Typically when we think of Noise Rock, we think of Sonic Youth.  They are, undoubtedly, the poster-boys for the genre.  Although more melodic than most of their songs, Teenage Riot is a good example if you're unfamiliar with the sound.  Bull in the Heather is another pretty accessible song indicative of Sonic Youth's dissonant style.  Alternatively, Hüsker Dü and The Jesus & Mary Chain are arguably more mainstream (or at least less experimental) versions of the 80s Noise Rock sound.  Both bands went on to have a huge influence on the Pop-Punk and Shoegaze genres (respectively).

However, if we consider dissonance and over-utilization of feedback as defining motifs for the genre, the sound was probably pioneered by the Velvet Underground with their songs "Heroin" and "Venus in Furs."  In this case, the genre dates back to the 60s.

Coming back to the 90s, we see that Noise Rock has gone the way of all sub-genres of Rock'N'Roll: it has splintered further into more distinctive sub-genres.  Leading the Shoegaze movement, you have My Bloody Valentine with their lush yet abrasive, super-distorted style.  Math Rock was being defined by Don Caballero, taking more from the experimental time signatures and dissonance of Noise Rock than from the overly-distorted sound.  Earth was pioneering the Drone (or Doom) Metal genre, focusing on drawn out experimental distortion played at extremely loud decibels.

Post-Rock, combining elements of all these sub-genres in a more musically and conceptually intricate fashion, would become a mainstay throughout the late 90s and early 00s.  But we'll save that for another post.

What I really mean to talk about here is the resurgence of Noise Rock as it applies to bands today.  We're seeing more and more bands within the indie scene rejecting the stylings of the alt.country and twee-pop bands that were so common during the early and mid '00s.  As the pendulum swings back towards distortion, we see something more like this:

The sound, heard in recent bands like Parts & Labor and Titus Andronicus, relies heavily on percussion.  The constant driving beat is really what holds the songs together, because the majority of the other instruments are quite chaotic.  There's a certain frenetic yet stripped-down quality to today's Noise bands that draws more upon its punk ancestry than many of the genre's predecessors from the 80s and 90s.  However, that's about as far as its connection to punk goes.  The songs are filled with the synth pop "doop beep boop" that's been so common in recent indie pop, yet it seems strangely novel and refreshing when placed against the wall of sound being emitted by the other instruments.

Definitely give both of these bands a chance.  Not all of the songs will be your cup of tea melodically, but if you're looking for something with a frantic kind of energy that the indie scene has been missing recently, this is just what you need.

So this is what insanity sounds like…

Formed in 2001, the aptly-named Dynamite Club features guitarist and vocalist Kentaro Saito from Tokyo, drummer and vocalist Mike Pride from Brooklyn, and current bassist (the band’s eighth!) Evan Lipson. This bi-continental trio has forged an identity through the fires of the New York and Tokyo scenes to come out as one of the most unique noise rock bands in recent memory.

Their latest release, Fusion Era, finds Dynamite Club launching into a preposterous 12-track set highlighted by abnormal flashes of funk, bursts of noise, SOAD-esque rock segments, and intervallic sections of puzzling exquisiteness.

Like most noise rock, it’s pretty senseless to divide it up into palatable segments. Fusion Era is not a record that is scanned or divvied up into tracks for analysis, although there are many great moments worth highlighting. As an album, it stands as a whole work of art. It may be a deafening, hectic, infuriating work of art, but Dynamite Club has created something special here.

All but two of Fusion Era’s tracks run under the two-minute-mark, with several running under a minute. Bleats of noise, strewn shards of rhythm, blasts of guitar, unstructured soloing, and warped bass suffuse each track with madness. Saito’s shouts, screams, wails, and affectionate anarchy bring the fucking house down.

For many people, Fusion Era simply won’t work. Noise rock is a risky genre. I happen to love it, but many of my friends simply can’t grasp what I find to be “beauty in chaos.”
Still, Dynamite Club is, at times, as undemanding as any other Japanese rock band.

