|
troum, "tjukurrpa (part two: drones)"
While I had always enjoyed what I've heard from Troum and Maeror Tri, it was the first part in their 'Trilogy' ('Harmonies') which made me fall in love. Be warned, however, as the second part in the trilogy is not nearly as gentle as part one. Ironically, 'Drones' is not 100% drones, a characteristic of a number of their other releases. The music is much darker, heavier, lower pitched, and with a scattering of sound effects which border on abrasiveness. While 'Harmonies' was bright and angelic, 'Drones' is most certainly haunting and creepy. Far from minimalistic drone, Troum's recipes never call for software. This time around, the duo have been expanding on mutating loops originating from metal and percussive sounds to guitars and choir samples. Opening with mangled electronics mimicing a vicious robotic dog, it's not long before the fog-like sound drifts in, oppressive with low, rumbling undertones. Heavily processed sounds echo and resonate, far removed from their original state, as the disc creeps through the five tracks, slowly like a World War 2 submarine, far beneath the surface, lost in the darkness. Sounds which no longer resemble their origins become muffled thumpings and low-end filtered feedbacks building upon themselves, always approaching (but never quite reaching) noise. It continues to the end, where an angelic choral loop underlines the sound as the lower frequency sounds flourish in the foreground. Oh, the humanity—it's as if the submarine sank to the bottom of the ocean. It ends all too quickly. Did they survive? Stay tuned for the third in the trilogy I guess. If the drones you crave are more Stars of the Lid pretty, seek part one, if they fall more on the Zoviet France side, part two will certainly please. - Jon Whitney
samples:
Tarentel, "The Order Of Things"
Tarentel have always been an interesting sort. They are another in a line of bands that approaches rock music with an almost orchestral theory, allowing their compositions to build, adding and subtracting instruments and voices, building to dynamic crescendoes—or not. The crescendoes are often laidback, never reaching a totally satisfying release, but instead subtlely raising eyebrows with an interesting change. After a series of EPs and a full-length on Temporary Residence and a full-length on Resonant, Tarentel released this, their third proper full-length, on San Francisco's Neurot Recordings. And what is new? Well, this time, the drums are a lot less present to start with, at least more than they have been in the past. Tarentel never really settle on one sound, as experimentation is a major tenet to their musical manifesto. More attention is paid to atmospherics on "Order," which makes for a far more synthetically organic sound, if that makes any sense. The addition of human voices is eerily used, layered on top of a bed of piano, bass, and keyboards. The most frightening part is the addition of ghostly whispers here and there, with weird noises like cables banging together added for effect. It's Tarentel's scariest record yet, but also their seemingly most planned and structured release to date. The more experimental they get, the more need there is for a definite matrix to play in. Every move here seems calculated, something I never would have expected. And with four compositions over the 8 minute mark, "Order" is also classic Tarentel, with a few shorter tracks thrown in for added flavors. Overall, this release is more of the same from Tarentel. But sometimes more of the same is the best medicine.
Rob Devlin
samples:
sugar plant, "Dryfruit"
Was it worth paying the expensive amounts for shipping from Japan? No. Does this album deserve a worldwide release? Yes. Sugar Plant is one of the world's premiere technologically-friendly dream pop combos. 'After After Hours,' and the 'Happy'/'Trance Mellow' EP releases have solidified their places as world-class dreamsters. Unfortunately not enough people were paying attention and the World Domination label just wasn't powerful enough to do the right job for the band. 'Dryfruit' is essentially the duo's third full-length album and was first released in their homeland of Japan in February of 2000. A release on the German label, Shibuyahot has been promised for a long while but I sure as hell haven't seen it yet. Over the years, Sugar Plant's music has gone from a rock-based sound, through an almost shoe-gazing phase (which was highly remeniscent of the quieter Velvet Underground moments), and into a serene, more electronically embracing period. Now it seems the duo have molded into an almost soft-rock phase, with more lyrics and less "ooohs," lots of organs and more guitar melodies that have replaced frequently strummed chords. While I do seriously enjoy this album, it's hard for me to actually get a charge out of it like I did from the first seconds of the now classic aforementioned releases. It's almost a bit too soft and misses the elements which used to completely put me in a trance. The packaging is spectacular, however, with the jewel case in a cardboard slipcase, reflective paper and a specially die-cut booklet with full-color photographs and images on some heavy paper. While I'm picky about this release, I'm sure it could easily become a hit with a number of people I even know personally, and the group has proven in the past their capacity to churn out some truly stunning works. Unfortunately without a worldwide release, seeing them live again will be less than likely. - Jon Whitney
