1/31/2010

Voices Voices @ Troubadour Feb 3rd


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1/29/2010

Psychic Ills






Gallery is here. All Psychic Ills photos here taken by Angel Ceballos in Seattle.


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1/25/2010

White Denim






Gallery is here. All White Denim photos here taken by Angel Ceballos in Seattle.


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1/23/2010

Joseph Arthur tonight @ the Troubadour


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1/22/2010

Sonic Youth @ the Wiltern

sonic youth

sonic youth

sonic youth

sonic youth
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Hot Rats @ Troubadour

hot rats

hot rats

hot rats
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1/19/2010

Coachella 2010

Coachella 2010


FRIDAY APRIL 16: Jay-Z, LCD Soundsystem, Them Crooked Vultures, Vampire Weekend, Deadmau5, Public Image Limited, The Specials, Grizzly Bear, Passion Pit, Echo and the Bunnymen, Benny Benassi, Fever Ray, Grace Jones, She & Him, Erol Alkan, The Avett Brothers, Calle 13, The Whitest Boy Alive, The Cribs, La Roux, Yeasayer, Lucero, DJ Lance Rock, The Dillinger Escape Plan, Proxy, Ra Ra Riot, Deer Tick, Wolfgang Gartner, Aeroplane, Iglu & Hartly, Sleigh Bells, P.O.S., Baroness, Hockey, Little Dragon, White Rabbits, Wale, Kate Miller-Heidke, As Tall as Lions, Jets Overhead, Alana Grace, Pablo Hassan.

SATURDAY, APRIL 17: Muse, Faith No More, TiĆ«sto, MGMT, David Guetta, The Dead Weather, Hot Chip, Devo, Coheed and Cambria, Kaskade, 2Many DJ’s, Major Lazer, Dirty Projectors, Gossip, Z-Trip, The xx, John Waters, Les Claypool, The Raveonettes, Mew, Sia, Camera Obscura, Tokyo Police Club, Porcupine Tree, Old Crow Medicine Show, Aterciopalados, Bassnectar, Frightened Rabbit, Dirty South, Flying Lotus, Corinne Bailey Rae, Pretty Lights, Shooter Jennings, RX Bandits, The Almighty Defenders, Edward Sharp and the Magnetic Zeros, Craze & Klever, Zoe, The Temper Trap, Portugal. The Man, Band of Skulls, Girls, Beach House, Steel Train, Frank Turner.

SUNDAY, APRIL 18: Gorillaz, Pavement, Thom Yorke ????, Phoenix, Orbital, Spoon, Sly and the Family Stone, De La Soul, Julian Casablancas, Plastikman, Gary Numan, Charlotte Gainsbourg, Sunny Day Real Estate, Yo La Tengo, MUTEMATH, Deerhunter, Infected Mushroom, Club 75, Matt & Kim, The Big Pink, Gil Scott-Heron, King Khan and the Shrines, Florence and the Machine, Yann Tiersen, Little Boots, Miike Snow, Talvin Singh, Ceu, B.o.B., Babasonicos, Owen Pallett, The Glitch Mob, Mayer Hawthorne, Local Natives, Rusko, The Middle East, Hadouken!, The Soft Pack, Kevin Devine, Paparazzi, Delphic, One EskimO.


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1/17/2010

Joseph Arthur @ Troubadour



Joseph Arthur plays at the Troubadour January 222nd and 23rd.
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1/15/2010

Hockey



Hockey Interview 2010
By Alexander Laurence

Hockey is a band based in Portland, Oregon. They are Benjamin Grubin
(vocals), Brian White (guitar), Jeremy Reynolds (bass guitar), and Anthony Stassi
(drums). They released an EP in 2008. The album Mind Chaos just came out
recently. They will be playing Coachella in April. They will also be playing
Spaceland on January 16th, 2010. I got to speak with Ben this week about the
band.

AL: Are you all from Portland?

Ben: None of us are. Some of us lived in Spokane, Washington a little
while. But we have lived all over. Jeremy and I met in college in southern
California. The other two we met in Spokane, at Gonzaga University. We all moved
to Portland together. We started the band in 2002.

AL: What was the early version of the band like?

