Nothing makes me more upset than when someone claims to enjoy “everything”, but can’t enjoy the simple things in music. I mean, pop and radio rock is the least challenging form of music to listen to. I understand there are many acts that are pretty bad (Nickelback, Finger Eleven), but claim bands that garner a large amount of success or airplay as not worth listening to is the prime example of pretentiousness. 2013 is nearing the end of it’s spectacular run, and it’s coming down to crunch time when picks are made, and time and time again my most listened too seem to be everyone else’s as well. It goes to show the popularity of an artist.
Now as I type this, I have a certain sound in my head when I think of constant radio airplay. It’s one of three categories. First is the club bangers, think big name rap artist featured on some pop stars track. Second category is the new, popular indie artist that everyone pretends they only like, (Mumford and Sons, The 1975, Capital Cities), and my final category is the tried and true rock. Since the 70′s, rock has been the only form of popular music that still receives radio airplay, even if it has fluctuated throughout the years. Different Days is a Montreal based band that grows from that popularized rock sound we all know. Strong, steady drumming, prideful vocals, and the one of a kind guitar tone. Oddly enough, throwing on the EP I received from them the first thing I thought was, “Is this PJ Harvey in 2000?”. It’s a spot-on comparison I’ve been told, and I guarantee if you listen to “A Place Called Home” and compare it to the band’s “Inconspicuous”, you’ll agree.
The group takes pride in their self-sufficient way of doing things. Having multi-talented members who can design artwork, master albums, and brag about a degree in classical production(?), they seem to have everything set. “Different Days” is not only the closer to the same-titled EP, it IS the epitome of their whole band. Feedback that salutes Sonic Youth, incredibly strong fills, and even the opening finger picking foreshadows the ultimate climax. There are so many different sounds on one EP. There’s a heavy metal sound, followed by a top 40 rock vibe, but it doesn’t feel forced with the exception of the opener, “Breathless”. It came across as tinny and lifeless. The upside is that the vocals are incredibly catchy, so it would be a different experience live.
Different Days is a band with a bright future. From PJ Harvey to Bikini Kill, the band knows their roots. They pick and choose only the most engaging parts from each artist to combine it into one unique, colorful blend of music. Different Days EP is a solid showcase into what the group has to offer. When experience and experimenting comes, they should be a band that brings a lot to the table for record labels. I guarantee them as the next indie sweethearts. Listen to “Static” and attempt to put a frown on, which is only acceptable when headbanging.
Listen to the entire EP below, and download!
Be to check out their facebook page here
To commemorate the release of the highly anticipated documentary Bettie Page Reveals All directed by Mark Mori and narrated by Bettie Page herself, MITNG and Filmbar, are hosting a contest. “What kind of contest?”…you ask?
For tickets to the screening fool!
On December 6, 2013 Filmbar is going all out!!!
On First Friday December 6th FilmBar will celebrate the Arizona Premier of the new documentary Bettie Page Reveals All with a Classic Car Show, Bettie Page Photo booth (by Allons-y Media) & Bettie Page inspired DJ Set. The film will screen at 6:30 & 9pm (with additional show times throughout the week). The Classic Car Show begins at 6pm with a focus on pre-1965 American made automobiles. Patrons can pose with a pinup in the photo booth from 7:30pm onwards & DJ JP Woody of the MONDO TWANG podcast and Aquarium Drunkard music blog will provide swinging sounds in the lounge with a DJ set inspired by Bettie Page beginning at 9pm.
Yep…it’s going to be quite a time and you can be apart of it. Here’s how!
1. Tell us where Bettie Page was born. Give us the name of the photographer/former pin up model, who worked with Bettie Page and lastly, share our screening event on your Facebook page. We will be notified of your “sharing” by going to our Facebook page “Liking” it (if you haven’t already) and sharing the event from our site. You could send us a screen cap of the share, but it’s not necessary.
2. Post your answers in the comment section of the Bettie Page event on MITNG’s Facebook.
3. The first one to answer correctly will receive 2 complimentary tickets to the event
And that’s it! Do this and we will contact you to get your name and the time you’d like to see the film as well as the name of your guest! Feel free to dress the part on Dec 6th! It’s going to be an awesome night!!