samples:
neil halstead, "sleeping on roads"
Fans of Mojave 3 and the legendary (and sadly defunct) Slowdive have awaited with baited breath and in sweaty anticipation the solo debut of Neil Halstead, the frontman of both groups. Having performed quite a number of live gigs prior to the release of 'Sleeping on Roads,' Halstead's ease as a solo artist is apparent. He has taken on board such talents as Ian McCutcheon, Darren Seymour, Nick Holton and Mark Van Hoen (on whose Locust album 'Morning Light' Halstead made a brief but memorable vocal appearance) to assist with the recording in various facilities. His remarkable songwriting abilities have always invited comparisons to both Nick Drake and Tim Buckley, but rarely has their influence been so clear as on this release. The pervasive sleepy melancholy and sumptuous lullabies of 'Sleeping on Roads', however, are thoroughly Halstead's trademarks. "Martha's Mantra (For The Pain)", an understated ballad of sex and religion is a particularly striking example of his talents. That said, it is rather surprising that this album isn't as catchy as these elements would suggest. With the exception of more standout tracks such as "See You on Rooftops" and "Seasons," the songs tend to amalgamate indistinguishably after a while, leaving the impression that Halstead may have benefited from a stronger production team. The contributing artists help to balance out the dominance of the acoustic guitar with subtle touches of cello, organ, trumpet and light electronic elements, but the guitar remains a bit heavy-handed. On the other hand, being such a clearly-focused record, it is most likely that his intentions were on the modest side, and in this respect, he seems to have succeeded. - Jessica Tibbits
samples:
monster movie, "last night something happened"
Although Halstead is the former Slowdive member currently receiving the most attention in light of his new solo record, Christian Savill has remained active as well, recording with Sean Hewson as Monster Movie. Cross his previous work, the pop-gospel of Spiritualized, and not particularly strong songwriting, and you get this, their debut album. The Slowdive factor is evident with the pretty male and female vocal harmonies and dirgy guitar. It's an admirable effort, and by no means an unpleasant record, but unfortunately, something just isn't clicking here. The general lack of charisma despite the obvious skilled musicianship of Savill and Hewson smacks of some of the more mediocre '90s Brit pop bands. In terms of production, 'Last Night' is a knockout: undeniably dynamic and very well assembled, but it could benefit from the talents of a seasoned songwriter to balance everything out. - Jessica Tibbits
samples:
"unbearable candies"
The first CD from the London-based Unbearable Recordings label is a collection of music which previously only existed on a series of 7" records. Of the 19 tracks, 14 are done by three in-house artits, My Selfish desire, Arcade Audio Assault System and label maestro Guido Zen's Gamers in Exile. The remaining five are reconstructions by (as they put it) a distinguished panel of future unbearable heroes: Cex, V/Vm, Cathode, Duplo Remote and Nish. The qualitative critical beats and melodic hooks exhibited on the original versions are either consciously or unconsciusly trying to put the "D" back in IDM. Arcade Audio Assault System's three tunes are jovial and springy, with the occasional jumps and skips just to keep you on your toes while Gamers in Exile's variety of electronica ranges from deep beats, quirky Macintosh voices, to synthetic symphonies. The first of two tracks from My Selfish Desire are slightly rougher around the edges, with perculator beats, digital distortion and magic piano while the other one is a hypnotic bottom heavy butt shaker. The remixes are drastic enough to keep the interest yet close enough to fit in appropriately with the comp. The Unbearable label should not be unaudible. It may take a while for their records to reach other shores, but demand it from your fave electronic outlets. More releases should be featured here soon. To find out more, check out unbearable-recordings.co.uk. - Jon Whitney
samples:
BED, "THE NEWTON PLUM"
Bed are a French group led by Benoit Burello, presumably at least the vocalist and pianist, and this is their debut for French label Ici d'ailleura. Austere is the word that immediately comes to mind when listening to these ten very sleepy, very subdued songs. Mildly jazzy keys, guitar, bass, strings and winds just barely blanket the spaces in and around Burello's unassuming, almost spoken word vocals (all in English, best I can tell). It's all very casual, very quiet, very slow, very relaxed and, in some way I can't quite adequately explain, very French. And 36 and 1/2 minutes later it's time for bed. There's not too much in the way of memorable melodies or lyrics really, just briefly used or underdeveloped phrases. They're all pretty but too often they come and go with frustrating ease, such as the way "An Itch" begins to build a promising groove then aborts it less than a minute later or the gorgeous piano refrain of "The Whimps" is best used in conclusion. Oh well. C'est la Vie!