Ben: We played with a drum machine. Jeremy played bass guitar. I would play
piano and guitar. It was a little bit more on the novelty side. It was
really loud drumbeats, and it was crazy. Maybe a little bit more urban. We did
that for a while.

AL: When did it become more like how it is now?

Ben: When we added the new members, it slowly changed. We were able to
write different sorts of songs. I would say a year and a half ago. It started
when we did this album. It was all a filling out of the original idea. We were
always serious and practiced a lot.

AL: Since you were on “Late Night with Jools Holland” many people thought
you were an English band.

Ben: We got that for a while. We were embraced there first. They played us
on the radio. There was a feeding frenzy over there. And then we went over
there to play some shows. We have been there so many times now, and have
opened up for so many cool bands. We have done one headlining tour of our own.
We are so much further along over there than we are here. We have done three
or four tours there, and a bunch of festivals, and individual shows.

AL: Did you have to re-locate over there?

Ben: No, we just went back and forth a lot. We did a co-headlining tour
with The Passion Pit. That was our first tour. They are huge now, but then no
one had heard of them. We also played with Friendly Fires and Little Comets.

AL: How was Glastonbury?

Ben: That was cool. We were playing so many festivals, that it was just
another festival. Most festivals are cool. Most people ask us about
Glastonbury. We were there about four hours, and then we went back to France. It was a
whirlwind thing.

AL: How did you record your album?

Ben: We did most of it by ourselves in our basement in Portland. There was
one old song with just Jeremy and I that we did before. We did that song
with Jerry Harrison from Talking Heads, at his studio. We recorded ten songs
with him in Sausalito years ago. But only one song survived. We put that song
on the album. We did a few songs with an engineer at our studio in Portland
after we had signed a deal. It was low key.

AL: Do you think Portland is a great place to live if you are in band?

Ben: Totally. It’s cheaper. That is the bottom line. When a place is cheap,
and culture is still happening, that is the magic time. It’s probably in
the process of being spoiled. There might be too much culture, and things
become expensive. Right now it feels really good.

AL: Do you know the Dandy Warhols?

Ben: We did a little recording at their warehouse. But I have never met
them. We know a band called Blind Pilot. We are not from Portland. We are more
like a band who has moved here.

AL: How do you write the songs in the band?

Ben: I write the lyrics and the melodies, and the band arranges it
together. We didn’t have a guitar player for a while. Now we have come together. We
are jamming and writing together. We do things both ways. A lot of songs
come along in the studio.

AL: What is your setlist like now?

Ben: We play songs from the album, and two new songs.

AL: Are you playing Coachella?

Ben: Yes. The reason we are playing this small west coast tour right now,
because you can’t play California in April. We are going to tour the world
and come back to America in March. The next American tour ends with Coachella

AL: Where else are you going?

Ben: We have never been to Japan or Australia. That is where we are going
now.

AL: Are there any books that you read recently?

Ben: I like authors who have strong styles. I like how they use words. I do
read a lot. I like James Joyce. I read Ulysses aloud to myself for some
reason. I like Celine. Tom Wolfe’s Electric Koolaid Acid test is pretty
awesome.

AL: Have you seen any good bands recently?

Ben: I saw The XX in Portland. I like this band The Virgins. I like their
EP a lot. It was raw and cool.

Website: www.hockeyband.com
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1/13/2010

A Place To Bury Strangers





Gallery is here. All APTBS photos here taken by Angel Ceballos in Seattle.


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1/12/2010

Dot Allison Interview







DOT ALLISON INTERVIEW 2010
By Alexander Laurence

Dot Allison is a very talented artist and singer, and is one of the first
musicians I did an interview with. I met her in New York at the Gramercy Park
Hotel back in 1999, when her first album was released. She is from
Edinburgh, Scotland, and did an album with One Dove back in 1993. Since then she has
released four solo albums including Afterglow (1999), We Are Science (2002),
Exaltation of Larks (2007), and Room 7 1/2 (2009). She has also
collaborated or has been a member of Massive Attack, Death In Vegas, Slam, Scott
Walker, and Babyshambles. I spoke with her at the beginning of 2010, to talk about
music and celebrate a detailed and influential career in music.

