Fireplace Mantle Blueprints

Minutes: Walking 2010 (and Part 3)

Desco, look, understand. The last eight compositions of this strange list that I've taken from the sleeve and which Bee Sting ended the year 2010. Happy New Year.

Nina Nastasia - 'Treehouse Song'

( On Leaving , 2006)

crossed my path is this song by Nina Nastasia at a time when his words exactly matched a situation that had to blend. Playing with the concept the tree house, tells the dazzling sensation of comfort and accommodation that one finds in domestic life shared, while everything else is weak. The breeze that runs through the verses creates swirls of leaves in the chorus with the addition of the piano. "Every night you promised / that would come down to see the friends we met again / But every night I invented an excuse / and I never got off the roof" .

Best Coast - 'Our Deal'

( Crazy For You , 2010)

I think if a number of music sites are just gave this song months before the debut was published over Best Coast is because Bethany Cosentino should be excited about the final mix, knowing that was one of his best compositions so far, and could not wait. Empty beds in the morning and not taken talks "because this is not our agreement" on a part-time rinsed in vocal echoes, with the elegance of the details highlighted in Crazy For You as a dress shirts as from factory.

The Cramps - 'The Way I Walk'

( ... Off the Bone , 1983)

2010 is for me the discovery of The Cramps, who was going to say after so many years to see them in magazines. 'The Way I Walk' is a terrific example of what I was missing: This cockiness with delay (to be clear: "The way I walk is my way of walking" ), battery of three pieces, a blues riff on life, yes, but you will feel over any while booms in your eardrums down the street (which is what I did, basically, when I visited my mother in the summer and I got bored one night he had no plan).

The Punsetes - 'wardrobe'

( The Punsetes , 2008)

And the third was the charm. My third round in the moonlight with Los Punsetes, a July night near the sea, cemented the romance. It was revealed to me how many times he had heard his songs here and there and how I liked more than I had realized. The irreverence and "this is what it is, here you stay if you want 'in' wardrobe 'inflamed my self and I vented for days together, very prettily. "With things like raised / Your telephone is useless / I save the call / I know that you are not ready / (...) Take note of one thing: / when I point it is impossible to fail ". The best: the free fall of the last sentence in the final explosion.

Mazzy Star - "Halah"

( She Hangs Brightly, 1990)

The pattern is a classic track sung by Hope Sandoval: drums and tambourine timely austere acoustic guitar with its twin sprouting something buried electrical and sensual as the reverb in his own voice that you'd think it comes from the same throat. With his unique talent that comes out victorious from a nostalgic song break-less gloomy than at other times-not be doubted. The amalgam of sensations ranging from denial to resignation, the desire to know without being able to understand and deceptions ranging from the mask to overcome the slight hope to reverse the irreversible sounds here so delicate and seductive anyone out the door leaving her alone.

10,000 Maniacs - 'Everyone a Puzzle Lover'

( The Wishing Chair, 1985)

The band commanded by Natalie Merchant of these groups may seem harmless, authentic pulp juice mixed with water too, nice but not given to juggle without a net, but in its catalog are hiding some parts invoiced with remarkable craft like this rosy 'Everyone a Puzzle Lover', rocked by the mandolin and lower in the mix, the accordion. The letter is written in the mouth of a man who talks to a waitress at the differences between social classes and creaks a little, but it is best to end with a: "He left with a rattle / cough, cough / I took the cup of cold coffee / and a trail of Camel ashes fell to the ground ". Tiny metal shoved the girl.

Slowdive - 'Dagger'

( Souvlaki, 1993)

Sometimes when I have discover an outstanding group of which I know little but enough to know that interest me, I hear some songs randomly deciding for the aesthetic impression that causes me the title if the word is pretty, or particularly resonates with me or letters that create certain color ranges set in my brain. 'Dagger' means 'Dagger', and drew me. You always imagine how it will play the song by name, but did not suspect his breath sound (spring storms away from other issues of his) and the comparison of knife and wounded two impossible lovers. The knife and the wound are made for each other, but the damage is unavoidable.