- Mark Weddle
samples:
"Everything You Always Wanted to Know About Twisted Nerve But Were Afraid to Ask"
Following that palpitating heart over Misty Dixon last week, some research was actually conducted. Turns out Misty's not a person, but a quartet from Manchester. I can't find any albums yet but there is a track on this compilation, "Misty Dixon and some other less-significant friends or something" (don't believe what the record label tells you). Of the 19 songs on this collection, 18 aren't Misty Dixon tracks. Three are from the most definitely non-Misty Dixon Badly Drawn Boy. Weren't people raving about him a couple years ago? I honestly don't remember hearing anything remarkable from him but the songs here are kinda cute and very peppy and short. I hear he had a really sexy backup band for some tour a couple years ago. Andy Votel (another non-Misty Dixon contributor) lends some tracks on a collaboration with Badly Drawn Boy as well as some playful songs all his own. Dave Tyack is Misty Dixon-related, yet the two of the three tracks as DOT and two as Dakota Oak have nothing to do with Misty Dixon. Thankfully one DOT track gets saved by a Misty Dixon remix. The Misty Dixon track, "Headlights (And When We Drive)" certainly isn't as saucy as their cover of "The Beautiful Ones" but is a charming quiet rock melody with a guitar line which could probably gain them lots of mileage in Louisville. Other non-Misty Dixon artists like Sirconical, Cherrystones and Supreme Vagabond Craftsman make their appearances with instrumental songs as pleasantly playful as pretty much the rest of this compilation, which upon further examination, seems to gather a bunch of songs from various singles and albums released by a label called Twisted Nerve, who are embarassingly short in Misty Dixon releases. Next week I plan to begin my letter-writing campaign. - Jon Whitney
samples:
Norway Squared, "Geometry Not Geography"
Everyone seems to either love or hate the 'electro revival,' but the truth of the matter is that, with any genre of music, you have the good and the bad. In this case, you have the good (Fischerspooner, Soviet, Ladytron) and then you have artists like Norway Squared. This second album by Eric Melzer on Ronnie Martin of Joy Electric's Plastiq Musiq label (home also to Soviet and Travelogue) embraces every tired and worn-out element of electro and new wave. The vocals are vocoded on every single track, except for the self-titled intro, in which analog bleeps and tones swirl around a monologue depicting Norway Squared as a futuristic plastics factory. "The future is closer than we think, and Norway Squared is there to lead the way." That is, if leading the way towards the future is programming uninteresting drumbeats and bland synth melodies. The vocals and lyrics seem intentionally jokey, but just because something is slightly ironic doesn't excuse its badness: "My synthesizer talks to me, my synthesizer told me to free, then it said 'you can't synthesize love'" Melzer lists over 60 of his 'recent influences,' including both "bad synth pop," which makes sense, and "anyone trying something new for a change," which doesn't. Noticeably absent from the list is the Cure, whose "Let's Go To Bed" Melzer bites nearly note for note as the chorus of "It's Only Pop." Additionally, the opening of "From One Ballad To Another" sounds so much like Cyndi Lauper's "Time After Time" that I initially thought it was a sample. The lesson to learn from Norway Squared is that just because you own modular synths doesn't mean you can write a good song. It is uninspired, unoriginal synth drivel like this that gives the whole electro revival a bad name. - Nate Smith
samples:
"The Legendary Pink Box"
While I have always loved the music on the Pink Box, I have always had issues with the CD version. Originally released in 1989, between the Golden Age and Crushed Velvet Apocalypse albums, the vinyl was a triple set. LP 1 featured new recordings of old songs, LP 2 featured old songs from cassette-only releases on wax for the first time, while LP 3 contained brand new songs (with one exception). Inside the box was a big booklet with a photo collage, lyrics and a brief discography. Two years later, when the music made it to CD, the tracks were rearranged, thus blurring the thematic intentions. Regardless, the disc includes a number of live favorites like the spectacular re-recording of "Close Your Eyes, You Can Be a Space Captain," the monumentally epic 21-minute "Premonition 13," and one of my favorites from the early days, the proto-pop of "Voices." The reissue from Soleilmoon's Caciocavallo label is now available, thankfully bringing the music from the first and third LPs back in print. By now, however, all of the songs from the second LP have surfaced on various other Chemical Playschool and other cassette reissues, so the only purpose this release serves is to keep it in print. Somehow I feel it still doesn't compliment the themes enough, however, and the flood of new printed material is slightly excessive. All the lyrics are now included as well as two new pull-out miniature posters, reproduced from the artwork in the original LP release. It's an essential album for any LPD fan and provides a great introduction for those interested in their music, but I think it could have been either retired or evolved this time around. - Jon Whitney
