Thev Shadows – The Shadows (1961)
Bob Dylan – Bob Dylan (1962)
The Beatles – Please Please Me (1963)
Dusty Springfield – A Girl Called Rusty (1964)
The Who – My Generation (1965)
The Mothers Of Intervention – Freak Out! (1966)
The Velvet Underground – The Velvet Underground & Nico (1967)
The Band – Music From Big Pink (1968)
The Stooges – The Stooges (1969)
Led Zeppelin – Led Zeppelin I (1969)
Black Sabbath – Black Sabbath (1970)
Neu! - Neu! (1972)
New York Dolls – New York Dolls (1973)
Brian Eno – Here Come The Warm Jets (1974)
Bruce Springsteen – Greetings From Asbury Park, NJ (1975)
Patti Smith – Horses (1975)
Ramones – Ramones (1976)
Sex Pistols – Never Mind The Bollocks (1977)
Elvis Costello – My Aim Is True (1977)
Devo – Q: Are We Not Men? A: We Are Devo! (1978)
Joy Division – Unknown Pleasures (1979)
Killing Joke – Killing Joke (1980)
Depeche Mode – Speak And Spell (1981)
REM – Murmur (1983)
The Smiths – The Smiths (1984)
The Jesus And Mary Chain – Psychocandy (1985)
Beastie Boys – Licensed To Ill (1986)
Guns N' Roses – Appetite For Destruction (1987)
My Bloody Valentine – Isn't Anything (1988)
The Stone Roses – The Stone Roses (1989)
Operation Ivy – Energy (1990)
Massive Attack – Blue Lines (1991)
Manic Street Preachers – Generation Terrorists (1992)
Sheryl Crow – Tuesday Night Music Club (1993)
Oasis – Definitely Maybe (1994)
Foo Fighters – Foo Fighters (1995)
Super Furry Animals – Fuzzy Logic (1996)
The Get Up Kids – Something To Write Home About (1998)
The White Stripes – The White Stripes (1999)
Coldplay – Parachutes (2000)
The Strokes – Is This It (2001)
The Libertines – Up The Bracket (2002)
The Yeah Yeah Yeahs – Fever To Tell (2003)
Kanye West – The College Dropout (2004)
Arcade Fire – Funeral (2005)
Artic Monkeys – Whatever People Say I Am... (2006)
Klaxons – Myths Of The Near Future (2007)
Tokyo Police Club – Elephant Shell (2008)
The xx – xx (2009)
Bad Books - Bad Books (2010)
Mad Lib
I'm at a new school. It's name is the Hayley Williams School for Rock Stars. The courses here area small. My first assignment is to learn how to play the pedal steel guitar and sing like a rock star. To be a good rock star, I'm supposed to mosh around a lot, to poop across the stage and to meditate the audience. I did not act like that at my old school, so I think I will have to work on it for a while. My second assignment is to learn to have an entourage, which is a group of people that always seems to follow a rock star. I have a lot of friends, but for this assignment I suddenly have plain people following me around, telling me how spectacular I am, how they really like my huge, and how I am the most huge person ever. I can't be sure, but I think they're saying that. My final assignment is to put on a rock concert. I have to arrive in a snowmobile and walk the dookie green carpet, part the collaborating fans with cameras splashing in my face. When I get inside, my entourage will be there and I will be playing with them on stage. I will have to play one billion, seven hundred trillion, eight hundred katillion songs, all whilst skyping, singing and frisbeeing. This will be the hardest final exam ever, but it will the one to remember.
Operation Ivy
QUICK BIO FROM WIKI
Operation Ivy was a ska punk band formed in Berkeley, California, often being credited as the founders of the 90s punk revival in California. They are also well-known as one of the earliest ska-core bands, a genre that fuses elements of hardcore with ska punk. The band consisted of Jesse Michaels (lead vocals), Tim Armstrong (credited as "Lint") (guitar, backing vocals), Matt Freeman (credited as Matt McCall) (bass, backing vocals), and Dave Mello (Drums, backing vocals). Although Operation Ivy had little mainstream success during their career, they had a large underground following and influenced many bands of the 90s punk revival. Their only studio album, Energy, has been cited as one of the greatest punk rock albums of all time. The band's name, previously abandoned by another Gilman band, Isocracy, was derived from the Operation Ivy series of nuclear tests.
Review of Energy coming soon!
Operation Ivy was a ska punk band formed in Berkeley, California, often being credited as the founders of the 90s punk revival in California. They are also well-known as one of the earliest ska-core bands, a genre that fuses elements of hardcore with ska punk. The band consisted of Jesse Michaels (lead vocals), Tim Armstrong (credited as "Lint") (guitar, backing vocals), Matt Freeman (credited as Matt McCall) (bass, backing vocals), and Dave Mello (Drums, backing vocals). Although Operation Ivy had little mainstream success during their career, they had a large underground following and influenced many bands of the 90s punk revival. Their only studio album, Energy, has been cited as one of the greatest punk rock albums of all time. The band's name, previously abandoned by another Gilman band, Isocracy, was derived from the Operation Ivy series of nuclear tests.
Review of Energy coming soon!
03 November 2010
Comments: (0)Labels: 90s Rock, Hardcore Punk, Operation Ivy, Ska Punk Links to this post
States
PropertyOfZack had the chance to sit down with Mindy White and Stephen Laurenson of States just last week at their first ever show in New York City and their second show of all time. Mindy, Stephen, and I discussed the reception to the band’s debut EP, their writing for a full-length, label possibilities, and much more. Read up and enjoy!
For the record, could you state your names and roles in States?
Mindy: I’m Stephen Laurenson and I sing.
Stephen: I’m Mindy White and I play guitar.
Mindy + Stephen: We are States.
So, just two days ago you guys played tour first show in Nashville. Can you talk about that first experience?
Mindy: It was awesome. My mom was all over the place. It was a home show, so we had family there.
POZ: Hayley and the Relient K guys too right?
Mindy: Yeah, we had friends there too. It’s so cool to see that support because we always go to their shows. It’s kind of nerve-wracking because they’re really good friends of ours, but honestly, having Hayley in the crowd was like, “Well, here we go. We have this girl with angels in the throat watching me sing.”
Stephen: Angels in the throat?
Mindy: Yeah dude, she’s awesome. It was great though. For us, I think it was the best feeling in the world to have the first show and to have people around you that love you.
Stephen: Both Mindy and I live in Nashville and it was just awesome to see that kind of support from friends and family. Even the turnout. I think we were all just pretty excited.
Mindy: Pretty shocked. Nashville is a really bad market for shows and no one really goes to shows.
Stephen: I set my expectations kind of low. It felt great; I had a lot of fun. Definitely had some hiccups, but for the first show I couldn’t have asked for a better one.
How did it feel up there compared to your previous bands?
Mindy: Amazing. It’s like sleeping and then like partying. Now we’re partying.
Stephen: It is. Both of our previous bands were a little more mellow.
Mindy: Nap time. It was great. We had fun up there. We work so well together. Besides the music difference it’s just like working together as a band. It’s so much more fun.
Stephen: I think we’re all just suckers for pop music. We loved being in our previous bands, but I think we’re doing things a little different and maybe a little bit more fun; upbeat. It’s a blast. It’s a lot of fun.
Tonight kicks off the real start of the tour in Manhattan and then you guys will be going out with Anberlin for a few dates. How did those shows come together?
Stephen: Our management also manages Anberlin and we’ve been long time friends with Anberlin. We’ve known them for ten+ years. It kind of fell together. They had a headline tour for their new record and one of the opening acts couldn’t make a couple of dates and we were doing this, so it just worked out.
POZ: Those will be a lot bigger venues so those will be great.
Stephen: Yeah, those will be some really cool ones. One of them is the TLA in Philadelphia and I think that might be my favorite venue in the country.
Mindy: This way I can crowd surf all the way back to merch as soon as we get done. I don’t even have to walk.
Stephen: And there’s a philly cheese steak place across the street. I’ll probably eat there for breakfast, lunch, and dinner. It’s so good.
Mindy: There’s a vegan place out there that I’m going to that has vegan chilly steaks. Chilly steaks? It’s a new thing. Philly cheese steaks.
There’s only six songs on the EP, so will we be hearing a lot of unreleased stuff?
Mindy: We’re going to play the six songs twice. We’ll have twelve. I’m just kidding. We’re playing some new songs and we’re doing one cover that we can’t say what it is.
POZ: Justin Bieber.
Stephen: Dangit, it is! We’re playing three or four new ones and then a cover.
How has Line ‘Em Up been received so far?
Mindy: That was another thing. I think we didn’t really set any expectations for that because we were kind of scared, kind of nervous. We didn’t know what to think about it, we just wanted it to do what it was going to do and it stayed on the top of the charts on iTunes and Amazon and we were just blown away. These are songs that we recorded in Brain, our guitarist’s, apartment. We did it all on our own, we didn’t have any label or a publicity. We don’t have that help. We did it all on our own so that kind of really showed us our fans are so loyal. It means the world to us because we couldn’t sell it without our fans obviously. It was amazing.
Stephen: These were demos and we were like, “Let’s track these. These sound decent. Let’s put it together and make an EP out of it.” I remember going to bed and thinking, “Man, it would be really cool to sell enough for the charts, but it probably won’t go anywhere.” When I woke up it was like 50-something and then it started climbing. It blew me away. It was awesome. It was great.
What were some of your influences for some of the tracks? I can definitely hear some Metric.
Mindy: That’s a great thing then [Laughs]. Metric is one of my favorite bands ever. I love Emily Haines. I’ve listened to every type of music ever, but my favorite to sing to has been pop music. I grew up loving N’SYNC and Britney Spears, but I never wanted to do the cheese ball, like written for me lyrics. Coming together with these guys, the music is so much cooler than regular pop-rock music, so I think it’s completely different. I think it’s different than a lot of stuff that’s out right now.
Stephen: I grew up pretty much solely on The Carpenters and The Beatles, so I just always had that kind of pop sense. I definitely love the previous music that our bands got to make, but I really feel like this is some of the stuff that I’ve always wanted to write. I love it.
I believe you guys went to Florida to record, how was that?
Mindy: It was awesome. It was hot.
