By ditching the exclamatory blotch, it seems that Panic at the Disco have returned to the musical scene with The Beatles and the Beach Boys firmly couched in their perception, legendary producer Rob Mathes in the booth, and strings and mixing done at Abbey Road.

The results are captivating, as this young band has produced an intoxicating and often confounding blend of music and sound. Call it Panic at the Disco’s version of Sgt. Pepper’s if you must, but Pretty. Odd. is an acutely innovative piece of music.

One of the most notable aspects of the record is how damn jolly the whole thing is. The sundrenched production swirls around lead singer Brenden Urie’s over-the-top vocals, and the instrumentations are fascinating in their intricacy. Key changes and multifarious percussion peppers most songs, keeping things appealing throughout.

Taking Pretty. Odd. seriously would be a huge mistake. As the band states in the introductory number, "We're so sorry we've been gone/We were busy writing songs for you!" Sure, it’s kinda Muppet Show-esque, but it has a sense of wonderment and euphoria that’s hard to resist.

And that’s just it. This emo band or former emo band could have quite easily played the MCR card and gone all Black Parade on our asses. The idea that they didn’t is instantly flattering and it helps that their attention to crafting beautiful melodies seems to have risen from the ashes of pretentiousness.

Oh sure, there’s posturing and posing all over Pretty. Odd. That’s the point.

The truly great single “Nine In the Afternoon” is courageous enough to feature trumpets and clapping, a definite departure from the rule. And the riotously pompous guitar to start “She’s a Handsome Woman” is tremendous fun, but it’s the chorus on it that will send you for a loop.

Panic at the Disco may lose more than just their exclamation point on this one, but Pretty. Odd. is a welcome change from the Death & Suicide norm so commonly mined by most guyliner-adorned emo jackasses. It’s a blissful, swift, and moving record with gobs of coated sounds, noisy horns, and daft choruses that seem perfect for skipping merrily through the park on a summer afternoon.

9/10

Links: The Fountain (the movie), Official page, MySpace page, LastFM page, Wikipedia page.

Connolly was born without legs. His work is on display under the name "The Rolling Exhibition," and it features photos he took while traversing the globe on a skateboard. The photos are all taken at ground level and offer a completely different perspective on the realm of every day life.

The best photographers are made by their instinctive eye for what people consider aesthetically pleasing. You can lead hundreds to a beautiful landscape, but it's the individuals who can get a sense of how to capture and retain that beauty on film (or on pixels) that are the true artists in photography. Photography is all about perspective; it's being able to create something tangible in a fraction of a second that only you can see and being skilled enough to convince others of the beauty or importance of that perspective - that shot - simply by putting it on display. Connolly's work is a basic expression of that intrinsic element of art in photography. Almost everyone who will view Connolly's photos have absolutely no idea what it's like to live without legs. And yet, with a quick, in-motion photo of passing strangers, Connolly manages to sum up book-loads of personal experience in an aesthetic light that can make anyone with a degree of imagination find resonance and the human experience in his art.

Perspective is a driving force behind emo. True, all art expresses some general form of perspective, but emo is the form of music where many artists seek to make individual perspectives a tangible reality for people who haven't had the experiences that formulated the driving force of the music and culture. It's not an empathetic form of art, but it's not far off. The reason emo was such a force within the underground for over two decades was the fact that the music sought to connect individuals of different backgrounds through positive, personal music that created an omniscient perspective. It created communities, which are the foundations of the underground in America. And underground communities in America are the breeding grounds for underground cultures.

