http://www.richmond.com/arts-entertainment/25332

http://www.richmond.com/arts-entertainment/25672

http://www.richmond.com/arts-entertainment/25579

http://www.richmond.com/music/25661

http://www.richmond.com/local-life/25649

You also get a guy who has—and needs—a sense of humour.

Gabriel, 30ish – he wouldn’t disclose his exact age –played the guitar, harmonica and his vocal chords at Fusion cafe in Woodstock last Thursday night.

“I call my music folk-a-soul,” he said. “It’s somewhere between Ontario folk music and jazz and soul. I don’t know where else to put it, I change every day. Folk-a-soul”.

He had the packed coffee house grooving. His set was carefully realized, focusing on his own material and promoting his new album Beyond the Stars instead of relying solely on cover songs.

He hails from Guelph, Ontario, and is a full time musician. Guelph may not seem like a long way from New Brunswick but Gabriel took the long road here—not just a long road but a bumpy one, too.

In late March, Gabriel traveled to Los Angeles. It was his first time in the United States. Gabriel has a long straggly beard, making matters interesting in the airports.

“Unfortunately when you travel with a beard such as mine you get second-looked a fair bit. When your friend looks like the epitome of a 1970’s hippie you tend to get searched a little bit more extensively.”

The trip was not a vacation. He was helping his long-time friend Rob get treatment for alcohol abuse.

“His uncle was one of the head sponsors of [alcoholics anonymous] down in Los Angeles. So we took the trip to L.A. trying to get him cleaned out, get him to see some of the sights and give him a change. He works at a Sick Kid’s hospital in Toronto. He’s a good-hearted soul…I needed to take him out and make him realize there was a rest of the world. What a better place to start than California?”

On the fifth day in the sunshine State, Gabriel received an unsettling email from his sister. His estranged mother had suffered a stroke. Coincidentally, she was in California in an RV. He and Rob went to find her.

“My mom, I hadn’t spoken to [her] in four years. Long story short; my dad passed away about six years ago of cancer. She kind of burned all of her bridges and took the insurance money and split town.”

The stroke damaged the left side of her body, leaving her with limited movement. She was unable to drive the RV back to her home in Nanaimo, B.C.

Gabriel put his mother on a plane and agreed to drive the RV back to Canada. Along the way he decided to use the RV as his tour bus. His mother, having not received the vehicle in the time she expected, made a phone call—to the cops.

“She decided to report the vehicle stolen to the Ontario Provincial Police,” he said.

Gabriel had just finished touring Quebec on his way to New Brunswick in early May.

“At that exact same moment the floods were happening in New Brunswick. We were supposed to head to New Brunswick from Quebec City… got to the New Brunswick border and were turned around because of how bad the floods were.”

Gabriel found out the police were looking for him. He called his mother. She confirmed that she had reported the RV stolen.

After he told her he had arranged to have someone return the vehicle, she requested that he provide contact information.

Gabriel said he would only provide that information if she called off the police.

“She said ‘Joshua, you don’t have a leg to stand on. And furthermore I hope the police pick you up and I hope they throw you in prison.’ Quote, unquote,” he said.

He drove the RV from Quebec to the Ottawa International airport, left it in long-term parking and mailed his mother the keys. They haven’t spoken since.

Gabriel rescheduled his New Brunswick dates and strolled into Fusion about an hour before he took the stage at 8 last Thursday night.

“It’s been a hell of a journey. A concept album is in the works,” he said. Then he laughed about his mom story. “That was the short version by the way.”

Despite the slapstick adventure, Gabriel keeps smiling. He says he loves performing and meeting new people– especially in the Maritimes.

“People in the Maritimes are the epitome of what Canada is all about.”

Fusion Cafe is slated to have live music every Thursday night at 8 throughout the summer.

Originally appeared in June 17 edition of Carleton FreePress

I just coded and designed the site layout, the graphics had been done by Lauren Bishop for the album sleeve. Lauren is currently one of the countries most in demand fashion illustrators. 

The site is a basic layout. incrporating all the bands info into one page seperated into AP divs. This allows the content to scroll. There is a simple flash audio player with play/pause control and cd sales are dealt with by paypal.