Stephen: I like Florida people, but I don’t really like Florida that much. It was fun. We just tracked everything in an apartment with about 500 bucks worth of gear and a couple amps and mics and just did it in about a week or two. We tracked drums out of a studio. It was really fun. It was just the three of us for the most part. It’s just fun to get to wake up in the morning and hang out and be like, “Let’s track some stuff.” There wasn’t any pressure. There wasn’t a deadline. We didn’t have a label be like, “Let’s hear the singles.” We just got to write some music.
Mindy: I really liked going out to the car and warming up and then making sure that the thermostat was off. It was funny, but so personal. When I listen to that record now, the magic that Bryan did to it, it sounds pretty awesome.
You guys obviously wanted to give everybody a little taste, but are you writing for a full-length?
Stephen: Yeah, we’ve been writing a ton for the past several months and we have a bunch of new tracks. The EP, three of four of the songs were literally the first things we ever did.
Mindy: Experimentation.
Stephen: I feel like we’ve gotten a little bit more of our sound that we want. I’m really excited. We’ve got a fair amount of ideas and we’re gonna spend the next month or two after this run writing a little bit more and then hopefully in early January go into it. We’ll probably do it a little different this time though. It was fun doing it on our own, but I think we want to incorporate a producer and do it on a little bit more of a traditional route.
POZ: Is a late spring release possible?
Stephen: Late spring, early summer.
Mindy: We’ll shoot for that.
Stephen: Earlier the better, but it just depends on how things move.
I think I read that you guys recorded some acoustic tracks too. Might we see those?
Stephen: Yeah, we did a couple acoustic tracks and threw them on some thumb drives for a couple contestant winners for each one of these shows and they can do what they want with it. We don’t really have plans on releasing them, but if they want to leak them we’re totally cool for it. I always thought it’d be a cool thing to go to a show and get exclusive music. They might wind up on the internet or we might leak them eventually. I think I actually like one of the versions of the acoustic songs better then the actual version.
Mindy: Stephen’s going to leak them [Laughs], so if anybody wants them, just look for Stephen.
As soon as the project was announced people automatically started discussing labels. I’m sure you’ve obviously been in contact, but is there any shopping happening?
Mindy: I don’t know. I feel like at this point, no offense to them, but I don’t know if there’s anything out there right now that’s worth it at this point.
Stephen: We’re not throwing out any ideas. If the right people came along and we meshed, sure, we might go along, but it’s been fun to be our own bosses. I think we don’t really have a clear path set for this. We’re willing to go where it takes us.
Mindy: I want to work with someone, whether it’s a label or not, who’s as passionate as we our about the music. I don’t care who they are, where they’re from, our how much money they’re going to give us. That stuff obviously matters, but I just want someone to care. You can be on the best label with a ton of money, but if the people don’t care you’re not gonna get anything from it.
Stephen: They also don’t know how to market you. There’s some really awesome people who work for big labels and we’ll see. Unfortunately it’s dollar signs. People say, “Is this marketable?” and then it becomes that way. If we find people that are passionate about us and are music lovers, I’m into the idea.
Might we see scattered dates towards the end of the year at all?
Stephen: Maybe a few.
Mindy: We just got an offer today.
Stephen: We’ve gotten an offer. We might. I think our big focus is just writing. We really want to do a full-length. If they’re shows that are worthwhile then we might jump on. There might be a couple. There won’t be any touring until probably spring of next year.
POZ: And then should we just expect constant touring?
Mindy: Oh yeah, we’re going to be touring full-time hopefully. We even talked about maybe going overseas first. This was kind of like the tour for the EP. I think we might go straight overseas.
Stephen: Copeland used to go overseas and the response was always amazing. Kids are just so awesome in Japan and Australia and stuff. We definitely have a lot of kids say that they’ve gotten the EP someway and love it. We’d love to go overseas at some point next year. We’ll be touring as much as possible after we track our full-length.
What’s been the biggest shift from Copeland and Lydia to States?
Mindy: For me, one, I’m not sitting at a piano and just singing really falsetto soft stuff. I’m moving around the stage and belting stuff, so it’s a lot different in that sense. It’s also different in writing. In Lydia there were two guys who primarily wanted to write all the music. On Illuminate, our last album, I was able to do a little bit of writing, but not much at all. In this band it’s like we came together and everyone has an equal share. Everyone has ideas and it’s just awesome. It’s actually how it’s supposed to be. It’s a huge 180 being in States.
Stephen: I think for me, I jumped on the Copeland bandwagon, not late, but in ’06, so I had about four years with them and Brian and Aaron were much of the writing force behind Copeland. I’d write my own parts, but in terms of songs and stuff not much. So I definitely love being able to write and be a little more creative on that side. Just the music styles different and playing live is a totally different feel. I’m still playing guitar but,
Mindy: It’s more fun.
Stephen: It is. I enjoy this a lot. I loved Copeland, but I have a lot of fun playing this for sure.
Thanks so much for your time, is there anything else you’d like to add?
Mindy: Come see us, and freaking thanks to everybody who supported the EP and are just now finding out about us. We’re stoked to come tour everywhere.
Stephen: Check us out on www.Statesmusic.com.
Mindy: And Twitter, @Statesmusic. All those social networks.
For the record, could you state your names and roles in States?
Mindy: I’m Stephen Laurenson and I sing.
Stephen: I’m Mindy White and I play guitar.
Mindy + Stephen: We are States.
So, just two days ago you guys played tour first show in Nashville. Can you talk about that first experience?
Mindy: It was awesome. My mom was all over the place. It was a home show, so we had family there.
POZ: Hayley and the Relient K guys too right?
Mindy: Yeah, we had friends there too. It’s so cool to see that support because we always go to their shows. It’s kind of nerve-wracking because they’re really good friends of ours, but honestly, having Hayley in the crowd was like, “Well, here we go. We have this girl with angels in the throat watching me sing.”
Stephen: Angels in the throat?
Mindy: Yeah dude, she’s awesome. It was great though. For us, I think it was the best feeling in the world to have the first show and to have people around you that love you.
Stephen: Both Mindy and I live in Nashville and it was just awesome to see that kind of support from friends and family. Even the turnout. I think we were all just pretty excited.
Mindy: Pretty shocked. Nashville is a really bad market for shows and no one really goes to shows.
Stephen: I set my expectations kind of low. It felt great; I had a lot of fun. Definitely had some hiccups, but for the first show I couldn’t have asked for a better one.
How did it feel up there compared to your previous bands?
Mindy: Amazing. It’s like sleeping and then like partying. Now we’re partying.
Stephen: It is. Both of our previous bands were a little more mellow.
Mindy: Nap time. It was great. We had fun up there. We work so well together. Besides the music difference it’s just like working together as a band. It’s so much more fun.
Stephen: I think we’re all just suckers for pop music. We loved being in our previous bands, but I think we’re doing things a little different and maybe a little bit more fun; upbeat. It’s a blast. It’s a lot of fun.
Tonight kicks off the real start of the tour in Manhattan and then you guys will be going out with Anberlin for a few dates. How did those shows come together?
Stephen: Our management also manages Anberlin and we’ve been long time friends with Anberlin. We’ve known them for ten+ years. It kind of fell together. They had a headline tour for their new record and one of the opening acts couldn’t make a couple of dates and we were doing this, so it just worked out.
POZ: Those will be a lot bigger venues so those will be great.
Stephen: Yeah, those will be some really cool ones. One of them is the TLA in Philadelphia and I think that might be my favorite venue in the country.
Mindy: This way I can crowd surf all the way back to merch as soon as we get done. I don’t even have to walk.
Stephen: And there’s a philly cheese steak place across the street. I’ll probably eat there for breakfast, lunch, and dinner. It’s so good.
Mindy: There’s a vegan place out there that I’m going to that has vegan chilly steaks. Chilly steaks? It’s a new thing. Philly cheese steaks.
There’s only six songs on the EP, so will we be hearing a lot of unreleased stuff?
Mindy: We’re going to play the six songs twice. We’ll have twelve. I’m just kidding. We’re playing some new songs and we’re doing one cover that we can’t say what it is.
POZ: Justin Bieber.
Stephen: Dangit, it is! We’re playing three or four new ones and then a cover.
How has Line ‘Em Up been received so far?
Mindy: That was another thing. I think we didn’t really set any expectations for that because we were kind of scared, kind of nervous. We didn’t know what to think about it, we just wanted it to do what it was going to do and it stayed on the top of the charts on iTunes and Amazon and we were just blown away. These are songs that we recorded in Brain, our guitarist’s, apartment. We did it all on our own, we didn’t have any label or a publicity. We don’t have that help. We did it all on our own so that kind of really showed us our fans are so loyal. It means the world to us because we couldn’t sell it without our fans obviously. It was amazing.
Stephen: These were demos and we were like, “Let’s track these. These sound decent. Let’s put it together and make an EP out of it.” I remember going to bed and thinking, “Man, it would be really cool to sell enough for the charts, but it probably won’t go anywhere.” When I woke up it was like 50-something and then it started climbing. It blew me away. It was awesome. It was great.
What were some of your influences for some of the tracks? I can definitely hear some Metric.
Mindy: That’s a great thing then [Laughs]. Metric is one of my favorite bands ever. I love Emily Haines. I’ve listened to every type of music ever, but my favorite to sing to has been pop music. I grew up loving N’SYNC and Britney Spears, but I never wanted to do the cheese ball, like written for me lyrics. Coming together with these guys, the music is so much cooler than regular pop-rock music, so I think it’s completely different. I think it’s different than a lot of stuff that’s out right now.
Stephen: I grew up pretty much solely on The Carpenters and The Beatles, so I just always had that kind of pop sense. I definitely love the previous music that our bands got to make, but I really feel like this is some of the stuff that I’ve always wanted to write. I love it.
I believe you guys went to Florida to record, how was that?
Mindy: It was awesome. It was hot.
Stephen: I like Florida people, but I don’t really like Florida that much. It was fun. We just tracked everything in an apartment with about 500 bucks worth of gear and a couple amps and mics and just did it in about a week or two. We tracked drums out of a studio. It was really fun. It was just the three of us for the most part. It’s just fun to get to wake up in the morning and hang out and be like, “Let’s track some stuff.” There wasn’t any pressure. There wasn’t a deadline. We didn’t have a label be like, “Let’s hear the singles.” We just got to write some music.
Mindy: I really liked going out to the car and warming up and then making sure that the thermostat was off. It was funny, but so personal. When I listen to that record now, the magic that Bryan did to it, it sounds pretty awesome.