samples:
JAH WOBBLE, "THE EARLY YEARS"
Between his late '70s stint with Public Image Limited and the mid '80s foundation of Invaders of the Heart, Jah Wobble released a number of solo and collaborative singles, EPs and albums. This 2 CD compilation selectively revisits that period. Included are the original "Invaders.." 12" (the cream of the crop), the "Voodoo" 12" with Ollie Marland and Polly Eltes, the "Blowout" 12", the title track from the "Tradewinds" LP with Ollie Marland, the "Fading" and "A Long, Long Way" 12"s (minus the instrumental versions) and the entirety of the aptly titled "Bedroom Album". Noticeably missing are all of the releases from the same era for Virgin and Island, the ones I'd much rather hear, such as the collaborations with Don Letts, Keith Levene, Holger Czukay, Jaki Liebezeit and The Edge. Wobble's work with PiL and of the past 2-3 years is by far my favorite, thus my low expectations for "Early Years" were not surpassed. There are some pleasant and promising moments but nothing on par with his previous post-punk and later, more serious output. Goofy, cheesy pop tendencies (least of which are often silly or trite lyrics and vocals) and not so interesting experimentations predominate, while the dub wise world sound he is best known for is only in it's fledgling stages. Recording quality is a bit dodgy here and there too, some tracks obviously mastered from inferior masters. It's somewhat curious that Wobble would choose to re-issue these rather amateur recordings now. I recommend PiL's "Metal Box"/"Second Edition" and Wobble's other recent 30 Hertz discs instead. - Mark Weddle
samples:
Tausendschoen, "Yonmade"
Ex-members of Maeror Tri are behind this atmospheric, beat-orientated album which stands somewhere in between traditional German electronic pioneers and current artists like Maju and the more experimental structures of Zoviet France. It adds another shade of grey to the wide fields of independent produced music - leaving no clue if the intension is to connect these styles or if this is just the result due to the influences and likes of those involved. The accompanying info says Tausendschoen's music is rooted in the agreement that everything has an opposite which should be realized, and their music is "music for the centre of your brain". Some sharp contrasts pointing out the opposites would have been welcome to keep the interested listener listening. However, late at night it is a lot more appealing than during daytime due to the lengthy ambient structures and the general drifting mood. The nicely handpacked and limited bonus CDR (200 copies with additional graphic data 3" disc) shows the current state of this project. I guess the main work are paintings, some of them can be seen at www.t000schoen.de. If you feel like obtaining it contact tarkatak@nwn.de as the site is not yet updated and I doubt there is a proper distribution company involved. - carsten s.
samples:
POSSET, GOMMORRAHH, "SPILT SIGNALS #2"
The second in Mancester based RSI label's Spilt Signals series brings together a pair of unique improvising duos from the North of England. Posset from Newcastle and Gommorrahh from Manchester both couple processed string sounds with electronic generated noises. Gommorrahh are cellist Daniel Weaver, formerly of Stock, Hausen and Walkman, and beatmonger Mild Man Jan, who appeared on the earliest V/Vm Test compilations and later made a single with Mark E Smith and has more recently been composing symphonies for mobile phones. Their starter 'Darwin's Evil Lotion' sounds like a short cousin of Fennesz in "Hotel Parallel", with Audiomulched cello noise and quick change drum machine patterns. The main course from Gommorrah is 'Onanie Thermos and the Big Drip' which clicks and gurgles along to a steadier bulkier beat, with funny underwater bell sounds drowning all around. 'Crushed Cigarette Holder' goes bossanova for dessert with the cello actually sounding like a cello. Flip the reddish purplish record over and Posset slowly build up some tense processed guitar noise over the course of three tracks. 'Vernix' sends little skittering crackles over regular rhythmic squelch and sonar blip. 'Endocrine' is a very short burst of feedback, heralding 'Myconium' which has more recognisable light guitar hammering over an escalating drone which builds to a controlled crescendo. If you enjoyed the Triangles album Moikai released last year, you might well also enjoy Posset. This and the first in the Spilt Signals series which featured Disco Operating System and JJ Howard, can be ordered from www.rsirecordings.co.uk.