Video of Joanna Newsom Performing Clam, crab, cockle, cowrie Live on Youtube

Lyrics:

That means no
Where I come from
I am cold
Out waiting for the day to come
I chew my lips
And I scratch my nose
Feels so good to be a rose

Oh don't, don't you life me up
Like I'm that shy
No no no no no
Just five it up
There are bats all dissolving in a row
Into the wishy-washy dark that can't let go
I cannot let go
So I thank the Lord
And I thank his sword
'Tho it be mincing up the morning, slightly bored

Oh, oh morning without warning like a hole
And I watch you go

There are some mornings when the sky looks like a road
There are some dragons who were built to have and hold
And some machines are dropped from great heights lovingly
And some great bellies ache with many bumblebees
And they sting so terribly

I do as I please
Now I'm on my knees
Your skin is something that I stir into my tea
And I am watching you
And you are starry, starry, starry
And I'm tumbling down
And I check a frown
It's why I love this town
Well, just look around
Just see me serenaded hourly !
And celebrated sourly :
Dedicated dourly
Waltzing with the open sea
Clam, crab, cockle, cowrie
Oh will you just look at me

Freedom Notes: We here at by. Pheakkley were introduced to Joanna Newsom about 2 years ago, and we have yet to get over the wonderment that her music causes! It is simply put, pure magic. Every single song she writes is a creative work of genius, and there really is no way to describe her sound unless you have heard it for yourself. This song in particular is a very peaceful, soft and comforting sound which is very appropriate for the space that we are in this morning. Please check out the rest of her music if you like what you hear, you will certainly be glad that you did. 

Take care, Rachael and Jake Ehrlund

Interpreti dei concerti di quest'anno saranno Raphael Gualazzi, Orlando Johnson, Joyce Yuille, Gegè Telesforo, Wendy Lewis, Rowland Jones e Eugene Bridges; le città toccate dal percorso itinerante sono Passignano sul Trasimeno, Piegaro, Città della Pieve, Magione, Tuoro sul Trasimeno, Paciano e Castiglione del Lago.

Fino al 1° novembre avrete l'occasione per vivere il Trasimeno ammantato dai colori autunnali e per gustare i cibi e i vini tipici del territorio ascoltando pezzi di blues, soul e folk, definita la “musica che scaturisce dall'anima”.

articolo a cura di Antonio Basile

Niudd’ se le ricorda, mo, le ultime tre volte che invece si è mettuto a piangere, qualche mese apprima di venirsene qua.
La prima fu a Carpino. Sì a Carpino, sopr’al Gargano.
Quante volte che l’avevano sentuta insieme, lui e Saverin’, la Tarantella di Carpino, la canzone più bella, la melodì più accorata, la musica più addolorata, la voce più struggente, il ritmo più soave di cui rècchia umana abbia mai goduto. No, non quella della Nuova Compagnia di Canto Popolare o quella di Musicanova. No. Quella è robba di recupero. Ma proprio la Tarantella registrata dal vivo, il trenta dicembre del 1966, da Roberto Leydi e Diego Carpitella a Carpino (Foggia, Puglia): canto e chitarra battente di Andrea Sacco, più le due chitarre francesi di Michelantonio Maccarone e Gaetano Basanisi, e le castagnole di Rocco Di Mauro. Quel dì Andrea e i compagni suoi avevano semplicemente cantato e sonato, come cantavano e sonavano a ogni serenata, a ogni sponsalìzio, a ogni festa paisana. Solo che quel trenta dicembre del 1966 ci stava un registratore. E solo per questo fatto avvenette il miracolo. Quella che era stata per secoli una canzone poveredda, di poveriddi e per poveriddi diventò un monumento, una delle sette meraviglie del mondo che da sola giustificherebbe l’esistenza dell’Unesco, l’aria più celestiale, la ballata più ammagagnata, la poesì più misteriosa, le strofe più arabescate, il ritornello più strascicato, l’intonazione più affatturata che fantasì umana potesse immaginare e alla quale polmone, cannarile, lengua e bocca umana potessero dare fiato.
Il trentatré giri che la conteneva (I Dischi dell’Albatros, Vedette Record, Italia vol. 1, I balli, gli strumenti, i canti religiosi, antologia a cura di Roberto Leydi) era quello più strutto di tutta la collezione sua, che pure ne vantava di capolavori. Da quando Saverin’ teneva appena tre mesi, sino all’ultima volta che stette con lui, apprima di scìrsene a Bologna – che ne teneva oramà ventitré di anni – se la sono sentuta cento, mille, diecimila volte la Tarantella cantilenata da Andrea.
E che gli va a capitare, quando se ne stava già a solo a solo come una mummia dentro a quella grande casa di campagna? Gli va a capitare che un compagno, Alberto, l’ultimo che si ostinava a tentare di tirarlo fuori da quella depressione, gli domandò se volesse accompagnarlo a Rodi Garganico ...

