#mono 90s band

[plantaagomaajor]

is anyone a mono fan in 2024?

[penguin251159]

Thank you for tagging me @elliecreed!

I once again took way too long doing this cause i was thinking TOO much! And somehow, I thought this would be easier than the movie tag? Ha! No! Worse! Lmao...and then I had to redo it cause I had Jack Black yelling in my head over forgetting Led Zeppelin 🤣

Anyways, I tag @7nessasaryevils and @rikotin if either of you feel like tormenting yourself over music like I did lol...and anyone else who sees this and feels like it!

[jenctrl]

4221 - series - 4 2 2 1 profile✧˖*°

4 2 2 1 is a Japanese-Korean band under Mono and Hybe Labels. The band members consist of: Y/n, Eunki, and Yohan. They released their debut EP “kite” on March 6th, 2023, followed by their Japanese debut EP “物の哀れ” (mono no aware) on May 20th, 2023 before releasing their self-titled debut album “4 2 2 1” February 2nd, 2024.

4 2 2 1 Concept; 4 2 2 1 show off their ability to mix and play with different genres as a band without limiting themselves to one particular music style. Often doing so through lyrics that dwell in nostalgia for adolescence, love, yearning, heartbreak, melancholy and (questioning) the meaning of life. Their visual concept aims for a sense of nostalgia using anemoia (I.e: analog technology, dated brands, and 90s-00s) that culminate in a kind of cultural esoterism.

4 2 2 1 Members Profile and Info

Y/N

Stage Name: Y/n

Birth Name: Komatsu Y/n

Position: Vocal, guitarist, songwriter, front person

Birthday: June 30th, 2003

Zodiac sign: Cancer

Height: 5'8 (172cm)

MBTI Type: INFJ-T

Nationality; Japanese

More about Y/n...

EUNKI

Stage Name: Eunki

Birth Name: Lee Eunki

Position: Bassist, backing vocals

Birthday: January 11th, 1999

Zodiac sign: Capricorn

Height: 5'11 (180cm)

MBTI Type: ENFJ

Nationality: Korean

YOHAN

Stage Name: Yohan

Birth Name: Kim Yohan

Position: Drummer

Birthday: May 5th, 2001

Zodiac sign: Taurus

Height: 5'10 (178cm)

MBTI Type: INFP

Nationality: Korean

*.·:·.✧ ✦ ✧.·:·.*

singles and EPs

EP title: kite

release date: march 6th, 2023

tracks:

- chum (orig. dosii)

- nouvelle vague (orig. wave to earth)

- just like a movie (orig. wallows)

- johanna (orig. suki waterhouse)

- let me go! (orig. the volunteers)

genre: jazz, lo-fi, and indie rock

*.·:·.✧ ✦ ✧.·:·.*

EP title: 物の哀れ (mono no aware)

release date: may 30th, 2023

tracks:

- 共鳴 (空虚な石) (orig. lily chou-chou)

- 少女の官能基 (orig. tokenai namae) 

- virgin suicide (orig. uchu nekoko)

- グライド (orig: lily chou-chou) 

genre: shoegaze, indie rock, dream pop

*.·:·.✧ ✦ ✧.·:·.*

single title: good looking (orig. suki waterhouse)

release date: august 11th, 2023

genre: dream pop

*.·:·.✧ ✦ ✧.·:·.*

single title: more than words (orig. hitsujibungaku)

release date: september 1st, 2023

genre: original soundtrack (JJK), rock

*.·:·.✧ ✦ ✧.·:·.*

single title: エロティック(orig. lily chou-chou)

release date: october 15th, 2023

genre; dreampop

*.·:·.✧ ✦ ✧.·:·.*

single title: see you soon (orig. Wisp)

release date: december 8th, 2023 

genre: shoegaze

*.·:·.✧ ✦ ✧.·:·.*

single title: love. (orig. wave to earth)

release date: january 5th, 2024

genre: indie pop

*.·:·.✧ ✦ ✧.·:·.*

album title: 4 2 2 1

release date: february 2nd, 2024

tracks: ten (in the playlist below)

genre: Indie and alt rock, shoegaze

deluxe edition: four extra tracks in japanese and korean+bonus english track

☆Discography playlist☆

Miscellaneous;

Similar artists; wave to earth, wallows, whirr, lily chou-chou, tokenai namae, slowdive, wisp, weezer, suki waterhouse

Genre; Indie Rock, Alt Rock, Shoegaze, Dream pop

Average monthly listeners; 6.8 million

Top Tracks: Pleaser, 共鳴 (空虚な石), chum, good looking, francis forever, your face, love.

Label: Mono Labels is a new subsidiary under Hybe Co., which focuses on k-bands with the goal to expand globally. 4 2 2 1 is the first band to debut under the label, doing so with great success internationally and each day garnering more national fans. As of now there are no plans for any new bands to debut with all the focus being on 4 2 2 1' future projects.