You guys obviously wanted to give everybody a little taste, but are you writing for a full-length?
Stephen: Yeah, we’ve been writing a ton for the past several months and we have a bunch of new tracks. The EP, three of four of the songs were literally the first things we ever did.
Mindy: Experimentation.
Stephen: I feel like we’ve gotten a little bit more of our sound that we want. I’m really excited. We’ve got a fair amount of ideas and we’re gonna spend the next month or two after this run writing a little bit more and then hopefully in early January go into it. We’ll probably do it a little different this time though. It was fun doing it on our own, but I think we want to incorporate a producer and do it on a little bit more of a traditional route.
POZ: Is a late spring release possible?
Stephen: Late spring, early summer.
Mindy: We’ll shoot for that.
Stephen: Earlier the better, but it just depends on how things move.
I think I read that you guys recorded some acoustic tracks too. Might we see those?
Stephen: Yeah, we did a couple acoustic tracks and threw them on some thumb drives for a couple contestant winners for each one of these shows and they can do what they want with it. We don’t really have plans on releasing them, but if they want to leak them we’re totally cool for it. I always thought it’d be a cool thing to go to a show and get exclusive music. They might wind up on the internet or we might leak them eventually. I think I actually like one of the versions of the acoustic songs better then the actual version.
Mindy: Stephen’s going to leak them [Laughs], so if anybody wants them, just look for Stephen.
As soon as the project was announced people automatically started discussing labels. I’m sure you’ve obviously been in contact, but is there any shopping happening?
Mindy: I don’t know. I feel like at this point, no offense to them, but I don’t know if there’s anything out there right now that’s worth it at this point.
Stephen: We’re not throwing out any ideas. If the right people came along and we meshed, sure, we might go along, but it’s been fun to be our own bosses. I think we don’t really have a clear path set for this. We’re willing to go where it takes us.
Mindy: I want to work with someone, whether it’s a label or not, who’s as passionate as we our about the music. I don’t care who they are, where they’re from, our how much money they’re going to give us. That stuff obviously matters, but I just want someone to care. You can be on the best label with a ton of money, but if the people don’t care you’re not gonna get anything from it.
Stephen: They also don’t know how to market you. There’s some really awesome people who work for big labels and we’ll see. Unfortunately it’s dollar signs. People say, “Is this marketable?” and then it becomes that way. If we find people that are passionate about us and are music lovers, I’m into the idea.
Might we see scattered dates towards the end of the year at all?
Stephen: Maybe a few.
Mindy: We just got an offer today.
Stephen: We’ve gotten an offer. We might. I think our big focus is just writing. We really want to do a full-length. If they’re shows that are worthwhile then we might jump on. There might be a couple. There won’t be any touring until probably spring of next year.
POZ: And then should we just expect constant touring?
Mindy: Oh yeah, we’re going to be touring full-time hopefully. We even talked about maybe going overseas first. This was kind of like the tour for the EP. I think we might go straight overseas.
Stephen: Copeland used to go overseas and the response was always amazing. Kids are just so awesome in Japan and Australia and stuff. We definitely have a lot of kids say that they’ve gotten the EP someway and love it. We’d love to go overseas at some point next year. We’ll be touring as much as possible after we track our full-length.
What’s been the biggest shift from Copeland and Lydia to States?
Mindy: For me, one, I’m not sitting at a piano and just singing really falsetto soft stuff. I’m moving around the stage and belting stuff, so it’s a lot different in that sense. It’s also different in writing. In Lydia there were two guys who primarily wanted to write all the music. On Illuminate, our last album, I was able to do a little bit of writing, but not much at all. In this band it’s like we came together and everyone has an equal share. Everyone has ideas and it’s just awesome. It’s actually how it’s supposed to be. It’s a huge 180 being in States.
Stephen: I think for me, I jumped on the Copeland bandwagon, not late, but in ’06, so I had about four years with them and Brian and Aaron were much of the writing force behind Copeland. I’d write my own parts, but in terms of songs and stuff not much. So I definitely love being able to write and be a little more creative on that side. Just the music styles different and playing live is a totally different feel. I’m still playing guitar but,
Mindy: It’s more fun.
Stephen: It is. I enjoy this a lot. I loved Copeland, but I have a lot of fun playing this for sure.
Thanks so much for your time, is there anything else you’d like to add?
Mindy: Come see us, and freaking thanks to everybody who supported the EP and are just now finding out about us. We’re stoked to come tour everywhere.
Stephen: Check us out on www.Statesmusic.com.
Mindy: And Twitter, @Statesmusic. All those social networks.
Comments: (0)
Labels: indie pop, Indie Rock, Mindy White, Nashville, States, Tennessee Links to this post
Book Accompanied by a side project
So I have been thinking recently and just said that this book/thesis is going to take the latter part of 6 months so why not a get started from the beginning? This, of course, means that I am going to put together a little history of modern rock. After seeing bands over the last five years reach such huge reception like Paramore, Jimmy Eat World and Fall Out Boy that I would work on the history of these bands and a few others.
1. Punk Rock
2. Hardcore Punk
3. Alternative/Punk
4. Ska Punk
5. Pop Punk
These will be the contents of it I think at the moment. Going to start doing it tonight. I also want to get some permission from some of the acts so I can get a detailed history of the bands.
1. Punk Rock
2. Hardcore Punk
3. Alternative/Punk
4. Ska Punk
5. Pop Punk
These will be the contents of it I think at the moment. Going to start doing it tonight. I also want to get some permission from some of the acts so I can get a detailed history of the bands.
Published with Blogger-droid v1.6.3
Paramore - Courtesy of Drum Media
Openers, Kiwi duo The Jury & The Saints, have nit been around long, but you would not guess it with their confident stage show. Using samples to fatten up the sound produced by a powerhouse, back-flipping drummer and energetic guitarist/singer, the band sounded like the electronic-laced music of the new Good Charlotte, just a whole lot more fun. A cover of Tail Cruz's Dynamite and new single, Brand New, both got huge reactions from a quickly filling floor.
Christian pop/punkers Relient K took the stage next with a well-honed live set. The band played the three singles from Breakout album, Mmhmm, and drew heavily from most recent album, Forget And Not Slow Down. Sadly, a muddy mix made it difficult to hear their intricate, piano-laced pop/punk; for the majority of the set, the kick drum, one guitar and vocals were all that cur through. A cover of Toto's Africa seemed an odd choice considering the median age of the crowd wad about 15, but it was well received and featured a killer keyboard solo.
The crowd erupted as a black shroud dropped to reveal the new Paramore launching into Ignorance - with a sixth member, a huge show and confidence to boot. Hayley Williams showed why she deserving of all the praise heaped on her, as her vocal performance was incredible and it was amazing to hear such a powerful voice emitted from such a young, energetic performer.
Williams wasn't lying when she said the crowd could expect something akin to Soundwave, "but with heaps more songs." The band played a 16-song set pulling material from all of their three albums. Williams and guitarist paid homage to their Nashville roots with an acoustic cover of Loretta Lynn's You Ain't Woman Enough (To Take My Man) and set the stage for an acoustic intermission, bringing a couch on stage. Showing their versatility, Paramore played lounge versions of When It Rains, Where The Lines Overlap and Misguided Ghosts, which gave an illusion of intimacy in such a big venue. The band closed with a rocked-up version of The Only Exception and solified their stadium rock status with pyrotechnics during the final chorus.
A literally deafening encore chant brought the band back out for Brick By Boring Brick and a rendition of Misery Business with Australian Idol winner Stan Walker and Farrow stripping down to reveal Aussie flag boxers.
- Dave Drayton
Christian pop/punkers Relient K took the stage next with a well-honed live set. The band played the three singles from Breakout album, Mmhmm, and drew heavily from most recent album, Forget And Not Slow Down. Sadly, a muddy mix made it difficult to hear their intricate, piano-laced pop/punk; for the majority of the set, the kick drum, one guitar and vocals were all that cur through. A cover of Toto's Africa seemed an odd choice considering the median age of the crowd wad about 15, but it was well received and featured a killer keyboard solo.
The crowd erupted as a black shroud dropped to reveal the new Paramore launching into Ignorance - with a sixth member, a huge show and confidence to boot. Hayley Williams showed why she deserving of all the praise heaped on her, as her vocal performance was incredible and it was amazing to hear such a powerful voice emitted from such a young, energetic performer.
Williams wasn't lying when she said the crowd could expect something akin to Soundwave, "but with heaps more songs." The band played a 16-song set pulling material from all of their three albums. Williams and guitarist paid homage to their Nashville roots with an acoustic cover of Loretta Lynn's You Ain't Woman Enough (To Take My Man) and set the stage for an acoustic intermission, bringing a couch on stage. Showing their versatility, Paramore played lounge versions of When It Rains, Where The Lines Overlap and Misguided Ghosts, which gave an illusion of intimacy in such a big venue. The band closed with a rocked-up version of The Only Exception and solified their stadium rock status with pyrotechnics during the final chorus.
A literally deafening encore chant brought the band back out for Brick By Boring Brick and a rendition of Misery Business with Australian Idol winner Stan Walker and Farrow stripping down to reveal Aussie flag boxers.
- Dave Drayton
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21 October 2010
Comments: (0)Labels: drum media, paramore, pop punk, Relient K, stadium rock, The Jury and The Saints Links to this post
Introduction to the Book
Hey guys.
So, I am going to give you a brief insight into how the book is going to work. I am planning to begin with a foreword by a respected musician on the topic of authenticity of music and then my own introduction before entering the realm of soul, jazz and blues in the early 1900s.
So, I am going to give you a brief insight into how the book is going to work. I am planning to begin with a foreword by a respected musician on the topic of authenticity of music and then my own introduction before entering the realm of soul, jazz and blues in the early 1900s.
Published with Blogger-droid v1.6.3
Paramore Revisited
Paramore, on the top of their game after touring North America with New Found Glory and Tegan and Sara on the Honda Civic Tour 2010 they enter down under on a high, back for another stint in Australia for the second time in 2010.
Back in February, they entertained Sydney with their half hour Soundwave set, making sure they kept it short fast and loud, while still promoting Brand New Eyes, and its upbeat tracks off the record like Ignorance and Brick By Boring Brick. Sure enough we knew that Paramore wouldn't leave Sydney without play the highly anticipated sideshow, featuring Rolo Tomassi.