Beppe Lopez nato a Bari nel 1947 ha cominciato a scrivere sui giornali, da giovanissimo, nel 1963. E’ iscritto all’Ordine dei giornalisti dal 1968. E’ giornalista professionista dal 1976. E’ stato per vent’anni giornalista parlamentare. Si occupa in particolare di politica interna, di informazione e comunicazione, di progettazione e gestione editoriale, e di giornali locali.
Ha pubblicato inchieste, note e commenti sulle più importanti testate italiane, fra le quali (in ordine cronologico): l’Avanti! e Mondo Operaio diretti da Gaetano Arfè, Il Giorno diretto da Italo Pietra, Tempo illustrato e Affari economici diretti da Nicola Cattedra, Il Ponte diretto da Enzo Enriques Agnoletti, Il Mondo diretto da Antonio Ghirelli, Abc, il Corriere dello Sport, SettimanaTv (1974-75), la Repubblica, il Manifesto, l'Unità, Numero Zero, Galassia, Prima Comunicazione, Il Mattino, La Gazzetta del Mezzogiorno, La Sicilia, Liberazione, Left, ecc.
Negli prima metà degli anni Settanta, è capo ufficio stampa del Consiglio regionale pugliese per l’intera legislatura costituente (1970-75). Dirige Cronache delle Regione Puglia e dal 1973 al 1982, con Beniamino Finocchiaro, Politica e Mezzogiorno (La Nuova Italia Editrice). Cura la collana “Socialismo e cultura" della Dedalo.
Nella seconda metà degli anni Settanta, si trasferisce a Roma. Partecipa come cronista di politica interna alla fondazione di la Repubblica diretta da Eugenio Scalfari (1975-79). Fonda e dirige il Quotidiano di Lecce, Brindisi e Taranto (1979-1981), realizzando una formula di successo che avvierà la modernizzazione dei giornali locali.
Negli anni Ottanta, è inviato ed editorialista del quotidiano Il Globo, diretto da Michele Tito (1982). Si dedica ad attività di consulenza e progettazione editoriale, con particolare attenzione al mercato regionale dell’informazione (tra il 1984 e il 1985 partecipa, fra l’altro, come direttore editoriale alla nascita di due nuovi quotidiani in Calabria e Campania).
Dal 1989 al 1997 dirige la Quotidiani Associati, la più importante agenzia italiana di servizi giornalistici (Il Mattino, La Gazzetta del Mezzogiorno, La Sicilia, l’Unione sarda, Il Secolo XIX, Il Gazzettino, ecc.).
E’ fondatore e direttore del primo quotidiano lucano La Nuova Basilicata (1998-99). Fra il 2002 e il 2005 cura, per Liberazione, un osservatorio quotidiano di critica dell’informazione.

La 'scordanza' di Niudd e il 'senza radici e senza memoria di se' di un pugliese di Bari emigrato a Roma.
Niudd’ appartiene a una generazione di italiani, nati fra gli anni Quaranta e Cinquanta, che ha attraversato una esperienza storicamente inedita e irripetibile.

Una generazione che ha compiuto un primo passaggio epocale, attraverso il Sessantotto, da un Paese arcaico, innocente e autoritario, a un Paese moderno, in fase di smaniosa «liberazione individuale e collettiva». E poi un secondo, definitivo passaggio, negli anni Ottanta, da un Paese che aveva perso l’innocenza a una società in profonda crisi morale, sociale e politica. Senza radici e senza memoria di sé. Ubriaca di scordanza

Per inseguire i suoi miti e le sue ambizioni, Niudd’ emigra da Bari a Roma per fare il giornalista politico, partecipando a quel clima in cui la liberazione veniva vissuta in prima persona. Tanto per cominciare, nei rapporti professionali e nei rapporti d’amore e di sesso. In quel clima, dopo un paio d’anni dalla nascita di sua figlia Saverin’, Niudd’ sfascia, come da copione, il suo matrimonio con Iagatedd’, la ragazza che per amore lo aveva seguito nella capitale.

Nel 2000 torna nella sua città, nel Sud, nella casa in cui era cresciuto, in attesa di rivedere la figlia. È la seconda parte, "Ritorno": la delusione, la sconfitta, il dolore.
È un romanzo, pieno. Anche amaro. Scritto con una lingua anch'essa piena, di echi dialettali, di espressioni di gergo. Di passato. Una lingua che sa di antico.

Ufficio Stampa
Associazione Culturale
Carpino Folk Festival

Per leggere e sottoscrivere l'Appello per la Cultura in Area Vasta Capitanata 2020 clicca qui
oppure manda un email a info@carpinofolkfestival.com

Chad is an animator and musician who happens to do many(if not all) his own videos and also many of the bands he shares a record label with on Sub Pop. I'm actually shocked Chad isn't a household name...in indie fans houses at least. Take Neil Young vocals(Chad is also a Canadian - Calgary to be exact) and add some amazing lo fi folk a la the Microphones and you have Chad...but then again, that's almost too limiting as he seems to truly have a unique style that never quite fits into one specific category. See for yourself.