And with such a vast opportunity of perspectives that can be tossed in the heap, and with the vast amount of different perspectives across the United States, emo became a mutated force of underground culture in different parts of this vast union. It will always be tied to post-hardcore, it will always be tied to its DC roots, and it will always be tied to a sense of yearning towards a goal. And that sense of yearning is mostly where the lineages of emo differentiate. With the Revolution Summer of 1985 (otherwise known as the birth of emo) the various acts that constituted for emo wrote about a multitude of ideas in blanketed terms in order to reach out to all sorts of individuals; from the staunch politics of Beefeater, to the introverted anguish of Embrace, to the general struggle with the individual of Rites of Spring, emo at its beginnings covered the ideological bases. Let's not forget Fugazi, who took the aesthetic elements of the Revolution Summer acts and blasted them off in profound new directions; their work made the most plight-filled perspectives seem like a reality by addressing taboo subjects with an empathetic sense of humanity. Everything from AIDS ("Give Me The Cure") to gentrification ("Cashout") to gun violence ("Repeater") was addressed with a profound and omniscient voice that opened listeners to near-alien perspectives and experiences and made them as important issues as ones personally affecting the individual.

So how did emo go from there to here? How did politics diverge into puppy-love? Well, it's not that simple; to say that politics doesn't exist in emo anymore is a bold-faced lie. Hell, Fugazi kept churning out records well into the new millennium, and you can't forget Billboard chart-toppers Thursday when discussing politics and emo in the same breath. And aspects of love and romance were well a part of emo from the beginning; Rites of Spring's music, though perpetually vague in context and up to the listener to discern the meaning for themselves, did sometimes concern aspects of romantic love.

But, as far as the songs about love, or lost love, or as some would go as far to say (and in some cases, correctly) near-hatred towards the opposite sex, the answer is simple: it's all about perspective. Love is a concept that every human being on the planet can relate to. Outside of the survival needs for shelter and sustenance, love is a concept that is basically universal. Everyone has experienced it in some capacity, be it romantically or otherwise. And it's fair to say everyone has experienced their fare share of rejection. And it's all about how we deal with it. The most perplexing thing about the projection of emo in recent years isn't the obsession with love. It's the obsession with negativity broiled in rejection. From its beginning, emo was created with the idea to make something constructive, build something new and positive after the wreckage of the hardcore community that those who became involved in the "emo" scene had experienced (their rejection, in some capacity, involved in punk).

Yet, today, so many emo acts revel in dread. Again, not a new concept or perspective; if there's anything as old as love, it's depression (or a mild form of it). But why the fascination with such negativity? It's impossible to pinpoint one thing, but it is representative of something fairly circular within pop music; every so often, the mood of pop music flows from positivity to negativity. With so many sub-genres and categories of pop pushed onto consumers at any one point, its interesting to see different musics produce different emotional output at the same time. You can't forget the brooding darkness of the 80s when post-punk and goth were all the rage and hardcore bristled with anger in the underground; then again, happy-sounding music dominated the pop-charts, with everything from Madonna to Bobby Mcferrin ("Don't Worry Be Happy") supported Regan's 50s style American dream image.

Whatever the case may be, be it the fact that loss of romantic love is the only ailment and perspective that can incite anything aside from apathy in well-to-do teenagers anymore, or the fact that modern music is a circular and uncontrollable beast, it is interesting to note the vast expanse of, well, emotions that fill the map of pop music today.

And so, on our nation's birthday, I ask to keep perspective in mind. It's our individual perspectives that make us unique, that attract us to other like-minded souls, and that separate us along various ideological lines. But we're all human, no matter what perspective we may have. Happy Birthday America!

Here's a present, courtesy of one of the many emo acts to come out of the Kinsella collective:

American Football - Honestly?

ROMANCE is a great post-punk band coming out of Seattle. They kind of remind me of the Editors but with a deeper richer sound. They formed in 2005, and KEXP (one of the nations best independent radio stations) began putting their EP - When Things Are Better on heavy rotation. In March of 2006 one of Seattle's well known Indie magazines The Stranger voted them as one of the up and coming bands to watch.

After recently changing out drummers the guys are back performing and will be attending this years Conflux NW Dark Arts Festival.

Check out the video below "Paris Is Burning", and check their My Space page for up coming shows.