AL: What are you up to today?

Dot: I am just taking a break from songwriting with my friend. She is just
next door. We have been programming all day. We were trying to write this
pop song. So I am taking a break. We have a bunch of songs. I am not sure what
we are going to do with them yet. I am not sure if I am going to sing them.
I might have a few songs on my album, or she’ll might have them on her
album.

AL: When did you start working on Room 7 1/2?

Dot: Actually the album existed in many different forms for a while. I
wrote a few songs years ago. I don’t know if everyone works like this: but I
always have a silly backlog of songs, and some of them should never come out.
Some of them that did like “I Wanna Break Your Heart,” Portrait Of The Sun,”
“Fall To Me” were quite old songs. The rest were written in the past year.
“Love’s Got Me Crazy” happened because Paul Weller called me up and said
he wanted to write a song. He was writing a lot of music at the time. It was
slightly disparate in a way. It wasn’t like I had a concept and then wrote
this album. It was more like a collection of songs that seemed to go well
together.

AL: Your first two albums were very diverse. The song “Wishing Stone”
doesn’t really go along with the rest of the album.

Dot: Yeah. They might be a little too diverse. I always liked albums like
Screamadelica, where “Movin’ On Up” is really different from “Slip Inside
This House.” I like records by Gene Clark where there are a rich tapestry of
sounds and production. I don’t like albums that are linear. I do get
slightly bored of a sound if it’s right across an album. There is nothing wrong
with that, it’s just me. But hopefully I would like to take someone on a
journey.

AL: It’s more common that a band writes and works in a specific time, and
those songs which end up on an album are like a diary of a specific time
frame.

Dot: I don’t know if that has been true in the past. Maybe there was some
record company wrangles going on and I got behind myself. Some songs that I
wrote were going to be on an album with me and Peter Doherty. We were going
to do an album of duets, and it never happened. Times change. We might still
do it. We decided that we wanted a few of those songs to come out.

AL: The songs “Sheepskin Tearaway” and “I Wanna Break Your Heart” are
probably the best-known songs of that collaboration, because you played them
live a lot. How did you decide what songs are on your album or what goes on
his?

Dot: “Sheepskin Tearaway” was his song and he got me to help him finish
it. He had the idea and then it probably ended up being 50/50. I had the
chords for “Portrait Of The Sun” and we wrote the lyrics together. Maybe we
believed that those were our own songs that we got each other to collaborate on.
“I Wanna Break Your Heart” we started from scratch at my studio one day.
He asked me to play the Rhythm Factory with him one day. We didn’t have any
songs of our own at that stage. We were going to do some covers of “I Wanna
Be Your Dog” and “Only Love Can Break Your Heart.” And then he said “I
Wanna Break Your Heart.” Let’s write a song called “I Wanna Break Your Heart.”
It was a collage of those songs. It was our own dark love song. The song
almost went on the last Babyshambles album. It’s worked out fine. Pete is
happy that it has come out on my album.

AL: When you did your first two records, and the earlier record with One
Dove, was there pressure from the record companies to sound a certain way?

Dot: Yeah. The records that I have tried to make were more like a window
into my world. Luckily, to the best of my ability at the time, I always stood
my ground. Afterglow may be a little too glossy and produced, but usually I
have stuck to that. In the beginning, with One Dove, it was a massive
battle. I was 21 and I was a girl singer. The record label was trying to make me
into a popstar. There was constant drama. They would publish photos in a
magazine that you hadn’t agreed on. There was pressure from labels to be a
certain kind of person. They told us to work with certain producers and certain
video producers. We always rebelled against it. It was probably to our
detriment. We probably pissed off the label because we didn’t go with their plans.
We didn’t want to do anything we weren’t proud of. There is quite a lot of
manipulation if you are in bands. They would only show you a few people who
are video directors. They are trying to control your choices. Labels can’t
stand in the studio and make you create a different record. They can not
promote it. We stuck to our guns, and it caused fights, and budgets were
pulled. It’s classic record label bullshit.

AL: There seems like there was a big hiatus between We Are Science (2002)
and Exhaltation of Larks (2007). What were you doing during that time?