- Trailer for Bettie Page Reveals All finally talks to the woman herself (mitng.org)
- First Look: Unpublished Nude Photos of Bettie Page [NSFW] (nymag.com)
- Trailer for Bettie Page Documentary, BETTIE PAGE REVEALS ALL! (aintitcool.com)
- ‘Bettie Page Reveals All’ Maintains the Pinup Artist’s Mystique (Review) (popmatters.com)
- New Trailer for “Bettie Page Reveals All” Reveals A Lot [VIDEO] (coed.com)
Turntablism (if that’s a word) has come a long way since the release of it’s arguable epitome of Entroducing….. in 1996 Although that primarily fits in as a hip-hop record, it led the way for future acts such as Flying Lotus, Nosaj Thing, and even AraabMuzik. Now these latter musicians take a more electronic roots approach by using an MPC as their weapon of choice, but still continue on the sampling, mixing, and hip-hop approach used by DJ Shadow. Yes, there’s a lot more to it than one record, but electronic music is continually looked at by what influences it instead of what it has influenced.
A great example is the jounreyman of electronic music in Europe, Sound Strider. Combining elements of psychedelia, hip-hop, and dance music, Sam Waks (Sound Strider) has created a name for himself in the ever growing live electronic scene overseas. With a recent EP released titled Intrepid Travels EP, it’s a little hard to believe that Waks music has been played in front of audiences in the thousands. The track “The Stakes” opens with glitchy snare track that flutters with an open hi-hat beat that cannot stick together. It’s a psych-rock drummers dream to have this beat, but it seems it can only be done on a drum machine. It’s complexity, along with a wonky bass line and a voice over from the the past telling me I’m about to leave this world, is almost too weird to dance too. Still, Waks finds away to keep the music abstract, yet dance-able at the same time.
Every second I listen to Sound Strider, I have a new musician or act in my head that I’m comparing him too. James Blake? Underworld? I’m pretty sure I’m doing this wrong if that’s the way I think, because the list would never end. Waks has a unique sound that draws from all angles of electronic music from post-dubstep to traditional deep house. It’s why he’s labelled as IDM, because like Aphex Twin, it requires a deeper dive into the world of his music. “Menlo Park”, the second and longest track off this 30 minute, 5 track EP has the beefiest drum track on the album. It kicks in so heavily when the subtle, but aggressive bass jumps along to the ever changing track. It’s hard for me to believe the beginning and the end are from the same album as the song just grows and grows.
I made a comment earlier saying that it surprised me that Sound Strider has played in front of thousands of people. It wasn’t a back handed comment, but an assumption based on the genre of music. He plays in a genre that’s a little out there. Psychadelic IDM is pretty rare to hear in a scene where the heaviest bass drop wins. Waks seems to take pride in subtly, creating an atmosphere that the listener can indulge into. “Childhood’s End” brings this to light with the progression of the track losing and gaining drum tracks every few seconds. The melody seems to be a contrast between reverbed voice overs and off-kiltered vibraphone notes that lead to driving key strikes. Everything about the music screams pride, and unlike a lot of the bro-step movement in the US, Waks crafted these songs based on a message, not bass drops.
What drew me into Sound Strider was the complexity and uniqueness to his music. There’s glitchy trip-hop, post-dubstep, plunderphonics, and soothing ambient sounds that grow into odd, but catchy tracks. His own style comes into play but creating an outside world for the listener, taking them on a journey into not only the universe, but inside Waks mind of sound. If I were to watch him live, I wouldn’t know whether I’d be the guy in the front dancing to every track, or standing off to the side, taking in the entire experience. That’s the beauty to Sound Strider. He’s able to appeal to both, without taking away from either side.
Be sure to listen to the entire EP below:
Let’s take a moment and review some of the antics this group has caused in the past year and a half. They single handily won over an entire audience with The Money Store, which received worldly acclaim, and then gave the middle finger to the same record company by releasing No Love Deep Web without their permission. Remember the Sharpie covered penis? Yes, that was Death Grips. Following this, they began a massive tour, which they cancelled before to release No Love Deep Web, and then ultimately cancelled the SAME tour again. They didn’t even bother to show up to the Lollapalooza after show either, which received a lot of coverage as well. Now the hardcore hip-hop group released a new album, titled Government Plates, to the surprise of everyone in the music community. Coming across as a logical progression to No Love Deep Web, it combines the sound of the prior with the structure of the universally acclaimed The Money Store.
