Estimados, el 11 de Octubre... Getafe se viste de gala
Como ya os venía anunciando desde hace días, el 11 de octubre celebraremos en el Stg Peppers de Getafe (Calle Cuestas Altas, 6 - http://www.myspace.com/peppersgetafe ) una fiesta 80s a la que todos estáis invitados.
Estimados, The Mountain Goats (Las Cabras de Montaña) son una banda estadounidense de Rock Alternativo e Indie Rock y Lo-Fi (hasta 2002) capitaneada por John Darnielle y Peter Hughes (bajista).
Tienen una amplia trayectoria que comenzó allá por 1991 y que podéis ver aquí. Es curioso ver que mantienen la frescura a pesar del paso de los años. Sin duda, todo un referente para la música actual.
Taboo VI: The Homecoming - cassette (Shrimper, 1991) The Hound Chronicles - cassette (Shrimper, 1992) Hot Garden Stomp - cassette (Shrimper, 1993) Zopilote Machine - CD, cassette (Ajax, 1994), CD/LP (3 Beads of Sweat, 2005) Sweden - CD/LP (Shrimper, 1995) Hail and Farewell, Gothenburg - (Unreleased, 1995) Nothing for Juice - CD/LP (Ajax, 1996), CD (3 Beads of Sweat, 2005) Full Force Galesburg - CD/LP (Emperor Jones, 1997) The Coroner's Gambit - CD/LP (Absolutely Kosher, 2000) All Hail West Texas - CD (Emperor Jones, 2002) Tallahassee - CD/LP (4AD, 2002) We Shall All Be Healed - CD/LP (4AD, 2004) The Sunset Tree - CD/LP (4AD, 4/26/05) Come, Come to the Sunset Tree - limited-edition LP (4AD, 4/26/05) Get Lonely - CD/LP (4AD, 8/22/06) Heretic Pride CD/LP (4AD, 2/19/08)
"In 1991, Darnielle began performing under the name The Mountain Goats in Claremont, California, where he attended Pitzer College and worked as a psychiatric nurse.[1] The band's name is a reference to the Screamin' Jay Hawkins song "Yellow Coat".[1] Darnielle released his first album, Taboo VI: The Homecoming, on Shrimper Records.[1] Many of his first recordings and performances featured Darnielle accompanied by members of the all-girl reggae band The Casual Girls, who became known as The Bright Mountain Choir.[2] One of this group's members, Rachel Ware, continued to accompany Darnielle on bass, both live and in studio, until 1995.[2]
The first five years of the Mountain Goats' career saw a prolific output of songs on cassette, vinyl and CD. These releases spanned multiple labels and countries of origin; many were unavailable to the majority of fans until recent reissues.
The focus of the Mountain Goats project was the urgency of writing (Brown, "Sermon on the Mount", June, 1999.). If a song wasn’t recorded adequately to tape within days of being written it was often forgotten.
Darnielle graduated from Pitzer College in 1995. Most of what could be considered classic Mountain Goats conventions (boom-box recording, song series, Latin quotes, and mythological themes) were abandoned in favor of a more thematically focused and experimental sound. This period was marked by Darnielle's collaborations with other artists including Alastair Galbraith and Simon Joyner.
2002 saw the release of two Mountain Goats albums: All Hail West Texas and Tallahassee. These albums mark a distinct change in focus for the Mountain Goats project, being the first in a series of concept albums that explore aspects of The Mountain Goats' canon in depth. All Hail West Texas featured the resurrection of Darnielle's early boom box recording for a complete album. Darnielle considers this album to be the culmination of his lo-fi recording style. Tallahassee, recorded with a band and in a studio, explores the relationship of a couple whose lives were the subject of the song cycle known as the Alpha Series (see Alpha Series below for a full list of songs in this cycle).
Martial Arts Weekend, also released in 2002 under the band name The Extra Glenns, is a collaboration with Franklin Bruno on several previously unreleased Mountain Goats songs.[2] Since that recording, Bruno has joined Darnielle in the studio along with bassist Peter Hughes, who is the second official member of the band and accompanies Darnielle on tour. These three musicians form what may be considered the Mountain Goats studio band.
The Mountain Goats performing at the Northstar Bar on September 22nd, 2007In 2004, the Mountain Goats released We Shall All Be Healed. The album marked a couple of changes for the Mountain Goats. It was the first time Darnielle worked with producer John Vanderslice and the first album of directly autobiographical material. We Shall All Be Healed chronicles Darnielle's life with a group of friends and acquaintances addicted to methamphetamine in Portland, Oregon, though the album is set in Pomona, California.