Take the appropriate “Japanese Song” as an example. Saito begins singing over a standard J-pop set-up, but quickly loses the grain of the song and meanders off into a distorted blend of fuzz, wrecked instruments, and clattering percussion. Towards the end of the song, Saito and the rest of the Club picks up the beat again and tries to round the song out. It all sounds riotously like a bad television performance.

For the most part, however, Fusion Era finds Dynamite Club making lots of jubilant noise. Deconstruction works as a theme, as songs begin with eagerness but quickly overturn into psychosis (“Cow Fat”). Others take the noise and convert it to something funky (“www.porno.net”). And still others take a windy, haunting road to their final resting place (“Eye Like to Watch”).

Dynamite Club’s Fusion Era is an album that is as much about the deconstruction of sound as it is about the construction of noise. Songs bray and lament over hard guitars and fucked-up vocals, giving things an exasperating edge. Some, like me, will find beauty in the chaos. Others will simply sit, flabbergasted, and wait for the blasted exercise in “art” to be over and done with.

8/10

Video of Dynamite Club w/ Sofie the Go-Bot @ the Pussycat Lounge:

Two men from Leeds, but a wall of sound. James Islip on the drums and Andy Abbott with a baritone guitar transform into monsters when entering the stage, make more noise than they should be able to. Often improvised, always loud, always hypnotic and enthralling, That Fucking Tank always leave an impression on the audience with their heavily riff-reliant intensity.

Take the slab-heavy mathematics of Shellac and injecting them with an elastic twang reminiscent of the Minutemen, always in the way of a good solid groove, be it fuzzed-out bass note roars or clanking staccato funk, these five songs on "a document of the first set" are guaranteed to have your puny frame forming unimaginable contortions in vain attempts to keep up with their multi-directional racket. You may feel your head bobbing erratically, joints grinding, clicking and locking uncomfortably while each toe tries to sneak your feet in a different direction, but I swear you won’t regret a single aching tendon.

"A document of the first set" is the debut from these two Ex-Kill Yourself members, recorded in a few brief moments in the top of a pub before a William E. Whitmore gig and catched perfectly the best moments to listen to That Fucking Tank: live and loud. The fine people at Jealous Records turned it into a record in May 2004 and the band with this delightful non-radio compatible name is releasing stunning records until today and regularly plays live gigs on the British Isles and Europe. Make sure to check them out, robust and riff driven math noise.

The rain travels all the way from Siberia and this is the first place it breaks.

Hella began in 2001 in Sacramento, California as a two member band writing technically intricate music of a highly spastic nature. They play a blend of math rock, noise rock and avant-garde. On early albums, the band forged their classic sound, playing minimally arranged, abrasive instrumentals that still retain an idiosyncratic sense of melody.

In 2005, the band expanded their live band by adding Dan Elkan on vocals, rhythm guitar, and synth and Jonathan Hischke on bass guitar. In 2006, Hella’s line-up was expanded to include Hill’s cousin, Josh Hill (guitar), Spencer’s Advantage bandmate Carson McWhirter (bass) and Aaron Ross (Vocals).

Download: The Devil Isn't Red

Web: Myspace Page , Website

Drumcorps is a Berlin-based one man wrecking crew, Aaron Spectre.  The music is grindcore, breakcore, noisecore, noise metal, or whatever you might call a brutal onslaught of your ears and mind.  In other words... awesome, but not for everyone.

The Altered Beast LP is music by Animosity and remixed by Drumcorps.  The music is all free online... you can get it 100% free as (great quality) 320kbps mp3 or (better/CD quality) FLAC:

*freemusic* http://drumcorps.cc/alteredbeast/mp3 *freemusic*

*freemusic* http://drumcorps.cc/alteredbeast/flac *freemusic*

01 Thin Retro God
02 A Profit on Greediness
03 Mobs Over, Rob Me

The main thing about this blog was to mention how gorgeous the vinyl editions are... wholly cow... It's an etched & foil stamped 10" vinyl, in four different color variations, some of which are ultra-mega-deluxe and come with 22-color hand-screenprinted and letterpressed jackets.

