Brooklyn’s Don Diva is Foxy’s debut album at KOCH Records and the album her long-time fans have been fiending for. It’s an incredible collection of gritty street anthems that Foxy’s been working on for years now. It’s all new. And it’s fire.

Despite her recent incarceration, Foxy isn’t too concerned. As she states, “This is just a temporary situation. I made my bed and have no problem lying in it. My will is steady. What doesn’t kill me will only make me a stronger and better person, by my own doing. I think there are greater injustices in America that require our immediate attention, I will not surrender.”

Foxy Brown needs no introduction, but in case you need to get up to speed, here’s a quick snapshot to refresh your memory : Her work on her three solo albums (Ill Na Na, Chyna Doll, and Broken Silence) as well as her membership in the rap supergroup The Firm (members include Nas, AZ, and Nature) helped propel her to superstardom in the world of entertainment.

TRACK - LIST

01 Brooklyn’s Don Diva 2:35
02 We Don’t Surrender (Feat. Grafh) 4:05
03 We’re On Fire (Feat. Mavado) 4:23
04 Dreams Of fu*king A D-Boy (Feat. Jay Rush) 3:09
05 When The Lights Go Out (Feat. Kira) 3:34
06 Never Heard This Before (Feat. Dwele) 4:11
07 Too Real (Feat. AZ) 2:53
08 Star Cry 4:30
09 Why 4:11
10 She Wanna Rude Bwoy (Feat. DeMarco) 3:30
11 The Quan (Feat. Lady Saw) 3:46
12 Bulletproof Love/One Love (Feat. Lil’ Mo) 3:48
13 How We Get Down (Feat. Grafh & Prinz) 4:29
14 We Set The Pace (Feat. Morgan Heritage & 4:24 Spragga Benz)
15 The Quan (Bonus Track) (Feat. Lady Saw) (Hip 3:44 Hop Mix)

CLICK HERE TO DOWNLOAD THIS FULL ALBUM !!! Right now!!!

WE DO IT FOR THA HOODZ!!!

• HTR, Let It Die
• Forcefield ON, Llipspill
• Spiraling, Time Travel Made Easy

Twenty-five years have elaspsed since Speaking In Tongues gave Talking Heads their biggest commercial success, but the passage of time hasn't diminished the influence or freshness of the New York band's first post-Brian Eno record...

It's 1981. Talking Heads have just released the wildly ambitious Remain In Light, but the band's future is far from assured. How could they possibly follow such an album? Where next? Bassist Tina Weymouth said at the time: “We spent so many years trying to be original that we don't know how to be original any more.”

So Talking Heads did what any highly creative band on the verge of splitting up should do: the quartet went on hiatus to distract themselves with side projects. David Byrne made The Catherine Wheel, a soundtrack for a ballet by his choreographer girlfriend Twyla Tharp. Weymouth and husband/drummer Chris Frantz cut their first album as Tom Tom Club, a pop-by-numbers moneyspinner. And guitarist/keyboardist Jerry Harrison, not to be outdone, released his first solo album, The Red And the Black, which satisfied Jerry Harrison, if no-one else.

When they regrouped, the niggling jealousies within this famously dysfunctional band had not disappeared, but they had receded sufficiently. In his seminal Heads biography This Must Be the Place, David Bowman writes: “They still appeared more Addams family than Brady Bunch, but they no longer seemed to be embittered.” The new congenial atmosphere allowed them to make their fifth great album, Speaking in Tongues, released in late May, 1983.

For three reasons, Speaking in Tongues was a departure from the norm for Talking Heads. Firstly, all four core members had now proved they could work independently of the band. Secondly, it was the first album to benefit from the interracial 'Expanded Heads' group that appear in the Stop Making Sense concert film. Thirdly - and most importantly - it was Talking Heads' first post-Brian Eno release.