Molten Light by Chad Van Gaalen or maybe it's VanGaalen - I have seen it spelled both ways multiple times and honestly I don't know which is correct.

Flower Gardens by Chad VanGaalen - starts off curiously but you must hear him make stuttering really cool.

Mini TVs by Chad Van Gaalen - this is a pretty good live version but the recorded one is even nicer because it has all kinds of atonal guitar parts and weird sound effects.  The harmonica melody sounds a lot like something on a Neil Young album but I can't remember which song it is now.

The Glow Pt 2 by The Microphones - this is just for bonus points since I mentioned them earlier.

I made edits on these pages. We'll see how it goes from here. The Daily Evergreen site needs work.

Wiki Evergreen I added a staff list and made a few minor changes.
Wiki Spiro Agnew I added the folk music reference, albeit a poor one.

I know, I'm not good at this. Yet.

These are, by no means all the artists I love, but they have a folksy magic quality to them I really enjoy. I hope that you will enjoy it too. 

Old Crow Medicine Show

Bluegrassy and honest, this band has an awesome "down home" feeling that reminds me of the beauty of this country. I especially like "Wagon Wheel," and "James River Blues." I love "I Hear them All." 

The Decemberists 

Intellectual, old school, and politic. This band is very poetic and literary in their selection of lyrics. They are a very nice juxtaposition to the previous band. Their instrumentation is much more European--almost British. I love "The Crane Wife" and "16 Military Wives."

Deadman

Deep ambiance Texan music. Southwest and desert. Deadman is all of these things. They can raise your soul when it i s crushed. Their style is full of nostalgia and hope for a better tomorrow. They are a little twangy, but in a sweet way. It can be metallic too. Like everyone in this list, you have to listen to understand. I love "Mankind," and "When the Music's not Forgotten." 

The Paperboys

Tom Landa's band is one of those very multicultural bands that you can tell love to perform. He does a lot of covers, but he brings his own sensitivities to them. Although I have a hard time relating to some of his lyrics, there are some, like "California," that really, really speak to me about home. The paperboys remind me why I love life. 

Jeff Ball

Deeply ceremonial and uplifting. Jeff Ball creates southwestern landscapes with every note. Although he is classified as a New Age musician he manages to overcome the saccharine tendencies of the genre by enriching his creations with acoustic instruments and performable compositions. My favorite song is "Out of the Darkness."

Dave Carter & Tracy Grammer

They are the countriest on this list. I love them because their lyrics are intelligent and evocative. "Lancelot," for example, combines masterful references to Arthurian lore with sad country music motifs. They are masterful folk musicians who play with words and songs with the ease of Tennyson, and the charm of Twain. "Gentle Arms of Eden" explains my spirituality. Dave Carter passed away in 2002. I'm sure the Earth will hold him forever as it moves along in the Universe. 

Beirut

Different from all of the above, Beirut is what indie music would have sounded like in the twenties. Soaring voices mixed with almost humorous counterpoints and anachronistic instruments fill the heart with longing. My favorite song is "Scenic World." 

Moonshine Willy

I just discovered these guys, but I'm having a lot of fun with them. Rockabilly meet They Might Be Giants. So far I like "Eatin' Crow." Their album, Pecadores, is pretty cool. 

Tish Hinojosa

Tish's music is varied. Her best songs are ethereal, but not airy or cheesy. They have that southwest feeling I like so much, but her voice grounds them. I like "Beyond the Battle of Man." I also like the classic "Eres Tu" and "Llorona"

The Wailin' Jennys

Harmonic and uplifting. Heavily acoustic and crisp with strings. Their song is the kind of stuff that can make you feel better about life when things are not going well. Sweet voices, and beautiful harmonies. My favorite song is "Heaven When We're Home." 

All the 10 songs in this album is written by her.
Amazing for someone in her 20s.

Best tracks on this album are Talk, Song X, Who, Land and Origin of Stars. 

Favorite one of all has to be Song X, has that jazzy poppy feel and love the drum beats to it.