Dot: I was touring with Massive Attack actually for two years. Then I did
quite a lot of touring with Pete. I spent a year hanging out with Pete and
making music overnight and living nocturnally. I was sleeping all day and
writing poetry. There was two years, 2003 and 2004, that was doing two
international tours with Massive Attack. By 2005, two years had passed where I hadn’t
done any of my own music. It was well worth it. I am not sure if it helped
with the momentum. No time is wasted.

AL: Peter Doherty’s guitar playing on “I Wanna Break Your Heart” is a
little rough. There are mistakes and it’s out of tempo. Can you comment on what
was going on there?

Dot: For me that is part of the charm. It’s the opposite of slick. When you
were saying that, I was thinking of Daniel Johnston. It’s not so much about
dexterity, but getting a song across. I think that Pete is a good guitar
player. It’s hard to keep Pete immersed in a recording. I kept the recordings
that I had done in my studio. There’s a loveable chaos about him. Stephen
Street is good at disciplining Pete, and getting him to repetitively record.
The way we record is unlike any other process I am involved in. Capturing us
like that, was being disciplined, and I had to go with it.

AL: How did you get to write a song with Paul Weller? Did you know each
other?

Dot: We weren’t friends, no. I got a text message from Paul Weller. He had
got my number from Bobby Gillespie. They were out together. I got this text
“Do you fancy writing a song?” Can this really be Paul Weller? He sent me a
CD to my flat. He sent me the bones of something. We spoke over the phone
about some lyrical ideas. There were a lot of text messages. We nailed down
the lyrics and fine tuned it in the studio. He changed the last line of the
song. He talked about how the line falls on the melody. I learned a lot. There
was one last session where I redid the last line.

AL: Was that the first song that you used a lot of text messaging?

Dot: I wrote a song with Hal David for Afterglow. We did it by fax. I had
to write some dummy lyrics for him to play off of. We met up in London and
finished it in person.

AL: How did you get involved in the world of Scott Walker, and how did that
lead to you doing a cover song on your new album?

Dot: I was asked to be a talking head in the Scott Walker documentary. I
worked with Brian Gascoigne, his arranger. The director of the film, Stephen
Kijak, found out I had worked with Brian. There were not a lot of females in
the film at that point. He asked me to be in the film. I told him “I don’t
think that I am much of an aficionado.” And he said: “No, you have been
inspired by him. Just talk about it.” So being in that film, I met a lot of
people. I hadn’t met Scott Walker yet, but I met his manager. I needed a
manager at that stage, so now we share management. When Scott came to the shows at
the Barbican, my manager put my album under his nose. They didn’t say
anything. Later he said: “Dot is perfect for this song.” I met him through that
film basically.

AL: You have had the same band for a while?

Dot: Yeah. I have played with Chris Rotter and Wildcat Will for a long
time. Wildcat Will Blanchard has been my drummer for ten years.

AL: Are there any subjects that you have focused on with this new album?

Dot: I always write about love. Human attachment seems to be the most
moving thing to me. As I understand it, the important things are love and
attachment. Whether that is love, lost, brooding, unity, or whatever state. I
always write about that bit. I changed my process a little bit with this album. I
tried to write in a more narrative way. I wanted to stretch myself in a
lyrical way. I hadn’t developed my process. As time goes on, I have changed my
process. I really liked White Chalk. I was really inspired by PJ Harvey and
Nick Cave. What they say between the words is very interesting.

AL: Your song “Johnny Villain” is a new type of song for you. It has a
story and characters. Do you think you will do more of that in the future?

Dot: I was pleased with that. It was a completely different way of writing
for me. I never want to sit still. So maybe it’s me moving out of my comfort
zone. Writing lyrics is a discovery process. You can work on thing for a
long time, and get more details and shape. I spent a few years touring and
living a nocturnal existence. During that time I didn’t write songs, but I
wrote a lot of poetry. I think that I benefited in that time because I studied
the weight of words, and put things away, and came back to them months later.
I became better at looking at lines and changing things.
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1/09/2010

2010 was very colorful: books and music














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1/07/2010

THE BRIAN JONESTOWN MASSACRE RETURNS WITH WHO KILLED SGT. PEPPER?