The vinyl is all limited edition, and based on the pictures above, I can see why.  When I ordered, the Birthday Cake style was out already (only 100 made); but the Cupcake (200 made), Wealthy Eggplant (300 made), and Moldy Cheese (400 made) styles were all available HERE at Man Alive! Records.

~Dan - np: Drumcorps / Animosity - Altered Beast

Earlier this summer I wrote a music update for Teddy's alternative press at Roger Williams University (the Bird Cage).  Since he has returned to school, he has asked me to write a similar update concerning fall. Well, seeing how it isn't fall yet, and seeing how the deadline was last night, I wrote about the end of summer. Even though I do listen to leaked music, even the greatest leaks aren't more than a month ahead of the release date--well, with exceptions, the infamous leaking of Radiohead's Hail to the Thief, which leaked in a pre-finished form about a year ahead of its official release.

After visiting the Bird Cage website, it's pretty clear that the site's quality is not that visually appealing. Yes, the site looks like it was designed in the middle of the 1990s using the Geocities page builder, and yes there are some pretty noticeable typos throughout the site, including on the main page, but the site isn't exactly being worked on by a bunch of professionals. Teddy took the time last spring (during my final semester) to learn how to use Dreamweaver, and designed the site from the bottom up, "from scratch" you might say. In addition to that, regardless of the few (or is it just two?) additional writers he has helping him out with content, he does all the writing himself. That said, I take pride in writing for this work in progress, and I also take pride in writing for a college audience, as I know I would have looked to greater powers when I was an undergrad learning about all the music being created out there.

The End of Summer Music Update

With the season for love, romance, and reproduction pretty much moving into the backs of our minds (for all you kids who don’t see keep track of these things, it’s called summer, and it’s a time for revealing fashion trends, aromatic plant scents, and densely-populated music festivals), even though we try our hardest for the season to stick around as long as possible, there’s a strange amount of upbeat albums still to be released this year. Actually, there is a nice diverse pampering coming our way in the next few months. August sees the release New Kids on the Block’s and Goo Goo Dolls’s Greatest Hits (I don’t think I’ll be going anywhere near the former one), a single by the Cure (yes, they’re still around, and with a remix album hitting shelves in September, Robert Smith’s hopeful new masterpiece can’t be far away), our family-film pal Ice Cube’s Raw Footage, You & Me by alt-indie rockers the Walkmen (which is currently waiting in line to be heard on my computer—if it’s anything like their last few albums, it will be worthy of more than one listen), Chemical Chords by Stereolab, and Protools by Gza (the Genius).

That list leaves a few out. For all you vinyl connoisseurs out there, Trent Reznor’s Nine Inch Nails CD from earlier this year, the Slip, will be available for the turntables. For fans of superbly crafted, artsy indie-pop, check out the Swedish musician Lykke Li’s Youth Novels that calls forth those extra-special summer moments of youthful passion, flowers, and wildly positive emotional kicks. The first track is a more feminine approach to something out of Dark Side of the Moon. Later in the month (i. e. NOW) is spiced up with That Lucky Old Son by Brian Wilson (wait, that guy is still alive?) both on CD and vinyl, the negatively-received Oceans Will Rise by the Stills (make your own decision), the live disk by indie-rock extraordinaire group the Fiery Furnaces (called Remember so that you don’t forget), and something by some guy called Keith Urban.

While you’re getting over the fact that people actually like Keith Urban and find his albums explosively innovative, heart-warming, and revolutionary (don’t quote me on any of that), you can finish up your eighth month of the year with the fourth album by recently-returned that nine-piece hard rock group Slipknot (oh my, where did all those painful memories of high school come from?), unoriginally entitled All Hope is Gone. The band’s fourth effort is being described by some as sounding like Alice in Chains, and many say that the metal influence is dwindling on most of the tracks. Well, we’re streaming it here at the state government office, and it sounds pretty hard . . . but my place for Slipknot will always be the bottom, repressed area of my heart. To keep it fare, B. B. King’s One Kind Favor comes out this week too, and watch out 50 Cent fans! The Game’s Lax hits shelves, and chances are there will be a low-blow in there somewhere! If you want even more hating, pick up the deluxe edition for a few more bucks.