Joanna Newsom -''81 '

( Have One On Me , 2010)

I keep trying to Have One On Me . I get lost in MINUTES, and is not intending to listen to three albums in a row, I have trouble myself with any of them separately. So during the years I've been listening to the songs randomly, and among them the concision of''81 'is earning well above the others. I shall to Newsom I like the scraping on the first disc, but aside from the fact that she is alone with the harp, voice clarity and quality celestial-no-wild indicate that the melody we are in another place. For me, speaks of the "start" and put all your efforts to consolidate that new beginning.

Victoria Beckham Cravat

Minutes: Walking 2010 (2 Part)

The second round of trips 2010. Running out the last part tomorrow I realize that it may be a subtlety, but this ends up being a personal diary.

Owen Pallett - 'A Man With No Ankles'

( A Swedish Love Story , 2010)

Pallett wrote this song about the absurdity of things to spin in search of perfection at risk of losing the spontaneity and freshness first pregnancy, but with lines like "Somewhere between the window and the door / I remembered what it was to play, play, play" and optimism infected with nostalgia of everything sounds, it can be applied to those times when we put too many obstacles in daily life and we should allow ourselves a little more at peace.

Extraperlo - "Night on the Mountain '

( Continental Breakfast, 2009)

The dancing with the heart in the mouth becomes in the nightlife and sad for this item a literal and emotional. I keep coming back to these verses that summarize how well the insecurity of someone who does not feel good enough and afraid to lose you love: "What will happen when you get an Englishman / serious and smart and with money to give? / Do not pay attention, do not sell your love ". The slightly wet my eyes now that I see written. You're afraid to lose what you do not have.

Sibyl Vane - 'Nth Chance'

( Interior Tourism, 2006)

Worst of "the incurable disease in the umpteenth opportunity "is not about giving that opportunity to another, no. This is the situation that exists when we flinch to decide for a change although we are aware of the unsustainability of our present situation. Leave us are familiar places, discovering new faces ... too lazy and frightened, but should be. "I have to assume a new role / I'm not used to interpret / strictly participatory / not smiling" . Sibyl Vane wrote capital letters to Interior Tourism .

Laurie Anderson - "Walking & Falling"

( Big Science, 1982)

The beauty is there and sometimes goes unnoticed, like the subject, I hear from small but not spoken directly to me now. On a slight metallic ringing, Laurie Anderson recites what for me is a clear manifestation of daily survival, no frills, clean, "walk, and you do not always realize it, but you're always falling down / With every step, you fall forward slightly, and the next you avoid falling off / (...) And this is how you can be walking and cayéndote while ".

The Go-Betweens - "Love Goes On!"

( 16 Lovers Lane, 1988)

few mysteries remain unsolved with iPhones in hand. The technique of memorizing lines for hours to find them in Google to get home when a song is playing in a bar at dawn and you need to know who is himself or itself becomes obsolete (just to ask the dj) when someone out an iPhone and recognizes the song with Shazam. And so it happened with 'Love Goes On! ", The song that opens the disc with romantic exuberance 16 Lovers Lane and that I opened the door to The Go-Betweens. The thread optimistic, flawless acoustic guitar and humming the chorus will inevitably spread, and chest swells like you when you dare to say something silly to someone and returned a smile.

Beat Happening - 'Red Head Walking'

( Dreamy , 1991)

few that made

the primitive and naive humor falsely whole way. This song amuses me because my mother used to cross my fingers when I saw a redhead, strange superstition. About one-Raca Raca of skeletal chords and accompaniment with his classic deadpan voice, Calvin Johnson cautions and fun at the expense of a fatal attraction for a redhead: "I cut your heart like diamonds, end of story / bet you'll be blown away by that devilish crimson glory / (...) Listen to what that this wise man says: Stay away from red-haired ".

Violent Femmes - 'Promise'

( Violent Femmes, 1983)

Listening to Gordon Gano getting too impatient and nervous (almost violently) with the person who steals the dream is hilarious but undeniably real camera. A tantrum by unrequited love, or maybe all are still his desire to get laid in the background. He sounds serious about music and crazy with your tantrum. "Give me a sign that you can keep a promise / promise / And you're unhappy / (This is only a guess)" .

Kristin Hersh - 'Flooding'

( Crooked , 2010)

Kristin explained that 'Flooding' mourn him when he wrote, something that happens to often. Months later, Vic Chesnutt died and the song took all meaning for her, it was as if she had foretold the disaster. The song moves at the speed at which things dance in the density of the ocean, strong in the first part he describes the confidence with which someone has decided to leave ( "I can point to the time when you closed your eyes and said 'Yes' the flood ") and blurred by grief after (" Twice as fast, thirsty for someone who was in half the time "). Time stops, the heart is compressed.