- Graeme Rowland
samples:
"ELECTROCLASH 2001"
This compilation serves as a soundtrack to last years NYC Electroclash 2001 festival. Held over four days at various venues throughout the city, Electroclash brought together many of the contemporary luminaries of the currently festering retro electro scene. Adult, Peaches, Fischerspooner and many other lesser known acts graced the stage, and after the rubble cleared, we were left with only this compilation.
The disc starts off on a killer note, with Fischerspooner's inspired cover of Wire's "The 15th". It's hard not to love the infectious synth melancholy of this gloomy pop song. The rest of the artists on the comp yearn to reach the heights of this first track, with varying success. Memoryboy's "(There is No) Electricity" is a surprisingly powerful pastiche of dark OMD-style electro. Morplay's "Check Your Pulse" is my favorite track by far, a hilarious and ingenious Afrika Bambataa-style electro rap anthem. It sounds like the bastard child of Jonzun Crew and Technotronic.
Soviet turns in a very passable plagiarism of Depheche Mode that shouldn't be enjoyable, but is. Robbie D. deserves some praise for the Coil-style audio perversion of his track "Lotion." The rest of the artists engage in increasingly less and less interesting juxtapositions of the same familiar clichés that make all EBM and Darkwave bands sound unlistenable and retarded. However, on the whole, this is an excellent compilation that successfully documents this scene in all of its inconsistent glory. - Jonathan Dean
samples:
dykehouse, "dynamicobsolescence"
Mike Dykehouse (yes, it's his real last name) recorded this effort, his first release on the Planet Mu label, on 4-track, then it was mixed, mastered, edited, and reconstructed by Mike Paradinas, the banal incubus known as µ-Ziq. The end result comes out sounding like the soundtrack to Gran Turismo mixed with cutscene music from NYPD Blue and the keyboard demo on Casio keyboards, and set in the backdrop of "Breakin' 2: Electric Boogaloo." That's right: pretty uninspired, mostly keyboard-created drivel. And that's not to say it's without hope. There are tracks on here that are passable, and they mostly involve lush keyboards with samples, and clever changes in the middle. Most of this music, however, is just modern electronic mastery applied to classic Detroit techno—Dykehouse hails from Kalamazoo—which makes it sound incredibly obsolete as well as repetitive. And when something comes across that is genuinely stunning ("Humid Easel Hockey," for instance), it only lasts long enough to get you addicted to that stuttering beat and pretty keyboards, then it fades away. Even Paradinas himself, whose involvement is often both a blessing and a curse, offers a non-commital description of dykehouse on the Planet Mu website ("it was pretty good" and "so it's like Moodyman meets Autechre, however awful that sounds" are the high points). There is extreme potential here. The high points on this CD blow the rest of it out of the water. I found myself wishing that the rest of the CD had the same sound of the fantastic triple-shot of "Hockey," "The Patina of Accumulation," and "Kalamazoo." Sadly, that's the best it offers. Then it disintegrates under the weight of a limited palette and lack of fresh ideas. I'd like to hear more, perhaps downloading the MP3 album he has on the Planet Mu website. But this release left me as uninspired as it sounds like Mike was making it.
Rob Devlin
samples:
"The Essential Chris & Cosey Collection"
Keep telling yourself, "it's only a budget-priced release, it's only a budget-priced release," and you'll be fine. While I love Chris & Cosey and strongly feel that not enough people have properly given them their day in the sun, I'm finding it strange to be building a pile of "Best Ofs" from the duo. 'Collectiv Two' first surfaced in 1989 by Play it Again, Sam, reissued in 1996 by CTI through World Serpent, 'Reflection' appeared in 1990 on WaxTrax! but has gone out of print. The bulk of all of these three collections is simply album tracks, with the occasional bone tossed in to make it impossible to toss. This time around, two CDs make up the collection and feature music up to 1999's live peformance from the Festival of Drifting, yet most of the material comes from the 1980s. Much more preferrable would be a collection which highlights some of the exciting stuff from the 1990s on one disc and leaving the pop stuff to the other disc. On top of that, these flimsy cardboard cases need to go. It's taken me a while to accept digi-pack but after a couple openings, the spine of this disc is beginning to bend. In defense of the music, while the pop period of 1980s Chris & Cosey music seems somewhat dated, the songs are amazingly catchy and surprisingly fit in perfectly, sandwiched between a number of retro analogue synth-pop revivalists. The music is far more complex than people like Felix da Housecat or Adult, and C&C's progression can be charted through the 1990s up to today as they dove into amazing depths with sound experiments on the Library of Sound and EAR series. At $12.99 for a double import CD, you've got nothing to lose. - Jon Whitney
samples:
We know that sometimes these CDs are somewhat challenging to find, which is why we have a community section which can be used to obtain nearly everything available on this site. |
more more more
Subject: iron-ons
a recent visit to the sonic youth site and they had a couple of downloads
for iron-on heat transfer designs (i think PDFs) and a promise of future
downloads for some images/designs to download for printout on adhesive paper
for stickers. something like that would be cool for brainwashed or better
yet a contest for brain readers to make a suitable design for the sites. If
you don't think it's a good idea for the main site, then you might still be
able to do it for the brain in the wire set (i don't know if you've already
made all the stuff you're planning on including in it, but this doesn't seem
like it'd be all that expensive/labor intensive.)