Speaking of deluxe editions, transition your lives into the shorter days of September with that New Kids on the Block’s The Block album in deluxe form, next week. That’s right, it’s like a cultural comeback of your favorite teenage boy band from nearly twenty years ago—hooray! There’s a lot of stuff coming out in September that you actually should check out, though. The most anticipated album of the year (in my book) is Skeletal Lampings by indie psych-poppers Of Montreal, the follow-up to the album from last year that I played more than any other, Hissing Fauna Are You the Destroyer? I’ve already acquired the album and, after listening to its 60-minute-long-entirety two times in a row last night, I’ve already found myself oddly hooked. Why oddly? You’ll have to read my review of it when you get a chance (and/or when it’s available).

One of my favorite contemporary rappers/club rappers/crunk rappers is Young Jeezy and his Recession hits in a couple weeks. Who doesn’t love a rapper whose samples himself backing his lyrics in his own songs? And who doesn’t love a rapper who raps about having sex in the club with string-wash electronica music in the background? I don’t know much about the limited edition cut of Radiohead’s OK Computer and Kid A, but based around everything that’s gone on with them recently, they probably don’t even know those are being released. Same goes for that Morrissey DVD that came out this month, so steer clear. Instead, give Metallica another chance (any direction from St. Anger is going up) with Death Magnetic (the first single’s already on the radio-waves, and is getting positive attention, though most fans are waiting for the album release). Another album that’s available, though currently unreleased (give it a couple weeks) is Okkervil River’s follow-up to last year’s amazing album the Stage Names. Part two in the two-album series is the Stand-Ins, and it’s more somber, country-rock influenced, with richer verses, more simplistic melodies, and an equal entertainment value. In the “what happened to them” category, we’ve got releases from LL Cool J and Calexico.

If all that doesn’t fill you up for the next few weeks, send me an email and I’ll hook you up with some noise rock, an African Scream disk, an Icelandic pianist who is being thrown into the indie-rock boat, a Korean cellist that isn’t, and some Minimalist Electronica that will make you jump up and say “we’re going to Detroit” (which I hope you don’t actually go through with).

Pretty on the Inside, Hole's first album, is one of the most grossly forgotten grunge albums of the early 90s. While it was acclaimed by the underground in its time, it's basically been forgotten, probably since the band (and most female-lead bands of the time) never get the respect they deserve from the hard grunge scene. And it's even less surprising that the mainstream press ignored it. There's not even the slightest hint of a pop sensibility, unlike Bleach, which at least had “About a Girl” and still got no coverage. There are no hints of future hits like “Doll Parts.”

The album shows Hole at a very experimental time, with two noise collages, one of which includes an angry telephone message from Inger Lorre of the Nymphs (”Sassy”) and the other which has a snippet of one of the earliest songs Courtney ever wrote (”Best Sunday Dress” on ”Star Belly”). Noisy as those songs are, they're basically no different from the regular songs, except shorter and with none of Courtney's “singing.”

The music on Pretty on the Inside is greatly influenced by noise rock such as The Jesus Lizard and Sonic Youth, disguising somewhat simple riffs in a wash of feedback and good old-fashioned guitar noise. The lyrics are even better, easily the best part of the album. The lyrical tour-de-force would have to be “Mrs. Jones” a dizzying tale about rape and abortion. You could spend months trying to untangle the web, but there are no easy answers. Did I mention that some of these songs are really long? Almost half of them are at or near five minutes long. Take out the noise suites and you have more than half, but you don't feel it. After a few listens they become incredibly catchy.