Dominatrix Mainsteram Movies

Minutes: Walking 2010 (1 ª Part)

Mixing

uninhibited songs appeared this year, discoveries vintage (which for a year that belong to discover, right?) or issues that have not meant anything to me until recently, despite knowing nothing, Hiking (railways, bicycles, feet, steps in a circle dining room, heck, steps in circles in my dreams) is a list of three parts desverlaré end of the year, in no particular order, which includes musical moments have been small obsessions over the past twelve months. Traces that define what has been my year, definitely.

Beach House - 'Walk in the Park'

( Teen Dream, 2010)

Have you ever had the feeling gradually forget you details of something to base to go to his memory too often? It is paradoxical. It's like thinking you're coloring on a sheet without realizing that what you rub on paper is a rubber band, until it becomes a hole. One finds comfort in spending time with gay ghosts who are no longer trying to avoid solid colors go back translucent abuse is insidious. The Suffering beauty of this monument (one of ten Dream Teen ) eerily captures the comfort and double edge of devastation.

Vic Chesnutt - 'Forthright'

(direct Madison, May 2000)

Accompanied solo piano, in a languid and free version of a song not published until 2005, only Chesnutt can intrude between arteries and veins party in tiny grains of sand and freeze. Equal parts statement of affection through the everyday details and description of a warning reassuring "You can be honest with me" . Kristin Hersh display modest and ironic attack when one of his songs after that is not for nothing.

Liz Phair - Ant in Alaska '

( Exile In Guyville Reissue, 2008)

Originally a discarding of Exile in Guyville , "Ant in Alaska" explains in a tragicomic and biting sense of betrayal and abandonment of one to the left in a hidden place, promising the re-search, ensuring that everything will be better than it was when that happens. This rescue, however, never occurs and begins to realize that everyone out there is following with her life and she has been aware of an illusion, a deception coward, wasting time.

Vivian Girls - 'Death'

( Daytrotter Session, 2010)

The Brooklyn trio Aladdin rubbed with cotton and losing distortion chips made from shrapnel that characterized his albums so far. It is rumored that this clearly is indicative of what awaits us next year. 'Death' (originally a B-Side of 'Moped Girls') flirts with the whiteness sinister letters composed Phil Spector, where everything is more lamentable than it seems: "I want to live / I want to die, not now, in ten years / I live to be your girlfriend / I, I, I want to live ".

The Magnetic Fields - "Love is Lighter Than Air '

( Get Lost, 1995)

I have read reviews Get Lost, both the media and fan of The Magnetic Fields, and no one stands' Love Is Lighter Than Air ', which, being one of three moves me most to me, that makes me selfish pride, to see something where you do not see anyone. Major chords that emerge from this guitar with strings strained copper and pace would put us in a place Stephen Merrit summer but did not say "Summer, summer, summer" . Advantage the time, no hesitation, no delay, no fear because "Summer becomes fall, you better your lover and you you go to the beach / love is lighter than air / will float if you let go / (...) rises through the snow when it falls ".

Lio - "Le Banana Split '

( Lio , 1980)

My friend Natalia I discovered this song a few months ago when I ordered a banana split for dessert at a bar , and I can never be sufficiently grateful for directing my attention to what sounds like a Devo song sung by a girl fellatio. The synthesizers, the freshness with which he recites his gall Lio and make this song a winner. "The cherries are left lipstick marks in Antarctica .

Helium - 'Dragon # 2'

( Guitars No , 1997 )

Mary Timony That puts their texts in fantasy land, between witches and small explosions medieval is something already known. 'Dragon # 2 is a part-time, but endowed with the urgency ascending notes provided by the guitar, is articulated in a way that gives the same intrigue when a grandmother gestures to explain a story. "Red sky, the long road, joined in a song / no place in the world where you can hide from this horrible nana" .

Sea of \u200b\u200bBees - 'Skinnybones'

( Songs for Ravens, 2010)

The tenderness with which Julie Ann Bee express the feelings felt in the qualities of the person describe ( "rosy cheeks and pale skin" ) and how you ask this to be left wanting ( "let you enlarge the eyes" ) should not be dismissed for appearing too candid. At the end of the day, however much over the years try to censor and block the way to expose feelings that therefore there is a small part of all that, I believe continues to operate that way. Tribal percussion and a melody at all obvious rise more if it is the fragility of their feelings.