“Nothing short of brilliant.” – FILTER
THE BRIAN JONESTOWN MASSACRE RETURNS WITH WHO KILLED SGT. PEPPER?
** Band’s Tenth Album Set for Release on February 23rd **
New York, NY, January 6 – The Brian Jonestown Massacre is back and set to release their tenth studio album, Who Killed Sgt. Pepper? on February 23rd. The 13-track album was recorded throughout 2009 in Iceland and Berlin and features Spaceman 3 legend Will Carruthers on bass, vocalist Unnur Andrea Einarsdottir and a variety of international musicians contributing textures not previously heard on a BJM album. It is to be released on bandleader Anton Newcombe’s own label, “a recordings LTD”, distributed though Red Eye.
The album marks the return of guitarist/vocalist Matt Hollywood, an original member/co-founder of the band who helped write some of the BJM’s classic material from their early albums (Strung Out In Heaven, Their Satanic Majesties Second Request, Take It From The Man, Spacegirl & Other Oddities, Give It Back) as well as penning the infamous dig at the Dandy Warhols, “Not If You Were The Last Dandy on Earth”.
Track list for Who Killed Sgt. Pepper?:
  1. Tempo 116.7 (Reaching For Dangerous Levels Of Sobriety)
  2. Tunger Hnifur
  3. Lets Go Fucking Mental
  4. White Music
  5. This Is The First Of Your Last Warning (Icelandic)
  6. This Is The One Thing We Did Not Want To Have Happen
  7. The One
  8. Someplace Else Unknown
  9. Dekta! Dekta! Dekta!
  10. Super Fucked
  11. Our Time
  12. Feel It
  13. Felt Tipped Pictures Of Ufos
About the band:
Most need no introduction to The Brian Jonestown Massacre. BJM has been somewhat of a musical commune for many respected musicians over the years, a band that has spun-off other great bands ever since -- Black Rebel Motorcycle Club, The Warlocks, The Silver Rockets, The Black Angels, The Raveonettes, The Dilettantes (to name a few) are all part of this musical family tree.
Indeed, this is a band that has witnessed many incarnations, since its inception in San Francisco over 15 years ago. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media,) the one thing that has always remained consistent for this psychedelic collective is front man Mr. Anton Alfred Newcombe. A man and artist many are eager to dismiss as obnoxious and unworthy of the attention he receives. Others however, deem him simply as vulnerable in this world he roams and hugely misunderstood whilst doing so. Like many prolific and artistic “madmen” before his and our time, dare we sum all of the above and categorize Newcombe as a one of the musical geniuses of our time?
Resources:

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Live shows



The Dead Weather



Public Enemy



Wolfmother



Bat For Lashes



The Horrors

All photos by Angel Ceballos
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1/06/2010

Some highlights from last year



Peaches



Daniel Johnston



Caroline Weeks



Warpaint



The Slits

All photos by Angel Ceballos
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1/04/2010

Lhasa de Sela RIP

Photo credit: Ryan Morey


Lhasa de Sela, RIP.

Lhasa de Sela, the singer whose warm, lilting music embraced a variety of folk traditions, died January 1 after a lengthy bout with breast cancer. She was 37 years old and lived in Montreal.

Lhasa, as she was known professionally, was born in Big Indian, New York, and traveled widely with her parents and sisters throughout Mexico, where her father was born, and the U.S., according to her publicist Blake Zidell. Her nomadic childhood infused her music with an appreciation for Mexican and gypsy folk melodies, as demonstrated by her three albums, “La Llorana,” released in 1997; 2003’s “The Living Road”; and “Lhasa,” which was issued last year.

Her illness forced the cancellation of a lengthy international tour in support of “Lhasa.” Two of her songs appeared on the soundtrack to the 2009 film “Cold Souls,” written and directed by Sophie Barthes.

Between the release of her first and second albums, Lhasa and three of her sisters worked in a circus and theater troupe in France. In 2005, she was named Best Artist of the Americas by the BBC. Earlier, she received a Juno Award in Canada as Best Global Artist.

Lhasa is survived by her partner Ryan, her parents and stepmother, and nine siblings. Funeral services will be private.


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