*.·:·.✧ ✦ ✧.·:·.*

Face claims; Y/n - Jurin (XG), Eunki - Jungmo (Cravity), Yohan - Beomsoo (xodiac)

[iantimony]

tuesday afternoon

yayyyy tuesday

listening: haken concert was SO good. incredibly fun. i brought two friends with me and one of them said that he wasn't expecting a metal/rock prog band to be so "sploinky barbershop quartet" re: songs like cockroach king, lol. orchestra concert was sunday and it was good! face did hurt a lot after because this is a youth orchestra that i volunteer with so naturally we need a 90 min rehearsal before the actual concert. pain. but the kids did good. they did a mozart oboe concerto and the soloist was incredible. but also on my own i've been listening to borodin symphony no 1 and 2.

reading: finished volume 2 of mdzs! xue yang is such a loser nightmare failboy. we've entered jin guangyao zone which fucks severely.

watching: dunmesh and klk, again. i love the way dunmeshi is doing backgrounds, they're so detail and delightful to look at. i've also started watching comrade detective with a friend and it's VERY funny. goofy communist buddy cop parody bullshit. channing tatum is in the intro for some reason that i cannot ascertain but makes me laugh anyways.

playing: ran and played dnd! mtg! i've decided i want to put together a mono green deck so if anyone has commander recommendations lmk.

making: yippee making!

trimmed those little teacup experiments, i don't think the shrinkage will be too bad but we'll see. they all have mismatched feet now oops

started a seder plate for passover! i think at this rate it will be done before the holiday which is exciting. i'm going to do it red with a pomegranate motif. this is the bottom for now, the top is blank and boring so no pic for now.

pre-bisque work needs to be done on these, the big one is a flower pot for my mom that i'm covering in purple slip and then carving a tree into i think

finished the sgraffito on this guy, my roommate accidentally knocked a divot in the edge of it at the end of last year so i mirrored it on the other side of the bowl and incorporated it into a design!

some kiln stuff came out too!

cat yarn bowl!

this bowl was supposed to be a deep, dark green on the outside but i forgot that this kiln is cone 5, not 6! so surprise color but i still like it

and finally, someone abandoned this little guy so i slapped some glaze on him and took him home. i have a matching cat one that's still kilning. look how precious. i want to put air plants in him. taking name suggestions

eating: spicy butternut squash pasta with spinach. we made so much of this. i think we finally finished the last of the leftovers today. too many steps for me to do on a tuesday and i have a Moment about it but she took over and it is very good. we used cavatappi which is objectively one of the best pasta shapes out there.

harissa chicken thighs with shallots. yum! all i really gotta say about it. used gochujang because we don't have harissa and it still slammed.

deb smittenkitchen soy glazed chicken. 10/10. goes with Everything. i had it with brussel sprouts over rice, then the next day with that pasta leftovers, and then again yesterday with mac n cheese. took like 10 minutes and slams.

(if anyone wants the nyt recipes lmk and i will post screenshots!)

misc: busy but in the swing of things! gym time has REALLY fallen by the wayside which is not great for my mental health so i'm working on trying to incorporate that back in where i can. but otherwise i am doin pretty good!

[singeratlarge]

HAPPY BIRTHDAY TO GEORGE HARRISON. Within and without The Beatles, George is well-appreciated as a golden singer-songwriter and collaborator, guitar tone-smith and innovator (he re-invented slide guitar), champion of the ukulele, superior filmmaker, and a witty and Godly man. Add to this: Pioneer of world music—George was on it well before the idea of “world music fusion” became popular in the 1980s. 

55 years ago, George put the final touches to the WONDERWALL soundtrack, his ground-breaking merger of Indian classical, “spaghetti western” sounds, orchestral Euro-pop, and Mellotron-driven psychedelic rock freakouts. WONDERWALL brought together Eric Clapton, Ringo Starr, Peter Tork (on banjo), The Remo Four (storied session musicians he’d known since Liverpool), and 12 top-notch musicians from India. The music was scored for a little-seen art movie by Joe Massot, who originally wanted The Bee Gees to score the film. They were unavailable, so George got the gig. 

Released November 1968, it was the first record issued on Apple, first solo album by a Beatle (and first full soundtrack), and “Dream Scene” was the first serious sound collage from a Beatle (made months before “Revolution 9”). It charted in Canada, Germany, and the USA (despite little promotion). Buzz for WONDERWALL, however, was sidetracked by the momentous release of “The White Album” just weeks later. Critics dismissed the WONDERWALL LP as a mere curio (or even hippie drivel). Many Beatle fans were stumped. The film sank into obscurity due to poor distribution. 

Meanwhile, out of all the recordings in his career, George cited WONDERWALL as one of his top favorites (he financed most of the recording out of pocket). For me (having worn through 4 copies of it), it’s a charming, landmark soundscape with many curtains to walk through. WONDERWALL is now grouped with similar milestones by Bill Evans, Peter Gabriel, Mickey Hart, Yehudi Menuhin, Ravi Shankar, and Paul Simon. It also became a touchstone for mid-90s Brit-pop bands, most famously Oasis.