Nami Und Nico Robin Game

Chronicle of the 13th anniversary of Acteal

20, 21 and December 22 - 2010, to commemorate the 13th anniversary of the slaughter of Acteal.

Road up from San Cristobal de las Casas , nearly two hours they separate us from our destination. Upon arrival, a fabric banner that hangs on the route adelantito of the Pillar of Shame announces "13 years saving memory and hope." The call for these 3 days of activities for the commemoration of this anniversary also reminds us that in the Maya cosmology the 13 means the union of heaven and earth. There are 13 levels to ascend to heaven. And with 13 candles praying for the elderly.

But why are we here?

The land was declared sacred Acteal in December 2009 site of human consciousness, for inspiration of all people who fight for justice.

To this people and all of those who sympathize with him, 13 years is also the impunity of the slaughter. Represent our living memory.

A December 20 but 13 years ago, the community began a fast calling for the restoration of peace and an end to harassment by the paramilitaries. Two days after the slaughter occurs in which 45 women and 4 men and unborn children are killed in hand of those same paramilitary weapons. Since then, in this sacred place is offered gore. Like every year, the meeting is against forgetting, by the Justice and Truth .

celebration and reminder of Acteal martyrs in the community where the incident occurred.

We share a reason, that this crime will not go unpunished. We also hope.

The inaugural event of this meeting was a festival that celebrates and makes visible to the organized towns not seeking to "destabilize the government" as they like to say the mass media, but rewrite his own history in a creative way. That story they were forced to shut for centuries.

During the first day we take time out to share, meet, meet again. The path of the sun into the sunset is accompanied by the continuous arrival of people. Gradually the surrounding area are filled with color and aromas that come from that nature so eloquently in these latitudes. At dusk on the audience, begin the festival. With its Welcome Song in Tzotzil and English Choir welcomes us Acteal with the rock band Tzotzil Tzevul Sak.

the activities during these three days they wanted to (re) created in each of us a way of life that is in our knowledge in our hearts.

Almost unnoticed flow going through moments where feelings of brotherhood, true union in harmony and peace that give us their smiles reflecting the pain also. A pain in the force that reflects the strength of their struggle. "We have to ask anyone's permission to live free in our own territory. "

The applause continued

express the joy of those who listen, but also our commitment.

The festival's first day was followed by the Meeting Weaving resistance and autonomy versus Counterinsurgency and Unit. Joining other organized peoples of Chiapas and Atenco colleagues, among more. And in Acteal you live elsewhere so often dream: to share experiences to feel we are not alone, we intertwine and build together the autonomy of our peoples.

At the end of the conference, a new December 22 brought together individuals from the community and many other parts of Mexico and the world to conclude the commemoration of the 13th anniversary of the slaughter. We are part of the memory of a people who never forgets and yet bears no grudge. A people that broke their chains with imagination, Justito there that "can not control our consciousness."

A people who, as we sang the young Bach, knows that just is not enough to pray and gets up every day, to walk the path they want to live!

Parche Office 2007 Italiano

not miss: Vivian Girls - "Everything Goes Wrong" (2009)

Had published in 2010, the second album Vivian Girls had been among my three albums of the year, putting the wild counterpoint to the solemnity of what I consider the other winners: Beach House and Owen Pallett. At the end of the day, I discovered Everything Goes Wrong in July, the girls were active in Barcelona later this month and, little by little, the vague idea of \u200b\u200b"maybe" to attend was becoming a "much needed" based on repeatedly hear the recorded session for Daytrotter -a choice of four versions of his songs that shiny if published officially be contained in their discography as one of the best ep's. The true nature of the band, away from the deceptive clarity of that session and degraded high voltage, they sent me a wonderful time at that concert. Everything Goes Wrong reminds me inevitably some euphoria summer, the last trip by subway and the first bike (that is the order, even if they should say the contrary), to and no destination; to sleep good and evil, the thick night heat.