The first thing that captivated me about the Daytrotter sessions was the simplicity of the recordings, without ever sounding sparse. I find that refreshing, since simplicity is something which is all too often missing in other recordings, and I feel that a lot of albums are overproduced. The music Daytrotter records and produces reminds me of what I first loved about each artist (or sometimes makes me fall in love with a musician or band's music for the first time). Even if Daytrotter records a musician or band that I don't particularly like, I still enjoy listening to the songs, because I always appreciate a fresh perspective on anything, especially music. During a Daytrotter session, the musicians are free to be themsleves and play their music however they want, without the pressure of pleasing a producer, record label, manager, etc. The recordings are honest, sometimes brutally so. What you hear is what you get, occasional cracks in vocals or wrong notes on guitar and all. What the folks at Daytrotter do is not unlike what an artist who paints portraits does. If a painter creates portraits of people through paint, so does Daytrotter create portraits of people through music. Well, the Daytrotter staff create artistic portraits as well... The crew boasts thirteen graphic designers, who create interesting and unique graphic drawings of the musicians. Not only that, but Sean Moeller, founder of Daytrotter, writes insightful reviews about each individual musician or band recorded at the studio. That's a lot of writing, because each week Daytrotter records five different musicians/bands for a total of 20 new songs -- or in some cases, new takes on old songs. Since Daytrotters inception in 2006, they have recorded 4,186,342 songs. Yes, 4,186,342, a number which is ever increasing. Not bad, huh? Oh, and did I mention that all the recordings are downloadable for free on the Daytrotter website?

The following interview was conducted with Sean Moeller via email:

When did you found Daytrotter, and how did you come up with the idea?
SM: We started Daytrotter in February of 2006. It was just a hybrid of an idea that I'd had floating briefly around for a few days -- mostly a whim -- that we just decided to start doing and here we are. It was just something that I thought we'd be able to do and that we'd be able to do well. I thought that we could help out some of these bands that people had never heard of or more people should have heard of. We're still at the point where a lot of what we do is preach at the choir, but I'm hoping we can continue to gain readers and listeners and be the sort of thing that getting one of your songs on an Outback Steakhouse commercial can do for your career.

How did you come up with the name for Daytrotter?
SM: t's really just a couple of words juxtaposed together. There's really no reason behind it at all. I liked it and now it's a real word out there in the world. Kind of bizarre.

Have musicians ever used their recordings from the Daytrotter studio for anything, such as a special edition CD? Does Daytrotter do anything with the songs other than post them online?
SM: We've had a couple of people do that in the past: Will Oldham, Casiotone for the Painfully Alone, Blitzen Trapper, David Vandervelde, Margot and the Nuclear So & Sos, Headlights, Dirty Projectors and a few more. We are all about the posting of the sessions. That's it. We don't have time for anything else.

Do you have a favorite session or individual song among all the Daytrotter recordings?
SM: I couldn't possibly have a favorite session or song. Completely impossible question.

I happened to come across an old article (from 2006) on the Daytrotter website, which stated, "One featured band and four new songs each week." How did Daytrotter grow into hosting five sessions each week, for a total of twenty new songs?
SM: We've just gotten to the point where we're doing this as a full-time thing and we're recording 10-12 sessions every week. It's gotten crazy because we still are logging up the great sessions and not getting them up there fast enough. We still have plenty of bands that wonder when their session will be heard, but we like to think that whenever these things go up, they're going to have a positive impact. I think it's going to be very soon that we'll be releasing 7-8 or more sessions every week. It's coming.

What other plans do you have for the future of Daytrotter?
SM: That's the only plan of any real thought that I can let you in on right now. there are some cool things to come.

Have you ever turned down a band down that approached you about recording at the Daytrotter studio, either because their music wasn't good, or for another reason?
SM: All the time. If everyone who asked was allowed to record with us, we wouldn't have any credibility at all. Everyone that we record is recorded because we think they're great.

Who has been at Daytrotter since it's inception in 2006, and did you know them beforehand?
SM: Right now, it's me and our chief of the paint and pen -- artist Johnnie Cluney -- who have been with this thing since its inception. I've known Johnnie for a good amount of time. We're neighbors basically.

How has the number of people employed by Daytrotter increased over the years?
SM: It really hasn't increased as much as we'd like. We're doing well, but not really well enough for us to be able to go out and hire a ton of people. We've added a few people to the staff, but what we really need are some terrific, creative and ingenious writers with generous hearts to help us grow up some more. That and more awesome, aspiring illustrators. Those would be good.

If you don't mind me asking, how do you and the rest of the staff make a living if all the songs are downloadable for free?
SM: It's all based on advertising revenue. That's our model.
 
You were a writer for multiple music magazines. Do you have connections in the music world, and if so, have they been important to the success of Daytrotter? How do you get the word out about Daytrotter?
SM: The contacts that I made in the form of bands I grew relationships with and labels and publicists across the country, those were invaluable when I started Daytrotter and they've just gotten more and more numerous as we've continued doing this. We don't really spread the word at all. It's all word of mouth and a lot of the bands who we've had in telling their friends how much fun it was. It's a huge help.

Do you contact musicians' management to bring an artist in for a session, do the musicians contact you, or both?
SM: It's a lot of both now. It's pretty even.
 
