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http://a-trompa.net/?p=8802

Rock

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http://a-trompa.net/?p=8798

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http://anovamusicaportuguesa.blogspot.com/2008/08/primeiros-classificados-no-rock-rendez.html

São as sete bandas mais votadas em cada estilo que passam à fase seguinte num concurso onde serão atribuídos vários prémios finais e bastante atractivos para as bandas a concurso. Como já aqui foi referido, entre esses prémios está a gravação de um álbum "Best Of Rock Rendez Worten" e a atribuição da um Prémio Originalidade que dará à respectiva banda a oportunidade de gravar um álbum promovido pela própria Worten.

Relembramos que nada está decidido e que as classificações entre os sete lugares de apuramento estão ainda em aberto, uma vez que, na maioria dos casos, são poucos os votos que separam as bandas. E a tua votação pode ser decisiva!

Os Arames Farpados estão em primeiro lugar na categoria "Rock".

Os Human Chalice estão em primeiro lugar na categoria "Reggae".

http://anovamusicaportuguesa.blogspot.com/2008/08/friday-rock-sessions-em-sta-maria-da.html

http://anovamusicaportuguesa.blogspot.com/2008/08/kromo-di-ghetto-zieben-e-kumpania.html

Cinco semanas decorridas após o primeiro programa, o KM0 chega a Lisboa. "Vamos trocar palavras em crioulo com o MC da Cova da Moura, Kromo Di Ghetto, sentir o rock pesado dos Lieben e dançar ao som do ska de inspiração balcânica dos Kumpania Algazarra", explica JP Simões, apresentador da série documental sobre a nova música portuguesa, exibida aos sábados, pelas 18h15 na RTP2.

Os Zieben serão uma das bandas presente no KM0 deste sábado.

Já aqui foi noticiado, mas nunca é demais relembrar: excepcionalmente (devido aos Jogos Olímpicos), este episódio vai para o ar Às 18h15. Na próxima semana volta ao horário normal. Para mais informações vai ao blogue do programa.

http://anovamusicaportuguesa.blogspot.com/2008/08/13-festival-de-gondomar-ii-biografias_21.html

Os Ashes irão fechar o terceiro fim-de-semana de actuações no próximo sábado do 13º Festival de Música Moderna de Gondomar. Aqui fica a banda em discurso directo:

Após gravarmos umas primeiras maquetes (e na altura que íamos atacar em força) os guitarristas lembraram-se de partir os pulsos (e tinha de ser um a seguir ao outro). Por isso, esse foi um ano para esquecer.

Quando recuperaram, o vocalista e mentor da altura da banda teve de abandonar o país e, consequentemente, o projecto. Parecia que os Ashes estavam amaldiçoados.

Já só em 2004, quando se procurava um novo vocalista e se achava um violonista pelo caminho, é que voltamos à carga, mais maduros pelas experiências acumuladas ao longo do tempo e com a vontade de fazer algo novo e diferente no panorama musical.

Assim começamos a fazer novos temas de modo a reflectir a nova alma "ashesiana" num estilo mais Rock/Metal alternativo, juntando melancolia com raiva, riffs de guitarra pesados, melodia do violino, variações rítmicas e vocais ao máximo. A partir daqui começamos a tocar ao vivo o mais possível.

Neste novo percurso, de assinalar a presença em algumas compilações nacionais, a presença na Festa do Avante 2006 e a conquista do primeiro lugar em três concursos de música: no 1º Rock do Oeste, no 3º Concurso Nacional de Bandas de Música Moderna do Entroncamento e no 2º Concurso de Bandas de Garagem de Constância.