Anabas - Barricades / Dream Dance 7'' (1983)

{Anabas}

Tea House Camp - To Kill: Stab In Back 7" (1985)

{Tea House Camp}

Password: ufologia

Hell yeah! We're very pround to annouce that post punk pioneers and all time heroes Wire will play at our festival. Need we say more?

Nice.

Sometimes hatred gels together into intense music.

myspace

პოსტპუნკ ნიუვეივ ჯგუფი შეფილდიდან ჩამოყალიბდა 70ანების ბოლოს. რამოდენიმე ep აქვთ გამოშვებული რომელიც არცისე კაია და გადავწვიტე მარტო lp ამეტვირთა რომელიც 1983 წელს გამოვიდა.

They Must Be Russians - They Must Be Russians LP

Label: First Floor Records
Catalog#: FF 2
Format: Vinyl, LP
Country: UK
Released: 1983
Genre: Electronic, Rock
Style: New Wave, Post-Punk
Size: 41,2 MB
Bitrate: 160 kbps
Password: ufologia

Tracklisting:
A1 Gramophone
A2 Glory Of God
A3 Press The Point
A4 Shifting My Gaze
A5 Love Is A Word
A6 If This Is Love
B1 Disco Rise
B2 All I'm Asking
B3 Space To Breathe
B4 Treasure House
B5 Test Of Time
B6 The One Answer

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Test drive:
http://www.myspace.com/oneidarocks

Essa é a parte 1 da série de três albuns, que formarão uma imagem só.

O Oneida é mais uma daquelas bandas de rock com influências psicodélicas. Ai é fácil né. Psicodélica? Ah, tem influências de Can e Krautrock e pronto, é o que mais se vê por ae, a preguiça impera e associações faceis e obvias são feitas para tentar expressar algo.

Enfim, o test drive diz mais. E se curtir, segue o link para download:

Download: Mediafire

It’s been a little over a year since Wes Borland, former Limp Bizkit guitarist, released the material from his creative output known as Black Light Burns. Since then, he’s gone on to underground success for his new act; tearing up club stages, and displaying a much more gothic styling to his former stage persona. For the most part, he’s had a good deal of nice reviews for the debut album Cruel Melody, but there are always naysayers no matter what you do or who you are. Still, fans of the band have been eager to hear the next album from the act, as Borland said that he will waste little time hitting the studio up to release it. Then, it was announced that the next offerings from the band would be a CD/DVD combo. The anticipation rose. Then, it was announced that the CD would be full of covers and other little odds and ends that didn’t make the debut album. At that point, the anticipation froze. “Cover album? WTF!” the fans said. Then, when they announced the list of cover songs, it was revealed that you couldn’t find something reasonable to allow hearts to soar for eagerness of hearing the BLB crew ripping through the tunes. But, still, as shaky as the fans were, they were still oddly curious to know what the material would sound like. Me, being a fan of the band, I was similarly eager, yet slightly put off. After all, BLB is an Industrial band. There aren’t any Industrial covers or material that inspired Industrial music being thrown in the pot.

So, when I received the album, you could only imagine my wanting and stalling of hitting the play button to listen. Still, curiosity always controls in the end, doesn’t it? The moment it came on, I will admit, I as still riding the fence. But, the twenty second mark hit, and I found myself lost in the world where Black disappears and White glows with a blue hue. The cover of Lard’s “Forkboy” sounded incredibly energetic and extremely chaotic. Borland’s vocals on the track, amazingly, are really great. He doesn’t even sound like Wes. He sounds like a man possessed. A creature hidden inside of the enigmatic music maker. Something that headbangers would flock to see in a live performance. The song assaults the listener with its aggressive guitar work and the hair-pulling visualization of the singer in front of the mic. In truth, it took me back to the days of the Broken EP. If you don’t know what that is, then you’re really wasting your time reading this review in the first place, aren’t you?

