Lol, this is funny. so anyone who noticed the social...
JPthen its worth listening to Cabaret Voltaire to...
biomassfirst
Jeff FoxworthyThey played a killer show in Miami and we got...
Nightdrive
The Dam Funk show at Sonar on Friday was quite impressive. The last time I had seen Dam Funk at the Ottobar, but he was playing solo. He was amazing at that show alone, so this was 10x better since he had a backing band. His brand of funk is very progressive, and I can’t think of anyone who is taking a genre in a new direction quite like he is at the resent moment. The music has the perfect amount of experimentation, traditional funk, and external influences (sometimes even punk). It’s so smooth that it’s easy to miss how creative this music is.
I also have to give praise to the DJ’s of Four hours of Funk for providing some equally impressive dance music leading up to the show. The crowd was the perfect size, and the amount of costumes there made me wish I had dressed up as well. The whole event felt like a toned-down futuristic P-Funk show and a great start to Halloween weekend..
So, just in time, Stones Throw has released a live vinyl album of Dam Funk and Master Blazter playing live in studio. You can order it here. If you missed the show this is a good representation of what you would have heard and, if you were at the show, this serves as a good reminder.
Dam-Funk & Master Blazter – Killdat (Live at Stones Throw Direct to Disc #3) by stonesthrow
The Italians Do It Better label just informed us that the new Chromatics album Kill For Love has been completed (out January 2012), and the title track is available on itunes. Here is the video, which sounds pretty good:
Tags: , chromatics
This might be the best interview of Ryan Adams I have read before. He is at his most honest and coherent. He discusses how he feels about his last few albums and how they compare with the new one, people’s negative responses to those albums and his bout with Mernier’s disease.
“What’s really happening is this: I’m making records, and people are fucking trying to have an instant emotional connection with something that’s bigger than them, bigger than their immediate response. Their seduction is to the Internet and to information, and it doesn’t have anything to do with albums that take six months to a year of consideration, and sometimes months to record, and then months to release. ”
The preparation of what I’m doing takes a shitload longer than a person to just listen to it through once, and then start jive-turkeying on the Internet. Because the Internet is an immediate thing, but you can’t fucking write an album on the Internet. So, to me, it’s a virtual meal, and you can’t virtually taste shit. It’s a false experience, when I see the reviews of something that I’ve done, to [only have had] the record for a day. So my records go into my back catalog—my back catalog sells more than anything—and then people can just go to the back catalog. It’s always there; it’s like canned goods. When they’re hungry, they can go and get it, and there it is. It’s there for them.
…..Because I have literally never finished a song and went, “You know what? People are gonna look at this song and think that maybe the bridge isn’t as big as it could be.” Or, “People are gonna look at this record and say, ‘Oh, I like this record, but maybe the middle kinda drops in tempo. Maybe that song shouldn’t be there, because it needs more consistency.’” Fuck that. [Laughs.] Fuck that and fuck everybody that thinks like that.
Tags: , ryan adams