“Teenage Whore” is a forgettable opener, and the album's first and only single, which seems strange to me as It's easily the worst song on the album. “Babydoll” has an extremely catchy guitar riff. Next is “Garbadge Man,” the album's best song, and Hole's first ever video. Few people really care for the video, but I think it perfectly fits the song's abstract lyrical and musical content. Do yourselves a favor and download the rerecorded video version of this song off YouTube. It's without a question an improvement, darkening it up and removing the annoying voice crack in the chorus.

The only real weak part of this album is the drumming. It's not bad by any means, on certain songs (”Babydoll”) it's even pretty catchy, but on some, like “Mrs. Jones,” the drummer should've been thrashing along with the guitar, but shows too much restraint. It seems like she's just there because punk bands were supposed to have drummers, although she does look really cool on the album's cover.

Finally, I'm just going to say this: Pretty on the Inside is Hole's best album. I'm even putting it above Live Through This. How's that for edgy? I have my reasons though. First of all, Live Through This is much, much too poppy. It's almost poppier than Ednaswap's first album, which reduced the impact that many of the lyrics conveyed. It's a great album, but like many bands, Hole made their opening statement and never managed to live up to it again.

Hole continued to get more and more pop until they were basically indistinguishable from all the other boring bands of the late 90's, whining incessantly with the same early 90's narrow-minded cynical selfishness but without the same insanity and energy, too rich and bored to have any problems that anyone but a celebrity could relate to. It's a shame Hole didn't continue on the punk path, because for a very short time, they were more punk than Nirvana.

Buy the CD at Amazon.com

cordas vocais rasgadas
teimam em suportar
a voz do inverno.

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esferas levemente ácidas
elevam ao cubo
sua transe matemática.

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The Jesus Lizard - Goat, 1991

The Jesus Lizard is one of the most well-respected bands of the 90's, with people from the legendary Steve Albini to Steve Funderburg exalting its praises. I can't say that I'm an expert on the band, but Goat is often considered to be their definitive, if not their best, album.

First off, just like most of the albums I've reviewed, this disc takes awhile to get into your head. One good thing about Goat is that most of the songs are very short, which make them easier to digest than, say, Pretty on the Inside by Hole. The first-listen standout is without a question “Nub,” a song about a bandmate's (made up) amputation. It's got a great slide-guitar riff and some really intriguing chord changes. “Here Comes Dudley” is sort of a throwaway for the first track (although it grows on you), but the album only falters slightly until “Mouth Breather” comes up, with a riff I've heard in a million of the shitty punk-wannabe bands that came and went in the 2000's. Jesus Lizard manages to do it first, better, and as a bonus, it includes the stop and start dynamics that became Nirvana's trademark the same year this was released.

The lyrics and singing in this album are... interesting. It would be hard to say that the lyrics are really great, but they're definitely not clichéd, and they manage tell some interesting stories ("Monkey Trick," ”Lady Shoes” is a retooling of the Aristocrats joke) and are generally very humorous (”Nub,” “Mouth Breather,” “Lady Shoes” again). Also, I should never have said that there was singing on this album. There isn't. However, there is screaming and some vocal cord contortions that fit in with the lurching guitars perfectly. Yow's voice was made for this music. I've heard it described as a “baptist minister on crack” and I won't disagree.

At only nine tracks and about 30 minutes, Goat is a little short, but I've got to wonder if it would have been as acclaimed if it required any more of you on your first listen. 30 minutes might be about the right time to end this assault. After all, there's nothing preventing you from putting it on infinite repeat if that's the way you want it.

Buy the CD at Amazon.com

The Stranglers -- Do You Wanna. This came out on the Stranglers' Black and White album in 1978. Yes, that's right, 1978. That's two years before the first Birthday Party album (1980), Scratch Acid (1984), Jesus Lizard (1990). That's one year before the first Joy Division album (1979).

Listen to the crazy Jesus Lizard bass line, the crazy Jesus Lizard guitar part, the crazy Jesus Lizard drum part, and the crazy singing. Except it's the Stranglers and it's 1978.

Steve Albini attests to early Stranglers adulation (the Stranglers even pop up in the Atomizer liner notes "Santiago Durango... Stranglers impersonation")

What a great song!