Here’s the entire album in the rare UK-only mono mix—with several noticeable differences (particularly in the tack pianos and effects processing). Enjoy!

#wonderwall #georgeharrison #ericclapton #ringostarr #thebeatles #applerecords #petertork #remofour #soundtrack #birthday #india #joemassot #beegees #ravishankar #paulsimon #johnnyjblair

[audio-luddite]

Listening Routine.

When I want to do a serious listen I first warm the system up for an hour with streaming. Then I play a CD for another hour. It takes about 90 minutes to 2 hours to get it happy.

I did a stream of Chopin and Debussy then a CD of Josh Bell playing his usual stuff. The CD was starting to sound good, so I figured we were all warmed up.

I pulled out the Impex Getz / Gilberto album. Earlier in the day one of my co-workers and I talked about recording and mixing. He has a technical degree in recording engineering, though the day job has none of that. He was describing how various tracks for individual instruments are fiddled with to move them forward and back and even side to side using equalization. That got me thinking about the Impex album as it basically was recorded for mono.

This mix was wonderfully naive and amateurish. Weird in that this is a halo album in the world of audio. The percussion was hard left. Gilberto's singing and guitar were solid center in your face. Stan Getz sax also center. Astrud's vocal was hard right. When I say hard one way or the other I mean it came out of one speaker. The center was equally mixed to each speaker. They were still trying to figure out Stereo I guess.

Stupid fad aint going to last!

Things my friend described to adjust the sound were not done in this album. They probably did not know how to do it back then. He was saying percussion especially cymbals and snare drums get equalized with specific high frequency cuts to push them back in the sound field. Not here they were.

And the simple fact they had the famous Girl from Ipanema song out of only one side is ironic. The stars of the performance was Getz's Sax and Astrud's husband when the session was done. It was a hit from that vocal, not the jazz.

The technical quality of the magnetic tape and the simplicity of the recording is why audiophiles like this. But there is no imaging or "you are there experience" to be found as they did not know how to do it, or did not bother to try.

A huge part of golden ear commentary is how well images are presented. It is clear to me that in most cases the stereo image is an artificial construct. Very few recordings capture an actual physical space correctly. My go to natural recording of Cowboy Junkies is a freak in that the band was set up 360 degrees around the Ambisonic microphone. It was then unwound a bit in some fashion for stereo. Famously it was not mixed in the conventional sense. Performers and instruments were physically moved around to get the desired balance.

My wife came up from her work room to mention to me how much she liked the music. Her grandmother used to play the Ipanema song on her piano at the farm she lived in over the summer as a child.

And of course the girl from Ipanema was a real person.

Helô Pinheiro, the woman who inspired the song, in 2006.

She was 17 when the song was written.

[mellotronmkll]

Except okay can someone who knows more about tmbg clarify the timeline for me . It is so unclear to me as to when Danny joined the band he was definitely there by like 1998 it seems but it's like so inconsistent from 1996-1998 who is on bass sometimes I'm like oh it's Graham sometimes it's Hal sometimes Danny is randomly there like why is Danny here in 1996

Why is he there 😭 it's too early 😭 it's freaking me out don't you have fountain of waynes records to be playing on... ALSO it says on his 1999 band of Dan's profile one of his former gigs is Mono puff right except then he's not listed as a core or guest member of Mono puff at all or credited on any of their songs. So I'm just like what's going on. But i guess they just were super loose at this time with who was on bass / had other guys subbing in from Graham sometimes???? It's just interesting to me the personnel changes in the 90s are like just a lot

[jbblackwell]

KISS 1979: The End of a Dynasty (franKENstein Live Redux) from KENN NARDI on Vimeo.

When I started getting bootleg shows back in the '90s, Largo '79 was one of my favorite concerts, warts and all. The copy I had sounded awful and looked even worse. The stage often looks dark, the band was not having a great night, but it's all we had. It still is. Unfortunately, no other multi-camera (pro-shot) '79 shows have ever circulated (if any even exist) and I feel like this has led to the Dynasty Tour getting a particularly bad reputation.

My goal with this video was to try and put together a "cleaned up" version of the 1979 Tour which fans can hopefully enjoy more than what we've had. This is NOT a 100% historic representation of that single Largo show, but more like what I think the band might have released for public consumption. I didn't try and make it studio-perfect, but I did fix the major mistakes and botched lyrics.

VIDEO: The video has been upscaled to 1080p and I have done a virtual shot-by-shot adjustment to try and get the best possible quality. I did a few things to try and minimize the lines in the worst places. Sometimes the stage looks very dark, and I wanted to try and even out the lighting throughout the show. I also did a few minor editing changes to sometimes break up long shots or to cover for missing or incorrect lyrics. I also trimmed a bit of the in-between song dead air to make the flow more like an official release.