Eno's influence on Talking Heads cannot be understated. Band and producer met in London in 1978 when the Heads were supporting the Ramones. Their instant bond was such that Eno would produce their next three albums and loom large over the most fertile phase of the band's history. Famous for his musical non-ability, Eno described his input as “listening to what they were doing and picking out sounds and making new sounds from them... using delays to create new rhythms within their own.” In the following years Byrne and Eno were almost joined at the hip, hanging out among the Manhattan trendies, collaborating on the leftfield LP My Life in the Bush of Ghosts, even dressing alike; their relationship as fellow artists was intense, but platonic. But within the fragile power structure of Talking Heads, their exclusive cosiness inevitably caused tension. Note that Eno is just one letter from Ono.

The final insult for the other Heads was the biased credit on the sleeve of Remain in Light: 'All songs written by David Byrne, Brian Eno and Talking Heads'. Byrne sensed that Eno's ongoing influence would spell the end of the band that had taken him from a skinny young art student in Rhode Island to a skinny rich rock star in New York, and ended the relationship. Eno being Eno would say that it was he who lost interest in such conventional music makers.

Following the 'Big Suit' tour with the Expanded Heads, the band flew down to the Bahamas to start work on the as-yet-untitled Speaking in Tongues. But the exotic surroundings weren't inspiration enough for Byrne, who would fly back to New York to pace around his SoHo loft with a tape recorder, mumbling lyrics to himself day and night – in short, speaking in tongues. Byrne was no Dylan: he didn't do narrative – his lyrics were disembodied slogans and Dada-like verse. But this time, Bowman reports that “the words weren't just random. David was actually saying something, it just wasn't in a linear fashion.”

In fact Byrne was writing his best lyrics yet. On Burning Down the House, David Byrne, certified oddball, sings emphatically: 'I'm an or-di-na-ry guy!' On Making Flippy Floppy, he is almost political in the ever-topical line, 'Our president's crazy'. Perhaps the best lyric on the album is from This Must Be the Place (Naïve Melody): 'Love me till I'm dead'. The double entendre, in such a sweet song, is perfectly poised.

Musically, Speaking in Tongues takes the Heads' love affair with funk to its orgasmic conclusion. The rhythms are complex, African, black. The relentless pulse of the music was boosted by the Expanded Heads, especially by the talents of Parliament keyboard legend Bernie Worrell and Wally Badarou, a classically trained funk maestro. That's not to say the white Heads couldn't do rhythm of course: Frantz's drumming, Weymouth's bass, and Harrison and Byrne's guitars are all tighter than ever. 

Side one (in vinyl terms) is practically flawless: Burning Down the House, Making Flippy Floppy, Girlfriend is Better, Slippery People, I Get Wild/Wild Gravity. The beats are hypnotic, the synths dark, Byrne's voice fizzing between paranoia and elation. Side two starts with the electro-blues of Swamp, where Byrne pulls off a convincing Delta growl, before – sadly - two filler tracks, Moon Rocks and Pull Up the Roots. The album ends on This Must Be the Place (Naïve Melody), with everyone apart from Frantz playing instruments on which they're not proficient. The result is aptly naïve but beautifully sincere.

With Speaking in Tongues, Talking Heads sold a million copies for the first time, most in the emerging Japanese format of pre-recorded cassette. The record industry was changing. MTV was dominant. The dollar-eyed Eighties were in full swing. Punk was dead. Post-punk was dead. Talking Heads, now one of the biggest bands in America, would spend three more albums trying to reclaim their former edge. As it turns 25, this landmark work of prog-funk genius is definitely due a reissue.

Released: June 1983
Produced by: Talking Heads

01: 'Burning Down the House'
02: 'Making Flippy Floppy'
03: 'Girlfriend is Better'
04: 'Slippery People'
05: 'I Get Wild/Wild Gravity'
06: 'Swamp'
07: 'Moon Rocks'
08: 'Pull Up the Roots'
09: 'This Must Be the Place (Naïve Melody)'

Musicians

David Byrne. Vocals, keyboards, guitar, bass, percussion.
Chris Frantz. Drums, backing vocals, synthesizer.
Jerry Harrison. Keyboards, guitar, backing vocals.
Tina Weymouth. Synthesizer and string bass, backing vocals, guitar.