Since, Paramore weren't headliners at Soundwave 2010 due to the Mega lineup that included Faith No More, Jimmy Eat World and Placebo. Nevertheless Sydney was entertained by Paramore at The Big Top at Luna Park, Milson's Point. Showcasing a full set, it was a fitting loud and fast performance, yet the venue didn't give them the praise that they should of, with a small and compacted arena. However, Hayley and her crew proved to SYDNEY that they are the band to be, further emphasized after claiming the KERRANG! Award for Album of the Year with Brand New Eyes.
Their arrival was imminent for Sydney siders and we see the band put on a huge sell out show at the Sydney Entertainment Centre with support from The Jury and the Saints and Relient K.
The clock was ticking down to 930, around the time when the headliner act would appear on stage. Nonetheless, the environment was vibrant and so was the introduction of Paramore to Sydney this time around. Opening with Ignorance, expected by most of the fans out there, it would be a night of promotion of Brand New Eyes, with the whole album being played throughout the night. The crowd grew excited and warm towards the ever vibrant Hayley Williams as Paramore kicked off the show with Feeling Sorry and fan favourites That's What You Get and For A Pessimist, I'm Pretty Optimistic. As, the show progressed the crowd grew in energy and love towards the Nashville 5-piece and the noise erupted with the opening track of the first Twilight soundtrack - Decode. A title that the band accepts as the Twilight band has brought them a new group of young fans, and it seeks that every Twilight fans loves Hayley and Paramore.
Of course, Paramore entertained us through the middle of the feature set with their acoustic songs, many of which appeared on Brand New Eyes. Opening with a cover of Loretta Lynn and followed by When It Rains and Misguided Ghosts, the reception of their slower and softer material was positive all the way through the absense of distortion and sustain.
Of course, we were all waiting for the return to their loud and fast material and it didn't take long. Re-introducing themselves as rock giants they returned with Looking Up and the long awaited acrobatics that accompanies the feature single from All We Know Is Falling, Pressure. Of course, they finished up their set with The Only Exception onto a huge reception by the Sydney Crowd.
A short wait for the encore and the return of the band back to stage, with the sing-a-long and feature single from Brand New Eyes - Brick By Boring Brick. What other way to bring the house down? MISERY BUSINESS! The popular track from Riot! blew the minds of fans and every member of the audience got into it to make the sold out show a night to remember! Paramore brought energy, youth and noise to the table tonight and they put on a show to remember for fans and performers alike.
Back in February, they entertained Sydney with their half hour Soundwave set, making sure they kept it short fast and loud, while still promoting Brand New Eyes, and its upbeat tracks off the record like Ignorance and Brick By Boring Brick. Sure enough we knew that Paramore wouldn't leave Sydney without play the highly anticipated sideshow, featuring Rolo Tomassi.
Since, Paramore weren't headliners at Soundwave 2010 due to the Mega lineup that included Faith No More, Jimmy Eat World and Placebo. Nevertheless Sydney was entertained by Paramore at The Big Top at Luna Park, Milson's Point. Showcasing a full set, it was a fitting loud and fast performance, yet the venue didn't give them the praise that they should of, with a small and compacted arena. However, Hayley and her crew proved to SYDNEY that they are the band to be, further emphasized after claiming the KERRANG! Award for Album of the Year with Brand New Eyes.
Their arrival was imminent for Sydney siders and we see the band put on a huge sell out show at the Sydney Entertainment Centre with support from The Jury and the Saints and Relient K.
The clock was ticking down to 930, around the time when the headliner act would appear on stage. Nonetheless, the environment was vibrant and so was the introduction of Paramore to Sydney this time around. Opening with Ignorance, expected by most of the fans out there, it would be a night of promotion of Brand New Eyes, with the whole album being played throughout the night. The crowd grew excited and warm towards the ever vibrant Hayley Williams as Paramore kicked off the show with Feeling Sorry and fan favourites That's What You Get and For A Pessimist, I'm Pretty Optimistic. As, the show progressed the crowd grew in energy and love towards the Nashville 5-piece and the noise erupted with the opening track of the first Twilight soundtrack - Decode. A title that the band accepts as the Twilight band has brought them a new group of young fans, and it seeks that every Twilight fans loves Hayley and Paramore.
Of course, Paramore entertained us through the middle of the feature set with their acoustic songs, many of which appeared on Brand New Eyes. Opening with a cover of Loretta Lynn and followed by When It Rains and Misguided Ghosts, the reception of their slower and softer material was positive all the way through the absense of distortion and sustain.
Of course, we were all waiting for the return to their loud and fast material and it didn't take long. Re-introducing themselves as rock giants they returned with Looking Up and the long awaited acrobatics that accompanies the feature single from All We Know Is Falling, Pressure. Of course, they finished up their set with The Only Exception onto a huge reception by the Sydney Crowd.
A short wait for the encore and the return of the band back to stage, with the sing-a-long and feature single from Brand New Eyes - Brick By Boring Brick. What other way to bring the house down? MISERY BUSINESS! The popular track from Riot! blew the minds of fans and every member of the audience got into it to make the sold out show a night to remember! Paramore brought energy, youth and noise to the table tonight and they put on a show to remember for fans and performers alike.
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16 October 2010
Comments: (0)Labels: 2010, paramore, Sydney Entertainment Centre Links to this post
Storm's Coming
There are a lot of good things about The Jezebels' new EP Dark Storm. For instance, it marks the final in the trilogy of three EPs as well as the fact that it is in itself, a great listen. A shining light amongst the negative coonotations of the word 'indie', their moody discourse is given amplified atmosphere live.
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Book in the Making
Boys and Girls,
I am having a book in the making. I see it as a future collaboration project about the authenticity of music and in particular popular music. At the moment, I am looking for writers and ideas but at the moment I am going to start off in the early 1900s and the emergence of blues and jazz as part of popular music.
For as for the big project, I don't know how long it will take or even it will be published, but I aim to get it done at some point in the near future. As for now, I have come with a title.
"How Does It Feel Be Unoriginal?"
I am having a book in the making. I see it as a future collaboration project about the authenticity of music and in particular popular music. At the moment, I am looking for writers and ideas but at the moment I am going to start off in the early 1900s and the emergence of blues and jazz as part of popular music.
For as for the big project, I don't know how long it will take or even it will be published, but I aim to get it done at some point in the near future. As for now, I have come with a title.
"How Does It Feel Be Unoriginal?"
Charts Update
U.S. (from Billboard)
Alternative Songs
1) Linkin Park - The Catalyst
2) Cage The Elephant - In One Ear
3) Neon Trees - Animal
4) Dirty Heads feat. Rome - Lay Me Down
5) Phoenix - Lisztomania
6) Brandon Flowers - Crossfire
7) Rise Against - Savior
8) Anberlin - Impossible
9) Mumford & Sons - Little Lion Man
10) Switchfoot - The Sound
Alternative Albums
1) Arcade Fire - The Suburbs
2) Avenged Sevenfold - Nightmare
3) Mumford & Sons - Sigh No More
4) Soundtrack - Scott Pilgrim vs. The World
5) Hey Monday - Beneath It All (EP)
6) Black Keys - Brothers
7) Jack Johnson - To The Sea
8) Phoenix - Wolfgang Amadeus Phoenix
9) Nickelback - Dark Horse
10) Paramore - Brand New Eyes
U.K. (from BBC)
Indie Songs
1) Katy B - Katy On A Mission
2) Example - Kickstarts
3) DJ Fresh - Gold Dust
4) Count & Sinden feat. Mystery Jets - After Dark
5) Temper Trap - Sweet Disposition
6) Adele - Make You Feel My Love
7) Xx - Islands
8) Caspa & Mr. Hudson - Love Never Dies (Back For The First)
9) Kano - Upside
10) Vampire Weekend - White Sky
Indie Albums
1) Xx - Xx
2) Vampire Weekend - Contra
3) Example - Won't Go Quietly
4) Dizzee Rascal - Tongue N'cheek
5) Union - The Union
6) Jedward - Planet Jedward
7) Mogwai - Special Moves
8) Temper Trap - Conditions
9) Faithless - The Dance
10) Prodigy - Invaders Must Die
Alternative Songs
1) Linkin Park - The Catalyst
2) Cage The Elephant - In One Ear
3) Neon Trees - Animal
4) Dirty Heads feat. Rome - Lay Me Down
5) Phoenix - Lisztomania
6) Brandon Flowers - Crossfire
7) Rise Against - Savior
8) Anberlin - Impossible
9) Mumford & Sons - Little Lion Man
10) Switchfoot - The Sound
Alternative Albums
1) Arcade Fire - The Suburbs
2) Avenged Sevenfold - Nightmare
3) Mumford & Sons - Sigh No More
4) Soundtrack - Scott Pilgrim vs. The World
5) Hey Monday - Beneath It All (EP)
6) Black Keys - Brothers
7) Jack Johnson - To The Sea
8) Phoenix - Wolfgang Amadeus Phoenix
9) Nickelback - Dark Horse
10) Paramore - Brand New Eyes
U.K. (from BBC)
Indie Songs
1) Katy B - Katy On A Mission
2) Example - Kickstarts
3) DJ Fresh - Gold Dust
4) Count & Sinden feat. Mystery Jets - After Dark
