Un album care ma chinuie de cateva zile, cam cea mai neasteptata muzica (normal, dupa Dan Deacon) pe care am ascultat-o anul asta. Ma astept sa ajunga urgent de referinta dupa ce isi depasesc handicapul de a fi greci. Iese din zona electronica si deci imi e greu sa ii gasesc nisa, dar suna in parti ca Poni Hoax, in altele ca Diamanda Galas, are bucati de art rock (exista stilul asta?), new wave, shoegaze, techno (de sunet s-a ocupat Cristian Vogel). Unele piese abea asteapta remixuri ca sa ajunga hituri, altele sunt mai greu digerabile pentru urechi comode dar per total este un festin. Pentru cine se nimereste.
Mary & The Boy / Felizol – Are You Still Dancing Can Can
Mary & The Boy / Felizol – No More Bad Trips For Little Mary
Mary & The Boy / Felizol – A Hopeless Case (Death Samba)
Un nou blog romanesc care pe langa selectiile si review-urile de rigoare se duce direct la surse si se intoarce cu interviuri in exclusivitate.
“[Illegal file-sharing] is a natural consequence of a stupid and ignorant music business, that never saw the potential of the Internet. The major labels really fucked it up for themselves – and still do. They did not provide a way for the river to run, so the river found its own way. Until the music business provides a great system for digital music distribution, I do not think that music sharing should be punishable, with the exception of a warning and perhaps a ticket for those who own really share big libraries. Reducing file-sharing to something evil, or something good, is naive. File-sharing is a problem but also a solution.
I think that web 3.0 will further decentralize control and distribution, being independent will become more and more important. Every node in the network will become both a consumer and a provider. Torrents / p2p technology will be used for everything. Microtransactions (a few nano-cents every time your music is copied from one machine to another) will become the most important income source for artists. Renting software and hardware will free up technological barriers for poor artists. Mash-ups and convergence not only between genres but also between medias will make control and limits of distribution impossible, and new software technologies will emerge to help artists create new sorts of art and music, and utilize the system for ways of distribution we cannot imagine today. We really should have a few rounds of beer to talk about all this, I am so excited for the future.” Ugress
“The introspective character and the rigidness of “minimal” is something that doesn’t appeal to me, I prefer to dance to other grooves for sure, for others maybe it’s a revelation then. I don’t get it, but it doesn’t mean it is dead.” Matias Aguayo
“The name was conceived by Stefano Noferini because every time I left his studio – which was full of records covered in dust – I had my hands totally covered in it, too. I found that name connected to some western poor kid that cleans cowboy boots and is also connected with my fetish for guys’ knickers.” Dusty Kid
Soul capsule – diamone head (acappella) – perlon
Pub – surgery – ampoule
Harrison fnord – dub girl – statik enterteinment
No automation – cnocmoy – edit select
Ananda rose – silverdrumming – tonsport
Unknown – delete everything
Aste – sukeltava – sahko
Redcell – new age – b12
Heiko laux – hangin – tresor
Jeff mills – skin deep – purpose maker
Mike parker – inversion1 – geophone records
Lowtec-birthmark – out to lunch
Andre rozzo – storm warning (shelter mix) – trackdown records
Reynold – over there (donato dozzy remix) – persona records
Mika – depth finder – hipass
“There was probably never any real hope of Momus getting famous, no matter how hard (and often) he crooned for it. Yet, for a brief flash in the late 1980s and early ’90s, Scot-born Nick Currie’s mischievous music might have wormed its way into the neo-libertine consciousness of a generation exploring novel chemical compounds. Alas, lad-rock trumped pan-global bohemia, and Momus became the cult figure he was probably always destined to be. For those unfamiliar, Momus mostly makes DIY synth-pop with vaudeville-lullaby melodies and scathing wit. His best work is what Oscar Wilde might have sounded like if he had access to cheap synthesizers and Japanese fetish mags.
Currie – also a journalist and long-time blogger – has, in the last decade, resided in Tokyo, New York and Berlin. Having worked with artists around the world, Momus gets an assist from a fellow Scot for his latest release, Joemus. Recorded with breakcore producer Joe Howe, the album infuses Currie’s electro-vaudeville sensibilities with a scrappy, 8-bit aesthetic. Now in his late 40s, you could say Momus has entered his “baroque” period – that is, if he hadn’t always been there. Currie’s paradise of lithe Japanese women pouring him champagne atop a techno-Mount Olympus is unlikely to ever manifest. But with plenty of wag left in his hoary tail, we can expect more whore-y tales. In 1991, Currie said that, “in the future everyone will be famous for fifteen people.” Count me among the elite.” dustedmagazine
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