Now I’m a Death Grips fan. There’s no denying that I enjoy their music, but I went off for a few months without hearing a single song. It may have been the overkill with The Money Store, or the fact that I wish No Love Deep Web sounded like the previous album. It felt like getting back with an ex when I started the stream of the new album. From the beginning of Government Plates, I realized the group was back in business. The album opens with the horribly titled, “you might think he loves you for your money but i know what he really loves you for its your brand new leopard skin pillbox hat”. Yes, that is the title, and it’s all lowercase. The first noise on the entire album is a crash of something glass, and then follows the high pitched ringing that echoes the massive bass hits that seem to be a reoccurring theme on the album. It’s arguably the best song on Government Plates, and the worst title in music history.
Follows this is “Anne Bonny”, which is a great throwback to The Money Store. What this album does so well is it sets itself apart from any Death Grips album by being plain odd. There’s a lot more of MC Rides screaming, and the electronics on every song come across as extremely eerie, but dance-able. “Two Heavens” opens with a rotating synth chord, but then a double bass break comes in with a distorted voice. It’s something I can headbang too, but also sit in the dark and squirm until it’s over. Flatlander, the noise specialist in Death Grips, really steps it up for this album. He doesn’t try anything particularly new, but every track contains an immense amount of bass this time around so I can’t complain.
Zach Hill as well lets loose for this album. He’s pretty much given the OK to try anything, and that can be seen on “This Is Violence Now (Dont get me wrong)”. Over top the preset drum machine, Hill’s chaotic drum fills are fixated to the song like a metal-heads dream. Listening to Government Plates gave me a whole new perspective of the man’s talent, and reading that he was self-taught woes me every-time. It does make sense though, because he plays like he’s feeling the beat with his body, hitting everything in sight, but it does work well. He overplays, but in only the best way possible.
Now the overplaying can be tied into the reason for the free release. It proves that Death Grips aren’t in it for the business, but for the sake of a creative outlet. I don’t know any other ventures Flatlander and MC Ride are in, but Zach has had a resume full of past bands ranging from Boredoms to Hella to Wavves. The group seems to be a release from the world around them, and them allowing us to experience it seems to be a hard thing for them to do. MC Ride does hold back on this album, but he allows the other two members to stand out. His highlight does come in with “Birds”, which has some of the groups most cryptic and eerie lyrics possible. “I’ve got a black hat/ It might live,” is bad enough to pass up, but with the minimalist mess that surrounds it adds enough of an effect to show that lines like these have an effect.
Government Plates is the oddest release yet by Death Grips. The whole idea of them releasing a brand new album for free makes me wonder what their intentions are. Just to note how far they’ve came, when they released this album on their own website, it crashed within 30 seconds. I wouldn’t be surprised if they meant for that to happen, or they meant for the insane buzz that surrounded their no-show at Lollapalooza. What Government Plates shows us is an honest look at what Death Grips wants to do. They want to let loose, they want to have fun, and they don’t give a fuck. If people call Miley Cyrus “punk”, just wait until they know about Death Grips.
There’s already been a surprising amount of great electronic music released in 2013, and with the year wrapping up shortly, I’d like to bring up another release that stands out. Hailing from Vancouver, BC and taking his project to Montreal, Hecker has created a name for himself in the experimental music scene since his Imaginary Country release in 2009. Virgins is his 7th full length album, and it further progresses the droning, beautiful chords that he’s noted for.
The album opens up with a signature Hecker contrast between light, pretty ambience and booming distorted whole notes. What I loved about his previous release, Ravedeath, 1972, is that it carries an experience that is unable to be had with other musicians. The problem is that I wouldn’t go back to it all the time. It’s not that it’s not re-playable, but it was a listen that I’d crave after. What makes Virgins the superior album is that I want to listen to it immediately after the final track is finished.