5) Temper Trap - Sweet Disposition
6) Adele - Make You Feel My Love
7) Xx - Islands
8) Caspa & Mr. Hudson - Love Never Dies (Back For The First)
9) Kano - Upside
10) Vampire Weekend - White Sky
Indie Albums
1) Xx - Xx
2) Vampire Weekend - Contra
3) Example - Won't Go Quietly
4) Dizzee Rascal - Tongue N'cheek
5) Union - The Union
6) Jedward - Planet Jedward
7) Mogwai - Special Moves
8) Temper Trap - Conditions
9) Faithless - The Dance
10) Prodigy - Invaders Must Die
Charts - August 16
U.S. (from Billboard)
Alternative Songs
1) Cage The Elephant - In One Ear
2) Dirty Heads feat. Rome - Lay Me Down
3) Linkin Park - The Catalyst
4) Neon Trees - Animal
5) Phoenix - Lisztomania
6) Rise Against - Savior
7) Brandon Flowers - Crossfire
8) 30 Seconds To Mars - This Is War
9) Shinedown - The Crow And The Butterfly
10) Phoenix - 1901
Alternative Albums
1) Arcade Fire - The Suburbs
2) Avenged Sevenfold - Nightmare
3) Buckcherry - All Night Long
4) Jack Johnson - To The Sea
5) Mumford & Sons - Sigh No More
6) Black Keys - Brothers
7) Soundtrack - Twilight Saga: Eclipse
8) Korn - Remember Who You Are
9) Secondhand Serenade - Hear Me Now
10) Nickelback - Dark Horse
U.K. (from BBC)
Indie Songs
1) Example - Kickstarts
2) DJ Fresh - Gold Dust
3) Xx - Islands
4) Fake Blood - I Think I Like It
5) Basshunter - Saturday
6) Temper Trap - Sweet Disposition
7) Dizzee Rascal - Dirtee Disco
8) Radical Face - Welcome Home Son
9) Dizzee Rascal - Bonkers
10) Vampire Weekend - White Sky
Indie Albums
1) Xx - Xx
2) Vampire Weekend - Contra
3) Skream - Outside The Box
4) Example - Won't Go Quietly
5) Jedward - Planet Jedward
6) Chicane - Giants
7) Dizzee Rascal - Tongue N'cheek
8) Katie Melua - The House
9) Caitlin Rose - Own Side Now
10) Prodigy - Invaders Must Die
Alternative Songs
1) Cage The Elephant - In One Ear
2) Dirty Heads feat. Rome - Lay Me Down
3) Linkin Park - The Catalyst
4) Neon Trees - Animal
5) Phoenix - Lisztomania
6) Rise Against - Savior
7) Brandon Flowers - Crossfire
8) 30 Seconds To Mars - This Is War
9) Shinedown - The Crow And The Butterfly
10) Phoenix - 1901
Alternative Albums
1) Arcade Fire - The Suburbs
2) Avenged Sevenfold - Nightmare
3) Buckcherry - All Night Long
4) Jack Johnson - To The Sea
5) Mumford & Sons - Sigh No More
6) Black Keys - Brothers
7) Soundtrack - Twilight Saga: Eclipse
8) Korn - Remember Who You Are
9) Secondhand Serenade - Hear Me Now
10) Nickelback - Dark Horse
U.K. (from BBC)
Indie Songs
1) Example - Kickstarts
2) DJ Fresh - Gold Dust
3) Xx - Islands
4) Fake Blood - I Think I Like It
5) Basshunter - Saturday
6) Temper Trap - Sweet Disposition
7) Dizzee Rascal - Dirtee Disco
8) Radical Face - Welcome Home Son
9) Dizzee Rascal - Bonkers
10) Vampire Weekend - White Sky
Indie Albums
1) Xx - Xx
2) Vampire Weekend - Contra
3) Skream - Outside The Box
4) Example - Won't Go Quietly
5) Jedward - Planet Jedward
6) Chicane - Giants
7) Dizzee Rascal - Tongue N'cheek
8) Katie Melua - The House
9) Caitlin Rose - Own Side Now
10) Prodigy - Invaders Must Die
Top 10 Albums (for a Desert Island)
So, a few months ago I had a conversation with a close friend about something similar to this, with the 10 albums that I would take on my deserted island. These are in no particular order.
Jane's Addiction - Nothing's Shocking
Pixies - Doolittle
The Beatles - The Beatles
The Smiths - The Queen Is Dead
Sex Pistols - Anarchy in the UK
The Cure - Disingtegration
Pink Floyd - The Wall
The Runaways - The Runaways
Journey - Escape
NOFX - Punk in Drublic
Jane's Addiction - Nothing's Shocking
Pixies - Doolittle
The Beatles - The Beatles
The Smiths - The Queen Is Dead
Sex Pistols - Anarchy in the UK
The Cure - Disingtegration
Pink Floyd - The Wall
The Runaways - The Runaways
Journey - Escape
NOFX - Punk in Drublic
15 August 2010
Comments: (0)Labels: Jane's Addiction, Journey, NOFX, Pink Floyd, Pixies, The Beatles, The Cure, The Runaways, The Sex Pistols, The Smiths Links to this post
She and Him
So usually I would stray away from any Hollywood actor/actress that him the music scene, especially the popular ones - of most recent times: Cyrus, Duff, Lohan and the list goes on. But, here I am going to break the rules. She and Him is an indie pop duo with Hollywood actress, Zooey Deschanel and indie singer-songwriter, Matt "M. Ward" Ward and have made some quiet success over the last 5 years, most prominent with their Volume 2 record which was released earlier in 2010.
Most know Deschanel from her appearances on Elf, The Hitchhiker's Guide to the Galaxy, Manic and (500) Days of Summer. This side project, which in turn has seemingly become a major one for her has produced a relative amount of success without the mainstream pop title being labelled towards it. Her beautiful and innocent voice that she presents on She and Him EPs and 2 albums does she that she actually does have musical talent and her collaborations with M. Ward work wonderfully, and believe it or not, she does most of the songwriting.
I will be posting reviews and analysis on She and Him's two records shortly...
Most know Deschanel from her appearances on Elf, The Hitchhiker's Guide to the Galaxy, Manic and (500) Days of Summer. This side project, which in turn has seemingly become a major one for her has produced a relative amount of success without the mainstream pop title being labelled towards it. Her beautiful and innocent voice that she presents on She and Him EPs and 2 albums does she that she actually does have musical talent and her collaborations with M. Ward work wonderfully, and believe it or not, she does most of the songwriting.
I will be posting reviews and analysis on She and Him's two records shortly...
10 August 2010
Comments: (0)Labels: Indie, Indie-Pop, M. Ward, She and Him, Volume 1, Volume 2, Zooey Deschanel Links to this post
Updated Charts
U.S. (from Billboard)
Alternative Songs
1) Cage The Elephant - In One Ear
2) Dirty Heads feat. Rome - Lay Me Down
3) Neon Trees - Animal
4) Phoenix - Lisztomania
5) 30 Seconds To Mars - This Is War
6) Brandon Flowers - Crossfire
7) Rise Against - Savior
8) Shinedown - The Crow And The Butterfly
9) Phoenix - 1901
10) Civil Twilight - Letters From The Sky
Alternative Albums
1) Avenged Sevenfold - Nightmare
2) Jack Johnson - To The Sea
3) Korn - Remember Who You Are
4) Soundtrack - Twilight Saga: Eclipse
5) Black Keys - Brothers
6) Mumford & Sons - Sigh No More
7) Best Coast - Crazy For You
8) Nickelback - Dark Horse
9) Godsmack - The Oracle
10) Various Artists - Vans Warped Tour 2010
U.K. (from BBC)
Indie Songs
1) Example - Kickstarts
2) DJ Fresh - Gold Dust
3) Basshunter - Saturday
4) Xx - Islands
5) Ash - Carnal Love
6) Temper Trap - Sweet Disposition
7) Dizzee Rascal - Dirtee Disco
8) Fake Blood - I Think I Like It
9) Radical Face - Welcome Home Son
10) All Time Low - Weightless
Indie Albums
1) Xx - Xx
2) Jedward - Planet Jedward
3) Chicane - Giants
4) Vampire Weekend - Contra
5) Example - Won't Go Quietly
6) Buckcherry - All Night Long
7) Dizzee Rascal - Tongue N'cheek
8) Black Crowes - Croweology
9) Katie Melua - The House
10) Faithless - The Dance
Alternative Songs
1) Cage The Elephant - In One Ear
2) Dirty Heads feat. Rome - Lay Me Down
3) Neon Trees - Animal
4) Phoenix - Lisztomania
5) 30 Seconds To Mars - This Is War
6) Brandon Flowers - Crossfire
7) Rise Against - Savior
8) Shinedown - The Crow And The Butterfly
9) Phoenix - 1901
10) Civil Twilight - Letters From The Sky
Alternative Albums
1) Avenged Sevenfold - Nightmare
2) Jack Johnson - To The Sea
3) Korn - Remember Who You Are
4) Soundtrack - Twilight Saga: Eclipse
5) Black Keys - Brothers
6) Mumford & Sons - Sigh No More
7) Best Coast - Crazy For You
8) Nickelback - Dark Horse
9) Godsmack - The Oracle
10) Various Artists - Vans Warped Tour 2010
U.K. (from BBC)
Indie Songs
1) Example - Kickstarts
2) DJ Fresh - Gold Dust
3) Basshunter - Saturday
4) Xx - Islands
5) Ash - Carnal Love
6) Temper Trap - Sweet Disposition
7) Dizzee Rascal - Dirtee Disco
8) Fake Blood - I Think I Like It
9) Radical Face - Welcome Home Son
10) All Time Low - Weightless
Indie Albums
1) Xx - Xx
2) Jedward - Planet Jedward
3) Chicane - Giants
4) Vampire Weekend - Contra
5) Example - Won't Go Quietly
6) Buckcherry - All Night Long
7) Dizzee Rascal - Tongue N'cheek
8) Black Crowes - Croweology
9) Katie Melua - The House
10) Faithless - The Dance
Spontaneous Pop Quiz
Try this one! The answer is below question, highlight the text to discover the answer.
1. Which Kate Bush song did Nada Surf cover in their 2010 covers record - If I Had a Hi-Fi?
2. Less Than Jake, ska punk outfit from Florida, USA refers to Fiorello's pet. What kind of animal is it?
3. The 2010 Honda Civic Tour is an annual concert tour in which a Honda Civic is the raffle prize. Paramore and Tegan and Sara were two of the three leading notable acts on the tour. Which band/artist was the third act?
4. Morrissey's full name is (no middle name required):
5. Johnny B. Goode is the classic rock and roll track by which famous rock and roller?
6. The Talking Heads first formed in Rhode Island with three of the members in 1974 performing as:
7. What is Keith Jarrett famous for doing during his recordings and live performances?
8. Why did Jimmy Eat World rename their 2001 record Bleed American to Jimmy Eat World?
9. The Beatles' song - Yesterday was originally written with what words instead of 'yesterday'?
10. Who joined Mick Fleetwood and Peter Green to play with 'Shotgun Express'?
1. Which Kate Bush song did Nada Surf cover in their 2010 covers record - If I Had a Hi-Fi?
Love and Anger
2. Less Than Jake, ska punk outfit from Florida, USA refers to Fiorello's pet. What kind of animal is it?
A dog
3. The 2010 Honda Civic Tour is an annual concert tour in which a Honda Civic is the raffle prize. Paramore and Tegan and Sara were two of the three leading notable acts on the tour. Which band/artist was the third act?