Vivian Girls are often listed in the sack, increasingly filled with scraps of polyester and lycra-pop groups of women who have mixed the distortion on, but brittle and melodies of the compositions of Phil Spector. Worse for the rest of the bands that are in the bag, I'd say, next to the Brooklyn trio (Cassie Ramone -voice guitar Katy Goodman -bass, vocals, and Ali Koehler still on drums to record this album), the rest pales between gaps and lack of energy, and should not be geographically close enough that some of they are colleagues or that women are simply trying to draw similarities. What makes them better (I take credit for continuing the comparison because it is usually ) is its ability to deliver something tangible and genuine in their music, not just a gimmick to drink and is anchored to a bygone era. I see them closer to cyanide Babes in Toyland that decaffeinated Raca Raca-Dum Dum Girls, for instance, and should not be overlooked that for Cassie Ramone have been influential groups like the Wipers to understand the component punk individualizing their proposal.

Everything Goes Wrong moves with urgency and barely breathing but luckily corrects the absolute chaos of the production of their debut album, recorded in a couple of days. To this were taken three times as long and although the voice remains slightly buried and guitar stings like the thorny weeds, its strength (this itself is a power trio) and more reflective compositions make this work and maybe not so fun relief as the first hormonal but more versatile and lasting satisfaction. To listen to single songs like 'I Have No Fun' or 'You're My Guy', with its structure and punk-garagera indicate that Vivian Girls are in their accelerated shindig, but everything is balanced by issues involving small risks in of his style (longer developments in 'Out for the Sun' or 'Double Vision') and especially the essence of what explains his lyrics this time: while the album's title sums up perhaps too pessimistic and has be read with a touch of humor, Everything Goes Wrong own moments of vulnerability reflects a failure still warm sentimental released safely (but determination unrest 'Walking Alone at Night') or tenderness ('When I'm Gone': "Will you be waiting on the step when you get home? / When everything goes wrong, do miss me when not? ") renewed enthusiasm flashes ('The Desert'), I need to be satisfied ('Tension') attraction to a situation or problem (" Can not Get Over You ') that coexist with air nihilistic and confusion of the issues that revolve around the desire of love, as fierce collection in 'The End' (the tom tom that Rumbles in the chest, accentuated by the final crescendo guitar riffs ever more acute) that serves as the central theme of the disc.

The ultimate expression of refinement at the end, when at half time 'Before I Start to Cry' Ramone assumes the role we have ever had all the agony that can be a farewell "Go Do not say nothing / Hear me when I say / that you go home and leave me alone / Turn around and say goodbye before you begin to mourn ".

publish the Girls Live continued Everything Goes Wrong next spring.

Milena Velba All Sets

Minutes: The Go-Betweens - 'Bachelor Kisses' (1984)

Two days ago, came across this song to me with several singles and ep's from The Go-Betweens , virtually everyone who published between 1978 and 1988, with the intention to learn a little more of his career. Do it from the singles is a good way, have a look at what they claimed to be of potential songs access to records and gems that were relegated to side b. I heard several randomly, making me an idea of \u200b\u200bbouncing pop of his early under the sparks of the record player needle and clearly detected in the mid-eighties pop craftsmanship became more refined and stirred hearts with the poignant maturity as well dominate and in the long 16 Lovers Lane (1988).

'Bachelor Kisses' is one of those songs that made me stop what I was doing and pay attention, a sight that has become a small obsession for more than forty-eight hours. As for the musical, is one of those items accessible enough to make up the whole quality of any FM station that would risk putting him every two hours when it was published, with a touch of elegance night. It has the quiet and sensitive encouragement of confidence, but also the affection of the concerned friend ("secret lover?) Of a girl with a wandering romantic activity that hurts. Promiscuous behavior that is known, is poorly managed as inappropriate meddle illusions fostered by what one wants to project in a situation or when taken at face value these things lightly.

Riding the meantime, the cadence of the voice does not need tricks to genuine emotion, and cryptic words do not need to avoid the vulgarity, but for the chorus, underpinned by the distant Anna Silva choirs - build a beautiful image processor ( "Are not you going to keeping these bachelor Kisses? They're for your brow" ) gets a turn at the end of the song ( "Do not be slave kisses of bachelor, will break his promise "). It is not brainwashing in favor of monogamy, but a warning not to neglect esteem.

'Bachelor Kisses' published as single in August 1984 and subsequently appeared disk Spring Hill Fair , published in September of that year.