These 12 songs off Virgins flow so smoothly, and they stick in my head. There’s a slight dance to his music that allows me to fall under a trance, but as soon as it becomes a little too much, he swaps for another sound. Think Stars of the Lid mixed with Steve Reich’s minimalism for this album. Add some distorted, resonating notes, and you have the formula for Virgins. Although not that simple, it feels like that at times.
I found Virgins to be quite accessible too. I never felt challenged to “stick with it” or pretentious having his music playing. Especially the track, “Live Room”. Now that’s what I’ve been wanting out of Hecker for years now. It takes over “Sketch 7″ as my favourite by him. Those omniscient opening notes collide like a horror movie soundtrack with the distant echoes of noise. I imagine a burst of white noise, Xiu Xiu style, breaking the tension, but instead Hecker works his magic by flashing distorted saw buzzes into both speakers with total control over the emotions of his fans. He watches like a god and laughs at us as we can only wait until the beautiful destruction of it ends. The track is literally apocalyptic.
I found my word to describe my feelings Virgins. It’s more destructive than a typical Godspeed You! Black Emperor album, and more tense than Oneohtrix Point Never’s recent release. I feel as though Virgins can full under post-rock territory, although it’s not rock at all. Maybe post-(insert genre here)? Post-experimental-ambient-drone. deciding what genre music is in is a losing battle so fuck that, but Hecker provides some amazing moments on this LP.
“Black Refraction” is another moment that I connected with. It’s the complete opposite of “Live Room”, but the tense, creepy feeling of being lost in unknown territory still lingers. The closer, “Stab Varriation”, reminds me of The GY!BE track, “Moya”, oddly enough. It’s downfall chord progression provides imagery of ashy, torn buildings, and loneliness. I love it, and I don’t feel guilty one bit. Hecker’s ability to stay with the same idea and expand it until it breaks without feeling forced is true talent.
That’s been my comment about his music in the past, and he fixes that on Virgins. I don’t at all feel like I’m having a song on repeat, and even after many listens, I pick up on the subtlety of his layered creations. They drone, and drone, and drone, but every measure the pieces get louder, quieter, add another faint noise in, etc, until the mess is too much to handle and you cannot think, and then it’s over. You can breath. You can relax. Now you want more, so one listen turns to two, and two becomes three, and three becomes four. Hecker implies one single question through the blips of noise on his opener, “Prisms”, and asks, “Are you ready?”. I thought I was until listened.
Listen to “Live Room” below:
I always find it amazing when I hear music that’s created in a bedroom studio. It always has a cozy, warm aesthetic that’s much more listenable than any other genre I find. Perfume Genius and Youth Lagoon have really captured the essence of bringing the music from the bedroom (or a friends) to life. With the release of the weird, but very good Wondrous Bughouse, I’ve felt the need to rekindle some of that lo-fi feel in my daily music listening. A musician that brings together this idea greatly is Candy Cigarettes.
Lane Mueller is a solo, self-taught musician out of Portland that has been releasing songs under the alias of Candy Cigarettes. Already playing in festivals around his hometown (The monstrous Kaleidoscope Festival in Eugene, Or), his deep baritone voice is rare to hear in the dream pop genre he’s playing. What makes him special as well is how he can jump from a Matt Berninger rumble to a Ben Gibbard, Postal Service, style of singing. Because of his smaller scale and bedroom feel, it’s obvious the quality cannot compete with some of the bigger players in the business, but it adds to the feel of his music. The tracks I listened to, “Tomorrow”, “Stockholm”, “Call Her Friend” and “My 45″ all fall under the same lo-fi sound, but are extremely different in their own qualities.
I’m torn between “Stockholm” and “Call Her Friend” as my personal favorite track from Mueller. It’s easy to tell what emotions he’s trying to convey from his diverse range of sound. “Stockholm” begins as a lonely, National influenced track that bursts into a riff resembling “Entertainment” by Phoenix. I hated that song on it’s own, but Mueller takes the idea of the riff, and creates it into a great ending for a sad, revealing track.