Alex Weir. Guitar.
Wally Badarou. Synthesizer.
Raphael DeJesus. Percussion.
Steve Scales. Percussion.
David Van Tieghem. Percussion
Richard Landry. Saxophone.
Nona Hendryx. Backing vocals.
Dolette MacDonald. Backing vocals.
Bernie Worrell. Synthesizer.
Shankar. Violin.

1983: The Albums

'Murmur' REM
'Synchronicity' The Police
'War' U2
'She's So Unusual' Cindi Lauper
'Swordfishtrombones' Tom Waits
'Madonna' Madonna

This feature appears in the current edition of Clash magazine

Pilotwings was a sort of breakthrough step in the career of the All-Stars, like Compositions before it and Supertots later, hinging on a series of real-life events that culminated in a easy outpouring of artistic and musical concepts. Unlike the other recordings, thought, Pilotwings actually employs the use of field recordings spliced in between songs from the actual day's events. Musically, the group is on a blatantly Dadaist kick here, pirating tunes and beats from a kidnapped PSR-190 while improvising several idiot savant performances in a row about Winter Olympics events, demolition derbies, skiing resorts in the middle of Ohio cornfields, and thoughts on rumors of an ex-classmate cutting off a finger while sledding. On board for this one were Walt, Burt Schmartzky, Donnie Maleriamax and Bobbi Leshmaltfe, with a few fingers on the keyboard and all huddled around a gray Texas Instruments tape recorder like working stiffs in a teleconference meeting hoping to get a word in before the line goes dead or someone spills their Diet Coke on the receiver, screaming, singing and sometimes farting towards the tiny built-in microphone. Entire passages of actual television audio footage pass by for several minutes at a time while the group was likely eating cinnamon sticks and consulting the latest U.S. Cavalry catalog for inspiration, including banter between hosts and bizarre American cable television stars like the workin' man Dusty Rhodes, later moving into footage of the group ordering from a drive-through at Taco Bell. There are no set-ups or skits involved, just an honest record of one night's diversions. As time has passed since this album's original release, different aspects have come to be carry more meaning. The various keyboard programs, for instance, have proven to be remarkably suited for the task of accompanying the more or less scatological content of every song - for many, what began as a random train of thought such as athletes weighing in before competing in the Luge Doubles event ended up a cohesive musical essay on concepts of musical and textual cooperation, spontaneous creation, no-rules improv game theory and genuine look at the interactions of a few relatively insecure young artists with so much to ridicule and so little cassettes to tape over.

Track listing:

1. Mad River Mountain
2. Bob
3. Pilotwings
4. Team Luge
5. Demolition Derby
6. Kim Singin'
7. Keyboard Maniac
8. Kentucky
9. Curfews
10. Techno
11. Buttercup
12. Toxic Hell

NEW SONG UP NOW!

We have put up a new song called "Monster" on our page, stop by for a listen. The new album "LIES" is going to be in stores and online June 24th. We will keep you updated as we get closer to release.
BV

Website: www.myspace.com/bonvoyagemusic

Cuando salió la película recibí una de las bandas sonoras más entrañables que he escuchado. Como no, la película no fue menos y es una gran recomendación para todos los extraterrestres que no la hayan visto todavía.

Temas acústicos y de cantautor se mezclan con artistas muy "sixties", la mezcla perfecta para escuchar con tranquilidad. Se han incluido temas de Kimya Dawson, Belle & Sebastian, Sonic Youth, Cat Power, The Velvet Underground y The Moldy Peaches, entre otros.

Me gustaría destacar especialmente la versión que se incluye del Anyone Else But You de The Moldy Peaches interpretada por Michael Cera (Paulie) y Ellen Page (Juno) en la ultima escena de la película. Del éxito que obtuvo Ellen Page parece haber decidido hacer como Scarlett Johansson y grabar un disco.