What followed next was the thriller, Love And Rocket’s “So Alive.” Again, outside of his realm, Borland’s vocals seem perfect. The Industrial reformation of the song seems so brilliant. It isn’t heavily distorting, nor isn’t playing a quiet backseat role to the movement of the melody. Like a fine Chef’s work, it seasons the song just right. The Post-Punk attack that is Sisters Of Mercy’s “Lucretia My Reflection” seems like it would be such an off-shot for Borland & Co. Yet, with his insanely brilliant insight, he tames that beast and makes it his bitch. Riding it with such insecure confidence that you’d might even want to go and check his location of birth . . . maybe he’s a Brit in disguise. It perfectly captures that “Look at me, I’m shying away” feeling that Robert Smith tagged as Post-Punk Perverted Cynosureness(he didn’t create that term, I just tagged him as that).

There are some really odd parts that might take a few listens to get it easily down to swallow. Like their rendition PJ Harvery’s “Rid Of Me.” Don’t know, but after hearing the great covers before it, it just sets out as being awkward. Another one is Fiona Apple’s “On The Bound.” It’s not bad. It’s just so far fetched from what you’ve been hearing. That is, of course, if you never heard Borland’s Big Dumb Face. And, speaking of BDF, they even do a cover of one of their songs “Blood Red Head On Fire.” I always thought it was odd when someone does a cover of their own songs. Is that even truly declared a cover? But, I will state that it is a more cohesive sound than the original. I suppose because he has an actual band doing the positions and it isn’t all on him.

After the 10^th track, the music is switched over to original compositions by the band. What kicks it off is the song “Drowning Together, Dying Alone.” It, for the most part, is the sister track of the song “New Hunger” that was featured on their first LP. Housing acoustic guitars in place of electronics and electric guitars makes the song more mellow and dreamy . . . despite its morbid title. Also, being entirely instrumental sure helps with that. “Falling” also contains material heard before. Expanding on a solo that was featured on the debut album, as well. The slightly goofy electronic melody played throughout (I couldn’t tell if it was simply a guitar with a weird effect or an actual electronic styling) sounds almost like it’s 8-bit/Chiptune styled.

Mr. Borland dives deeper into the Industrial world on the track “Ribbons.” Though it’s under a minute and a half long, it leaves a lasting and eerie impression on listeners. Something that isn’t easy to accomplish, and you wouldn’t have actually expected from this unexpected guy. This song starts the trend of very schizophrenic songs that follow after it. Stuff that seems to have been created when Wes wasn’t eager to take his medication. Stuff that, though it’s so strange, you find yourself questioning your own sanity for your enjoyment of it.

All in all, this album is not only a surprising one, but one that I feel bad about having questioned it in the first place. All those out there that are on the unknown about checking this out, and have enjoyed the first album needs to go out on a limb and snatch this up. In a very bold statement, I will encourage you to download this first, to see if it does tickle your fancy fully, then, if it does, purchase it and support him. Though he does come from a heavily commercial band, he is now on the underground circuit. So, every piece of support does let him know that his efforts at branching out are worth it.

Preview

Purchase

Selo: DFA Records

Tracklist:

1. "45:33 (I)" - 2:51
2. "45:33 (II)" - 6:31
3. "45:33 (III)" - 8:30
4. "45:33 (IV)" - 10:42
5. "45:33 (V)" - 9:18
6. "45:33 (VI)" - 8:13
7. "Freak Out/Starry Eyes" - 12:22
8. "North American Scum" (Onanistic Dub Remix) - 8:56
9. "Hippie Priest Bum-Out" - 4:26

Selo: DFA Records

Tracklist:

1. "North American Scum"
2. "North American Scum" (Kris Menace Remix)
3. "North American Scum" (Onastic Dub Mix by James Murphy and Eric Broucek)
4. "Hippie Priest Bum-Out"

Wikipedia: http://en.wikipedia.org/wiki/LCD_Soundsystem
Download:
Parte 1: http://rapidshare.com/files/58984271/Promo_System.part1.rar.html
Parte 2: http://rapidshare.com/files/59001869/Promo_System.part2.rar.html

Everyone should sue McDonalds. Just like post-punk pioneers Devo. They are suing McDonald's in the US over a Happy Meal doll that sports the band's signature red flower pot hat. We support them! read more.