They're also underrated as a new wave band:

Stranglers--Bring on the Nubiles (released 1977).

Stranglers--European Female (released 1983)

Stranglers: Baroque Bordello (released 1979)

Stranglers: Shah Shah A-Go-Go/Ice (released 1979)

Nice stuff--somewhere in the intersection of Joy Division, the Swans, Sonic Youth, Live Skull, and Middle Eastern drone music. International cinematic music before that arguably needless term "post rock" came into vogue--where post rock usually just equals ambient and prog rock music.  Awesome.

And they came out with a new album, 1938! It's awesome, check out this song 1938. I LOVE the guy playing the shakers; percussion is VERY important, it's an integral part!!! The whole album is great, Monsoon is another great new song.

Savage Republic: 1938

"Of course, no Shit and Shine album would be complete without at least one side-long, drum-bludgeoning monster-truck of a track. “The Rabbit Song” arrives like a really bad case of OCD or a documentary on horse-ripping, but with a riff to die for. Children are born, families split up, people wash their hands til they bleed, then wash them some more. But still the band plays on: through rain, snow, hell and high-water. Cats die and dogs copulate. But the band are unstoppable - a force of nature - pausing only to bicker and bitch at each other mid-song through megaphones. When it finally finishes, it’s both a relief and a jarring loss. Like the death of a family member after a long, unpleasant illness."
Riot Season