O nosso EP com seis temas, totalmente concebido pela banda, anda por aí…

http://indieducky.com/spotlight/blonde-redhead-ethereal-no-wave-noise/

http://indieducky.com/?p=769

As the name (which actually comes from a DNA song) suggests, New York’s Blonde Redhead incorporates a rich variety of sometimes contrasting ideas. Formed by twin Italian brothers (Simone and Amedeo Pace on guitar and drums) and two unrelated Japanese women (Kazu Makino and Maki Takahashi on guitar and bass), the group fuses a hodgepodge of post-punk sounds into a tasty melting pot. Blonde Redhead’s noisy, dissonant guitars, alternate tunings, and quiet, stilted lyrics have often been compared to early Sonic Youth.

After randomly meeting at an Italian restaurant in New York, the quartet formed the band in 1993. The band’s chaotic, artistic rock caught the attention of Sonic Youth drummer Steve Shelley, who produced and released the band’s debut album, Blonde Redhead, on his Smells Like Records label. Recalling the no wave movement of the late ’70s, the self-titled debut of New York City’s Blonde Redhead is a glorious piece of dense, art-damaged noise, with songs that move from drifting melodicism to raging aural assaults in the course of a few measures. The focus here tends to be on atmospherics, and yet there is never the feeling of utter chaos; instead, the album functions like a work of controlled mayhem, referencing a wide range of musical approaches.

Shortly after the album’s release, Takahashi left the band. The remaining members continued as a trio, releasing a second album in 1995 on Shelley’s label, titled La Mia Vita Violenta. Guitars tear into the songs — pointed, direct, and tough — while the vocals of Kazu Makino and Amedeo Pace weave tightly into drummer Simone Pace’s impeccably precise backing. Timing is everything, and Blonde Redhead certainly have it. They’re dirty when they need to be and crystal-clear when the situation calls for it. Never angry, the trio plays hard and fast to the point where the instruments seem to play themselves with the deftest of precision. La Mia Vita Violenta is math rock without the nerdiness and art rock without the pretentiousness.

For their 1997 release Fake Can Be Just as Good, recorded on Touch and Go, the trio was joined by guest bass player Vern Rumsey from Unwound. By 1998, the band eliminated bass and scaled back to guitars, drums, and vocals for In an Expression of the Inexpressible. The sound is fuller and more polished, and in the capable hands of producers John Goodmanson and Guy Picciotto (of Fugazi fame), they’ve never sounded quite as good. Melody of Certain Damaged Lemons and the Melodie Citronique EP followed two years later. With their fifth record, Blonde Redhead finally emerges from the shadows of Sonic Youth’s post-punk legacy by avoiding the expected detunings, distortions, and shrillness of the genre. The three-piece manages to create a record that is subtle, tuneful, and sublime. Melody of Certain Damaged Lemons may not accurately reflect the full body of Blonde Redhead’s work, yet it presents an easy place to start.

The band’s first for 4AD, Misery Is a Butterfly, was released in spring 2004. And while the brilliant Melody of Certain Damaged Lemons and Melodie Citronique EP found the band moving away from the cerebral, no wave-influenced style of their earlier albums and toward a more intricate, emotional sound, this album’s preoccupation with filigree and shadow both reflects and represents the sensibilities of the label that released This Mortal Coil’s Filigree and Shadow almost two decades earlier. The band’s transition from their old home to their new one is smooth, but not as smooth as the album’s actual sound; Misery Is a Butterfly’s lush production and arrangements polish away with virtually all of the edges and angles that still informed their sound on their most recent recordings and pretty much defined their earliest ones.

For 2007’s 23, the group opted for a mix of dream-pop and delicate electronic textures. The band trades the cloistered chamber rock of Butterfly for tone-bending dream pop and subtle electronics; while the wide open spaces sound a little bare at first, this streamlined approach ends up making this Blonde Redhead’s loveliest and most accessible work yet. The group begins each album with a bold statement of purpose, and 23 is no different. The epic title track’s delicate electronic rhythms, swooping, shimmering guitars, and majestically bittersweet melody pitch it somewhere between My Bloody Valentine and Asobi Seksu, showing how a more restrained Blonde Redhead can still sound lush and haunting. 23 is mysterious and modern, with an artfully strange beauty that is more memorable than perfection.