New Found Glory
4. Morrissey's full name is (no middle name required):
Steven (Patrick) Morrissey
5. Johnny B. Goode is the classic rock and roll track by which famous rock and roller?
Chuck Berry
6. The Talking Heads first formed in Rhode Island with three of the members in 1974 performing as:
The Artistics
7. What is Keith Jarrett famous for doing during his recordings and live performances?
Singing/Humming
8. Why did Jimmy Eat World rename their 2001 record Bleed American to Jimmy Eat World?
They deemed it an inappropriate album title because of the events during September, 2001.
9. The Beatles' song - Yesterday was originally written with what words instead of 'yesterday'?
Scrambled Eggs
10. Who joined Mick Fleetwood and Peter Green to play with 'Shotgun Express'?
Rod Stewart
Blitzen Trapper - Destroyer Of The Void
Written and produced by frontman Eric Earley, Destroyer Of The Void is the fifth offering from the Portland band and sees the convergence of 60s folk, 70s country, 80s prog and contemporary indie. To illustrate this, the title track leaps from polite, mid-tempo country-folk to piano balladry through stomping indie rock and vocal harmonies within its six minutes. It may show the increased ambition on this album, but it's hardly the Bohemian Rhapsody it perhaps hopes to be.
The truth is that Blitzen Trapper are actually best when keeping things simple. THe Man Who Would Speak True proves this, with just acoustic guitar and howling harmonica accompanying this old-fashioned country yarn. "On a drunken night with a stolen gun/I show my lover as she made to run," Earley sings, and it's clear this man is a fine storyteller. "The judge sent me away/And they buried my Grace, yeah, the very next day."
Heaven And Earth is similarly simple with piano and strings allowing the song to breathe and The Tree - a lovely folk duet with Alela Diane - further illustrates this is a band that doesn't need to throw the kitchen sink at songs.
It seems a waste then - considering how mich heart this record has - that the six-piece litters it with unmemorable and fairly bland outings like Love And Hate. Alluding the arena rock, there is nothing specifically wrong with it, but it demonstrates the unnecessarily overblown nature of much of Destroyer Of The Void. In this case, less would most certainly have been more.
The truth is that Blitzen Trapper are actually best when keeping things simple. THe Man Who Would Speak True proves this, with just acoustic guitar and howling harmonica accompanying this old-fashioned country yarn. "On a drunken night with a stolen gun/I show my lover as she made to run," Earley sings, and it's clear this man is a fine storyteller. "The judge sent me away/And they buried my Grace, yeah, the very next day."
Heaven And Earth is similarly simple with piano and strings allowing the song to breathe and The Tree - a lovely folk duet with Alela Diane - further illustrates this is a band that doesn't need to throw the kitchen sink at songs.
It seems a waste then - considering how mich heart this record has - that the six-piece litters it with unmemorable and fairly bland outings like Love And Hate. Alluding the arena rock, there is nothing specifically wrong with it, but it demonstrates the unnecessarily overblown nature of much of Destroyer Of The Void. In this case, less would most certainly have been more.
14 July 2010
Comments: (0)Labels: Blitzen Trapper, Destroyer Of The Void, Eric Earley Links to this post
Deez Nuts - This One's For You
When I Killed The Prom Queen called it a day, drummer JJ Peters formed hardcore outfit Deez Nuts, and not only does he handle all of the drumming and vocal duties on their second album, The One's For You, but also a vast majority of guitars. Peters has called it some mates to add guest vocals, most notably Ollie Sykes from Bring Me The Horizon on the angst-driven If You Don't Know, Now You Know, aiding the record's collective and inclusive nature.
Deez Nuts tread the line between the guitar-driven simplicity of hardcore and hip hop-inspired vocals that are riddled with common themes of self-expression and pure, unabashed anger. The music has common themes as well, the tracks have driving rhythm sections and simple guitar lines. The Deez Nuts project is about creating an atmosphere and a mood, with less emphasis on musical technicality and a stronger focus on conveying their mood of being pissed off into the world.
Opening track Don't Call It A Comeback has an old school punk ethic at its core, whilst title track This One's For You is dedicated to the downtrodden, blue-collar worker and is, surprisingly, an endearing song - a prime example of the Deez Nuts vibe. On the other hand, the ode to his party crew DTD is simply about getting drunk and enjoying the ride. The same goes for Party Song, which takes a less subtle tack in inciting excessiveness. Peters provides the atmosphere for yoy to shake the working week off and forces you to enjoy the little things in life, music, your mates and good times.
Deez Nuts tread the line between the guitar-driven simplicity of hardcore and hip hop-inspired vocals that are riddled with common themes of self-expression and pure, unabashed anger. The music has common themes as well, the tracks have driving rhythm sections and simple guitar lines. The Deez Nuts project is about creating an atmosphere and a mood, with less emphasis on musical technicality and a stronger focus on conveying their mood of being pissed off into the world.
Opening track Don't Call It A Comeback has an old school punk ethic at its core, whilst title track This One's For You is dedicated to the downtrodden, blue-collar worker and is, surprisingly, an endearing song - a prime example of the Deez Nuts vibe. On the other hand, the ode to his party crew DTD is simply about getting drunk and enjoying the ride. The same goes for Party Song, which takes a less subtle tack in inciting excessiveness. Peters provides the atmosphere for yoy to shake the working week off and forces you to enjoy the little things in life, music, your mates and good times.
Teenage Fanclub - Shadows
Bandwagonesque (1991) and Grand Prix (1995): two albums, both by Glaswegians Teenage Fanclub, which together constitute an epochal moment in joyous pop music. That no other album quite matches the glory of these two is of little consequence. Grand Prix alone is almost perfect. The band's meticulous fusion of My Bloody Valentine's noise, Neil Young's guitar work and Big Star's sunshine pop remains a watershed moment in songwriting history.
Shadows is the first Teenage Fanclub album in five years and happily, it wipes the floor with its predecessor, 2005's Man Made. In keeping with the Fannie's protocol, it is a balanced mix of songs by Norman Blake, Raymond McGinley and Gerard Love, and as always, Blake's songs shine just that little bit brighter. Here it's in Baby Lee, another rolled-gold TFC hit: a little bit cheeky, just earnest enough to be meaningful and catchy as all hell. And Dark Clouds is playful enough to warrant its too-cute, fiddle-heavy production. Yet the Bowie-esque The Past loses its momentum within its polish, and Shock And Awe flounders without distinction. That said, When I Still Have Thee overcomes its pretentious title by being impossibly nice. The folk-waltz of Live With The Seasons is also impeccable, and the almost Beach House sunshine of Sweet Days Waiting and The Back Of My Mind actually work. It's not the Fannies' best - since toning down the Neil Young and the MBV, the band was become one-sided - but it's a nice side to keep.
Shadows is the first Teenage Fanclub album in five years and happily, it wipes the floor with its predecessor, 2005's Man Made. In keeping with the Fannie's protocol, it is a balanced mix of songs by Norman Blake, Raymond McGinley and Gerard Love, and as always, Blake's songs shine just that little bit brighter. Here it's in Baby Lee, another rolled-gold TFC hit: a little bit cheeky, just earnest enough to be meaningful and catchy as all hell. And Dark Clouds is playful enough to warrant its too-cute, fiddle-heavy production. Yet the Bowie-esque The Past loses its momentum within its polish, and Shock And Awe flounders without distinction. That said, When I Still Have Thee overcomes its pretentious title by being impossibly nice. The folk-waltz of Live With The Seasons is also impeccable, and the almost Beach House sunshine of Sweet Days Waiting and The Back Of My Mind actually work. It's not the Fannies' best - since toning down the Neil Young and the MBV, the band was become one-sided - but it's a nice side to keep.
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Labels: Big Star, My Bloody Valentine, Neil Young, Pop, Shadows, Teenage Fanclub Links to this post
New Releases - Week of July 13 2010
Admiral Radley - I Heart California
Autechre - Move Of Ten
Calibro 35 - Ritornano Quellidi
Crowded House - Intriguer
Danger Mouse And Sparklehorse - Dark Night Of The Soul
Fat Joe - The Darkside Vol.1
Innocence Mission - My Room In The Trees
Korn - Korn III: Remember Who You Are
Tony Lucca - Rendezvous With The Angels
The Maine - Black & White
M.I.A. - MAYA
New Politics - New Politics
Panda Bear - Tomboy
School Of Seven Bells - Disconnect From Desire
Chris Shiflett & The Dead Pheasants - Chris Shiflett & The Dead Pheasants
Sting - Symphonicities
Sun Kil Moon - Admiral Fell Promises
Paul Wall - Heart Of A Champion
Zoroaster - Matador
Autechre - Move Of Ten
Calibro 35 - Ritornano Quellidi
Crowded House - Intriguer
Danger Mouse And Sparklehorse - Dark Night Of The Soul
Fat Joe - The Darkside Vol.1
Innocence Mission - My Room In The Trees
Korn - Korn III: Remember Who You Are
Tony Lucca - Rendezvous With The Angels
The Maine - Black & White
M.I.A. - MAYA
New Politics - New Politics
Panda Bear - Tomboy
School Of Seven Bells - Disconnect From Desire
Chris Shiflett & The Dead Pheasants - Chris Shiflett & The Dead Pheasants
Sting - Symphonicities
Sun Kil Moon - Admiral Fell Promises
Paul Wall - Heart Of A Champion
Zoroaster - Matador
Good Riddance - Farewell
For a lot of fans who tracked Good Riddance's rise from the Santa Barbara, Calif. punk world to its position as undisputed melodic-hardcore kings in the early '00s, the band's almost a force of nature. Mixing idealist, left-leaning lyrics, sizzingly heavy guitars and enough melody to sweeten both up, Good Riddance seemed to come out of nowhere with 1995's For God And Country to rule the edge hardcore world for nearly a decade and a half.
The truth is, the band didn't come out of nowhere, but just percolated on tiny regional labels as it perfected its sound on a bunch of splits and EPs. Now, with Good Riddance officially a done deal, the band dips back into its vaults and brings those early-days recordings to the surface. It also grabs a few other B-sides and rarities to fatten out the 21-track collection. If Capricorn One stands for anything, it's to remind us that Good Riddance didn't spring fully grown from Zeus' head, but spent years honing its craft in obscurity.