In 2005, the Mountain Goats released their second Vanderslice-produced album, The Sunset Tree. Again autobiographical, Darnielle tackles the subject of his early childhood spent with an abusive stepfather. Darnielle had previously dealt with this subject in what he often refers to as the only autobiographical song he had written before 2004, the unreleased song "You're in Maya."
In 2006, the Mountain Goats issued Get Lonely, which was produced by Scott Solter, a man perhaps best known for his engineering work with Vanderslice on various projects, including prior Mountain Goats records. In 2007, Jon Wurster played drums on the last leg of the Get Lonely tour.
In 2007, the band recorded tracks for its next album at Prairie Sun studios.[3] Entitled Heretic Pride, the album was released on February 19, 2008.[4] It was produced by John Vanderslice and Scott Solter. Franklin Bruno and Erik Friedlander returned to the studio with Darnielle and Hughes, and they were also joined by Jon Wurster on drums and vocalist Annie Clark of St. Vincent.[4]
On February 3, 2008, The Mountain Goats released a song called "Down to the Ark" that was commissioned by Weekend America.[5]
On March 19, 2008, Darnielle posted on the band's website that their Australian tour would be canceled due to "personal health reasons".[6]
Darnielle is featured on Aesop Rock's song "Coffee" from the 2007 album None Shall Pass. Aesop Rock also released a remix of the track "Lovecraft in Brooklyn" from the album Heretic Pride."
Grupo: The Mountain Goats Disco: Heretic Pride Año: 2008 Web oficial: http://www.myspace.com/themountaingoats y http://www.mountain-goats.com/ Canciones destacadas: Heretic Pride, Autoclave, How To Embrace A Swamp Creature, Marduk T-Shirt Mens Room Incident, Michael Myers Resplendent, San Bernardino, Sax Rohmer #1 y So Desperate
Estimados, este grupo estará tocando este fin de semana (más concretamente el día 12 de septiembre) en el Lemon Pop Festival de Murcia. Lo hará junto a La Casa Azul, Lidia Damunt, Triángulo de Amor Bizarro, Souvenir, Ellos...
El lider de esta banda, David Gedge es quien dirige The Wedding Present desde mediados de los ochenta. De igual forma que otros como Robert Smith y sus The Cure, Gedge es el único miembro fundador de la banda que permanece entre sus filas y también el responsable de la mayor parte de su repertorio. Su pop musculoso es toda una referencia en el espectro indie internacional.... de hecho para mí es una referencia que hayan sido este año cabezas de cartel en el festival Indietracks (http://www.indietracks.co.uk/).
Y tan musculoso... echad un ojo a la fuerza de sus composiciones. Sólo una recomendación: si alguna vez váis a verlos, elegid bien la cita y seleccionad la sala más pequeña a la que asistan ya que la potencia gana cuanto más pequeño es el local.
"The Wedding Present have had eighteen UK Top 40 hit singles… not bad for a band that has, from its inception, stubbornly refused to play the record industry’s game. That was back in 1985 when David Lewis Gedge boarded a National Express coach in London with 500 records packed into a pair of his mother’s suitcases. In this fashion, the debut single GO OUT AND GET ’EM BOY! was collected from the pressing plant, delivered to the distribution company, and The Wedding Present was born. That pioneering spirit has been at the core of the band’s philosophy ever since. From GEORGE BEST, "an unmitigated delight" [NME], the first full-length release on their own Reception Records onwards, the band has charted an appealing, if often eccentric, course of its very own.
With the early releases on their own label The Wedding Present acquired a reputation for bittersweet, breathtakingly honest love songs immersed in whirlwind guitars, so it was extraordinary that UKRAINSKI VISTUPI V JOHNA PEELA, with the band exploring traditional Eastern European folk music, should be the major label debut on RCA. “(They) carry off what is basically a bold experiment with verve” [NME]. However, this was soon followed by the more traditionally incendiary BIZARRO, “simply unbeatable” [Melody Maker] which featured their first hit single KENNEDY. Sounds Magazine said: “it’s their major label debut, but it’s a transition they’ve mastered beautifully”.
The next step, made with characteristically twisted Wedding Present logic, was to enlist noise-mongering [and, at that point, relatively unknown] sound engineer Steve Albini’s aid at a time when everyone else was releasing ‘Madchester’ dance mixes. The resulting SEAMONSTERS, recorded in the snowy wilds of Minnesota in just 11 days, suggested a more thoughtful Wedding Present. The Guardian newspaper noted that: "Albini has given The Wedding Present considerable weight, with Gedge’s voice trickling between banks of scowling guitars". Indeed, the singing ranged from sensual whispering to feverish screams.