I understand that the musicians you record are mostly alternative and indie, and music is their life, but what is it that makes them want to stop by the Daytrotter studio to lay down recordings? What do you think they get out of it?
SM: They get a really fun, laid back and creative experience in a touring time that is usually pretty mundane and repetitive. It takes them out of a comfort zone and puts them into a different zone that also ends up being comfortable. And they get a great recording out of the deal too. Everyone likes to be recorded to tape. That's just a proven fact!

There are two kinds of "music sluts"; those who sell themselves to the music industry, and those who are owned only by the music itself. I view Sean Moeller as the latter. I have the utmost admiration for the man, and he is a personal inspiration as well as now being a hero of mine. Sean hasn't sold out along the way, something which is all too rare, especially in the music world. He brings a certain freshness to everything he does, and has infectious passion for great music. The music world, nay, the entire world, is a better place because of Sean Moeller and Daytrotter.

I encourage you to explore the website and recordings for yourself, but here are links to some of my favorite songs from past Daytrotter sessions:

Marlboro Man by The Felice Brothers (pulls my heart into it's black enchantment, and makes me want to weep. Just what I love in a song...)

You Got To Die by A.A. Bondy (a bittersweet song Blind Willie McTellie's mom used to sing to him. Love Bondy's guitar playing).

A Place In the Sun by Jennifer O'Connor (a Stevie Wonder cover. Jennifer's voice is incredibly sweet and tender singing this. So soothing it could be a lullaby).

All The Night Without Love by Elvis Perkins (a flowing song which holds uneasiness and angst).

Anyway, am 27.09. flogen Laura, Rose, die Sara(h)s und ich erst einmal nach Dublin. Please note: Das war mein allererster Flug ever! Laura meinte, dass eine erste Flugerfahrung nicht RyanAir sein sollte und obwohl ich keine Vergleichsmöglichkeiten habe, glaube ich, das stimmt. Lustigerweise war ich die einzige von uns sechsen deren Gepäck kontrolliert wurde...! Noch lustiger war allerdings, als mir in Dublin auf dem Weg nach London mein Spray und mein Gesichtswasser ohne für mich ersichtlichen Grund weggenommen wurde! (Fürs Protokoll: Zumindest das Spray hab ich in London ersetzt!! *wink*) Ohne ins Detail gehen zu wollen: Als krönenden Abschluss wurde ich dann back in Norway auf dem Flughafen in Sandefjord ausgerufen.

But back to Dublin: Die Welt haben wir dort ehrlich gesagt nicht bewegt und ich glaube, die Stadt ist auch nicht unbedingt ein Muss im Leben eines Menschen.

Unser Hostel war extrem günstig. 65 Euro für vier Nächte mit Frühstück, eigenem Bad im Zimmer, einer Gemeinschaftsküche; wir hatten ein Zimmer für uns und die Matrazen waren schön hart. Das Hostel war im hippsten Teil der Stadt - das Hard Rock Café war wortwörtlich im die Ecke. "Kulturell" haben wir die Guinness factory, diverse staatliche Gebäude, Kirchen undsoweiter besucht.

Wir haben uns aber vor allem auch mit den Pubs bekannt gemacht. Montag war "Drinking Day". Rose meinte: "I feel like this whole trip to Europe led up to this day." Morgens gings mit Baileys im Kaffee los, in einem Pub zwei Blocks entfernt weiter, dann zurück ins Hostel für die Nachmittags-Smirn-off-shots und abends waren wir dann in drei Pubs.

In den letzten beiden blieben wir, bis sie schlossen! Wie sich herausstellte war es sehr einfach mit Leuten ins Gespräch zu kommen. Wir haben mit Amis, Italienern, Spaniern und Iren geredet, wobei Iren ziemlich unangemessene Fragen stellen.

Dienstag war konsequenterweise "Hangover Day", wobei ich eher "so fungover from yesterday" (Sara M.) war, weil ich so viel Fun hatte. Die meisten sind relativ spät endgültig aus den Federn gekommen. Deswegen gings erst am Nachmittag auf Tour zum Rand der Stadt. Das James Joyce Museum sollte unser Ziel sein. Im Endeffekt sind wir dann nur durch die sehr gut betuchte Nachbarschaft geschlendert.

Mittwochvormittag sind wir alle mehr oder weniger unsere eigenen Wege gegangen, bis wir uns auch schon wieder auf den Weg zum Flughafen machen mussten... to be continued

PS: Fotos von Dublin und London sind online.

http://www.mediafire.com/?3af6ttujomc [MP3/192]
experimental, psychedelic, folk (25:42)

Inspired by the art of Mother Mary praying at the foot of the cross.