Control is a bit of a departure for me, in that it's not a horror movie.  It purports to be a biography of Ian Curtis, the late lead singer of Joy Division, based on the biography written by his widow.  Like any biography, it ends with the death of the main character, but that's the point of it.  the point is the story that leads up to it.

Control starts us off with Ian Curtis as an adolescent, wearing stolen makeup and dancing around in an inside-out jacket to a David Bowie record.  He's a teenage misfit in a small town, pining for a chance to get away from it and go somewhere interesting and do something exciting, and in the meantime he and his friend visit senior citizens under the pretense of conducting a survey so they can steal pills from the oldsters' medicine cabinets.

He plays it smart, though, and learns about what he's taking with a physician's desk reference.  "Side effects include drowsiness, apathy, agitation, and blurred vision.  I'm taking two!"

I liked this bit of the movie.  it really takes Ian Curtis the legendary mope and makes him a human being,  a thrillseeking misfit that people can relate to rather than some dark god of mopey music.

he meets a girl, does some awkward teenage-dork dancing in front of a mirror, that kinda thing.  Good times.

and then we skip forward and he's married to his highschool sweetheart and starting to sing with the band that will become Joy Division, and he's celebrates his fledgeling celebrity by... having a kid?  Well, his eccentricity has been established by this point, so I let it slide.

What cement's Curtis' decision to pursue his musical career is a series of medical mishaps - he witnesses an epileptic seizure at his employment-office dayjob, gets diagnosed with the same illness, and then finds out the epileptic job-hunter hat a fatal seizure their first day on the job.  With his own mortality staring back at him from a 1970s desk-phone, he becomes firmly committed to making Joy Division a success and leaving more of a mark on the world than a daughter and a scuffed up desk.

This is also where the tension begins, the drama, the conflict, the tragedy, the slow descent to his suicide in 1980.  With death-by-seizure always around the next corner, he finds himself torn between being a husband and father in a town he never liked or touring with the hottest band in the whatever-it-was-after-punk-rock-ended.  His wife loves it back in their home town and never really sees his fame, she just sees him as the same desk-job misfit she married years ago.  when asked about her husband's status as a celebrity, she says he's not famous to her because she still washes his underpants.

The musical numbers are okay.  Wikipedia cites that they were all performed by the actors themselves rather than overdubbed with actual recordings from the period, so they only sound almost like joy division, so it was a bit disorienting for me at first.  I'd see Joy Division on stage, expect to hear Ian Curtis, and hear Sam Riley trying to sing like Ian Curtis.  The performances were, I should note, good enough to send me on another Joy Divsion bender, putting the Manchester masters of mope back in heavy rotation on my ipod (they're always there, but sometimes I play the music more than others).

What really makes this movie is Sam Riley's facial expressions as Ian Curtis.  The movie is sparse on any kind of meaningful dialogue explaining what's going on in Curtis' mind and doesn't delve at all into his aesthetic influences, but that face can convey a thousand flavors of subtle anguish and human misfortune.  there's the exhausting-himself-on-stage face with his half-closed eyes drifting off in different directions, the "oh shit, I'm kind of a rock-star" face before and after gigs, the scooping-elephant-dung-with-a-teaspoon face of having to come home to the house he didn't want in the town he wants to leave forever and face the wife he married too young and the kid he fathered too soon when he'd rather be off in some exotic foreign city with his cute groupie-mistress.