Juno (Music from the motion picture)

1. Barry Louis Polisar - All I Want is You
2. Kimya Dawson - Rollercoaster
3. The Kinks - A Well Respected Man
4. Buddy Holly - Dearest
5. Mateo Messina - Up The Spout
6. Kimya Dawson - Tire Swing
7. Belle & Sebastian - Pizza, New York Catcher
8. Kimya Dawson - Loose Lips
9. Sonic Youth - Superstar
10. Kimya Dawson - Sleep
11. Belle & Sebastian - Expectations
12. Mot The Hoople - All The Young Dudes
13. Kimya Dawson - So Nice, So Smart
14. Cat Power - Sea Of Love
15. Antsy Pants - Tree Hugger
16. The Velvet Underground - I'm Sticking With You
17. The Moldy Peaches - Anyone Else But You
18. Antsy Pants - Vampire
19. Michael Cera and Ellen Page - Anyone Else But You

Desde Titanic no ha habido otra Banda Sonora número uno de las listas de ventas en Estados Unidos. No por esto, sino por todo lo demás es mi recomendación del día.

Flickr | Kevin Mosley

web | Juno

Ya está online la nueva maqueta de distribución en Internet de El Chojin. Esta maqueta con título "Aún Rap por placer" en alusión y continuación a la maqueta del año 2004 "Rap por placer" contiene 7 temas. Tras el Maxi Rap Positivo y el LP "Stripteas" el pasado año, El Chojin vuelve a traernos música de forma gratuita, realizada "por placer".

Posiblemente por la limitación del reproductor de Myspace (medio por el que El Chojin difunde la maqueta) el tracklist que se dio a conocer inicialmente ha variado de forma que sólo se han publicado 6 temas, los que permite el reproductor. Si el séptimo tema aparecerá de alguna forma, o no, lo desconocemos. Pero aquí os servimos el tracklist según el Myspace del Chojin, en el que podéis escuchar y descargar la maqueta.

1. Aún Rap por placer
2. 10 Rap Commandments
3. Juguemos
4. Vete a cagar
5. No nos cogeréis vivos (con Duo Kie)
6. Lo que te pierdes

Simplemente me quedo sin palabras cuando hablo de este Mc, uno de los mejores Mc's para mi, y a parte de eso, creo que es un Mc que vale como persona, no tengo el placer de conocerlo, pero si que me imagino como es por todas las entrevistas que he leido, por sus conciertos, etc...

"Fans no mis Amigos"

Myspace | El Chojin

Albumul se numeşte La mécanique du cœur şi aparţine trupei franţuzeşti Dionysos care în ciuda faptului că nu sunt foarte cunoscuţi activează de 15 ani. Îşi citează ca influenţe pe Tim Burton - lucru care de altfel se şi observă în cazul de faţă - şi crează prin muzică o lume doar a lor. Albumul ăsta mi se pare ca o poveste despre inimi şi cum bat ele, spusă unui om mare înainte de culcare.

[audio http://www.fileden.com/files/2007/5/25/1110151/02%20-%20La%20ber%C3%A7euse%20Hip%20Hop%20du%20Docteur%20Madeleine.mp3]

Don't you wanna sleep don't you wanna sleep
My motherfuckin' heart does clic-cloc-ding dong !
My motherfuckin' heart does clic-cloc-ding dong !
Love is dangerous for your tiny heart
Even in your dreams, so please, dream softly
You mean without sex
I mean without passion

(La berçeuse Hip Hop du Docteur Madeleine)

De altfel, albumul chiar se bazează pe o poveste, prezentată în cartea cu acelaşi nume a solistului trupei, Mathias Malzieu, o poveste deosebit de frumoasă. Un băiat se naşte în Edinburgh în 1874, în cea mai friguroasă zi. Inima i-i îngheţată aşa că moaşa i-o înlocuieşte cu un ceas cu cuc, care funcţionează perfect atâta timp cât nu-l atinge şi nu se îndrăgosteşte, făcând astfel ceasul să explodeze. Evident lucrurile se complică, dar eu nu mai dau spoilere. :P

La mécanique du cœur se poate asculta integral pe last.fm, aici, şi merită din plin.

Mai au alte 5 albume înaintea ăstuia, dar încă nu le-am ascultat. Cu singuranţă o să o fac.