* 'Minutes' should be a new section in Sting Bee to begin filming in 2011 and let me write more frequently and more automatic on outstanding songs, but the sentimentality characteristic of the holiday season before and the pleasant and unexpected impact of this song made me hasten to today.

Why Do Some Respirometers Need More Oxygen

Radio broadcast of the 13th anniversary of the slaughter of

A'yo yu'un lekilal Almantal radio, ta 20, 21 xchi'uk 22 disiembre-e.

This 20, 21 and December 22, Listen to special radio transmission over the Internet to commemorate the 13th anniversary of the slaughter of Acteal, broadcasting from Chiapas to the world at

http://acteal. blogspot.com /

http://komanilel.blogspot.com

http://kuxaelan.blogspot.com

can listen directly on this embedded player
http://giss.tv:8000/komanilel.mp3

sts'unubal June Svajel o'ntonal
Spreading the peace semmilla
Almantal yu'un Lekilal Radio, Radio Peace Messenger

Radio Listen to the identification of Almantal

Organizational Setup Of Front Office

Acteal Bees calls to commemorate 13 years of Acteal

Hermes Woodbury Commons

the shortcut: Moonshake - "First EP" (1991)

The first time I heard a song Moonshake finished stunned, distressed and sticky with sweat, as if I were stuck in a jam in the middle of city, stuck in a car without windows in August and the sounds of every little thing to see increased its decibel yell in your face. A monstrous fable in which the buildings, the faint rumbling of the ground to the underground passage, rushed automatism of everyday life, the click-clack of intermittent the imperceptible hum of a light bulb ... all cause you extreme psychosis that would eventually terrify revealing.

Moonshake's music did not always have this feature, it is rather a quality that was acquiring a base of small mutations, but in their last two albums voice David Callahan (vocals, guitar, samplers) and could be considered better emissary of uneasiness and despair so characteristic of the twentieth century, and his music reflects the confusing maelstrom of big cities topped by manic loops that seem almost randomly colliding, as the same chaos that surrounds us in the daily life-and variety of styles ranging from free-jazz to blues to rock post-punk avant-garde (in fact its name comes from a song by Can). That will deepen the strokes disturbing was the result of the loss of motor half of the group in their original, Margaret Fiedler (vocals, guitar, samplers)-that increasingly disagreed more with David and eventually forming his own band, Laika - with what the personality of Callahan took up more space in the direction of Moonshake. A highly recommended album to illustrate all this is explained The Sound Your Eyes Can Follow (1994), a fascinating listen.

work that stands out today is the first stage collaborative between Callahan and Fiedler, the ep with which debuted in spring 1991 under the label Creation Records, training completed by then John Frenette (low, then Laika also) and Mig Moreland (drums). First Ep is an exercise that is in its catalog as his most accessible and enjoyable atmosphere, not defiant to the end of their experiments later but still early regenerative contribution to what would later be called post -rock.

In 'Coming' (curiously, the only one who sings Callahan) will be seen dancing in Manchester groups of the first ninety (percussion, bass line in a closed circle) but the atmosphere, accentuated by the slide guitar, is dark. Fiedler took the microphone in the other: 'Gravity' delves into a dream world (vocals dripping chloroform, choppy guitars) kinship with them My Bloody Valentine's Loveless , although it should be noted that this record was published later that 1991. Of 'Coward' are two mixtures, the second one hidden at the end: the final version is furious and loud, driven by a frenetic drums; the underground voids distortion and acoustic guitar brings to the front to accentuate the shape of cryptic folk song. 'Hanging' is perhaps the highlight of the ep, with Margaret's soft voice soaring over a misty bucolic grounds while reciting it from "You left me hanging yesterday / today I cut the cord" .

Moonshake - First ep (1991)

My Toddler Hungry All The Time

Acteal Concert Choir and Sak Tzevul

The next day, December 16 The Choir Acteal bees and the rock group tsotsil Sak Tzevul invite us to accompany them in a concert celebrating their collective journey in the dream and to build musical and aims to raise funds for the production of the record Acteal Choir.