AUDIO: At this stage audio isolating software is still in its infancy and the better the source thew better the results. The Largo audio is mono and pretty poor quality, so rather than trying to "clean it up" I decided to "re-create" it. The main sources were Knoxville '79, Atlanta '79, Syndey '80 and various other shows which sometimes just supplied a few notes of a solo or a missing word or two. It's way too much to mention here, but everything was done in a way to represent the 1979 version of these songs.

DRUMS: The drums were done using Peter's isolated drums from the Knoxville soundboard recording. These were perfectly synced to the Largo show with a few minor changes here and there sometimes due to a "mistake' or sometimes just because I liked what he played better. I then blended them with custom-made samples I created using Peter's drums from various sources. Radioactive was not played in Knoxville so Atlanta soundboard was used for that one. "Tossin' and Turnin'" was not played at either show so those drums were created piece by piece using other songs with the same drum patterns and with other pieces put together using my sampling sources. I also re-created the crowd, bombs, etc.

BASS: The bass was taken from various recordings including Largo, the Lakeland rehearsal, Alive II, Sydney and more. I would basically create a main synced version for the "body" of his parts and then run that through an amp modeler to give it distortion closer to what he sounded like live.

GUITARS: This was the biggest challenge. I decided to use almost exclusively the guitars from the Largo show. The biggest problem was that the recording is mono. Some people use the delay-trick to "simulate" stereo, but this usually results in a tin-can, out of phase hollow sound since it is just the same track, slightly delayed and hard-panned to the opposite speaker. I didn't want to do that, so I did a cut and paste job where I would take the same riffs and parts to create Ace's parts and then swap them around for Paul's track, so it is more like a true stereo mix. I would take the rhythms that Paul plays under the solos and use those for his side in those parts, etc., so it is much closer to a stereo mix. I did fix major screw-ups, bum notes and replaced out-of-tune sections with better parts. A few bits of solos come from a couple other sources just because the sound was just too buried under the rhythm to get good isolation.

VOCALS: The vast majority of the vocals come from Knoxville, mainly because the audio quality on Largo is so poor. I synced everything to Largo for the most part though there are some variations in the phrasing throughout the show. Sometimes I did use pieces of Largo if I liked the part better or where they sang something too differently. Radioactive vocals come mostly from Atlanta with a bit of Lakeland and a bit of Largo. "Tossin' and Turnin'" vocals were taken from Largo.

I decided to correct the forgotten lyrics in "Move On" and completely re-edited "God of Thunder" which Gene sand all out of order but decided to leave "Beth" alone. We know he screwed those lyrics up in at least one other show and like I said his reaction has a certain charm to it and demonstrates how, by that point, the band was often flying on autopilot.

As I always say, this is NOT for the purists. It is my attempt to make a more enjoyable Dynasty concert for other fans. The original Largo video is readily available, and this is in no way intended to replace or erase that show from KISStory. This one took months to put together, working almost daily, so I hope you all enjoy it.

[illertalfm]

Heute 20:00 - 22:00 Uhr

2 Stunden Hart am Limit mit Klaus

Lassen wir die Boxen wieder Donnern.

Heute mit dabei: Wir werfen einen Blick auf´s Jahr 2024 https://www.burning-pants.de/ ist angesagt. Ich stelle euch schon mal einige Bands vor die zugesagt haben.

Heute mit dabei: - Kärbholz - Megaherz - MOTEL TRANSYLVANIA - Sweet - NOCTURNA - "SIRIUS" REAL-TIME MEMORIES - MONO INC. und einige Alben Neu Vorstellungen.

Und das ganze LAUT macht natürlich noch sehr viel mehr Spaß

Durch die Sendung begleitet Euch Euer Klaus.

Unsere HP:

www.illertal.fm

Rein hören über

Laut FM:

https://laut.fm/illertalfm

https://laut.fm/aacradio

https://laut.fm/donauwelle

https://laut.fm/backstagefm

https://laut.fm/artistarena

Radio.de:

https://www.radio.de/s/lautfm-illertalfm

oder bei Tunein:

https://tunein.com/radio/Illertal-FM-s311007/

#illertalfm #illerradios #illertal #lautfm

#webradio #gemeinsam #musik #Moderator #bergfest #freizeit #chat #80s #hardstyle #discofox #handsup #schlager #deutschrap #remixes #oldies #90s #rock #neuedeutschewelle #dance #trance #gutelaune #radio #zusammenhalt#deutsch #chaos #charts #partytime #illertalfm

#illerradios

#backstagefm

#feierabendfm

#gutemusik

#gutelaune

#gutelaunemusik

#tollemoderatoren

[paulisded]

The Ledge #561: More Home Plays

Just like last week, this episode is primarily based around what I've been listening to in the Ledge home base over the last few days. Some of it is brand new material. Much of it has been old faves that span almost 60 years of great rock and roll.

Overall, though, this show is primarily a showcase for old and new power pop. In the new category, there are fabulous new tracks by The Whiffs, Sharp Pins, Uni Boys, and The Trouble Seekers, along with "excavated" recordings by The Bings and Popsicko. 