“Call Her Friend” was not a track I wanted to hear from the opening guitar riff. it’s too Garage Band like, but I gave it a chance and I found it to be Mueller’s most creative work. I hear an early Death Cab for Cutie influence, but with more desperation with the backing vocals droning off, leading into an outstanding electronic section. The song has so many different noises coming from different angles, but Mueller utilizes the silence of the chorus with the background vocals to create amazing tension and connection with the listener. I also found the bridge and fade out to be very solid, with the exception of the blues guitar that doesn’t fit. Nonetheless, great track.
“Tomorrow” was the song that I first heard, and it did really capture my attention. It’s the definition of bedroom music, and that’s not an insult in the slightest. I’m saddened by the fact that many people haven’t been introduced the Candy Cigarettes, or other bedroom artists of the same nature. Mueller’s bio describes himself as “Carved name amongst the elders of Portland’s highly proclaimed music scene”, and it makes scene. This track in particular has huge potential to be a radio hit with a bit of clean-up. My same comment goes as the blues guitar doesn’t fit the overall feel of Mueller’s music, but nonetheless it doesn’t detract from the great ideas.
Lane is among the many talented solo musicians who are striving to have their name heard. Some are pretty established, like Mueller, while others haven’t shown a single soul their creations. All we know is it can be a work of genius if we give it a chance. Thanks to the age of social media, we can experience the greatness of millions of musicians, and see their minds flow. Just listen to “Weary Is”, and tell me the closing piano notes don’t make you feel something special. Candy Cigarettes, much like Washed Out, is a unique project that only needs that single opportunity, and at 21, Lane Mueller will be given many.
I would’ve been more elated by news of a Nightbreed reboot, but I guess this will have to do. Director and writer Clive Barker left an interesting Facebook update that confirms a Hellraiser reboot. Clive promises the same energy as the first, but just with more darkness? I don’t understand how much darker Hellraiser could get, but if the reboot of Evil Dead is any evidence, I’m guessing really really dark and as if this news wasn’t climatic and anti climatic enough, part of the terms of returning to the franchise was that Doug Bradley had to return as Pinhead.
You want to know how I feel about this? I am all for this, provided he doesn’t get all “you mustn’t change what I have put in place”. In order for this to work, this will have to be utterly Satanic. So fucking twisted and well written and acted, that it would put everything to shame. This would be the only way this would work. We mustn’t forget that it had nine tries to salvage the franchise from it’s uninterrupted downward trajectory. The last being Hellraiser: Revelations in 2011.
When comparing the Hellraiser film series with the other top-grossing horror franchises—A Nightmare on Elm Street, Child’s Play, Friday the 13th, Halloween, Saw, Scream, and The Texas Chainsaw Massacre—and adjusting for the 2008 inflation, Hellraiser is the lowest grossing horror franchise in the United States, at approximately $84 million.
This requires a new touch, one that Clive could nurture and weave a beautiful dance with, if done right. There are tons of talented individuals that would love the opportunity. I hope he gives them a chance.
HOT FROM HELL! My friends,I have some news which may be of interest to you. A few weeks ago I had a very productive meeting with Bob Weinstein of Dimension Pictures,in the course of which I pitched a remake of the first HELLRAISER film. The idea of my coming back to the original film and telling the story with a fresh intensity-honoring the structure and the designs from the first incarnation but hopefully creating an even darker and richer film-was attractive to Dimension. Today I have officially been invited to write the script based upon that pitch.What can I tell you about it?Well, it will not be a film awash with CGI. I remain as passionate about the power of practical make-up effects as I was when I wrote and directed the first HELLRAISER. Of course the best make-up in the world loses force if not inhabited by a first-rate actor. I told the Dimension team that in my opinion there could never be a Pinhead without Doug Bradley,and much to my delight Bob Weinstein agreed. So once the papers are signed , I will open a Lemarchand Configuration,dip my quill in its contents and start writing . I promise that there will be nowhere on the Internet where the news of my progress will be more reliable than here ,because the only author of these reports will be Your Infernal Corespondent ,me. My very best wishes to you
- Clive Barker Gets Go-Ahead to Write Hellraiser Remake Screenplay (toplessrobot.com)
- Clive Barker to Write HELLRAISER Remake with Doug Bradley Returning as Pinhead (collider.com)
- Bad News: A HELLRAISER Remake Is Happening. Good News: Clive Barker Is Writing It (badassdigest.com)
- Clive Barker to Write ‘Hellraiser’ Remake, Doug Bradley Expected to Return (slashfilm.com)
- Clive Barker Will Write His HELLRAISER Remake For Dimension Films! (aintitcool.com)
There are several reasons this needed to happen. First, if you never read the Clive Barker book that Nightbreed is based on, Cabal, then you might have been a little perplexed by some of the scenes in the original film. Like when the lead “Boone” (Craig Sheffer) , makes the deal with the huge demon thing beneath Median or at the end when Dr. Decker is resurrected by the priest or what was that one scene about when Boone’s girlfriend is given that sneak peak into where the Nightbreed had came from and the tortures they faced at the hands of man….that was insane. These are some of the questions, I hope, will get answered, cause I’m too damn lazy to read the book at the moment…don’t be sore at me.