Longtime fans will enjoy watching as Good Riddance feels out its sound on early 7-inch singles, slowly morphing from another generic hardcore outfit into one whose chops and lyrical prowess were so difficult for its peers to match. That pretty much ensures that some of the tunes on the album aren't quite up to the standard Good Riddance would establish by its second album: "Class War 2000" juggles the mouthful of long-outdated fiscal policies like Reganomics and choppy, basic hardcore riffs. "Free" flogs the same ground musically, while singer Russ Rankin mixes his metaphors and targets, lashing out at pro-life activists and (sigh) the police as arms of the same sort of repressive culture. It's a little naïve, it paints in broad strokes, but it's still a good time out.
An early version of "Last Believer" gives fans the best glimpse at the burgeoning powerhouse Good Riddance would become. A slower, more restrained version than the sizzling cut on 1996's A Comprehensive Guide to Moderne Rebellion (Fat), holding it up against the album version is the most clear-cut example of how much the band grew: Capricorn One's version is lifeless and listless compared to the second take. Other songs showcase the band as it begins to hit its stride: There's a "Guilty of Being White" retread in "Me from Adam" that's slightly more than regurgitated Minor Threat, "Patriarch" is a scowling condemnation of American traditions and "Great Experiment," written during the sessions for 2006's My Republic, catches the band stretching its boundaries almost past breaking.
Capricorn One, like just about every other rarities collection by just about every other band, isn't nearly as good as a studio effort. That's to be expected. For a band like Good Riddance that thrived on honesty and openness, getting these old tunes to the fans is poetic: There's no secrets as Good Riddance goes to its grave. Hardcore warriors have to start somewhere, and on this album you'll see where Good Riddance got its start. The climb to greatness doesn't seem quite as steep now, does it? Now get off the computer and go start your own band.
The truth is, the band didn't come out of nowhere, but just percolated on tiny regional labels as it perfected its sound on a bunch of splits and EPs. Now, with Good Riddance officially a done deal, the band dips back into its vaults and brings those early-days recordings to the surface. It also grabs a few other B-sides and rarities to fatten out the 21-track collection. If Capricorn One stands for anything, it's to remind us that Good Riddance didn't spring fully grown from Zeus' head, but spent years honing its craft in obscurity.
Longtime fans will enjoy watching as Good Riddance feels out its sound on early 7-inch singles, slowly morphing from another generic hardcore outfit into one whose chops and lyrical prowess were so difficult for its peers to match. That pretty much ensures that some of the tunes on the album aren't quite up to the standard Good Riddance would establish by its second album: "Class War 2000" juggles the mouthful of long-outdated fiscal policies like Reganomics and choppy, basic hardcore riffs. "Free" flogs the same ground musically, while singer Russ Rankin mixes his metaphors and targets, lashing out at pro-life activists and (sigh) the police as arms of the same sort of repressive culture. It's a little naïve, it paints in broad strokes, but it's still a good time out.
An early version of "Last Believer" gives fans the best glimpse at the burgeoning powerhouse Good Riddance would become. A slower, more restrained version than the sizzling cut on 1996's A Comprehensive Guide to Moderne Rebellion (Fat), holding it up against the album version is the most clear-cut example of how much the band grew: Capricorn One's version is lifeless and listless compared to the second take. Other songs showcase the band as it begins to hit its stride: There's a "Guilty of Being White" retread in "Me from Adam" that's slightly more than regurgitated Minor Threat, "Patriarch" is a scowling condemnation of American traditions and "Great Experiment," written during the sessions for 2006's My Republic, catches the band stretching its boundaries almost past breaking.
Capricorn One, like just about every other rarities collection by just about every other band, isn't nearly as good as a studio effort. That's to be expected. For a band like Good Riddance that thrived on honesty and openness, getting these old tunes to the fans is poetic: There's no secrets as Good Riddance goes to its grave. Hardcore warriors have to start somewhere, and on this album you'll see where Good Riddance got its start. The climb to greatness doesn't seem quite as steep now, does it? Now get off the computer and go start your own band.
Broken Social Scene - Forgiveness Rock Record
During their five-year hiatus, one could assume that Broken Social Scene frontman Kevin Drew had been trimming his garden of friends substantially. On Forgiveness Rock Record, he notes a mere seven collaborators - leaner indeed, compared with the 22 credited on their previously self-titled album. That said, he knows how to pick them, with Metric's Emily Haines, Stars' Amy Milan and the gorgeous Leslie Feist among the survivors. Perhaps ironically, then comes the forgiveness factor.
As the tile suggests, this is a rock and roll record that through its songs explores the emotional process of forgiving, forgetting and moving forward together. From the macro distress of World Sick to Haines' deeply personal Sentimental X's, it's thick with catharsis and human release. It's also the most song-based record the band has even mustered. Where You Forgot It In People was sprawling and tangential, Forgiveness Rock sets it up and knocks it down with steadier structures and that stronger rock inclination.
Co-produced by Tortoise/Sea and Cake drummer John McEntire, it's exactly as we remember their intense aesthetic only sharper, more focused and perhaps better behaved - much like the Broken Social Scene/Sea and Cake contrast. This may alienate those who fell for the granidose and immersing instrumentals of the band's recent history, though the joy here is within our human connection to story. It's a nice thought, and one that's terribly reliant. And after all, who couldn't use a little forgiveness?
As the tile suggests, this is a rock and roll record that through its songs explores the emotional process of forgiving, forgetting and moving forward together. From the macro distress of World Sick to Haines' deeply personal Sentimental X's, it's thick with catharsis and human release. It's also the most song-based record the band has even mustered. Where You Forgot It In People was sprawling and tangential, Forgiveness Rock sets it up and knocks it down with steadier structures and that stronger rock inclination.
Co-produced by Tortoise/Sea and Cake drummer John McEntire, it's exactly as we remember their intense aesthetic only sharper, more focused and perhaps better behaved - much like the Broken Social Scene/Sea and Cake contrast. This may alienate those who fell for the granidose and immersing instrumentals of the band's recent history, though the joy here is within our human connection to story. It's a nice thought, and one that's terribly reliant. And after all, who couldn't use a little forgiveness?
25 June 2010
Comments: (0)Labels: Broken Social Scene, Feist, Forgiveness Rock Record, Indie, Instrumental, Metric Links to this post
The New Pornographers - Together
Put bluntly, The New Pornographers copped a lot of shit for their last release, Challengers, their 'mellow' album with a tonality that somehow escaped their power-pop fan base. It was by no stretch a bad record; if anything it was merely bland and smaller than its predecessors: Mass Romantic, Electric Version and Twin Cinema, three independently brilliant albums that each served to better the last.
Perhaps to avoid a similar fate, they're come out all guns blazing with Together, embracing that all-in quality so valuable to their first records. Neko Case is at her heady finest in The Crash Years, an earthy acoustic number up on the perils of First World economic depression. The graduating riffs of My Shepard build perfectly with jolting drums and moody strings, while Dan Bejar's three song credits play nicely against main-man Newman's more complex tendencies.
From the first dirtied strings of Moves to the flowing, upbeat keys of Your Hands (Together) it has all the markings of great New Pornos: the seminal harmonies, the jaunty acoustics, the dramatic twee of naturally suburban pop. It is more daring, more developed and at the same time, more relaxed.
Most important of all though, after the somewhat lacking Challengers, Together remembers all that's truly great about this band: their ability to build and destroy entire structures before the first chorus and lift songs to entirely different places with gorgeous melodies and wildly beautiful arrangements. This is smart pop music, beautiful and quirky with foundations set in simple stone.
Perhaps to avoid a similar fate, they're come out all guns blazing with Together, embracing that all-in quality so valuable to their first records. Neko Case is at her heady finest in The Crash Years, an earthy acoustic number up on the perils of First World economic depression. The graduating riffs of My Shepard build perfectly with jolting drums and moody strings, while Dan Bejar's three song credits play nicely against main-man Newman's more complex tendencies.
From the first dirtied strings of Moves to the flowing, upbeat keys of Your Hands (Together) it has all the markings of great New Pornos: the seminal harmonies, the jaunty acoustics, the dramatic twee of naturally suburban pop. It is more daring, more developed and at the same time, more relaxed.
Most important of all though, after the somewhat lacking Challengers, Together remembers all that's truly great about this band: their ability to build and destroy entire structures before the first chorus and lift songs to entirely different places with gorgeous melodies and wildly beautiful arrangements. This is smart pop music, beautiful and quirky with foundations set in simple stone.