As for old faves, it's a history lesson of sorts. There's The Monkees and The Kinks from the 60s. The Jam, The Flamin' Groovies, Nick Lowe, Graham Parker, and The Rubinoos from the 70s. The 80s are represented by the likes of The Barracudas,  Dwight Twilley, The Bongos, and Camper Van Beethoven. Maybe the 90s aren't as highly represented, but there is "Tayter Country" by The Cavedogs, quite possibly my favorite song of 1980.

As for the "52 Weeks of Teenage Kicks", this week's version comes from The Mahones, the legendary Canadian/Irish punk band that always features a quality cover or two on each of their albums. Their version of "Teenage Kicks" is twice represented on their (mostly) live A Great Night On the Lash record. The first version is the final song of their encore, while the tune aired tonight comes from a bonus "Belfast Sessions" tacked on to the end.

Like always, I'm still out here pleading for brand new versions of "Teenage Kicks". Please pass the word on to all of your musician friends. If you have questions, or have a submission, shoot me an email at paulisded@gmail.com

CLICK HERE TO DOWNLOAD THE SHOW!

1. The Mahones - Teenage Kicks

2. The Whiffs - Forget Your Name

3. The Whiffs - Verlaine

4. Uni Boys - On Your Lovin' Mind

5. The Speedways - A Song Called Jayne & A Lie Called Love

6. The Bings - She's Got The Power

7. Popsicko - No Better Time

8. Sharp Pins - Still a Straw Man

9. The Schizophonics - Turns to Glass

10. Cold Expectations - Take The Skinheads Bowling

11. Camper Van Beethoven - We Saw Jerry's Daughter

12. Dendrons - Wait In Line

13. The Trouble Seekers - Nervous

14. Mozzy Dee - Orale

15. Beebee Gallini - My Way Of Thinking

16. The Trashwomen - Cum On Baby

17. The Rosalyns - Give Him a Great Big Kiss

18. Dum Dum Girls - Bhang Bhang, I'm A Burnout

19. The Monkees - She [Mono Mix]

20. The Flamin' Groovies - First Plane Home

21. The Rubinoos - Rock 'n' Roll Is Dead

22. The Poppees - She's Got It (Bomp single)

23. Dwight Twilley - I'm back again

24. The Kinks - Session Man

25. The Jam - Art School

26. Graham Parker - Saturday Nite Is Dead

27. Nick Lowe - They Called It Rock

28. Eddie & The Hot Rods - Schoolgirl Love

29. Echo & Bunnymen - Action Woman

30. The Cavedogs - Tayter Country

31. The Smithereens - Amazing Journey

32. Hard-Ons - It`s Cold Outside

33. The Barracudas - (I Wish It Could Be) 1965 Again 

34. The Barracudas - The KGB (Made A Man Out Of Me)

35. The Bongos - In The Congo

36. X - Johny Hit And Run Paulene

[musicletter]