The album was not a proper studio release but was in the words of the liner notes

unreleased demos, dead dogs, weak sisters, failed experimentsand/or otherwise brilliant material(depending on your point of view) that never saw the light of day."

One of my favorite songs from that album is MT

[audio http://drivebymedia.files.wordpress.com/2008/05/01-mt.mp3]

Lyrics to MT

Come on let me in
I swear I'll be your only friend
And I will get down on my knees for you
And if I could
You know I would do anything at all
To get you near today
Hear me say

You're more than money
More than glory
More than I could ever hope to say
You're more than beauty
More than mystery
More than now
More than yesterday

Take me to your heart
'Cuz there is where we make it start
And I will get down on my knees for you
And pay the price
Sacrifice
Do anything at all to melt your soul on ice
Realize

You're more than money
More than glory
More than I could ever hope to say
You're more than beauty
More than mystery
More than now
More than yesterday

More than a lover
More than a friend
More than a talent
More than a trend
More than a mystery
More than a dance
More than your history
More than romance
More than your politics
More than your plans
More than a sure thing
More than a chance
More than your weakness
More than your strength
More than completeness
More than fragments

Out of print but you can still purchase at amazon.com
Website www.77s.com
Wikipedia The 77's

In the comments on this post considering songs of the heart Kim mentions the 77's and Undercover.

For Download Click On Read More

Download :

CD 1 :

Mirror 1 :

http://www.zshare.net/download/49580957c86ba8/

Mirror 2 :

http://www.badongo.com/en/file/5167952

----------------------------------

CD 2 :

Mirror 1 :

http://www.zshare.net/download/4958164d85c4dd/

Mirror 2 :

http://www.badongo.com/en/file/5167985

Download :

Mirror 1 :

http://www.zshare.net/download/10817237e59e3ff9/

Mirror 2 :

http://www.badongo.com/file/8927865

Mirror 3 :

http://www.mediafire.com/?mwnntyylghj

Download :

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http://www.zshare.net/download/5229370fec3d86/

Mirror 2 :

http://www.badongo.com/en/file/5333888

Download :

Mirror 1 :
http://www.zshare.net/download/6592071cf50334/

Mirror 2 :
http://www.badongo.com/en/file/7346692

Tracklist:

01. Killa (featuring Yung Joc)
02. I Ain’t Trippin’
03. Amnesia
04. Notice
05. Framed Out
06. Before You Were My Man
07. Superstar
08. Only One
09. Love Sick
10. Damages
11. Like A Drum

CLICK HERE TO DOWNLOAD THA FULL ALBUM, right now!!!

Tickets are also on sale on the website (NOT ticketmaster thank god) . The show in Toronto is the 5th of August, at the Air Canada Centre and deerhunter is opening. The presale tickets are sold out, but they officially go on sale tomorrow at 5:00 easter.. standard... jibby.

For more dates check the website::

http://tour.nin.com/

-Kim.

of course all of this was possible thanks to a limo driver (of all people). its not as if he has off to the sidelines eggin' us on, but we never would have made it to The Sound Academy if he didn't have such great timing. like i mentioned already...we were drunk. of course this wasn't really apparent to us until we tried to negotiate our way to a small house party afterward. none the less, downtown toronto never seemed this interesting.
we'd been waiting by a bus stop with a gaggle of other fans unaware the TTC had taken it upon themselves to go on strike. at this point there were roughly ten of us in total. kim and i had found two randoms from ajax while gettin off the go train, and the rest seemed to come to us. its interesting how you can always tell who else downtown is trying to find their the same concert. your drunk, their drunk - you've basically become walking magnets. the point is, a limo pulled up and kim talked him into taking us all to the venue for 50 bucks. not too shabby eh? i know. the best part about all of this is that a friend of ours was supposed to pick us up and give us a ride the the show but had figured we headed out early and left us at home without transport. so you can imagine the look on his face when we finally showed up, in style. or maybe you can't. don't blame me for your lack of imagination.