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1. am mittwoch (30.7.) ist der buchstabe 'c' des seayou-abc an der reihe. näherbringen wird euch das 'sir tralala' + 'liger' + 'vortex rex' aka akustig cover set aka the new austria 3. das ganze wieder in der fluc wanne. und bei zuspätkommen gibts einen klassenbucheintrag! eintritt freiwillige spende.
2. tags darauf, nochmals zur erinnerung. 'massive attack'! schweine teuer (39,-), aber geile live-show!! wer das geld übrig hat und noch nicht live gesehn: hingehn! unbedingt! arena open air.
3. dann am samstag (2.8.) feiert radio orange die zahl 10. natürlich im fluc (das wohl im sommer sowas wie ein monopol hat...). u.a. 'musikarbeiterInnenkapelle'. eintritt 5,-
4. wieder tags darauf, am sonntag 3.8., 'joan as police woman' im wuk. für die 12,- gibts jede menge singer/songwriterIn und irgendwo beim standard gibts ein gewinnspiel...
5. am wochenende 8.+9.8. (fr+sa) ist wie jedes jahr der höhepunkt des festival-sommers: das temp-festival!! für die 20,- im vvk wird ja eigentlich viel zu viel geboten, da bekommt man ja schon fast ein schlechtes gewissen. also hinfahren und gleich beichttermin für danach fixieren!
6. am 17.8. kommt mal wieder eine legende nach österreich, genauergesagt nach wiesen. 'neil young'! und wenn 's nicht 54,- kosten würd, wär ich sicher auch dabei...
7. am 21.8. (bereits angekündigt, aber nochmals...) spielen 'garish' im haus der musik. schuld daran ist wieder mal die vsa! für die 9,- bekommt man übrigens auch ne freikarte für das hdm.
8. zwei tage darauf wird übrigens gepicknickt mit der vsa auf der jesuitenwiese.
9. am 27.8. wieder ein buchstabe des seayou-abc, nämlich 'good enough for you'.
10. eine erwähnung wert ist wahrscheinlich auch das arenaPalooza festival 2008. mit 'roisin murphy' und 'iamx'. die 37,- würd ich jedoch am liebsten unerwähnt lassen...am 31.8.
11. auch am 31.8. aber dafür gratis: gürtel nightwalk XI. prädikat: besonders tanzvoll!
12. am 4.9. könnts euch wieder bei der vienna songwriting association beschweren, weil sie 'boy omega' für 8,- ins gasthaus vorstadt bringen.
13. vom 5.-7.9. das verschobene donauinselfest 2008. natürlich gratis.
14. weiter gehts mit 'conor oberst' am 9.9. in der arena. die 20,- wird wohl kein hinderniss sein für die meisten...
15. am selben abend im chelsea: 'qui' (ich weiß, hat nicht viel zu bedeuten, aber: sind auf ipecac und sänger ist ex 'jesus lizard') und 'kreisky' (genauso unwichtig, aber: die band mit 'austrofred').
16. am 12.9. feiert fettkakao in der arena das festkakao. festbeitrag 7,-
17. am 20.9. der dauergast im wuk: 'shantel' mit seinem 'bucovina club orkestra'. 18,-
18. name ist programm: 'quit your dayjob' am 21.9. in der (neuen) szene wien. 11,-
19. alle guten dinge sind drei: deshalb wieder in österreich innerhalb von einem jahr: 'the melvins'! am 21.9. in der arena. unterstützt von 'big business'. 17,-
20. am selben tag lädt brut ein ins k/haus: 'gustav'! 12,-
21. den oktober (1.10.) eröffnet 'pelican' in der arena. 13,- kostet das ticket für den roadtrip to outta space.
22. dicht gedrengtes programm im oktober: am tag darauf (2.10.) 'primal scream', ebenfalls in der arena. 29,-
23. und schon wieder die arena: am 7.10. gibts nochmals die möglichkeit 'deus' live zu sehn. jedenfalls für die, die 22,- zahlen wollen.
24. verschnaufpause bis zum 14.10.: 'thee silver mt zion memorial orchestra' in der arena. 13,-
25. am selbigen tag im chelsea: 'eskobar' für leistbare 13,-
26. ein hamburger lebenszeichen gibts am 15.10. im wuk: 'superpunk'. 10,-
27. am 16.10. mal wieder ein absoluter pflichttermin! 'joe lally' ('fugazi' bassist) spielt für 7,- (!!!) im arena 3raum!
28. tags darauf (17.10.) wieder ein doppelpack: 'brant bjork & the bros' in der arena. der mann spielt nicht stoner rock, der ist stoner rock! 10,- kleine halle.
29. am selben tag im wuk am sonnendeck: 'peter licht'. 14,-
30. und wie jedes jahr, immer wieder gern, immer wieder toll: 'räuberhöhle'! ich brauch eh mal wieder ein neues tshirt und bei 10,- geht sich das glaub ich auch aus. arena 19.10.
31. 21.10., 'calexico', gasometer, 30,-
32. am 22.10. exquisieter hip-hop aus amsterdam im wuk: 'pete philly & perquisite'. 12,-
33. das brut team mausert sich schön langsam zum geheimtipp für besondere live acts: 'xiu xiu' im k/haus am 24.10.. meiner meinung nach einer der besten live bands zur zeit! anwesenheitspflicht!! 12,-
34. 'nada surf' beehrt uns am 26.10. wieder mals. in der arena für 18,-
35. einen besonderen leckerbissen serviert uns die arena am tag darauf (27.10.). 'bohren und der club of gore'. sowas bekommt man nicht alle tage zu sehn/hörn. 14,- hingehn!
36. neben den "alten hasen" gibts dann am 28.10. etwas "frischblut" in der arena: 'these arms are snakes' und 'russian circles'. 10,- und frau/man ist dabei!
37. und zur abwechslung mal was in der arena: 'polite sleeper' im 3raum. feinste singer/songwriter kost aus brooklyn. die 6,- sind sehr gut investiert!!
38. und 'clueso' hats auch nicht lange ohne wien ausgehalten: am 12.11. in der arena für 20,-
39. am 14.11. ein neuerlicher höhepunkt des jahres. die fehlen definitv noch auf meiner must-have-seen-liste und stehn ganz ganz oben: 'mogwai' am 14.11. im wuk für 25,-
40. und zum abschluss noch ein rückblick in die "gute alte zeit": 'monster magnet'. 26,- arena 19.11.

terminkalender wird demnächst aktualisiert!

See you soon,
Aki
Voluntary Mother Earth

leucócitos parecem rimar
como duas zebras mortas
na estrada outonal.

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