Studio Releases (Chronological Order):

• Blonde Redhead - Blonde Redhead: RS | RS
• Blonde Redhead - Fake Can Be Just as Good: RS | IF
• Blonde Redhead - In an Expression of the Inexpressible: RS | BA
• Blonde Redhead - Melody of Certain Damaged Lemons: MU | BA
• Blonde Redhead - Misery Is a Butterfly: RS | BA
• Blonde Redhead - 23: RS | BA

Singles & EPs:

• Blonde Redhead - Amescream/Big Song CDS: IF
• Blonde Redhead - Equus EP: RS
• Blonde Redhead - Melodie Citronique EP: IF
• Blonde Redhead - The Secret Society of Butterflies EP: RS | BD
• Blonde Redhead - Silently CDS: IF
• Blonde Redhead - Vague/Jet Star CDS: BOX

Bootlegs:

• Blonde Redhead - Live In Concert, La Route du Rock (Video): MU
• Blonde Redhead - This Is For Us Not (B-Sides, Demos, & Rarities): IF

http://indieducky.com/reviews/hip-hop/gzagenius-pro-tools/

http://indieducky.com/?p=763

“The echo chamber enhanced the flow at the block party/Keepin’ MC heads spinnin’ like dark Bacardi/His BAC is 2.3/Liver’s damaged/But his lungs are joint-free/So inhale exhale/Breathe and get well/Kick something live, stop chirpin’ like Nextel/I’m all in together/Swordsman’s forever/I paint the town red/With many heads that’s severed.” If you’re a fan of hip-hop lyricism, you gotta love it when a new GZA album comes out.

Ever since he dropped the (arguably) best of the Wu-Tang solo records, Liquid Swords, heads have been able to count on him for top-notch rhymes. Unfortunately, when Wu-Tang superproducer RZA handed over the reins to some of his understudies, the baroque soul that powered many of GZA’s best songs was replaced by synthetic drums and a canned sound on much of the follow-up, Beneath the Surface. For every moment of excellence, there were moments of ho-hum blandness that was only saved by GZA’s razor-sharp wordplay. A collaboration with Cypress Hill’s DJ Muggs, Grandmasters, was a step in the right direction, as Muggs provided ominous orchestral backdrops that paired well with GZA’s Technicolor ghetto street scenes, but of course everyone’s always hoping for “Liquid Swords 2″ when a new record is coming out.

Pro Tools suffers from an occasional uneven beat, but more often than not, it blends the tried-and-true Wu formula of forlorn soul with the modern looped drums of its title to craft a record that in terms of overall quality, is somewhere between Masta Killa’s decent Made in Brooklyn and Ghostface Killah’s excellent Fishscale. There’s more than enough to satisfy. The disc’s two best tracks, Path of Destruction and Life is a Movie, are produced by Black Milk, who is lately showing himself to be a capable heir to fellow Detroit native J. Dilla. Alphabets rocks a simple piano loop and vocal moan for a classic Wu track, and a spare, sinister RZA keyboard loop backs GZA’s scorched-earth indictment of 50 Cent on the album’s first single, Paper Plate.

And even when the production falls a bit short, GZA’s head-turning double entendres and lyrical quickness are still sharp enough to slice heads. Or, to put it another way, as he warns Fiddy: “Stop sippin’ on that Formula 50/They want heat?/I bring it to ‘em burnt and crispy.” Indeed, the Wu ain’t through.

• MySpace: http://www.myspace.com/gza
• Download: GZA/Genius - Pro Tools
• Purchase: via Insound, via eMusic

http://musicadobem.blogspot.com/2008/08/bryan-ferry-as-time-goes-by-1999.html

http://musicadobem.blogspot.com/2008/08/miles-davis-love-songs-1999.html

http://1001albums.blogspot.com/2008/08/667.html