - Eye Contact
Gang Gang Dance - Eye Contact (Inpress Magazine, May 2011, Unpublished) Those crazy jesters of the prog rock underground are back and bolder than ever with the rather surreal Eye Contact. Mirroring their home of New York, Gang Gang Dance weaves together an alluring tapestry of sounds and influences. That comes off more artsy and pretentious than I expected, oh well. The outfit's sound however is most heavily informed by quirky lead singer Lizzi Bougatsos and her Greek roots. She at times comes across as a Mediterranean Kate Bush, all breathy and wailing. Much like Elizabeth Fraser of the Cocteau Twins, it’s the harmonius texture of the vocals that matter, making the content of the lyrics almost inconsequential.
Opener Glass Jar sets the tone, although more of the Caribbean flavour and less airy synth would’ve been cool. Lizzi’s voice does the tango with a mash-up of electro, rock and dubstep to create something unique but familiar. The haunting Adult Goth almost sounds like a reworked Three 6 Mafia track, while the bouncy MindKilla continues the albums theme of being dance music for the eccentric. Thru and Thru adds some Middle Eastern spice to the pot. Eye Contact easily stands up as one of the most consistent releases of the year so far, only a couple of tracks fail to meet the standards set earlier in the album. The rather syrupy Romance Layers, which goes into synth overdrive, would’ve been pulled off more convincingly by someone like The Weeknd. Sacer has a stronger live instrument feel but overindulges in its Bushian temperaments.
With its all-inclusive vibe the album does at times veer into muddled world music territory, luckily not for too long. Bewilderment may be the feeling you get at first but once you get under its spell it’s hard to resist, just let it happen and you’ll be fine.
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