Fake Fest 2023 con  Idles, Libertines, Murder Capital e La Femme

Prima edizione del Fake Fest, il nuovo boutique festival dedicato alla scena alternativa mondiale che si terrà il 13 e 14 luglio 2023 sulle spiagge di Bellaria Igea Marina, Rimini.  Uniche date italiane per Idles, The Libertines, The Murder Capital e La Femme, i primi nomi annunciati a cui si aggiungeranno molti altri artisti e dj, per riunire il meglio della scena indipendente che domina il panorama internazionale. Dopo aver annunciato gli Idles, che suoneranno giovedì 13 luglio 2023 insieme ai Murder Capital, band rivelazione del nuovo post punk internazionale, si aggiungono in line up, venerdì 14 luglio 2023 i Libertines, reduci dal grande successo del tour dello scorso anno per i 20 anni da Up The Bracket, e La Femme, la band francese che fa della sperimentazione tra i generi il suo marchio di fabbrica e che torna in Italia a dieci anni dal primo disco in studio. IDLES Nei 5 anni trascorsi dall'uscita di Brutalism, gli Idles hanno collezionato traguardi eccezionali: un album alla numero uno in classifica, molteplici tour sold out e partecipazioni come headliners ai più importanti festival internazionali. Il secondo disco, Joy as an Act of Resistance, ha ulteriormente solidificato il nome della band nella scena musicale inglese e mondiale, spianando la strada per l’enorme successo di Ultra Mono, il loro primo album alla numero 1 nel Regno Unito. Crawler, uscito nel novembre 2021, è riuscito ancora una volta a soddisfare le aspettative dell'intera fanbase internazionale, elevando il sound della band a un nuovo livello attraverso brani più melodici e introspettivi. Durante la loro vertiginosa ascesa, gli Idles sono riusciti a guadagnare un’ampia gamma di fan accaniti a partire dai loro primi successi con il supporto di Steve Lamacq e BBC 6 Music, del circuito indipendente di musica dal vivo e la comunità di AFGang, con i quali hanno successivamente realizzato il film Don’t Go Gentle: A Film About Idles, rilasciato in tutto il mondo e presentato a diversi festival del cinema internazionali. THE MURDER CAPITAL I Murder Capital hanno appena rilasciato il loro nuovo brano Only Good Things, una canzone d’amore che fa da anteprima alla nuova musica in arrivo. Il singolo, prodotto da John Congleton, è la prima uscita dopo l’acclamato debutto della band irlandese, When I Have Fears, che ha raggiunto la top 20 nella classifica inglese, la posizione numero #2 in Irlanda, e che è stato incluso nelle classifiche di fine anno di diverse testate internazionali, tra cui il The Guardian. I Murder Capital hanno anche fatto il loro ritorno sul palco quest’anno, esibendosi su palchi importanti come quelli del Primavera Sound, VYV Festival e Solidays, e aprendo i concerti dei Pearl Jam al British Summer Time. Queste performance seguono un tour sold-out in Europa e Inghilterra, che li ha portati a suonare il loro concerto più grande finora durante la data all’Electric Ballroom di Londra. La band suonerà a diversi festival in giro per l’Europa e l’Inghilterra durante l’estate THE LIBERTINES I Libertines sono arrivati alla fine degli anni ’90 nell’era post-britpop, introducendo il mondo a una nuova band di Bohemians Londinesi le cui melodie irregolari, tuniche militari rosse, poesia da oppiacei e il motto ‘vivi ora, paga mai’ ha definito la rabbia dei millennials nei primi anni 2000. La band ha le sue origini a Londra nel 1997 dopo l’incontro di Peter Doherty e Carl Barat. L'album di debutto dei Libertines, Up The Bracket arrivò nell'autunno del 2002. Nel 2015 i Libertines firmarono un importante contratto discografico con Virgin/ EMI. Registrarono il loro terzo album in studio con il produttore Jake Gosling in Thailandia. L’album che ne uscì fuori, Anthems For Doomed Youth, entrò nella classifica degli album inglesi alla posizione n.3 e la band girò il mondo suonando dai locali più piccoli a quelli più grandi e sui palchi dei principali festival internazionali. Chiunque non avrebbe scommesso un centesimo sulla durata di questa band, dato il vacillante stile di vita sull'orlo del baratro che i Libertines scelsero di condurre, ma due decenni dopo i nostri eroi Byroniani, sebbene più vecchi e saggi, stanno ancora difendendo il loro posto nel panorama musicale contemporaneo e facendo musica tanto bella quanto quella del loro debutto LA FEMME Dopo 12 anni di attività e la pubblicazione dei primi tre album Psycho Tropical Berlin nel 2013, Mystère nel 2016 e nel 2021 Paradigmes, la Femme ha presentato la sua quarta release intitolata Teatro Lúcido. Quest'ultimo, totalmente in Spagnolo, è un diario di viaggio ispirato da viaggi nei paesi Ispanici (Spagna/Messico). Come in Sacatela, questo disco è un cocktail esplosivo nato da avventure internazionali e affonda la sua ispirazione dalle marce per la Settimana Santa, il pasodoble, il reggaeton e i ritmi brasiliani, la chitarra classica, il ritmo Andaluso, le trombe e la movida degli anni '80, per un totale di 13 brani.

LA LOCATION DEL FAKE FEST

La location scelta per il festival sulla riviera romagnola è il Beky Bay: un’arena unica nel suo genere, uno spazio di oltre 3500 mq che al tramonto si trasforma in un suggestivo teatro a cielo aperto, con un imponente palco che si affaccia direttamente sul mare, per l'evento alt rock dell'estate italiana. (La redazione) Read the full article

[logankisseswade]

[arterpillar]

lil graham

[olderthannetfic]

I have a real stupid question/challenge for you, if you want. (you can also tell me to shoo, i won't be mad lmao)

I have a friend who insists that I'll fall in love with BTS if I give them a chance, based on the fact that I love montero and lemonade. they don't listen when I tell them that 1) just cuz I appreciate a few beautifully-crafted, pop-flavored hip-hop albums, doesn't mean that I now like pop; and 2) I have a raging hate-on for manufactured boy bands that dates back to the new kids on the block era. I'm not mad about them anymore, just can't find it in my limited attention span to engage with manufactured pop groups, even when they're quite good in every measurable way.

I've listened to the big singles and they didn't hook me. i appreciate what they're doing, but it just doesn't appeal to me. 🤷

so, I guess my question to you is, do you know any good BTS songs that might change my mind? anything bluesy or reminiscent of old-school 80s rap? any super 90s throwback tracks? idk, I'm doing my best to be open minded :|

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BTS has a massive discography, and I dislike plenty of individual songs. I guarantee there's at least one song you'll find tolerable, though whether you'll become a BTS fan is another story.

I have little patience for New Kids, though I do like some bouncy dance music. BTS have a pretty high degree of artistic freedom, considering everything. The packaging is slick. The inside is considerably less hollow than usual. If you've been listening to their recent English-language hits... uh... they have their good points, but I really don't think those are representative of BTS overall—except insofar as they represent their intense desire to win a Grammy.