getting in was no problem. quick pad down and what not then straight to the front. general admission is great because there's no reason you cant make it to the stage. if you don't its either because your in crutches or blind. of course, i have seen both right up by the gate so maybe its just a matter of will power. currently i'm yawning but that's not a very fair assesment of how much fun the night had been thus far. as far as any of us could tell, "Chiodos" was the headlining band with "Protest The Hero" opening up the night. neither of us were planning on staying around for the rest of the show once protest was finished but things didn't exactly turn out that way at all. the whole concert seemed a little reminiscent of Ozzy Ozbourne's 1986 tour with Metallica. halfway through the tour Ozzy had apparently realised that most of his audience was going home after Metallica had finished. so he did the only thing he could do. he changed the bill and opened for Metallica the rest of the tour. Could you really blame him though? they had just released Master Of Puppets and now had the three best metal albums under their belt. seems better than playing for a handful of fans whose combined age is most likely less the amount of money they had all spent on drugs that night.

NOISE
NOISE
NOISE
and then Protest takes the stage! this is of course after I had already spotted Arif Mirabdolbaghi (protest's bass player) in the audience and interupted his conversation, with i imagine his girlfriend, to tell him he was incredible. sorry Arif. But they came out blairing the instrumental found at the last two minutes of "Palms Read" from their third album "Fortress". Buy it. You've never heard another album that'll make your neighbours call the cops at 4 in the afternoon. Its that intense. Here's a good example. When we had first gone to see Protest at the Kool Haus (after talking our way into free tickets from Edge 102 fm) the band was so loud we had to move a little further back because the speakers were giving kim chest pains.
The funny part about Protest The Hero is that everyone pretends their first album(A Calculated Use Of Sound) doesn't exist. them especially. at the end of the show they had started to play some forgettable tune from it and 10 seconds in stopped abruptly, laughed, and pumped out "Bloodmeat". they did however play a few songs from "Kezia" (including No Stars Over Bethlehem, once a live rarity but i've seen it twice now) which everyone went nuts for. especially all the skanking emos behind us with bleeding noises.

All in all it was the best show we've been to in a while but that will only last so long. i mean come on, The Mars Volta? that's bound to be the best show of the year! At least until Alice Cooper...in October.

'Oracular Spectacular': Velkommen ind i MGMT's parallelunivers med zulu-folk og skæv, psykadelisk popmusik. På den europæiske udgivelse afbilledes forsanger Andrew VanWyngarden og keyboardspiller Ben Goldwasser på coveret, som hvad der bedst kan betegnes som new rave-surferzuluer, og i deres musikvideoer danser et lignende stammefolk med ildfakler rundt på stranden i solnedgang. Indimellem spiller MGMT da også på new rave-tangenterne så at sige, men bandet spænder over mange flere genrebetegnelser. 70'er ikoner som Bowie og Dylan er nogle af bandets forbilleder. Specielt førstnævntes popånd kan høres i musikken, og Bowie's status som popmusikkens kamæleon genfindes som inspirationskilde hos MGMT, idet deres musikalske udtryk i høj grad er flertydigt. Surf / Jungle / Country, som der står på myspace-profilen. Dette, blandet med electronika, skæve synths og psykadelia, er nok det nærmeste, vi kommer med en beskrivelse af ord.

I 2005 udsendte de debut-ep'en 'Time to Pretend', og nu, i 2008, udsendte de altså fuldlængderen 'Oracular Spectacular' i Europa. Resultatet er uden tvivl spektakulært. De fem første skæringer er helt igennem fantastiske, geniale og enestående. Pladen starter ud med den eminente 'Time To Pretend', hvor lyrikken i sig selv er forbløffende: "This is our decision / To live fast and die young / We've got the vision / Now let's have some fun". Sangen handler om den selvdestruktive, ungdommelige tilværelse som rockstjerne - uden happy ending: "We're fated to pretend". Hvor 'Time To Pretend' har massive synth-effekter er anden skæring, 'Weekend Wars', mere rytmisk rockpop med storladen slutning. Denne efterfølges af den svimlende 'The Youth', der er mere afdæmpet, underlig nostalgisk og helt vidunderlig. 'Electric Feel' er tekstmæssig overlegen, über funky og fandens fængende. Melankolien finder MGMT frem på den hjerteskærende 'Kids'. Anden del af albummet er niveauet mere moderat. '4th Dimensional Transition' er eksprimeterende med inspirationskilder fra østen. Den ligegyldige 'Pieces of What' virker næsten anstrengende, mens 'Of Moons, Birds & Monsters' fungerer fortrinligt som blanding af blues og pop. På pladens to sidste numre, balladen 'The Handshake' og den poprockede 'Future Reflections' stiger intensiteten en anelse igen og runder albummet fint af.