The band came up with their next intriguing idea in 1992. By the end of December, The Wedding Present had released twelve singles, one per month, equalled Elvis Presley’s 35 year old record for "most hits in one year", rekindled everyone’s interest in that ultimate pop format, the 7" and led the NME to describe the band as "casually revolutionary and underhandedly unique". A gang of impressive names, including Ian Broudie from The Lightning Seeds and legendary Rolling Stones producer Jimmy Miller collaborated on the industry-challenging project, ultimately to be compiled on the two HIT PARADE albums and awarded "record of the week" by Tony Parsons in The Daily Telegraph.
WATUSI, produced by Steve Fisk (a prime mover in the celebrated avant-garde scene of Seattle), whisked the band off into another new area with its lo-fi pop, three-part a capella harmonies and Waikiki-ready surf strains. This “strong, multifaceted album” [Select], sprinkled with 60s and 70s pastiches, was described by some critics as their most varied and dynamic to date. “Watusi is (their) ‘White Album’, a late period re-assessment of their sound that finds them doing what they do best” [Melody Maker].
In 1995, the band released yet another 7" single, SUCKER, and completed a British tour with two drummers. Although the record sold several thousand copies and reached No.3 in The Festive 50 (the late BBC DJ John Peel’s end of year listeners’ poll) you won’t see it in any other charts, because, typically, it was only available at the concerts or by mail order.
The band returned to a more traditional form of record distribution with the car themed MINI, "a gem of a record" [Melody Maker] in which Gedge cloaked his tales of love, lust and infidelity with automobile symbolism in what can only be described as a concept album. To commemorate this release, the band played at the BBC’s Sound City Event, which was held that year in Leeds, the group’s home town. During the concert, the winner of a prize draw was announced, and a lucky Wedding Present fan became the owner of a real life classic Austin Mini motorcar provided (and delivered!) by the band.
For the next full length LP, the group decided to apply a decade’s worth of studio experience and produce the record themselves. Thus, the Top 40 album SATURNALIA was released by Cooking Vinyl to a flurry of critical approval. The NME exclaimed that "David Gedge has just written one of the best pop albums of the year" while The Melody Maker noted that in the new recordings, which were completed in the London studios belonging to The Cocteau Twins, you could "hear an experimentalism that would send half of New York back to the lab".
It was at this point in 1997 that Gedge started work on a new project called CINERAMA. A fittingly titled outfit, Cinerama indulged Gedge’s love of film music from John Barry to Blaxploitation via Ennio Morricone. Cinerama started life as a duo, Gedge and his girlfriend Sally Murrell, together with a shifting line-up of collaborators. 1998’s VA VA VOOM “turbo-driven melodies and bittersweet vignettes taking in everything from John Barry to the Zombies” [The Times] featured The Church’s Marty Wilson-Piper and Emma Pollock from The Delgados. Then, in 1999, Gedge rescued the rhythm section of the disbanded Goya Dress (Terry de Castro and Simon Pearson) and combined them with Wedding Present guitarist Simon Cleave. From 2000 the line-up remained relatively steady, apart from Finnish drummer Kari Paavola later replacing Pearson and Murrell’s eventual retirement from live performance.
Surely on pace to rival the abundant shelf filling of The Wedding Present, Cinerama released a clutch of singles in support of their debut LP, as well as a number prior to 2000’s Steve Albini-recorded DISCO VOLANTE “dangerously, seductively sweet” [Melody Maker]. Notable were the heart-rending SUPERMAN (complete with alternative Spanish take) and the six and a half minute epic HEALTH AND EFFICIENCY (also available in French!).
The third Cinerama studio album, TORINO (released in 2002), was much darker than the first two, with Gedge returning to a guitar driven sound and deciding to write predominantly about infidelity. “Cinerama are escaping the shadow of Gedge’s illustrious indie-legend past. Torino is a giant beast of adulterous lyrical fantasies, cult soundtrack flourishes and the screams of Albini-engineered guitars” [Uncut].