The Thai teacher Ajaan Lee used to talk about seeing beauty "with both eyes."  Normally, he said, we look at beauty with just one eye, the eye of attraction.  We see a beautiful body, a beautiful flower, or a beautiful work of art and we think about how having it in our lives makes us happy.  The problem is that to sustain this feeling of happiness, we have to deliberately blind ourselves to part of the picture.  The beautiful body is filled with piss and shit and all sorts of other unclean things, the beautiful flower is already starting to rot and decompose – so we try not to think about these things, which is another way of saying we prefer ideas of beauty to the reality of it.  And a work of art is no different: we want art to be a perfect revelation, a communication that cuts through boundaries and brings together hearts and souls.  But most of art, if you look at it clearly, is wasted energy: energy expended in creation that mostly doesn't yield results, energy expended in trying to find an audience that frequently doesn't care, and energy expended in trying to achieve an effect that often gets misunderstood.  The point is not to get pessimistic or morbid about this waste at the heart of art, because pessimism is also seeing with just one eye, i.e., the eye of repulsion.  The trick is to see with both eyes.  That is, to see decay at the heart of beauty, but also, beauty at the heart of decay.

Whenever I play a show I tell myself: there is a broken part of everything, and this is the law of nature, not something you should take personally.  Last night, for example, I played a show that was a comedy of errors.  The promoter was angry with me for not bringing enough people, the sound person was incompetent (he couldn't EQ my guitar so it kept feeding back, and he kept running a Guns'n'Roses CD through one channel of the PA system – intentionally or unintentionally, I don't know,) and the crowd that came for the other band talked through my whole set.  My tendency in these situations is to see injustice in all this.  But my sense of injustice isn't based on reality, but rather, on an idea I have about things should be.  The truth is, I've been playing music in New York clubs for over a decade, and I know full well that clubs aren't designed to help artists achieve their creative goals; they're designed to sell alcohol and collect money at the door.  That's how it is.  I know excellent musicians who have given up playing live completely, preferring instead to record music and interact with fans who listen to it online.  I sympathize with their decision but I don't subscribe to it, because I think when you stop playing live you forfeit a certain kind of beauty, the beauty of taking your place in the public world of sound.  I remember when I used to play in subway tunnels.  It was a humbling experience, because people used to push me and throw gum into my guitar case and let me know explicitly that they saw me as an obstacle towards getting home, but it could also be a tremendously beautiful experience when somebody looked or smiled at me as though I were a diamond they had found lying in the dust.  Those moments reminded me that my sense of self-worth as an artist has no real connection to external conditions.

"Accept other people as though they were your destiny," the Stoic Marcus Aurelius once wrote.  That is, even though our tendency is to want to hold other people responsible according to our own standards of behavior – to force them to see that they ought to listen to us or respect us – by the time they enter our experience their actions have been guided by all sorts of factors that are beyond our control.  And so I remind myself that my audience and my reception in the world is my destiny.  And when I can see the beauty and the absurdity that exist simultaneously in every performance, I touch something deeper in why I make music, like a person who opens both eyes at once and thus gains a third dimension to his sight.

Tam Lin is a NYC-based singer, songwriter, and multi-instrumentalist whose music has been compared to that of Jeff Buckley, Leonard Cohen, Nick Drake, and David Byrne. You can hear him at http://www.tamlinmusic.com and http://www.myspace.com/tamlinmusic

Genero: folk, electrónica
Artístas similares: Nick Drake, Sufjan Stevens, Death Cab for Cutie, LCD Soundsystem, The Postal Service
Año:2008
Procedencia: Estados Unidos

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Crane-Grief – Filip ( FilipSongs)

The slow motion hurt of the internal. The minimal honest sketches conceived in a room underneath the bright crackle pop of the normal day. This is gentle bare bulb sway stuff. A voice , some instruments, a scratching at the heart, a stroke a fumble a chord or 20 thrown gently, carelessly. The songs take shape ask the shadows on the wall to dance, the wall is cluttered with memories of cracks and paint and other lives.

The singer and the old equipment make timeless tunes. In the future a lost boy or girl will play this album some hours after an Antony confession. That boy or girl will try to explain to the pop relative what it is in this hesitant rawness that can mend heartbreak and cause sadness at the very same time.

Most EMOtional  Disciples will simply not get it, and ask for another spoonful of gloss and powerchord, others will fall into this ancient brand new religion of secret songs made just for them.

They will be changed and seek basements of their own, or balconies at 3 am, or half empty dangerous clubs.

And the music and the voice will deliver them from today, into something strange and otherwhere.