'Oracular Spectacular' er et gennemført album, der beviser at MGMT er et superfedt band med musikalsk integritet. På trods af man kan høre nogle tydelige referencer, har de formået at kombinere dette med deres egne idéer og skabt noget nyt og unikt. Med Flaming Lips-producer bag knapperne har de fået lækker, sprød lyd. De har desuden tænkt meget over image, og resultatet er originalt. Duoen har skabt deres helt eget 4 dimensionelle univers.

Hvis du er til Flaming Lips, Klaxons og Muse skulle du tage at lytte til MGMT. Mange af de fedeste numre ligger på myspace, og alle numre fra debutskiven ligger faktisk på Virb. MGMT har også gjort sig bemærket med deres surrealistiske interaktive musikvideoer, man selv kan konfiguere på MGMT's hjemmeside, men kan se dem på tuben. Desuden kan det oplyses, at frontmanden er begyndt at skrive sange til et nyt (side)projekt. Nemlig duoen med det norske navn Blikk Fang, der udover VanWyngarden består af Kevin Barnes, som er frontmand i Of Montreal. Meget spændende. Dette er imidlertid ikke lig med MGMT's død.

MGMT optræder på årets Roskilde Festival.

myspace

virb

who is MGMT?

Fans of Tiesto and his In Search of Sunrise series received some good news this week. Tiesto will be releasing In Search of Sunrise 7: Asia later this year. (Amazon has the American release date as June 10, so mark your calendars to go get it.) For me personally, this is terrific news. I've long been a fan of this series--ISOS 3 has always been my favorite, but I listen to 4, 5, and 6 a lot on shuffle, and it's top notch work from the song selections to the mixing. Can't wait to hear Tiesto's take on Asian trance energy. Also on the plus side, this will be another double disc. For more info, go to Tiesto's website.

HTR (Holy Trinity River, I'm a bit confused about whether they use the initials or the whole name) is a three-piece band out of Brooklyn, via Texas, and boy does it show. Let It Die is their second EP and it is stripped down and country-fried guitar rock. HTR channels the same alt-country influences The Honorary Title or The Meadows, but Let It Die foregoes the emphasis on pop melodies and really digs into the blues roots of rock music. The result is gritty, no-frills rock that would be just as at home in a backwoods bar fifty years ago as it is in Brooklyn today.

Standout track is "The Shaker."

So here we are. Full of catchy riffs, upbeat melodies and uplifting lyrics, Elephant Shell isn't an album I would expect from Saddle Creek, but it's one I welcome with open arms (perhaps I've been blinded by the abundance of Cursive in my less than impressive collection).

Opener "Centennial" is like a nice walk in the park and a smooth way to ease into the record. However the album proceeds to quickly build up to the rhythm induced "Juno" and melody infused "Tessellate". With the record peaking at track 5, one can't help but be slightly disappointed with such a fast giveaway. As expected, the album recesses, but we are briefly revived with the upbeat and infectious "Your English is Good". Unfortunately we are forced to "Listen to the Math" which is as boring as it sounds (says the Math major). Perhaps had it not followed "Your English is Good" it would have been a much more enjoyable track. Kind of reminds you of high school no? Finally, I can't decide whether "The Baskervilles" is a good enough ending. There's something about it that just doesn't yell conclusion to me. But if you account for the remixes, "The Baskervilles" isn't exactly the conclusion I was looking for anyway.

B
All in all, a great album, on the short side, but it's good enough for my musically induced ADD.