just thought it might be an idea worth throwing out to you for
consideration.
There's already an amazing amount of stuff in that goddamned box. If they don't sell out completely, Doctor Whitney will be in the poor house. Just kidding, but there's already a ton of stuff in there already.
Subject: godspeed you backstage parties
Hi,
I realise you probably only do their web hosting, but maybe you can help me.
I am interested in meeting members of GYBE when they play in Iceland. Do
you personally know any? Arni from the Hljomalind record store is setting
up the gig and he is sending me tickets. How hard would it to get invited
to one of their parties?
Take care.
Even if I knew how to get in touch with them on the road, I have no clue who you are. Sorry. You should just hang out at a merch table afterwards if you want to meet them. I know their tour schedule is tight, hardly any parties going on when you gotta pack up and get in the rolling coffin to the next town.
Subject: icelandic connections
hi, i really enjoy your website, both your personal one and brainwashed. it's strange to see such a very very personal website.
just one thing i'm curious about, your name... jón is a very common name in iceland and i've noticed that you review a lot of icelandic music so i was wondering if there was a connexion.......?
anyway, this is just a silly email, i have nothing to do. bye.
Jon is a very common name in the USA, too. There's no connection I know of right now, but I'd love to visit!
Subject: Greetings from the Netherlands
Being a huge Coil fan myself, I saw your name under a photograph on the
'Supplement' internet site of Coil meeting Karl-Heinz Stockhausen at the Sonar
Festival in Barcelona, and decided to have a look.
Although I'm quite content with my own record collection (some 5000 albums and
1500 cd's, including many experimental/industrial rarities) I must compliment
you on yours. Especially in the field of Edward Ka-Spel, Legendary Pink Dots,
Current 93 and Nurse With Wound you have an impressive stock, I must say.
If you'd like to meet whenever you're in the Netherlands, to talk about music,
or if you need a contact over here to help you get hard-to-find music, please
let me know.
Thanks, you're in line behind Iceland.
Subject: Cex relationship
Is there any truth to the rumors you've adopted Cex as your son?
Rjyan Kidwell and Jon Whitney's family lives are a personal matter. Sorry, we can't discuss this publically.
Subject: Bowery Electric
What is going on with Bowery Electric/their site?
There's really no news coming out of their camp. Once we have stuff to report, it'll be posted.
Subject: Gordon Sharp?
What ever happened to Cindytalk and Gordon Sharp? Any news on what he is up to?
No clues on him, either.
Subject: Your CD collection
Do yourself a favor, and do not listen to classical music. You'll discover
that you must own every Witold Lutoslawski work and won't have any room left
to store cd's (assuming you do now). 29 Richard H. Kirk releases.. My oh my.
Noted, thanks.
Subject: no subject
I love the Brain, but oh the irony of your shout outs to the Patriots in the
last two weeks' editions. Any fault you may find in major record labels is
chicken feed compaired to deeds commited by the evil empire of professional
football.
There's only so many causes you can devote your time to. We could also tell people to be vegans and buy from organic farmers, smoke only tax free pot, or whatever. We support causes we can know and discuss stuff about (ie: music and music-related). In any case, this is the first time the New England team ever made it all the way and it was just a showing of support for the home boys.
Subject: your old tech support job
hey there. a while back you posted a recording of an old man with much
displaced anger leaving a message on your answering machine. i proceeded to
hijack that recording and use it in a song. im putting together an album worth
of material and planned on including this track on it. granted the album may
never be heard by anyone but friends, but wanted to ask if you mind
nonetheless.
good times
Rock on! Just give a recording when you're done.
|