Buy this album here

 http://www.filipsongs.com/

This Is Grand Atlantic – Grand Atlantic (Popboomerang Records)

I kinda like that these two recordings happen to be reviewed in the same chapter of the NBT blog adventures. One is internal and minimal and full of the things that make love bite and sigh, and this is crazy beautiful, orchestrated to the max, dense and rich and rewarding AND full of the things that make love bite and sigh.

Listen to `Wonderful Tragedy’ and imagine  the Carpenters ‘Superstar’ done sweetly by Both the Flaming Lips and Mercury Rev backed with a sighing Orchestra and you some idea of the treats in store with this collection.

This is music that sweeps you away, that insists you fly through the clouds and dreams, it is music to be listened to with eyes closed and breathing slow, music that insists you get lost within the harmonies and soundscapes.

This isn’t just sweet ballads though, take ‘ Coolite’ a surge rock n roll confection, Big Star/Mathew Sweet  alternative pop power, driven along by subtle twisting grinning keyboards, and then ‘ Smoke and Mirrors’ a song that would feel right at home at a Hold Steady concert.

A set of songs that give something new and exciting every listen, from explosions to whispers these creations exhilarate.

Buy the music here

 http://www.grandatlantic.org

Hear both these acts on the NBT Podcast going out on the 17^th October

www.nextbigthing.libsyn.com

 Il y a un magazine de rock célèbre qui demande à ses lecteurs ce que c'est d'être rock aujourd'hui, je me suis toujours demandé ce qu'on pouvait répondre à une question aussi stupide. En fait, j'ai trouvé, être rock en 2008, c'est reprendre "The Number of the beast" de Maiden avec une tête de tueur et un ukulélé... Enjoy !

Well one of the albums I played out today at work was Ayo's album Joyful.  Her music as I would describe it is folk / soul / acoustic and is perfect if you are in a low key mod like I was today.  this is seriously a great album.

Favorite songs: Down on My Knees, Life is Real & And It's Supposed to Be Love

Here is the link to the video for Down on My Knees:

http://noolmusic.com/music_videos/ayo_-_down_on_my_knees.php

If you like her also check out her myspace:

http://www.myspace.com/ayo

http://www.youtube.com/watch?v=Iqpr3Nf3Irs

"

Lacey's making me blog. I hate her. So we're in Cedar city in a dark basement. awesome. but i get to listen to Abigail Washburn & the sparrow quartet while i blog so I'm excited. the show went pretty good last night at the Grind. they have an awesome stage and the sound was probably the best we've ever worked with (thanks to the illustrious and larger than life steve swift.. bluegrass smooches!). I was pretty pleased with how we stood up on stage, except for the grotesque butchering of 'Your love is like a flower' so we learned to listen to jill when she says its a bad idea to put something together two hours before we play. Also 3/4 of the way through our second set my voice gave out which bummed me severely but in my defense it had reason to and here's why:so friday night Kate, Lacey, and I migrated to Ephraim after two harsh days of house troubles and eye cancer possibilities to stay at grandma Jo's where we broke maybe a dozen rules, but Lacey convinces us to stay up and watch DIE HARD... which she DIE HARD fell asleep during (but not after running into a door) leaving Kate and I wide awake to enjoy the 1988 movie delicacy. Then we had to get up at the butt crack of dawn to go to Richfield to practice with Jill because we hadn't played together for like a week and a half. There we walked -not ran- through the set list. We then departed majestically and triumphantly to Cedar. All was at peace with the world.About 40 miles from beaver the rain came, about 20 mies from Beaver a black car hydro-ed into the tail of a F150 causing it to flip at least five times ejecting four people from their car. we pulled over along with at least 10 other good samaritans. We fumbled through the rain, mud, and blood for 45 min. Kate helped divert traffic, Lacey sat with the broken Grandma under an umbrella jill grabbed blankets from the car then stood watch at an appropriate distance because she vomits and faints at the sight of blood ( as we learned from the toothpick incident of February 08). i ran around distributing the blankets picking personal belongings off the street, calling 911, and helping remove the man from the ditch and watching a little girl named rainy scream (ironic). After Jill gave her statement to the stunningly chiseled sheriff we set out again drenched and somber toward Cedar. We pulled into a gas station after that.. I think it was in Beaver actually, there i got the sweet ass poncho that many of you have seen me sporting around town ever since... and if you're real lucky, or in the right place at the right time you might get a taste of the poncho dance which is STEEEEEEEEEEEE-LLLLAAAAAAAR! My new self appointed nick name is poncho villa. After such a day still half wet exhausted and fuzzy-dreaded we trudged our asses on stage and brought the thunder! So Cedar has been in the long and short of things eventful. and that concludes the journey up to this point. Oh yeah thanks to the friendly old pool playing cowboy at The Tavern, you have permanently made my life awkward.

-Kat

P.S. You happy?... LACEY!"