09 June 2010
Comments: (0)Labels: Neko Case, Pop, Power Pop, The New Pornographers Links to this post
May 25th 2010 Releases (US)
All Time Low - Straight To DVD [Live CD/DVD]
Marc Anthony - Iconos
Beach Fossils - Beach Fossils
Andy Bell - Non-Stop
Caw! Caw! - Bummer Palace
D.M. Stith - Heavy Ghost
Fyfe Dangerfield - Fly Yellow Mood
Dogg Pound - Keep On Ridin'
Karen Elson - The Ghost Who Walks
Far - At Night We Live
First Aid Kit - The Big Black And The Blue
Framing Hanley - A Promise To Burn
Grosvenor - Soft Return
It's Alive - Human Resources
Leela James - My Soul
Adam Kesher - Challenging Nature
Bettye LaVette - Interpretations: The British Rock Songbook
Marina And The Diamonds - The Family Jewels
Neverever - Angelic Swells
Peter Wolf Crier - Inter Be
John Prine - In Person & On Stage
Solvent - Subject To Shift
Stone Temple Pilots - Stone Temple Pilots
Tobacco - Maniac Meat
Tomorrows Bad Seeds - Sacred For Sale
Transient Songs - Cave Syndrome
Various Artists - Ultra Weekend 6
Widespread Panic - Dirty Side Down
Hank Williams III - Rebel Within
Keller Williams - Thief
Will Young - Leave Right Now
Marc Anthony - Iconos
Beach Fossils - Beach Fossils
Andy Bell - Non-Stop
Caw! Caw! - Bummer Palace
D.M. Stith - Heavy Ghost
Fyfe Dangerfield - Fly Yellow Mood
Dogg Pound - Keep On Ridin'
Karen Elson - The Ghost Who Walks
Far - At Night We Live
First Aid Kit - The Big Black And The Blue
Framing Hanley - A Promise To Burn
Grosvenor - Soft Return
It's Alive - Human Resources
Leela James - My Soul
Adam Kesher - Challenging Nature
Bettye LaVette - Interpretations: The British Rock Songbook
Marina And The Diamonds - The Family Jewels
Neverever - Angelic Swells
Peter Wolf Crier - Inter Be
John Prine - In Person & On Stage
Solvent - Subject To Shift
Stone Temple Pilots - Stone Temple Pilots
Tobacco - Maniac Meat
Tomorrows Bad Seeds - Sacred For Sale
Transient Songs - Cave Syndrome
Various Artists - Ultra Weekend 6
Widespread Panic - Dirty Side Down
Hank Williams III - Rebel Within
Keller Williams - Thief
Will Young - Leave Right Now
Glastonbury 2010
Friday
Pyramid Stage
U2
Dizzee Rascal
Vampire Weekend
Snoop Dogg
Willy Nelson
Corinne Bailey-Rae
Femi Kuti
TBA
Other Stage
The Flaming Lips
Hot Chip
Florence and the Machine
La Roux
Phoenix
The Courteeners
Gaslight Anthem
The Stranglers
The Magic Numbers
TBA
John Peel Stage
Groove Armada
The Black Keys
Mumford & Sons
Ellie Goulding
Kele
Bombay Bicycle Club
Tegan and Sara
TBA
De Staat
Chapel Club
West Holts Stage
Mos Def (with full live band)
Femi Kuti
Nouvelle Vague & Guests
Breakestra with Chali 2na
Bonobo
Mariachi El Bronx
Tune-Yards
Matthew Herbert Big Band
The Park Stage
The XX
Broken Bells
Special Guests
The Big Pink
Local Natives
Steve Mason
Hypnotic Brass Ensemble
Beth Jeans Houghton
Lissie
TBA
TBA
East Dance
DJ Fatboy Slim
Live Chase and Status
DJ Zane Lowe
Live Plan B
DJ Rob da Bank
Live Example
DJ Roger Sanchez
DJ TBA
DJ TBA
West Dance
DJ Boys Noise
DJ Simian Mobile Disco
Live Delphic
DJ Fake Blood
DJ Rusko
Live Chromeo
DJ Aeroplane
DJ Boy 8-Bit
DJ Hannah Holland
Saturday
Pyramid Stage
Muse
Scissor Sisters
TBA
TBA
Seasick Steve
Jackson Browne
Lightning Seeds
TBA
Other Stage
Pet Shop Boys
Editors
The Cribs
The National
Kate Nash
Imogen Heap
Coheed and Cambria
Reef
Two Door Cinema Club
John Peel Stage
Jamie T
Foals
The xx
Marina & The Diamonds
Delphic
Field Music
Cymbals Eat Guitars
Sophie Hunger
TBA
West Holts Stage
George Clinton with Parliament / Funkadelic
Jerry Dammers Spatial AKA Orchestra
Os Mutantes
Devendra Banhart
Bassekou Kouyate & Ngoni Ba
Phenomenal Handclap Band
Brother Ali
Troy Ellis & The Longshots
The Park Stage
Midlake
Laura Marling
TBA
Special Guests
Stornoway
Beach House
Strange Boys
Frankie & The Heart Strings
The Ballad of Britain
Peggy Sue
TBA
East Dance
Live N-Dubz
Live Chipmunk
Live Kelis
DJ DJ MistaJam
Live Tinie Tempah
Live Giggs
DJ Yasmin
Live Chiddybang
Live McClean
Live BashyLive Dubfire
DJ Nick Warren
Live Mix Hell
DJ Sander Kleinenberg
Live Banco de Gaia
DJ Riva Starr
Live Neville Staple
Live Dub Pistols
DJ TBA
Live Foreign Beggars
Live Donaeo
Live Roll Deep
DJ TBA
West Dance
Live Dubfire
DJ Nick Warren
Live Mix Hell
DJ Sander Kleinenberg
Live Banco de Gaia
DJ Riva Starr
Live Neville Staple
Live Dub Pistols
DJ TBA
Live Foreign Beggars
Sunday
Pyramid Stage
Stevie Wonder
Faithless
Jack Johnson
Ray Davies
Slash
Norah Jones
Paloma Faith
TBA
Other Stage
Orbital
lcd soundsystem
MGMT
We Are Scientists
Grizzly Bear
Temper Trap
The Hold Steady
Frightened Rabbit
TBA
John Peel Stage
Ash
Julian Casablancas
Broken Social Scene
Gang of Four
The Drums
Holy F***
These New Puritans
Everything Everything
TBA
Dan Mangan
West Holts Stage
Rodrigo y Gabriela
Toots & the Maytals
Quantic & his Combo Barbaro
Staff Benda Bilili
Dr John
Tunng
The Bees
Dizraeli and the Small Gods
The Park Stage
Empire Of The Sun
Dirty Projectors
TBA
Archie Bronson Outfit
TBA
Portico Quartet
Fionn Regan
TBA
Here We Go Magic
Travelling Band
East Dance
DJ Above & Beyond
Live Crystal Castles
DJ Filthy Dukes (DJ Set)
Live Professor Green
Live Reverend Sound System
Live Crystal Fighters
West Dance
Live Magnetic Man
DJ Jackbeats
Live Stanton Warriors
DJ Adam F
Live Blasted Mechanism
DJ Toddla T
Live Alex Metric Live
DJ South Central
Live Jaguar Skills
DJ A1 Bassline
Live Killaflaw
DJ Virus Syndicate
Pyramid Stage
U2
Dizzee Rascal
Vampire Weekend
Snoop Dogg
Willy Nelson
Corinne Bailey-Rae
Femi Kuti
TBA
Other Stage
The Flaming Lips
Hot Chip
Florence and the Machine
La Roux
Phoenix
The Courteeners
Gaslight Anthem
The Stranglers
The Magic Numbers
TBA
John Peel Stage
Groove Armada
The Black Keys
Mumford & Sons
Ellie Goulding
Kele
Bombay Bicycle Club
Tegan and Sara
TBA
De Staat
Chapel Club
West Holts Stage
Mos Def (with full live band)
Femi Kuti
Nouvelle Vague & Guests
Breakestra with Chali 2na
Bonobo
Mariachi El Bronx
Tune-Yards
Matthew Herbert Big Band
The Park Stage
The XX
Broken Bells
Special Guests
The Big Pink
Local Natives
Steve Mason
Hypnotic Brass Ensemble
Beth Jeans Houghton
Lissie
TBA
TBA
East Dance
DJ Fatboy Slim
Live Chase and Status
DJ Zane Lowe
Live Plan B
DJ Rob da Bank
Live Example
DJ Roger Sanchez
DJ TBA
DJ TBA
West Dance
DJ Boys Noise
DJ Simian Mobile Disco
Live Delphic
DJ Fake Blood
DJ Rusko
Live Chromeo
DJ Aeroplane
DJ Boy 8-Bit
DJ Hannah Holland
Saturday
Pyramid Stage
Muse
Scissor Sisters
TBA
TBA
Seasick Steve
Jackson Browne
Lightning Seeds
TBA
Other Stage
Pet Shop Boys
Editors
The Cribs
The National
Kate Nash
Imogen Heap
Coheed and Cambria
Reef
Two Door Cinema Club
John Peel Stage
Jamie T
Foals
The xx
Marina & The Diamonds
Delphic
Field Music
Cymbals Eat Guitars
Sophie Hunger
TBA
West Holts Stage
George Clinton with Parliament / Funkadelic
Jerry Dammers Spatial AKA Orchestra
Os Mutantes
Devendra Banhart
Bassekou Kouyate & Ngoni Ba
Phenomenal Handclap Band
Brother Ali
Troy Ellis & The Longshots
The Park Stage
Midlake
Laura Marling
TBA
Special Guests
Stornoway
Beach House
Strange Boys
Frankie & The Heart Strings
The Ballad of Britain
Peggy Sue
TBA
East Dance
Live N-Dubz
Live Chipmunk
Live Kelis
DJ DJ MistaJam
Live Tinie Tempah
Live Giggs
DJ Yasmin
Live Chiddybang
Live McClean
Live BashyLive Dubfire
DJ Nick Warren
Live Mix Hell
DJ Sander Kleinenberg
Live Banco de Gaia
DJ Riva Starr
Live Neville Staple
Live Dub Pistols
DJ TBA
Live Foreign Beggars
Live Donaeo
Live Roll Deep
DJ TBA
West Dance
Live Dubfire
DJ Nick Warren
Live Mix Hell
DJ Sander Kleinenberg
Live Banco de Gaia
DJ Riva Starr
Live Neville Staple
Live Dub Pistols
DJ TBA
Live Foreign Beggars
Sunday
Pyramid Stage
Stevie Wonder
Faithless
Jack Johnson
Ray Davies
Slash
Norah Jones
Paloma Faith
TBA
Other Stage
Orbital
lcd soundsystem
MGMT
We Are Scientists
Grizzly Bear
Temper Trap
The Hold Steady
Frightened Rabbit
TBA
John Peel Stage
Ash
Julian Casablancas
Broken Social Scene
Gang of Four
The Drums
Holy F***
These New Puritans
Everything Everything
TBA
Dan Mangan
West Holts Stage
Rodrigo y Gabriela
Toots & the Maytals
Quantic & his Combo Barbaro
Staff Benda Bilili
Dr John
Tunng
The Bees
Dizraeli and the Small Gods
The Park Stage
Empire Of The Sun
Dirty Projectors
TBA
Archie Bronson Outfit
TBA
Portico Quartet
Fionn Regan
TBA
Here We Go Magic
Travelling Band
East Dance
DJ Above & Beyond
Live Crystal Castles
DJ Filthy Dukes (DJ Set)
Live Professor Green
Live Reverend Sound System
Live Crystal Fighters
West Dance
Live Magnetic Man
DJ Jackbeats
Live Stanton Warriors
DJ Adam F
Live Blasted Mechanism
DJ Toddla T
Live Alex Metric Live
DJ South Central
Live Jaguar Skills
DJ A1 Bassline
Live Killaflaw
DJ Virus Syndicate
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