I'm not great at telling what's like what, so IDK which of their songs best fit your criteria necessarily, but I'll pick a few for you to try. As a listener, I'll think some hip hop sounds familiar, but it's only when I see other people's reviews that I understand what era it's reminding me of. (TBH, what I personally did was make a spreadsheet of everything they'd done, including random soundtrack songs and solo work and just try everything in order.)

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I might start with the BTS rappers' solo work. Try RM's second mixtape, mono. I like listening to this as soothing background music at night.

Suga goes by Agust D as a solo artist. His song 'Agust D' is one of my favorites. The lyrics to many of their songs are quite clever too, though of course, as a non-Korean speaker, I have to rely on other people's explanation. (The basic content here is "I may be an idol, but I'm still twice the rapper you are".)

J-Hope tends to sound kind of... well... goofy. I like his voice in Baseline.

He did cover Chicken Noodle Soup, which is certainly old, but I don't actually like the original version of that song.

The Cyphers are great: Cypher Pt. 2, Cypher Pt. 3, Cypher Pt. 4.

To get a sense of their wordplay and why it's cool, check out this video where a Korean guy explains Ddaeng.

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If you want to know who they think their influences are, they outline a bunch of them in Hip Hop Lover.

Dionysus is one of their big showstoppers that I like a lot better than, say, Permission to Dance.

Louder Than Bombs is a favorite of mine.

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I'm not usually super into the vocalists-only songs, but maybe you'd enjoy some of them. Some people find House of Cards bluesy. Not sure how much I agree.

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I guess a couple of their older albums are considered particularly oldschool, though maybe that's because of that ultimate scourge of old albums the skit. (Kill it with fire!) Also, I like a lot of the sound, but their fashion at the time, gaaaaah! You can see some images of the full horror on this lyric video to We Are Bulletproof Pt. 2. I like N.O a lot and Satoori Rap. That latter celebrates regional dialects, which is neat.

And one of their better-known songs and one of my personal favorites is Baepsae, an anthem of youthful discontent that makes use of a Korean saying and turns it on its head.

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And hey, if you loathe all that, you can go listen to Tiger JK as a palate cleanser. RM features on a couple of his songs like MFBTY's Buckubucku and Timeless off of Drunken Tiger X.

[randomvarious]

Today’s compilation:

Latin Colors of the World 1998 Latin / Latin Jazz / Latin Folk

You could not possibly provide a proper representation of the many different strains of Latin music that are out there by releasing less than 50 minutes of material onto one CD. I may be a total gringo who couldn't tell you the difference between things like rhumba, mambo, merengue, etc., but I know far more types of Latin music exist than what's included on this thing.

With that said though, this compilation still contains a really great, dynamic range of different Latin styles from around the world, from the trumpet blaring big band jazz of Pérez Prado, to the spellbinding guitar dexterity of Gerardo Nuñez, to the beautifully textured folk guitar blends of Grupo Mono Blanco y Stone Lips.

Put simply, there's some really incredible music on here. Most of it's from the contemporary 90s, but there's a few tracks from the 40s and 50s as well. And I can't say that I like all of it—some of it has a cheap, keyboard-driven 90s kind of sound that I naturally bristle at—but a solid half of this CD truly blew me away.

Both my Latin music collection and knowledge are severely lacking, but this little trip around the world helped me to very slightly broaden both of those things. However, it would also definitely help if the Allegro Corporation put more effort into their liner notes. I've now been exposed to the sounds of some of these Latin styles that I've previously had little to no familiarity with, but I still don't know what they're called or what countries or regions they come from 😅.

Baby steps, folks.

Highlights:

Gitano Family - "La rhumba de la roquetta" Gerardo Nuñez with Strunz and Farah - "Sancti petri (rumba)" Rumba Club - "Bad Guys (radio edit)" Pérez Prado - "Mambo #5" Grupo Mono Blanco y Stone Lips - "El chuchumbe" Israel "Cachao" López - "Jam Session Mambo"

[musiconanironingboard]

13 May 2022: The Who Sell Out Deluxe Edition, The Who. (2009 Polydor/Universal expanded reissue of 1967 Track (UK)/Decca (US) release)

In 1995 a reissue campaign of The Who’s catalog (minus, peculiarly, their debut album The Who Sings My Generation) began. Who vinyl was long out of print, and these CD reissues significantly upgraded the shoddy first run of Who CDs that materialized in the ’80s. Most of the reissues contained a significant number of bonus tracks. It was quite luxurious compared to what Who fans had seen before, and I loved collecting them. I suppose I should say I still love to collect them, because I still do not own the version of Tommy from this reissue program. (You might surmise that this is the oldest reissue campaign that I began when new and have yet to complete, but I still don’t own a vinyl copy of The Beatles’ Yellow Submarine from the US reissue program that began in 1987, nor do I own The Rolling Stones’ Aftermath from their US vinyl reissue campaign that began in 1987. It is not for lack of caring or trying on my part.) I should also emphasize that the Who were my favorite band as an adolescent and I wore out their catalog on vinyl long before the ’90s reissue campaign began.