Thursday December 16 hs 18-21.30
in "House of the Images" Belisario Domínguez # 9, Col. Centro, San Cristobal de Las Casas, Chiapas. There

transmsión online at

acteal.blogspot.com

Smashbox Vs Makeup Forever Foundation

Boxset: Lush - "Dead Stars Vol.III: 1996"

(The first and second part can be found here and here )

Finished

promotional commitments to promote the band Split (1994), Lush not take too long to start basting the songs that would comprise his next work, composing and rehearsing a fairly immediate since early 1995 . The still felt uneasy for not meeting the expectations it placed on them, far from acting as a brake that made them fall into apathy analytical, served as special motivation. Even so, in order to enter the recording studio, were well aware of the unfortunate dance producers of the last time and decided to work with Pete Bartlett , his coach in the direct normal, considering that he would know better understand the sound they were interested in capturing. For mixtures recruited Paul Q. Kolderie and Sean Slade relieved tandem -alternative rock groups of the nineties- of which can be said to work for Lush is among the most careful and accurate in your resume (in other productions have constructed such wall of guitars that the result is artificial, impenetrable).

That this latest volume of Dead Stars covers only the year 1996 is the best command plenty of material with which they entered the study and who enriched the pool of singles that were coming out of Lovelife, finally published in March of that year. Single Girl and Ladykillers Lush returned to the music scene at the height of media popularity of Brit-pop, and in an environment of patriotic revival sixties and still claim differing from his contemporaries, although this time the focus of accessibility in the arrangements and structures had the opposite effect of Split : no fog involved, their songs connected with the public and perhaps lived the sweetest time was his recognition, though the band was breaking inside.

unpublished material administered during 1996 is varied and remarkable. On the one hand, among the discards sessions Lovelife are some topics that have earned their place in the album 'Outside World' (the homesickness and loneliness that is experienced in long periods on tour) and 'Shut Up 'narratives of acoustic mattress may be left out for not fitting into the theme of the LP more shrewd, at which sense 'Tinkerbell' (with an amusing array of flute) makes the same punch and sarcasm that issues logo Lovelife, although the letters Relations Miki Berenyi sometimes squeak enough for her too simplistic. For the first time Phil King Chris Acland and sign songs for the band, the first instrumental 'Cul de Sac' (between the swing and jazz) and 'Matador' (no doubt the music of Hispanic character inspired him title) and the second two parts that show affinity with the aggressiveness of Miki (halfway up her 'Sweetie').

Some electronic experiment ("Plums and Oranges'), some quite irrelevant cuteness ('Pudding'), acoustic revisions that exceed the original ('Kiss Chase', 'Olympia'), a spooky home demo Miki ("Dear Me") and a handful of brilliantly executed versions, from the floating reverie of 'I Have the Moon "(The Magnetic Fields) to impact of unfriendly' Demystification '(The Zounds) and" Mannequin "(his second assault on the catalog of Wire). 'All This Useless Beauty', Elvis Costello himself who asked ep version for your name, a title is explicit enough, pretty and metaphorical end of the band (narrated in the first part). Perfect

to close this collection of rarities.

Lush - Dead Stars Vol.III: 1996

01. Tinkerbell 02. Outside World 03. Cul de Sac 04. Pudding

05. Demystification 06. Shut Up 07. Sweetie (Single Girl , 1996)

08. Matador 9. Ex 10. Dear Me (Demo) 11. Heavenly 12. Carmen 13. Plums and Oranges 14. I Wanna be Your Girlfriend ( Ladykillers , 1996)

15. Mannequin ( Whore: A Tribute to Wire compilation, 1996)

16. I Have the Moon 17. Piledriver 18. Olympia (acoustic) 19. I’d Like to Walk Around in Your Mind 20. Kiss Chase (acoustic) ( 500 (Shake baby Shake) , 1996)

21. Half & Half ( Volume 16: Copulation Explosion! compilation, 1996)

22. All This Useless Beauty ( Distorted Angel ep, Elvis Costello, 1996)

Controlling Feline Ibs

Press Conference

As part of the celebration of the thirteenth anniversary of the slaughter of Acteal, the Civil Society Organization Bees invites the press conference will be held on Monday, December 13, 2010 at the Museum Café at 10:00 am.

representatives will Board of Bees Acteal, representatives Acteal Choir, who are recognized as "voices that sow the seeds of peace."

komanilel on livestream.com. Free Live Broadcast

Fujifilm Fp-100c In Toronto

Acteal Bees Bees Choir Acteal

still fighting for justice and against impunity. And now it is through the voices of the choir of Acteal our heart speaks.



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