Via. (More Nightbreed)
“I want to officially announce that the Cabal Cut of Nightbreed is going on to DVD.
“I have no details as yet of the timing of this release, or of the status of extras on the DVD. The company that will be releasing Nightbreed is Scream Factory.
“What I can tell you is that we at Seraphim have been invited to work with Scream Factory to make this release the best possible event. It’s been a long journey to bring Nightbreed to this moment, and I want to make sure that the release is the best document of the movie and its adventures. I will obviously be updating you through facebook on all the developments as they come through to me from Scream Factory, but as it stands I think the Tribes of the Moon should rejoice. This is a triumph for all of your voices, your support and your love. Clive.”
Clive also had this to say about the directors cut…
In a statement, Clive Barker said, with all the floweriness of a Clive Barker novel, “I had a dream about the tribes of the moon. They would live in a city called Midian and, though they were monsters of every shape and size, they would be the heroes of a movie called “Nightbreed.” However, when I made the movie, the studio was not comfortable with this inversion of the classic structure. They wanted the monsters to be simple-minded scare machines, while I wanted them to be the dark side of all of us, mysterious and misunderstood. Finally, with this new version of “Nightbreed,” which contains over forty five minutes of previously unseen material, my original vision has been realized. Come with me to Midian, the city of monsters. The tribes of the moon await us.”
My hopes and dreams are that director Peter Jackson will grab this dvd and say to himself, “Damn… can you imagine what we could do to a film like this now!!!!” Something tells me this is just the beginning.
The film is set to release on dvd in 2014
Trevor Powers a.k.a. Youth Lagoon, takes his ethereal quest one step further with this video for his new song “Raspberry Cane”. Director Stephen McNally gets all subatomic and Pagan at the same time by delivering normalcy with indigenous and slightly cult-like archetypes. Let’s see we have Tiki masks, burning phoenix’s, ghosts and Mundy’s…it’s all very unique and oddly peaceful. I can’t wait to pick up a copy of this track off YL’s second album Wonderous Bughouse on Fat Possum Records.
- [Video] “Raspberry Cane”-Youth Lagoon (strikerlifestyle.com)
- Youth Lagoon – “Raspberry Cane” Video (stereogum.com)
- Watch Youth Lagoon’s Terrifyingly Beautiful ‘Raspberry Cane’ Video (spin.com)
- Youth Lagoon – “Raspberry Cane” (Official Music Video) (earsneyesmusic.wordpress.com)
- Youth Lagoon Premieres “Raspberry Cane” Video (hangout.altsounds.com)
William Philips a.k.a TOURIST has been blending elements of chillwave and electronica since 2012 when he released his self-titled EP. William’s is one of those artist whose grassroots approach to promotion has garnered him some serious fans. In cooperation with Make Mine Records out of the U.K., his influence on the electronic scene is gaining acceptance worldwide.
His new track (available for free download on Soundcloud), isn’t like some of his more beachy vibes, but instead has a bit of the two-step James Blake vibe permeating his usual glo-fi rhythms. The song moves like a trance tune, building in small increments. Although subtle “Stay” will grow on you and has enough of William’s imprint to add this single to your chillwave playlist.