Overall, no individual element of this movie stands out as great, or even good - they're just okay.  The sum of all it's parts, though, is something stunningly, heart-breakingly tragic, like watching a man sprout wings, only to discover his legs are made of lead and partially submerged in the concrete of a place he never really wanted to be.

Intermezzo Bright Violet Euphoria

Greensward Grey

En hiver

Catacombs Kittens


The red and Silver Fantastique

Cinema Strange is an American death rock group based in Los Angeles, California. Their performances also incorporate film, dance, and visual art. Their music, while originating humbly in 1994 as a high-tempo post-punk expression, has evolved into a bizarre and exciting species of musical storytelling, breaking new ground.

Links:
- Official page
- Cinema Stange's MySpace page
- Deadfly Ensemble's MySpace page
- http://www.cinemastrange.de/

The dancing hardcore electronic band of the day is Late of the Pier. Uk also, course. New rave also, course. The guys are young and full of energy. Get ready Brazilians... they say they're coming in August. Let's wait and see.

>>mp3>> The Bears are Coming

>>mp3>> Focker

>> Listen More >> MySpace

Floh de Cologne

Don’t forget to check us out on Youtube

Find us on the web at http://www.gammalikeveryultra.com or http://www.myspace.com/gammalikeveryultra

Mt. SIMS is an artist collective started by Matthew Sims aka Mount Sims.  Their currently in the studio putting the finishing touches on the third album "Happily Ever After'  which should be released this year on Hungry Eye Records. I listened to the demos posted on Myspace and I can't wait!  In the meantime, enjoy these trax!

Mp3 Mt. Sims-Grave (from the recently released "A Grave'" EP)

Mp3 Mount Sims-Consume

Mp3 Mount Sims-9 voltz (Calls After Midnight Remix)

Mp3 The Hacker (Featuring Mount Sims)-Traces

Mp3 Christian Death VS Mount Sims-Spiritual Camp

Get More Here!

http://www.myspace.com/mtsims  

http://www.hungryeyerecords.com

http://www.simonhinkler.com/artery/index.html

Artery იყო ერთერთი ყველაზე მნიშვნელოვანი და გავლენიანი პოსტპუნკ ჯგუფი შეფილდიდან. შეიქმნა 1978 წელს და იარსება 1985 წლამდე. ჩაწერეს სამი სტუდიური, ერთი ლაივ ალბუმი, და კიდე რამოდენიმე სინგლა. შემადგენლობა შემდეგი იყო: Mark Gouldthorpe (გიტარა, ვოკალა); Michael Fiddler (გიტარა, ვოკალა); Simon Hinkler (კლავიში) – ეგ მერე Pulp–ში და The Misson–ში იყო და კიდე მგონი კურეშიც..; Gary Wilson (დრუმები); Neil Mackenzie (ბასი).
ეს კი მათი 2006 წელს გამოსული საუკეთესო სიმღერების კრებულია.

Artery - Into The Garden - An Artery Collection

Label: Cherry Red
Catalog#: CD MRED 296
Format: CD, Compilation
Country: UK
Released: 2006
Genre: Rock
Style: New Wave, Post-Punk, Indie Rock
Size: 93,3 MB
Bitrate: 192 kbps
Password: ufologia

Tracklisting:
1 Into The Garden (4:54)
2 Afterwards (Original 7" Version) (3:49)
3 Potential Silence (3:17)
4 Turtle (2:48 )
5 Africa (4:06)
6 Being There (3:29)
7 Unbalanced (2:45)
8 The Clown (3:53)
9 Perhaps (2:42)
10 The Butcher's Shop (2:39)
11 One Afternoon In A Hot Air Balloon (4:06)
12 It's Good To Be Alone (4:45)
13 The Slide (Unreleased Version) (3:55)
14 Louise (3:42)
15 The Alabama Song (4:35)
Written-By - Bertolt Brecht
16 A Song For Lena (2:36)
17 The Death Of Peter X (6:45)
18 Afterwards (Remix) (3:43)

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