At the end of 2002, Gedge and Murrell unexpectedly split up, and he decided to leave Leeds, his home for the preceding twenty-four years, and move to Seattle in the USA. Following the end of this fourteen-year relationship, Gedge began writing a collection of songs apparently influenced by his despair over the split. TAKE FOUNTAIN, the resultant album, was recorded in Seattle by Steve Fisk [who also produced WATUSI, The Wedding Present’s 1994 LP] and released, perhaps ironically, on St. Valentine’s Day 2005. This saw Gedge reviving The Wedding Present name for the first album since 1996’s SATURNALIA to a torrent of critical acclaim. TAKE FOUNTAIN “is as eloquent an emotional discourse as he has mustered. Gedge has never before assimilated harsh rock textures to orchestral arrangements with such power.” [Mojo]. “Gedge hasn’t sounded this belligerently broken-hearted since 1987’s MY FAVOURITE DRESS” [Uncut]. “Fans have long since recognised Gedge as more poet than pop star. Like Byron without the marsh fever, TAKE FOUNTAIN confirms his status as an extraordinary songwriter” [The Times].
In the wake of TAKE FOUNTAIN’s success, and after almost an eight-year hiatus, The Wedding Present set out on a mammoth twenty month concert tour of Europe and North America which included most of the major festivals and ended in November 2006. In December of that year Gedge relocated to Hollywood, California, where he is currently living and writing but ventured back across the Atlantic in October 2007 when The Wedding Present performed the GEORGE BEST album live as part of a George Best “Twentieth Anniversary” Tour of Europe. Following that tour the band reassembled in at Steve Albini’s Electrical Audio studio in Chicago to record “El Rey”. "
Grupo: The Wedding Present Disco: El Rey Año: 2008 Web oficial: http://www.myspace.com/theweddingpresent Canciones destacadas: SpiderMan on Hollywood, Santa Ana Winds, I Lost The Monkey, Swingers y The Thing I Like Best About Him is His Girlfriend
Estimados, Sascha Funke es un innovador dentro de la música techno. Como diría él: "a kind of techno that sways between the polarity of emotional overload and concrete rationale – hence immediacy, which is what sascha funke is all about."
Canciones energéticas, vitales, con acordes perpetuos de fastuosa elegancia... casi rozando el minimalismo. Esta es la música que deberían poner en los after. Ritmos sencillos, digeribles, sin martillazos, con una cadencia sinuosa y una evolución cuasi perfecta.
A mí me gusta, y mientras escucho los temas de su último disco (Mango) puedo sentir la quietud que me transmiten estos temas.
"SASCHA FUNKE'S BIOGRAPHY
1989 sascha listens to a lot of euro-dance-pop as a twelve year-old his first purchased record after the fall of the wall was "technotronic mega mix". 1990-1992 first contact with techno and house is thanks to marusha's radio show "rave satellite;" sascha buys his first techno record "the seawolf" (underground resistance/ ur). 1993/94 he visits the legendary berlin club walfisch for the first time as a raver; he organizes parties in youth clubs in the east berlin section lichtenberg and thus encounters his first dj experiences with trance. 1995/96 sascha goes out with passion and visits clubs like the e-werk or the matrix. 1997 sascha begins his dj career in berlin clubs like discount or so36. 1998 he attempts first steps as a producer with borrowed equipment and the help of his soon to-be label partner paul kalkbrenner in their collective studio. 1999 sascha splits his studio and runs a new studio with djoker daan in the side rooms of the berlin club casino. 2000 sascha's musical home becomes bpitch control, dj's at the ostgut, wmf, maria, tresor. releases also on kompakt (köln). 2001 remix fun, like for mitte karaoke, internship at the newspaper de-bug, further solo releases. 2002 bpitch control „gemeinsam-tour 2002“, studio work on his first album. 2003 his debut-album "bravo" / BPC075 appears in september 2003. bravo-tour around the world. participation with the soccer team of bpitch at the magnet mitte soccer cup - drop out at preliminary round, best party: bpitch new year eve at maria/berlin 2004 participation with the soccer team of bpitch at the magnet mitte soccer cup - drop out at the semi finale, more remixes for a. kowalski and kompakt 100, best party: wmf summer camp and melt 2005 no participation at the magnet mitte soccer cup due to an injury, more remixes for ada and anja schneider, got over his fear of flying, started working for the wepshop of bpitch, best party: wmf summer camp and sonar 2006 moving back with his studio into the bpitch house, finished the second “boogy bytes” mix cd, iis currently working on his new album and is looking forward to the world soccer cup! moves temporarily to aix-en-provence in order to escape the grey berlin winter 2007 produces in aix-en-provence an exclusive track for bpc's label compilation "camping vol.3" (bpc148+149) as well as tracks for a new ep - "auf aix" (bpc144)"