It took MCA until 1997 to produce reissues of the band’s entire studio works and the 1970 Live at Leeds; in 1998 a vastly expanded version of their 1975 rarities comp Odds and Sods followed, and in 2001 the soundtrack to the band’s documentary film The Kids Are Alright concluded the program.

The same year, as part of Universal’s excellent Deluxe Edition series that included many bands’ classic albums expanded into two-disc affairs, Live at Leeds got the treatment. These Deluxe Edition releases came in hard, clear plastic slipcovers, and it was the sure sign that a reissue was probably worth buying. (This would change; I remember Elton John’s Goodbye Yellow Brick Road entry in the series was padded out with modern artists doing covers of his songs—pathetic.)

In 2002, The Who’s debut LP My Generation got the two-disc treatment, and in 2003 Who’s Next received the same. It would be six more years until another Who album materialized in the Deluxe Edition series, and that’s the one pictured above. The Who Sell Out’s two-disc set is arguably the most expansive of the lot: you get the album in stereo and mono as well as a whopping 27 bonus tracks. I don’t know where my mind was at in 2009, for I didn’t realize this thing existed until quite a few years later, when the album received a blockbuster Super Deluxe treatment in 2021. That was accompanied, for more modest purchasers, by an all-new two-disc deluxe edition. Never mind that the 2009 set was being supplanted and I was already guaranteed to purchase the new multi-disc Super Deluxe, I wanted the original deluxe version, too.

There would be two more Who Deluxe Editions, but they would not arrive before Universal dispensed with the plastic slipcovers. For a while, with new entries into that collection they did the shameful simulacrum of wrapping a piece of sticky tape (!) around paper digipaks that were printed to look��like the frosted part of the plastic slipcovers that said “Deluxe Edition.” Eventually they did away with that (thank goodness) and just started putting a small sticker on the shrinkwrap of these releases that said “Deluxe Edition.” I’ll show examples of these collapsing stages of the Deluxe Edition program at the end of this post. As for The Who, Quadrophenia got the treatment in 2011 and Tommy in 2013.

Back to the album at hand: way up above we start with a photo of The Who Sell Out ensconced in its plastic slipcover, then there’s a shot of the slipcover slipped off, revealing the unexpurgated cover art. The third photo above is of the back cover. I could write a few pages about the back covers of these plastic slips, as well; most albums released in this manner have the track list printed on the back of the actual plastic cover. This allows for an unspoiled view of the reverse cover art. On The Who Sell Out, however, the titles are printed directly on the back cover of the album package and not on the back of the slipcover. For an ornate cover like The Who Sell Out, this is an outrageous change to make. Compare it to the Deluxe Edition of Live at Leeds: take the slipcover off, and the back cover is completely blank. At least Universal continued to use the same font for The Who Sell Out that is used throughout the program regardless of band, but choosing not to print the titles on the slipcover for this release is ridiculous. (There is yet another variation out there in the wilderness: for the Deluxe Edition of Siouxsie and the Banshees’ The Scream, the titles are printed on neither the plastic slipcover nor on the back cover: they are printed on a piece of paper that is inserted into the slipcover so that you can see it through the plastic! Record companies are nothing if not incapable of consistency.)

Back to The Who Sell Out: below is a look at what you see when you remove the album package from the slipcover and open it once. Ah, okay: the artwork obscured by the album titles is now visible in full (below left). Still, if I were the designer, I would have done it differently. 

 Next we see the package opened fully and revealing the discs.

Now, a close-up of the trays under the discs.

There is a thick booklet as well, but it merely replicates the album cover so I did not photograph it.

Let me know show some of the lazy ways the Deluxe Edition series was announced following the era of the plastic slipcover.

Forgive me for showing a different band’s album on a Who post, but I cannot find a photo of the wraparound sticky tape on a Who album. (These photos were taken from eBay.) Look in the photo below: you can tell here, if you look closely, that the lower fourth of this album package, under the shrinkwrap, has a band around it. That is sticky tape. It’s hard to see, but all the way over on the far edge of this band (on the lower right-hand corner of the album, not of the photo) the Deluxe Edition logo is replicated.

Here you see the shrinkwrapped album’s back cover. Note the two white patches on the bottom; these are the edges of the tape. On this release it doesn’t go all the way around. What a ridiculous thing to do to reproduce the effect of the plastic slipcover’s frosted bottom. I’ve had to pull this tape off of a couple of packages, and it is a small wonder that it is easily removeable and does not rip the jackets.

The last picture, taken from online, shows how the Deluxe Edition logo eventually got whittled down to a little sticker on the shrinkwrap of albums in the series. I know that it is a good thing to use less plastic, but hold an opened copy of the Tom Petty Deluxe Edition in your hand and a copy of The Who Sell Out in its slipcover and it’s obvious which one feels more special and meant to last. (Though I can attest that some of the plastic slipcovers do age poorly; I have one that is yellowing terribly. Most of mine are fine, but it’s a crapshoot.)